Black Witchery/Revenge – Holocaustic Death March to Humanity’s Doom

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War metal bands Black Witchery and Revenge issued their new release on tax day, April 15, with each band recording three new songs of their trademark sound, which their biography eagerly informs us is inspired by Blasphemy and Sarcofago. With excellent and intriguing cover art, and raw but clear production, this release should appeal to fans of the genre.

Black Witchery tear into their three tracks with a studied recklessness and noisy attack. These shorter songs use the standard circular structure with a final detour, but the band inserts rhythmic breaks throughout — the war metal equivalent of a breakdown in deathcore — to build intensity. Most riffs follow the rock/grindcore paradigm of a static chord, possibly with a chromatic offset, establishing a rhythm to which a fill is added. These riffs resemble faster version of punk hardcore riffs in minor key with lower tuning and faster, more precise playing. This shows a heritage with more in common with Napalm Death than Immortal and a lack of the atmosphere and uniquely shaped songs that made the Blasphemy proto-black metal grindcore hybrid work well, as well as an absence of the melodic structuring of the Black Witchery demo. The relentless aggression of these songs will make them popular but they will not be as memorable as Blasphemy or Sarcofago. If this band wishes to improve, their first step will be to worry less about being intense enough and worry more about shaping that intensity so that at the end of each track, a profound shifting of mood and idea leaves the listener in awe. This was the standard Blasphemy achieved on the best moments of Fallen Angel of Doom and the direction Sarcofago indicated their material should take with songs like “The Black Vomit.” Of these three tracks, “Curse of Malignancy” is my favorite for its directed power that forcibly enacts a concise regimen that achieves the feeling of warfare at least in concept.

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Revenge takes a different approach to war metal through riffs longer in duration which use the same surging technique but depend on active drums to break pattern with accents and spur the riff on to change. This technique can rally the attention of the listener and is often used in marching bands. It however creates a reliance on the drums, which although it makes the surge tremolo riff technique less important, also relegates guitars to a secondary role and creates a type of static riffing that resembles doom metal sped up to grindcore paces. Much like Black Witchery, this music is almost exclusively chromatic, which gives it the primitive and violent feel prized by fans. Revenge also tackle Bathory “Equimanthorn,” but in imposing their own rhythmic standards they enhance the jerky and sing-song nature of this tune (comparable to Mayhem “Deathcrush”) and add nothing to the original, so it stands out barely. This band has always been one of the more technically proficient voices in war metal and while their music is enjoyable in a single listen, the songs are too similar in approach, topic and technique for prolonged listening. “Revenge” rounds out this three-song EP and may be my favorite track on this side for its compact, solidly focused assault.

Absu, Krieg, Ouroboros, Black Witchery, Noctuary and Infernal Oak in San Antonio, Texas

Absu, Krieg, Ouroboros, Black Witchery, Noctuary and Infernal Oak
December 1, 2001
Sam’s Burger Joint
San Antonio, Texas

With underground metal lacking an official convention the yearly un- covering of filthy, degraded and intellectually unstable metal bands has to find whatever common ground it can, and this year in San Antonio’s “Sam’s Burger Joint New Music Compound” the hordes gathered with a lineup of epic proportions: Absu, Krieg, Ouroboros, Black Witchery, Noctuary and Infernal Oak among other local bands.

Infernal Oak played earliest and while much of their set became confused after a technical glitch became known, the performance was similar to their first celebrated appearance at the Atomic Cafe in Austin (thanks to Lord Ashteroth for that mini-festival). Covering in stocking caps they marched to the stage and performed dark, rock-n-rollish metal with a rhythmic surge to it like Celtic Frost meeting P-funk. The music needs some work and so does the stage show but in their nascent state both are intriguing enough to cause curiosity about future works from this band.

Noctuary kept their set compact despite its length, jamming songs back to back in order to fit them all in. Their metal while not visionary in concept or aesthetic is reasonable heavy metal in the Iron Maiden style, when the shrieking high black metal vocals and garnishments of extremity are removed. Drummer Rob Alaniz (formerly of Rise) gave a command performance of dexterity and precision, while both guitarists were impressive for middle experience players and are clearly proficient with mainstream styles.

Black Witchery was missed because the reviewer was elsewhere.

Krieg, with a volunteer tribe of luminaries from North American black metal bands to cover instrumental duties, was a revealing performance from Lord Imperial in which both the completely unleashed and irrational power of his screams and the design by which he accents tone in composition with his howls were exhibited. A handful of Krieg songs including the majestic crowd pleaser “Cold Wind Flame” were issued before a Von cover brought out the rage in audience and performers.

Ouroboros are a Canadian trio consisting of Sebazios Diabolus from Lust and two other musicians of his choice, all of whom were surprisingly competent considering how unsteadily they seemingly played. Their music was the most distinctive of the evening, using internal fills with abrupt self-conflicted breaks to balance phrases which used absurdist stalling and twitching motions to conclude. Often of a hidden melodic nature and sometimes random power chords thrown into pointless rhythmic filler, their music encoded all of its motion in texture and stopped as abruptly as it began, although each song seemed to have some unique form of harmonic shape.

Clearly what many were waiting expectantly, eagerly and even timidly for, the original Texas black metal band, Absu, entered the venue suddenly and went quickly to the stage for setup and performance. With a stoic new guitarist and their classic lineup in full form, the black metallers covered a brief sampling of their works from 1994 to the present before retiring after a brief encore. According to Proscriptor (drums) this was the band’s first concert in four and a half years, and follows his successful appearance at last year’s SOTNC with Judas Iscariot.

Absu is one of the most professional metal bands to be witnessed live. Proscriptor’s drumming and vocal performance is nearly unbelievable and guitarists are competent. The spooky bassist handled his parts well when manic depression did not overwhelm him. They are all excellent musicians who are weathering the storm of criticism, internal struggles and the usual constraints of musicianship and monetary need in conflict.

Infernal Oak are similar to hollenthon with less focus on keyboards and samples. There is not much else to say. They are nearly universally disliked among the black metal crowd for being more rock- n-roll and heavy metal in style than black metal, and this is a fair criticism. This band should stop trying to be underground and should market themselves to the same audience that enjoys Hollenthon, Girls Under Glass, later Pitchshifter, Ministry and Godflesh.

After the Absu event, an exhausted crowd fell back on the burgers, beers and soft chairs (and flirting with Dana Duffey of Demonic Christ) and since the hour had passed eleven many including this reviewer dissipated. While this was not the most polished or visible metal festival one could imagine, it was competent and accomplished its goals by bringing together bands in the scene without standardizing their concert appearances.

Bands:
Absu
Krieg
Ouroboros
Black Witchery
Noctuary
Infernal Oak

Promotors:
Sam’s Burger Joint

Sadistic Metal Reviews 1-22-2017

Everything you love is eventually butchered, emulsified, digested, and squeezed out by lesser life forms ranging from head hunters to bacterium to mediocre metal bands. Here are some Sadistic Metal Reviews for our readers’ pleasure:

Continue reading Sadistic Metal Reviews 1-22-2017

Sadistic Possession Vivisection

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The Belgian frites in Possession stumbled upon Mayhem’s Deathcrush EP on Youtube a few years ago and falsely epiphanized that black metal is Black Flag with blast beats. Deathcrush was heavily hardcore influenced but Mayhem applied speed metal to the primitive sonic violence of Venom and Hellhammer to create a fierce breed of blackened thrash. Possession ignore their idols’ basic compositional achievements in chainsaw gutsfucking by repeating three chord punk riffs for four to six minutes. Celtic Frost, Sodom, and Sepultura theft continually occurs and bores as Possession demonstrate their limits as a house party cover band.

The droning powerchords are not composed into coherent metal songs but placed within autistic perseverations on historical witchery. Each release regales the listener with minutiae on a different witch’s life before lamenting her fiery death for deviant behavior. These incomprehensible lyrics are probably meant to provoke feelings of injustice in bearded liberal ex-punks who tattoo themselves as a sexual display of non-conformity to fat women in Brooklyn.

The problem is few pop-punk Wiccans tolerate unclean vocals, greatly limiting the potential market. Iron Bonehead has rectified this by dousing these waffles in corpse paint and commissioning Chris Moyen to pick the pockets of the Beherit crowd. Those monochrome goats have to sell or else next month’s supply of cost-reduced Fernsehbier will be at risk.

https://www.facebook.com/hisbestdeceit?fref=ts

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Interview with Hatred developer Jarosław Zieliński

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As society circles the drain, some notice in art, music, literature — and video games. Increasingly misanthropic and world-cynical games like Hatred show us the direction things are going and possibly, give us a reason to fight back. Destructive Creations CEO and lead developer Jarosław Zieliński was kind enough to give us a few minutes to discuss this antisocial video game and its connection to evil metal…

What made you decide that the market was ready for an “un-PC” game about slaughtering other people seemingly at random?

I didn’t know if it was ready, actually. But observing all the shitstorm around since our reveal trailer, I think the market is ready. We’re small team from the middle of nowhere and now everywhere you have news about our game. Even Forbes! We don’t care about all the hate that is thrown in our direction. People who would like to play this title, now recognize it.

How much was this influenced by 1998’s Postal, a game with a similar theme? Any other game influences?

It was very influenced, obviously. There are many other games we played for entire life and many of them had influence for our creation, but the main inspiration is the first Postal game.

I noticed you’re a Black Witchery fan from the t-shirt in the Destructive Creations team photo. Are you the only metalhead on staff? How much did metal influence your choice of this career path?

I don’t like the “metalhead” word. I don’t listen to “metal”; I listen to some of its genres while I actually hate the others. I don’t really think there’s a link between living with this music and working on video games. Actually modding games was first in my life, since I got the first Wolfenstein 3D editor. I was like seven years old at the time. And I really doubt that making games influenced what music I listen to.

Can you name some death/black/etc metal favorites you have?

Umm, that would be a shitload of bands. I’m a lot into stuff like Revenge, Truppensturm, Bestial Raids, Black Witchery, Teitanblood, Archgoat, Wrathprayer, Goatpenis, Inquisition, Bestial Mockery, Dead Congregation, Ad Hominem, Nocturnal Graves, Goat Semen, Demonomancy etc. The list is in random order, from the top of my head, but I do have quite a spread in my taste, from Disgorge or Devourment to Enthroned or Urgehal, if you know what I mean. But it’s all in the black-death line. Someone may say that it’s dull to stick only to these genres, but I would tell him to fuck off, I don’t need more (it doesn’t mean I didn’t ever try). There’s still plenty of bands to discover.

Which genres do you dislike?

Actually: all the others. I respect thrash metal, for example, but I don’t listen to it, because I don’t like it. And I really don’t understand how someone can listen to heavy metal stuff like King Diamond or Manowar, it fucking hurts my ears, the music is cheerful and vocals sounds gay. Well, let’s say I like “evil” metal, not “cool” metal, I hope you get it. If it’s a low-distorted blastbeating about satanic tanks crushing graves of christians and hordes of MG42-armed hellspawns spreading genocide then it’s most likely my taste. :)

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Why do you think “Hatred” upsets people? Is it similar to the reasons death metal and black metal at least used to upset people?

No, I don’t think so. I think metal used to upset people because they don’t understand the music itself, rather than lyrical themes. Hatred is making people crazy, because of its context, not because its shell. If we were to make the same game but with any other plot, they would accept it with no problems.

Why are people drawn to dark themes like in metal and video games? Do you think that this attraction will mean that Hatred will become a household name?

Because every one of us has some side of evil nature deeply-rooted inside. Some of us like to get along with the dark side, which is why brutal music sometimes makes the evil grin on your face or you get chills. I want the same player’s reaction while playing Hatred. I have no idea whether it will become a household name.

Can you tell us about yourself, when you got into metal, and how you ended up becoming a video game developer?

I don’t really feel like talking about myself, I have a lot of something you might call “underground nature.” Most parts of my life were strongly tied with death/black metal and still are, but I don’t like connecting it with my job publicly. My engagement with the metal scene is my private thing, while making games is my occupation (and a hobby too). You know, I’ve comercialized one of two of my biggest passions, and I will never do the same with remaining one.

For more information on Hatred, visit the Destructive Creations web site.

Perdition Temple announce The Tempter’s Victorious release on March 24, 2015

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Perdition Temple, a band composed of Angelcorpse and Immolation members, will release its second album The Tempter’s Victorious on Hells Headbangers Records on March 24, 2015. The album shows the band refining their militant high speed slamming phrasal riffing in a style of death metal similar to Vader and Fallen Christ.

In many ways the underground’s response to the technical metalcore currently in vogue in the above-ground “underground,” Perdition Temple crafts songs from high speed strumming and extensive fills. On the new album, the band intensifies this approach and adds chaotic lead guitars which give it an oddly occult flair.

Simultaneously Perdition Temple announced that the band is slated to play Hells Headbangers’ forthcoming Hells Headbash 2 label anniversary festival on September 4-6 in Cleveland, Ohio (USA). The band will join other such Hells Headbangers-affiliated bands as Profanatica, Archgoat, Deceased, and Cianide.

    Tracklist:

  1. The Tempter’s Victorious
  2. Extinction Synagogue
  3. Scythes of Antichrist
  4. Goddess in Death
  5. The Doomsday Chosen
  6. Chambers of Predation
  7. Diluvium Ignus
  8. Devil’s Blessed
    Personnel:

  • Gene Palubicki – guitars (Apocalypse Command, Blasphemic Cruelty, ex-Angelcorpse)
  • Bill Taylor – guitars (Immolation, ex-Angelcorpse, ex-Feldgrau, ex-Xenomorph)
  • Impurath – vocals (Black Witchery, ex-Irreverent)
  • Ronnie Parmer – drums (Catalysis)
  • Gabriel Gozainy – bass

Perdition Temple release title track from upcoming The Tempter’s Victorious

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Perdition Temple emerged from the ashes of Angelcorpse when guitarist Gene Palubicki established a new act to make the high-speed, texturally-encoded complex riff frenzy that made Angelcorpse so distinctive among the later death metal bands.

Anticipating its upcoming album The Tempter’s Victorious, Perdition Temple today released a teaser video for the title track “The Tempter’s Victorious.” The band’s first album for new label home Hells Headbangers, The Tempter’s Victorious unleashed eight new tracks and cover art by Adam Burke. You can listen to the audio below.

In addition, Hells Headbangers will release a 7″ EP in anticipation of the album with an original and cover song enclosed. Release date for The Tempter’s Victorious is tentatively set for early 2015. The band has solidified its long-fluctuating lineup as the following:

  • Gene Palubicki – guitars (Apocalypse Command, Blasphemic Cruelty, ex-Angelcorpse)
  • Bill Taylor – guitars (Immolation, ex-Angelcorpse, ex-Feldgrau, ex-Xenomorph)
  • Impurath – vocals (Black Witchery, ex-Irreverent)
  • Ronnie Parmer – drums (Catalysis)
  • Gabriel Gozainy – bass

For more information, view the Perdition Temple faceplant page.

Perdition Temple unleashes The Tempter’s Victorious in early 2014

perdition_temple-the_tempters_victoriousMembers of Immolation, Angelcorpse, and Black Witchery comprise the new Gene Palubicki-fronted project Perdition Temple, which will be releasing two new recordings on Hell’s Headbangers records in 2014. Arising from the ashes of Angelcorpse through its principal composer and most renowned guitarist, Perdition Temple extends the Angelcorpse concept to new extremes.

The first release will be a 7″ EP with one original track and one cover on the B-side. This is a teaser for the album and a showcase for the new lineup for those who are considering the album but not yet convinced. There’s no word on whether this will be Perdition Temple’s trademark high-speed intricate chromatic riffing or another style.

The Tempter’s Victorious will be released in early 2014 and will be a full-length album with eight new tracks and cover art by Adam Burke. Recording begins in the next few months to have this release ready in time for its street date. The following is the current lineup of Perdition Temple:

  • Gene Palubicki – guitars
  • Bill Taylor – guitars
  • Impurath – vocals
  • Ronnie Parmer – drums
  • Gabriel Gozainy – bass

http://www.youtube.com/watch?v=HGoQa7BlExw

Interview: Dan Lilker (Nuclear Assault, Brutal Truth)

Dan Lilker has been involved with heavy metal for many years. Whether you spotted him in his first “real” band nuclear assault, or followed his career from NYC speed metal band Anthrax to his work in Brutal Truth, you probably recognize something he’s touched in the past decade and a half. We caught up with Dan after spotting him goofing off on the internet, and he was kind enough to answer some quick and obscure questions.

Some people would accuse you of trend-jumping in that you’ve covered the spectrum of genres from speed metal to grindcore to black metal and now to whatever the ravenous is.

Let’s do a quick overview of my history in metal. Formed Anthrax, got tossed ‘cos Neil Turbin was a prick. Formed N.A. (’84). Played faster, more hardcore-tinged thrash than Anthrax. So far, no trend-jumping, lol. Was invited to do S.O.D., accepted.

Side note: All this time I still treasured my Hellhammer and Fate collection!

OK, after 8 years of N.A., I grew tired of thrash and wanted to play much more extreme shit, hence B.T. Was that trend jumping, or merely doing what I really wanted to do, rather than stagnating and not enjoying myself? Hmmmm…

In ’96 I also joined Hemlock, ‘cos I enjoyed a lot of 90’s b.m. and I still held the old bands close to my heart. Perhaps some cynically-minded people might see that as bandwagon-jumping, but I was just enjoying myself…

Almost done! B.T. broke up for personal reasons in ’98, not ‘cos I was tired of not playing “popular” music, hehe.

In early 2000 I received a call inviting me to jam with Chris fuckin’ Reifert, whaddaya THINK I’m gonna say to that???

Are you saying people talk a lot of shit about metal musicians in public? Thanks for the history of your involvement with metal.

Consider this: When I talk shit and get aggressive, well, everyone knows who I am , right, and they could find me at a Metalfest and get in my face, but I have no idea what all those other people look like…

Nuclear Assault… let’s talk more about this, if possible. What were your influences then? Who wrote most of the material? Why the switch to longer song formats almost exclusively (excepting great stuff like F# wake up) after the first two eps?

We were into a lot of HC and thrash metal, I guess, Celtic Frost, Adrenalin O.D., etc.John and I were the main songwriters. Longer songs? Well, the first release we ever put out, Braindeath, had a 9-minute title track! I guess we “matured”, I don’t know…

And for kicks: who came up with Mr Softee theme? I’ve driven away neighbors with that one. ICE CREAM!

Ha! John always played that dumb riff at rehearsal, and it blossomed from there!

SOD came after the DRI/MDC expansion perhaps, but seemed like an extension of what Anthrax and Agnostic Front were doing rolled into one.

Well, you’ll notice that I never said we created crossover, I just said we made it trendy, lol! But it’s true. Metal kids started getting more into HC after “Speak…” came out, no doubt about it.

I thought Brutal Truth was one of the hopeful lights for the grindcore genre since the rest of it just seemed to slide into fucking turd… I don’t blame you for jumping out of the grindcore style when you did whether people call it trend hopping or not.

Well, it’s the semantics of trend jumping that bothers me, as it would seem to connote someone making a conscious and deliberate effort to play whatever’s popular at the time, regardless of whether that person really likes the genre in question. And that has NEVER EVER been the case with me, but I can’t help it if people come to their own conclusions. I just do what I wanna do, play what I wanna play, and that’s it, end of story.

Interesting. Black Metal seems like hardcore an ideologically-based genre (of some sort) so people take its boundaries more seriously. So far we’re at four genres in which you’ve participated, and I can see why others might see that as bandwagon jumping, but my opinion is neutral as of now. Who started hemlock and what 90s BM do you enjoy? Or rather, since you put that in the past tense, what 90s BM did you enjoy?

I have always noticed that HC and b.m. have the same type of narrow-minded, snobby, (un)holier than thou attitude. And it always seems that the people who have got into it the most recently talk the most shit, lol! Hemlock was started by Lino (D777). I still enjoy 90’s b.m. like Nazxul, Darkthrone, Immortal, blah,blah,blah.

Although it always sucks when a useful band breaks up, sometimes it’s unavoidable. Besides, Brutal Truth was one of the top acts on relapse, right?

Yeah, we were definitely a big priority for Relapse and they were crushed when we split up, but there was no other way, so, oh well!

Pretty cool that for a dude over 30 you’re able to keep up the lifestyle. Speaking of which, mind a few more questions? Bongs or pipes? Hashish or vegetable matter? Constant or intensity ingestion? Most profound statement of relevance of THC to your lifestyle and ideas?

Pipes. I’m too lazy to keep re-loading! Just stuff that fucker and smoke! I enjoy hash and herb equally, but hash is a nice treat since it’s rarer here. In March, me and my wife are going to London and AMSTERDAM for our first anniversary, so……….yeah.

Grindcore is by nature an ideological genre, but once you’re in the general area of protest music style lyrics, most of which are what we could call “leftist” or “anarchist,” you’re part of the club. It seems to me that to many musicians, lyrics are mostly irrelevant. How does this fit into your worldview?

Well, Brutal Truth had socially conscious lyrics, but it would certainly be a stretch to say we were anarchists or anything. Our lyrics were not really outright political as opposed to your DRI’s and COC’s. Once Kevin took over singing in ’91 all the lyrics got really interpretive and indirect anyway. As for me, I am a bassist and musician first; lyrics will always be secondary to music to me. That doesn’t mean I would play songs like “Kill The Niggers” or “Vegan For Life”, hehe. My worldview? I’m basically a laid-back, tolerant person, and I don’t really attempt to inject these views into the music I play.

When you were making music with Brutal Truth, there is a shift in style on Need to Control that marks a departure toward depth in harmony and texture in music that on the first album was direct, straight ahead blasting chaotic grind. What inspired this shift? If you could do it again, would you still?

Drugs. Or, specifically, marijuana. Well, that’s generalizing. Our first drummer, Scott, who didn’t get high, left the band ‘cos he was sick of playing drums and touring, he really just wanted to sprawl on the couch with remote in hand. So, we got Rich, a big pothead, like us, and it made the music a lot more in-depth. It also had to do with the fact that a lot of the songs from the first one were written solely by me, where as NTC was more of a group effort.

Need to Control is one of my favorite grindcore albums. Was it intended as a whole, or was it collected songs? Where and when was most of it written, and how much embellishment occurred in the studio?

With hindsight I dislike the production, but the songs are good. I wouldn’t say it was written as a whole, although we wrote them all in a house by the lake in New Hampshire in the dead of winter, which (to me) gives all the songs a unifying theme. The noise songs were tracked there on my old analog Tascam 8-track cassette board (RIP). I wasn’t there for the mix, Earache wouldn’t pay for all 4 band members to chill in Liverpool where itwas mixed, so I couldn’t tell you much about any embellishment, but let’s say it didn’t sound incredibly different than the raw tracks.

Did Nuclear Assault ever get in any flack from censoring or album stickering problems in the 1980s and 1990s?

Nah. I don’t think we attained the level of popularity where those assholes noticed us.

Are there any current bands to which you listen?

Terror Of The Trees.

What are your responses to the following: Burzum, Beherit, Sarcofago, Krieg, Kult ov Azazel, Averse Sefira, Slayer, Repulsion, Napalm Death, Carcass, Graveland, Antaeus, Demoncy?

Burzum: Great music from an idiot. Beherit: All Beherit is cool by me, from that pile of crap (Oath) to the electronica shit. Sarcofago: Beautiful raw primitive. Krieg: My homeboy Imperial. Krieg is good shit and this guy always supported Hemlock. Kult ov Azazel: I haven’t heard them, but Black Witchery says they’re good. Averse Sefira: Haven’t heard them either. Saw one of them fighting with D77 from Hemlock on the FMP board, much to my amusement. Slayer: They ain’t what they used to be, but still great live. Repulsion: Ah yes, classic and revolutionary death-grind. Napalm Death: Love all the old shit. Carcass: Ditto. Graveland: I certainly don’t agree with Darken’s views… and their drummer is so crap that their music isn’t very good either. Antaeus: Never heard ’em, but I’ve heard good things. Demoncy: Played with ’em in NYC. Cool guys, good band.

You’re married. Is your lady a metal woman?

Oh yeah! We met at the 2000 March Metal Meltdown, as a matter of fact. You should see our apartment!

What do you like most about living in New York?

Convenience.

What do you dislike most about living in the USA?

Knowing that most Europeans think we’re all fat, loud, know-it-alls.

Have you had any ideological conflicts with black metal?

Only with what’s commonly known as NSBM. Call me a purist, but I think bm should not be diluted with social commentary. Not to mention that talking shit about blacks and Jews, etc., puts these people in the same category of thinking as diehard God-fearing Christians like the KKK, for instance. Anybody who has anything in common with those dirtbags should not be playing a genre of music that rejects commonplace religious views.

I understand you are recovering from a childhood in a middle eastern religion (all major Western religions originate in the Middle East). Can you explain what factors have helped and hindered your recovery, and what started you on the path away from Judeo-Christianity?

Heh heh. I was never a religious person, religion has never meant anything to me, I’ve been as atheist as long as I remember, ever since I was old enough to understand the concept of deities. My parents never attempted to coerce me to embrace religion ‘cos they are not that religious themselves. I suppose the fact that I simply never bought into the concept of the existence of a God in the first place started me down the path… But it wasn’t until Sabbath and Venom that it had a focus.

Do you prefer indica or sativa? What is your favorite strain of sinsemilla?

Oh please, I’m not some High Times-style aficianado. I prefer strong, skunky weed to regs but I’ll smoke whatever does the trick! I enjoy smoking in quantity, or should I say always having a fat bag nearby, so I’m not gonna regularly drop $50 for something that’ll last 2 days.

What instruments besides bass do you play?

Guitar, keyboard, and half-assed drums.

You were one of the first bassists to embrace playing with distortion. What engendered this decision?

Discharge, I think. Specifically the “Hear Nothing, See Nothing, Say Nothing” LP. I had a Peaver Mark4 bass head that distorted if you tweaked it and that was it. I never went back.

What other musicians have influenced your technique, and what is your opinion on technique playing?

To be honest I don’t really seek inspiration from anyone nowadays, I was never one of those bassists who practiced constantly or anything. My original inspirations way back when were people like the guys from Cream, Zeppelin, Sabbath, and then later Steve Harris from Maiden. Fancy technical playing isn’t my thing, however, I certainly wouldn’t bash people who do that shit.

When you played that show at the anti-club in Los Angeles that I saw years ago, with Brutal Truth, your response after the cover of “Lord of This World” was to give a middle finger to the heavens. How do you feel about God? You clearly make the distinction between tolerating religious beliefs of others, and insisting on those freedoms (in lyrics of some bands), but also having a personal stance on religion. How do you feel about everyday religions and how they differ from, say, the beliefs of the church of the creator or the KKK?

I was probably just drunk’n’stoned and being silly. As far as everyday religions go, I pretty much ignore them. If people need that kind of spiritual structure in their lives, that’s on them. I think the extremists are actually more honest in their outright hatred. I don’t need any of that shit.

It seems to me black metal was founded on these beliefs, and on a renaissance retro-fascination with classical and european culture. Do you think there’s room for people with more leftist and tolerant beliefs, like yours, in black metal or do you think it would be like a nazi grindcore band, an anomaly?

I disagree with you. Black metal originally had no political leanings. All this fascination with cultural origins, etc., came about in the 90’s.

This is an interesting line of questioning for me, as the USA is about to go under police state precautions while engaging in a Christian activity to save a Jewish state and ally in the Middle East. How do you feel about this entire chaotic terrorist situation, and do you see it as odd that leftists are encouraging what many would call “fascist” reforms? I’m speaking of the justification of women’s freedom and music and freedom of speech in Afghanistan, and other rhetoric from President Bush in this war against an “axis of evil.” Do you see this situation as positive, negative or of mixed qualities?

Oh, it’s all a big fucking mess. I would agree that the Israelis are no better than all the other scumbags out there, with the notable exception that when they retaliate, they don’t kill innocents in marketplaces. It’s very hard to say what’s right or wrong in that part of the world, some people see the USA as imperialistic meddlers, others see the Middle East as a huge shitpit full of psychotic fundamentalists. Me? I say that not all Muslims are terrorists, but the reverse DOES seem to apply…

If you could play in a band with one other metal musician of note, who would it be and why?

It would be interesting to jam with Trey Azagthoth, he seems to be a very focused, intense musician. I already jam with Reifert!

What the Gospels make instinctive is precisely the reverse of all heroic struggle, of all taste for conflict: the very incapacity for resistance is here converted into something moral: (“resist not evil !”–the most profound sentence in the Gospels, perhaps the true key to them), to wit, the blessedness of peace, of gentleness, the inability to be an enemy. What is the meaning of “glad tidings”?–The true life, the life eternal has been found–it is not merely promised, it is here, it is in you; it is the life that lies in love free from all retreats and exclusions, from all keeping of distances. Every one is the child of God–Jesus claims nothing for himself alone–as the child of God each man is the equal of every other man. . . .Imagine making Jesus a hero!

– F.W. Nietzsche, The Antichrist