Organic (formerly Organic Infest) releases catalog on internet

organic_infest-penitenceOn the anniversary of the release of its first recording, Puerto Rican death metal band Organic (formerly Organic Infest) is releasing its four recordings — two albums, an EP and a single — for free download on its ReverbNation page.

These songs are available for free listening. If you like them, you can purchase them in digital form, with 50% of the proceeds going to Fender Music Foundation, which provides musical instruments to students who cannot otherwise afford them.

Organic got its start with 1993’s Penitence which despite abysmal production showcased a new take on the guttural blasting style of percussive death metal favored by bands like Malevolent Creation and Cannibal Corpse. From there, the band explored a melodic avenue with its more recent works.

“Heavy Metal Music and the Communal Experience” academic conference launches in Puerto Rico

heavy_metal_and_the_communal_experienceWe use the term “metal community” on a regular basis, but it’s unclear to many what this includes. What is the metal community? Is it defined by boundaries, or a shared ideal?

A conference of academics is meeting in San Juan, Puerto Rico, on March 5, 2014 to analyze this issue by presenting papers and having open discussions on the topic. Hosted by UPR professor and metalhead Nelson Varas Díaz, the conference aims to attract scholars from the Latin America, Europe and the United States.

One of the major themes is one that metalheads have brushed over for years, namely the conflict between individualism and group identity in metal. Both are strong, but individuals finds expression through group identity in metal, seemingly a paradox. In addition, the conference will explore the communal experience in metal and how it can be analyzed.

For more information, haunt the “Heavy Metal Music and the Communal Experience – Academic Conference” page on Facebook or contact Professor Díaz at nvaras@mac.com

Empyrium – Into the Pantheon

empyrium-into_the_pantheon-coverEmpyrium have cross-bred funeral doom, folk/power metal and 1980s Gothic synthpop but have removed the electronic sounds, producing an organic take on the nascent Romanticism in the modern spirit. This is music for return to the forest, but in a less aggressive form than Ildjarn or Burzum; it’s on the level that power metal fans and even Nine Inch Nails listeners can appreciate.

Into the Pantheon is a live concert in which this reclusive and only sporadically active band picks its most forest-friendly tracks and plays them in a single unified format. With production thus level between them, Into the Pantheon serves as both greatest hits and a modernization of their classic sound.

What is great about Empyrium is how well it meshes. Vocals are dramatic and funereal in the way that Sisters of Mercy and Fad Gadget made famous, but are accompanied by light orchestration and minimal percussion, with acoustic guitars taking the lead. At crucial points however, the full power of the fulminant distorted guitars take over and create a surge of energy but unlike rage, this is directed at a dark and melancholy place like a contemplative forest walk in twilight.

Empyrium win fans over through their musicality and a vision of doom metal that is tasteful and elegant. Unlike Candlemass, vocals do not dominate the music but appear as a complementary effect; unlike more modern doom bands, guitars are not over-active or musically flashy. Instead, here there is the art of classic songwriting, on a subdued pace that emphasizes beauty emerging from within in the clash of darkness and light.

Where a funeral doom band like Skepticism overwhelms with a poignant morbidity, Empyrium is more like the music which has traditionally emerged from popular off-mainstream European artists. It’s heartily personal and heavily emotional, but could easily transition from this genre to an acoustic performance in a pub near a lost mountain path, or in the court of a king. It has an eternal character to it underneath the modern genrification.

Empyrium has not given many public concerts, and we are told that this 2011 recording represents the return of the band to active life. Hearing how emotional and yet violently lusting for life these anthems are, it makes sense to want this band to continue with its renovation of metal. Not all will take this path, but its outlook can be infectious, and improves on the three-notes-to-rage formula that mainstream forces wish it would take.

Death metal horror film Deathgasm solicits funding

deathgasm_(film)-300x450A New Zealand director is campaigning to get his death metal themed horror film funded through a crowdsourced campaign. The film, named Deathgasm, will concern the adventures of social outcasts who discover music that can summon evil.

Written and to be directed by Jason Lei Howden, Deathgasm is designed as a throwback to the early 1980s budget splatter films and the Heavy Metal horror genre. The director promises that Deathgasm will have a soundtrack that “will be the bane of noise control officers the world over.”

The plot revolves around evil, antisocial behavior, Slayer lyrics and black magic, but ultimately turns on a plot point related to music itself. Deathgasm will thus be a themed film with death metal as an integral part of that outlook.

We got a few questions back from director Jason Lei Howden to give our readers more of a feel of where the film is going.

What’s your history with horror movies, and heavy metal?

I’ve been obsessed with horror since I was a kid, and was naturally attracted to the imagery and dark storytelling of Heavy Metal.

When I was really young, I remember seeing Motley Crue and Iron Maiden cassettes and thinking the contents must be the most insanely satanic shit. Which in hindsight seems absurd.

I quickly progressed towards Thrash and Death, those amazing years in the early 90’s, Slayer, Cannibal Corpse, Obituary, Deicide. Such a great time for Metal.

What are the connections between Deathgasm and heavy metal? What about death metal specifically?

The characters are teenage outcasts. Death Metal is their only form of release. They won’t be wearing Disturbed t-shirts or anything like that; these kids are pure death fans. They are social rejects but find strength in the music. I want to stress that we aren’t out to parody or make fun of Metal, it’s more of a salute to the genre.

I want heaps of references to the classic bands in there, but if we could get some up and coming Death Metal bands on the soundtrack it would be awesome.

There are some amazing Heavy Metal horror films, and Trick Or Treat is a big influence. But it’s a dormant genre and it’s about time to combine brutal sounds and gore again. Death Metal in particular has imagery with is extremely horror when you think of the album covers and lyrics.

There are also occult and satanic themes, they start to dabble in black music and get in over their heads.

In saying that, I want to clarify that you won’t need to be a Metal fan to enjoy Deathgasm, just like Metalocalypse appeals to a huge audience. Anyone who has felt like an outsider will relate to our characters, and fans of Evil Dead, Bad Taste or the Troma films will love the Deathgasm.

Do you think there’s a horror movie culture? What about a heavy metal, or death metal, culture?

New Zealand is so small it’s hard for me to gauge, but Metal culture seems to be far smaller than it used to be. Because there are so many sub-sub genres now, it’s more fragmented. Maybe Metal is better off being underground, whenever it gets too mainstream it de-fangs it a bit.

Horror seems to be still huge, seeing shows like “The Walking Dead” and “American Horror Story” on mainstream TV and getting Emmys is surreal.

Can you tell us about your history with film and horror film?

I went to film school and since then have finished a couple of fantasy/post-apocalyptic short films. It’s really hard to get horror funded here, our industry is based around small coming-of-age dramas.

But even if I don’t get funding, I’m adamant I’ll do a horror next. I work as a visual effects (VFX) artist, working up to 80 hours a week. I need to get outside and throw blood and guts around. We are really lucky to have the Make My Horror Movie Competition; it’s a great opportunity.

You’re launching a funding drive for Deathgasm right now. How close are you to what you need? When you get there, what happens?

The winners get $200,000. The project with the most Facebook “likes” gets into the top five. Right now we don’t have many votes compared to some other projects, but we only submitted recently. We would need a couple of thousand more Facebook “likes” to crack in to that threshold.

There is no sign up or spam, if people go to the page and just click the Facebook “like”, then maybe share it with friends it gets the project visibility and lets the judges know there is a market for a brutal Heavy Metal Horror film.

If we don’t win we may develop the idea more and do a Kickstarter campaign. I want it to be a community thing, with an awesome soundtrack and heaps of Death Metal in-jokes and references.

And gory as hell! The Evil Dead remake was shot in NZ and was pretty gory, but we can take it up a notch or two from that. We have some talented friends and contacts in the practical effects industry here, I don’t want to give too much away but we have some awesome death set-pieces planned. We want to keep it practical; VFX gore just doesn’t look right.

If all goes well-ish, meaning according to plan and accounting for life’s little glitches, when will we be able to see this movie? And where (theatres, Netflix)?

Dark Sky films is a partner, they distribute some great horror, recently Frankenstein’s Army and Hatchet 3. So a lot of people are going to see it. I’m unsure about a theatrical release, netflix would be pretty probable. Would be looking at a late 2014/early 2015 release I would say.

For more information, and to support Jason Howden in his quest to make Deathgasm a reality, please visit the funding page and show support for this project.

Metal Music Studies call for papers for first issue (October 2014)

metal_music_studies-issue_1-october_2014The journal Metal Music Studies has issued a call for papers for its first issue, which will be published in October of 2014. The journal focuses on multidisciplinary research and theory in metal music.

Edited by the inimitable Dr. Karl Spracklen, whose hand can be seen in much of the recent research and theory regarding heavy metal, the journal is a production of the International Society for Metal Music Studies, one of academia’s leading investigative teams on the topic of metal.

For more information, visit the International Society for Metal Music Studies Facebook page or the Metal Music Studies journal profile at Intellect books.

This call for papers asks for submissions that are “original papers on metal music” and, in classic heavy metal style, imposes few additional limitations. The CFP adds “the journal will accept and commission shorter pieces from those involved in the metal music industry: journalists, label owners and other industry insiders, managers, musicians and fans.”

For the full text of the call for papers, see the attached PDF file.

Interview with Paul Ryan of Origin

origin-ultravioletsocialclubOriginating from Kansas in 1998, Origin contrive unprecedented mastery of musicianship and merge cosmic and horror concepts to differentiate themselves from the slew of other technical death metal bands.

Their debut album Origin established a well-rounded sound that would cater to casual death metal listeners, as well as those who approach the genre looking for the most technically proficient of brutal wizardry. Since then, Origin have released four more albums and are in the process writing the next one.

We are fortunate to have virtuosic guitarist Paul Ryan reveal the happenings of Origin. Point your browser here for the full interview with Origin’s Paul Ryan.

http://www.youtube.com/watch?v=78Qzg53DoIk

Underground Never Dies! metal fanzine book nears release

underground_never_dies-andres_padilla-cover

“Underground Never Dies!” chronicles the underground metal explosion of the mid-1980s through early 1990s when a decentralized volunteer force created a parallel music industry for music that had no commercial appeal, but a fervent sense of truth and opposition to some aspects of post-modern civilization.

With over 500 pages of interviews, photos, excerpts from period fanzines and artwork, “Underground Never Dies!” addresses the complex interweaving of bands, fans, zines, promoters, artists and labels that fostered the underground metal movement and allowed it to expand with maximum flexibility.

Written by Grinder Magazine Editor Andrés Padilla, the book includes fanzines from around the world as well as an extensive selection of underground flyers, so it will be not only a narrative of the history of underground metal, but also a massive and interesting menu of diverse viewpoints for devotees of underground metal genres such as death metal, black metal, grindcore and doom metal.

Doomentia Press will publish and distribute “Underground Never Dies!” which will include a compilation 12″ LP featuring historically important bands exhumed from the 80s, such as Slaughter Lord (Australia), Mutilated (France), Incubus (Florida, USA), Poison (Germany), Exmortis (USA), Fatal (USA), Armoros (Canada), Mental Decay (Denmark), Funeral Nation (USA) and Insanity (USA) among others. Presented in gatefold format, and limited to the first 500 copies of the book, the LP will be followed by CD and tape versions of the same material with added bonus tracks.

Cover art by Mark Riddick accompanies introductions by Ian Christe (Bazillion Points), Chris Reifert (Autopsy), Erik Danielsson (Watain) and Alan Moses (Glorious Times). This celebration of the underground will attempt to make sense of the fertile but chaotic years of its origins.

andres_padilla-underground_never_dies!

See also:

Celtic Frost cover band Morbid Tales live in San Antonio, October 11

morbid_tales-las_cruces-reign_of_tyrants-nightrocker_live-san_antonio-october_11From the cluster of San Antonio bands who have provided a steady stream of necrotic underground metal since the mid-1980s comes a new project, a Celtic Frost cover band named Morbid Tales, which plays live on Friday, October 11 in San Antonio.

Composed of Bjorn Haga (Necrovore, LaSanche, Hod, Thornspawn) on guitars, Art Espinoza (Deguello) and Rob Garcia on drums, Morbid Tales revives the roaring glory days of Celtic Frost as it re-invented metal to be a more primal and psychic assault.

For more information on Morbid Tales, visit their Facebook page or contact Art Espinoza via email at Deguellosatx@gmail.com.


Morbid Tales, Las Cruces and Reign of Tyrants
October 11, 2013
Nightrocker Live
605 San Pedro Avenue, San Antonio, TX 78212
210-265-3573
$5 adults, $7 minors (18+)

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Interview with Brad Moore, designer of Morpheus Descends cover

morpheus_descends-ritual_of_infinityMost of us who emerged into the classic death metal milieu are familiar with Morpheus Descends‘s classic album Ritual of Infinity and its striking cover art that remains controversial to this day. The illustrator who created that polarizing work has launched an online presence and is designing metal art of similar caliber.

Morpheus Descends rose after the early years of American death metal but before the solidification of the style, and created a grandfather template for both New York death metal and heavy percussive death metal in general. Their most notable influences were on bands like Suffocation and Incantation, who took the blueprint that Morpheus Descends created and pushed it to new heights of complexity and technicality.

Brad Moore, who designed the iconic cover, was able to give us a few moments of his time to describe his art, life and time with Morpheus Descends. For those curious about the band, our interview with Morpheus Descends is a good place to start, or peruse our brief explanation of the band and its context.

Read the full interview here.

Interview: Brad Moore, who designed legendary Morpheus Descends cover

morpheus_descends-ritual_of_infinityMost of us who emerged into the classic death metal milieu are familiar with Morpheus Descends‘s classic album Ritual of Infinity and its striking cover art that remains controversial to this day. The illustrator who created that polarizing work has launched an online presence and is designing metal art of similar caliber.

Morpheus Descends rose after the early years of American death metal but before the solidification of the style, and created a grandfather template for both New York death metal and heavy percussive death metal in general. Their most notable influences were on bands like Suffocation and Incantation, who took the blueprint that Morpheus Descends created and pushed it to new heights of complexity and technicality.

Brad Moore, who designed the iconic cover, was able to give us a few moments of his time to describe his art, life and time with Morpheus Descends. For those curious about the band, our interview with Morpheus Descends is a good place to start, or peruse our brief explanation of the band and its context.

How did you get started in art?

Like many who decide to become full-time artists, I began in grade school as the guy who could draw really well. I specialized in dinosaurs, hot rods and sci-fi. My classmates always got me to draw for them. It was my Junior High art teacher who first made me aware, that since I spent all day drawing anyway, why not make it my career and be paid for it? My brain did a back flip, as I did not know such a thing was possible, having been brought up in a very small country town. I credit my High School art teacher, Barbara Allen, who is now a top portrait painter, and two professors in college, Herbert Fink, and Ed Rollman Shay. They REALLY showed me the path! Eternal gratitude flows forth.

How did you get started in metal? Were you a metalhead? Did you “study” any heavy metal art?

Although my career began as a horror style comic book artist (I worked for comics publishers like Fathom Press, Boneyard Press, Graphomania, London Night Studios, etc) I was always a metalhead! When bands would tour, they often bought and read comics on the road. It wasn’t long at all before I got mail, asking me to draw or paint t-shirt designs, logos, cassette, and CD covers. Soon after, ‘zines came, asking for gory covers, inside illustrations, and dark comic strips. I was doing 3-5 fliers a week back then for metal shows. I didn’t really study any “metal” artists, as I have broad tastes, and enjoy a ton of different stuff. I’ve been to Richard Corben’s house, and viewed the original painting he did for Meat Loaf’s Bat out of Hell. I did an art exhibit with H.R. Giger in Switzerland and saw his sketches for what became covers for Celtic Frost and Emerson, Lake, and Palmer. But I’ve always had my own approach; no one has ever said that my art resembles the work of anybody else.

What other influences exist on your art, like other artists, morbid dreams, etc?

Dreams, DEFINITELY!!! I’m also very into the films of European directors, and the famed Polish Poster movement. I’m an ardent Surrealist.

How did you end up doing the Morpheus Descends cover? Are you a Morpheus Descends fan?

I was, and still am, a major Morpheus Descends fan! When I first got and heard their cassette “Corpse Under Glass,” I was hooked, feeling that they were the heaviest I had ever heard at that time. The band, as luck would bequeath, turned out to be horror comics readers who knew of my work. Ken, their bassist, wrote me, and we discussed the possibilities for the art that became the cover of Ritual of Infinity. In the original sketch, the “wizard” character had his hands raised, and an infinity symbol carved into his bleeding chest. I think his eyes might have been bleeding, as well, and in one hand, he held a bloody, ancient scroll. After another phone discussion, the “Carven-Diety” had its hand positions changed, and the “wizard” was now in the pose we all have grown used to: that of sawing the head off an androgynous cadaver. An ad for Ritual of Infinity featuring the debut of the cover art in b/w was published as the back cover of gore/horror comic book Cadaver, issue # 1, by Fathom Press, in ’92’-93. Funny thing: the record company’s name (J.L. America) is misspelled.

The Morpheus Descends Ritual of Infinity cover art uses some rather unorthodox (for metal) color combinations. What inspired your choices here?

Yes, the issue of the cover has stirred as much hate, as it has admiration, and I think that’s the best thing you can hope for. The colors I chose WERE very strikingly different for what was happening with other illustrators at that time. (Or, for any time, really.) The painting was a combination of oil paint and Rotring dyes, and it strode counter to the monochromatic approach that most others were doing. When I look even now at a box full of CDs at a merch table, I am struck by how many generic looking, grey and black compositions I see. Most are great looking on their own, but a table full of them are monotonous, and do disservice to the music and bands. I knew Morpheus Descends weren’t going to be on MTV, any time soon, so their CD cover, love it or loathe it, had to nail you across the room.

You’ve just gone online. Are you offering other services to metal musicians? What other directions do you hope to take your art in?

I just finished designing the T-shirts and poster for the Stoner Hands of Doom fest, as well as the T-shirt for Argus’ upcoming European tour (I did all three of their album covers); I’m working on two new CD covers, for two new bands, The Swill, and Foghound; I will have art featured in the winter issue of Churn magazine (Issue # 11); I am designing and building the special effects props for an upcoming film named “Platypossum”; and I am masterminding a civic project that I have dubbed “Mobile Murals.” Watch for the cover I did for Ed (ex-Monster Magnet) Mundell’s next solo LP; it’s one of the greatest I’ve ever done. Check out my page at bradmooreartwizard.com, or hit me up on Facebook @ Brad Moore’s Illustration Station.

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