Death Metal Underground

Interview with Christian Falch of Norwegian black metal documentary Blackhearts

by Brett Stevens on September 27, 2013

Blackhearts is a new film about black metal after Norway in the 1990s, focusing on world black metal in the present day and how it is different from the original integral genre.

This is welcome news for those who were thinking “Aw, geez, do we need another film to tread ground well-covered by Lords of Chaos and Until the Light Takes Us?” You won’t have to suffer through a re-tread of the now-familiar early 1990s soap opera because it’s not mentioned in the movie, despite Blackhearts being the production of a Norwegian film crew.

Christian Falch, producer of Blackhearts, took the time to give us some answers to the burning questions that metal fans may have regarding this new movie.

You are the producer of the movie Blackhearts. Can you tell us what the movie is about?

I’m the producer and I co-write the script (documentaries actually do have scripts too…) with the director Fredrik Horn Akselsen. We both work for the Norwegian production company Gammaglimt AS.

Blackhearts is basically a feature length documentary about the profound impact that Norwegian black metal has had on the lives of fans and artists throughout the world. As you know, this genre has a lot of dedicated followers.

We have three main protagonists in the documentary. They are all really passionate and dedicated fans with their own black metal bands. One of them is a member of parliament in Greece, the other one is risking everything for the music because it is strictly forbidden where he lives: Iran. The third is a truly devoted Colombian Satanist. In the documentary we want to explore why black metal is so special to them and what the fascination is all about.

The story of black metal has been told a number of times, most notably through Lords of Chaos and Until the Light Takes Us. What is your documentary doing that these other sources have not?

First of all, our film will not deal with the events in the past, but rather look at the situation today. The storytelling in Blackhearts happens as the story of our different characters evolve, so this is not something retrospective, but we get do follow our three protagonists in several exciting episodes throughout the film.

I also want to mention that this documentary is being made for a wide, international audience, not only metal fans. Therefore we deal with universal topics like passion, politics, religion and dreams — of course everything still is about black metal. A great mix of everything a good documentary needs if you ask me.

Do you think it has taken us — Norway, the West and/or humanity in general — almost a generation to absorb what black metal was about?

In this documentary we will have a close look on how different cultures, religions, political situations and so on deals with the black metal phenomena. The fascinating thing is that it varies a lot! Here in Norway, the government pays black metal bands to record their albums and at the same time they would not mind flogging you for listening to Mayhem in Iran…

There are still a lot of different opinions around when it comes to what black metal is all about — and that is exactly what we want to explore and learn more about in this film.

Following up on the third question: what was black metal “about”? Do musical genres have ideals? Are those always clearly articulated? Is there a benefit in not articulating them like we articulate science and politics?

That’s a good but difficult question to answer. In my opinion black metal was about making atmospheric music with a hint of opposition to the society in general — the media (and some of the artists) made a great impact when it comes to defining the ideals behind it, but I believe that every individual had a personal, and therefore different, motivation to join the scene. I’m not a fan of putting the same ideological label on every individual or band just because they play black metal.

Speaking of politics, how are you going to deal with tricky subjects like Varg Vikernes and his political beliefs which I don’t trust myself to summarize, the murders of homosexuals by black metal musicians, the church burnings and the numerous statements of adoration for National Socialism and Stalinism by black metal musicians?

As I mentioned, we won’t go deep into the dark and difficult past of this genre, but of course we need to mention what happened and how it influenced the scene (and it still does). We would like to show that the black metal scene is more varied than most people think. We will do our best to deal with this subject as fairly as possible.

What do you think made black metal different from other forms of heavy metal, both musically and in idea?

For me, the difference is in the atmosphere, the way you feel when you listen to black metal, the images that appears in my mind…I don’t need to go into musical terms, it is the feeling of the music that makes black metal special. The idea of it all is of course to be more extreme than heavy metal and other subgenres. That’s really nothing I personally need to enjoy a good black metal band, but I have to admit that the myths surrounding some of the bands and artists attracted me in the first place, many years ago — and I still think it continues to attract new fans to this day.

Are you going to cover other extreme metal activity in Norway, like death metal bands such as Cadaver and Molested?

Unfortunately not. We simply don’t have the time to do that. Our focus will be more or less strictly on black metal. The only exception might be the appearance of Destructhor from Myrkskog and Morbid Angel.

You are apparently the metalhead among the production group. What got you into heavy metal? Do you still listen to it? Why do you like it, and what makes it relevant to you?

I’m the only metalhead in the crew…as with many fans of my generation it started with Guns ‘n Roses, hahaha, but it did not take long before I discovered other bands with more hard hitting music and once you start enjoying this kind of music it makes you start looking for the next band that takes it to a more extreme level and that’s how it goes I guess.

I still listen to all kinds of metal amongst other things, but I’m not very good at keeping up to date with all the new bands and releases. To me, music, and especially black metal is something personal and special. I don’t feel the need to share it with anyone else or even speak about it. Black metal is the little luxury I enjoy alone when there are no other distractions around. I should also mention that there is a lot of crappy black metal bands out there, guess I’m picky when it comes to this genre.

Where is Blackhearts in terms of production? When will we be able to see it? Will it be in theatres or online? How much interest does The Movie Industry^TM have in a film like this?

We have been working for two years with this documentary already and we have about 50% of the material shot. The timing of the release all depends on the financial situation of the project in the time to come, but for sure people would be able to see it sometime during 2015. We are planning a massive release on all platforms including cinema, festivals, TV and of course DVD and online.

To this day we have experienced an impressive amount of interest from distributors, international co-producers, TV broadcasters, film institutes and so on. I am really happy about this because it makes it possible for us to make this film on the level of quality I think it deserves. As far as I know, there is no documentary on black metal out there with the approach we are doing so there is a wide range of possible scenarios for the finalization and release of the finished film.

I guess the biggest question for all of us is “why”: why did black metal come about, why was it so violent, and why does it fascinate us today. Does your film address these whys?

This is the core of the film. It is a difficult question to answer, but this is why I wanted to do this film in the first place — to find out why this weird, hate promoting genre is so incredible fascinating. Hopefully we are able to understand it a bit more after seeing the finished film.

Can you tell us more about the format of the film? Is it interviews, or a narrative, or a mixture of both? Will you use black metal music in the film?

The film will be character driven. In other words, we will follow the people in real life situations and all of them have their own story that we are in the process of filming at the moment. There might be some interviews as well, but not like one would expect from a typical documentary. For example: in Blackhearts we meet an Iranian, Sina. He is the only black metal artist in his country. We first get to know him at home in Tehran, then we follow him to Norway as he is about to do his first ever live concert at the Inferno festival. Then comes the tricky part — can he ever go back home to Iran after promoting what some people consider to be blasphemy on stage?

Through following Sina’s story we will get to learn more about how strong the passion for black metal can be and how the music is still provoking authorities around the world. This is just one example and I can promise we have more fascinating stories too!

When it comes to the music in the film, people should not expect to hear lots of it, but of course it’s there when we show scenes from concerts etc. A treat for all black metal fans (and for me) is that the one and only Snorre Ruch has composed music specially for this documentary.

Last but not least, can you tell us about yourself, not necessarily as formal as a CV but a bit about film, how you came to love it, and how you came to be a movie producer.

I work as a full time documentary producer on several different films. Most of them are related to the second world war or religion and music. This is of course all topics that I am really interested in on a personal level. I never really loved films more than the next guy, but I ended up producing music videos and documentaries because it brought me to places and people that I never would have met under “normal” circumstances.

I have been doing it for the ten years now and I’m liking it more and more as time passes. One of the last documentaries I produced is called The Exorcist in the 21st Century and it has been doing quite well, specially in the US. We got unique access to one of the top exorcists in the Vatican and we followed him around the world as he was doing his thing. Therefore I have seen a about one dozen exorcism rituals being performed.

Since this interview will mostly be read by metal fans, I can reveal that the demon that reveals itself during the rituals we filmed sounded like Maniac from Mayhem at times, hahaha!

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Tags: Black Metal, blackhearts, christian falch, snorre ruch

Profanatica – Thy Kingdom Cum

by Brett Stevens on September 26, 2013

The wizards of Profanatica/Havohej experiment extensively with their music in both form and content, and as a result, their releases are widely varied with differing degrees of success as listening (as opposed to “theoretical”) experiences.

Thy Kingdom Cum, the most recent offering which will be unleashed by Hells Headbangers Records on November 26, unifies the threads of Profanatica by being noisy and avantgarde in its blasphemy and song structures while keeping focus on fast-paced black metal with melodic undertones and creative riffing.

Like Impaled Nazarene’s Rapture, Thy Kingdom Cum re-interprets black metal in the late-1980s ideal of fast single-string riffs which combine hints of melody with unrelenting energy. The result is like a hybrid between industrial music, punk and Wagnerian classical: great towering themes emerge from riffs that resemble bent bits of wire or the symbols on schematic diagrams. You may notice similarities to proto-black metal like Sarcofago here.

Profanatica as usual do not shy away from blasphemy but unlike some past works, on Thy Kingdom Cum they’re not writing protest rock; they are here to enjoy the blasphemy and this demonic relish gives this album the playful sense that made 1991’s Dethrone the Son of God so thoroughly a forbidden pleasure. What you’re hearing is musicians having fun raising hell, even if underneath that humorous pleasure is a deadly serious message.

Like early Havohej, Thy Kingdom Cum is fast and simple and abrades the ears with intense riffs and unique but compressed song structures. Like the band’s musical peak in Profanatitas de Domonatia this newer work shows a dedication to producing depth of music in addition to pure noise and evocative rhythm from the ever-adroit Paul Ledney drumming.

Where Profanatica‘s last album, 2010’s Disgusting Blasphemies Against God, ventured into pure textural rhythm and a grinding atmosphere, this newer incarnation of the band shows more dedication to highly motivational ripping metal riffs and through periodic melody in a shorter version of the style on Profanatitas de Domonatia, an expansion of the relevance of riff structure beyond rhythm.

As the ongoing story of Profanatica/Havohej evolves, Thy Kingdom Cum will likely be remembered as a unification of their more cerebral esoteric black metal with a digestible and intense form that conveys their message like pastoral landscapes carved in flesh. As such, it may re-awakening blackmetal to its roots.

Tracklist:

Ruptureholyhymen
Foul The Air With Blasphemy
Denounce Him
False Doctrina
Definite Atonement
Thy Kingdom Cum
Ropes of Hatred
Water to Blood

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Tags: Black Metal, havohej, profanatica, review

Satyricon – Satyricon

by Jon Wild on September 26, 2013

What do musicians do when the drive to create has vanished?

When the label is clamoring for something new, does the band bow down and fulfill the request, or do they uphold standards? Black metal in particular has struggled with these questions for over a decade, with a myriad of responses. Some have chosen to retreat completely, seeking refuge in the wild.

Some have become exasperated with the genre, turning to electronic music before returning in glory. Others have waged war on modernity, risking well-being in pursuit of these goals. However, the greatest number have bowed to the wishes of the crowd and released a product that was quickly forgotten, which is where Satyricon’s self-titled album falls.

Embodying all that is lazy and lethargic, Satyricon is an excellent example of modern black metal ethos. Black metal only on the surface, the album is musically a hard rock/heavy metal album designed for max promotional appeal. Simple riffs with obvious sequencing, simple implementation, and solid production produce a well-shaped package that undoubtedly will allow the band to increase its commercial influence.

Sounding like a tribute to Fallen-era Burzum‘s minor-chord noodling but lacking even what little sense of spirit that album possessed, the band chucks in references to pop and blues cliches as if the label funded a study aimed at producing the most cookie-cutter album conceivable, then shared the results to the band…and let’s not delve into the collaboration with Sivert Høyem.

There is nothing here for readers of this site to enjoy, except for the more morbid members among us. This album goes nowhere. It has nothing to impart. And perhaps most damning, it’s not even terrible. It is simply a non-entity.

http://www.youtube.com/watch?v=HPXnnTUl48Q

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Tags: Black Metal, hard rock, Heavy Metal, review, satyricon

Why I am a douchebag elitist

by Brett Stevens on September 20, 2013

Since metal is caught within the regime of popular entertainment, it speaks the language of socialization exclusively. Thus, if you have an unpopular opinion, it’s because you’re mean or a douchebag. Thus it is that people frequently refer to people who have standards as “douchebag elitists.”

Listening to a release by what I’ll call a respectable band, I was reminded of the reasons for my douchebag elitism. This CD is after all mostly right. It has all the right elements, knows the conventions of the genre, and has a number of sentiment and somewhat obvious but effective riffs. Should be good, right?

Except that it’s not good enough. It’s close, but not the same. Where Graveland — its primary influence — had a unique personality and a clear direction, this respectable band is derived from Graveland and Darkthrone and that basis is audible. The basis for Graveland was reality itself; the basis for the respectable band is music.

As a result, it misses on what black metal was. Even more importantly, it misses out on a standard of quality that lets blackmetal be of that level. When we are elitist, and admit only the bands which have a distinct and amazing perspective on the world, we see the genre as it is: the product of independent minds with purpose.

When we let that purpose fall, and allow those who simply want to partake of that vision to be part of the genre, standards plummet. Those bands are imitating from outside and trying to reproduce what was, but in doing so, they’re losing the most essential part of it, which is its motivation as a whole.

For a band to be black metal, it needs to discover the motivating ideas that made black metal what it was. Then, it must have its own take on those ideas, and in addition to that, do what everyone can do these days, which is play well and have good production.

It’s interesting how few people are actually required to make a genre. Graveland is immortal; while Woodtemple sounds good at a distance, and I know from the word of close friends that the person behind it is a good fellow, it would be an adulteration and sacrifice of what black metal is to endorse this album.

26 Comments

Tags: Black Metal, elitism, orthodox

Gorgoroth to release Instinctus Bestialis in early 2014

by Jon Wild on September 16, 2013

Norwegian black metal band Gorgoroth have announced a tentative schedule for their new album, Instinctus Bestialis. In a recent interview, the band stated that their goal was to have the album released by the early part of 2014, later adding that the demos had already been finalized.

This will be the band’s first release with this lineup; having replaced vocalist Pest with Atterigner, vocalist for modern black metal band Triumfall. In 2009, Gorgoroth released Quantos Possunt ad Satanitatem Trahunt, which saw the band furthering their post-millennial style of playing black-flavored heavy metal, relying primarily on verse-chorus arrangements.

Most relevant for their ’90s work, the decade saw Gorgoroth perfecting the style of melodic narrative metal, linear yet intriguing in its possibilities. Simultaneously unsettling and inviting, Gorgoroth bridged the gap between the progenitors of the genre and the many bands that would later follow.

The band will be touring in support of Instinctus Bestialis, starting in March and beginning in Europe, with Hoest from Taake on vocals. No tour dates have yet been announced.

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Tags: Black Metal, gorgoroth

Are You Morbid? returns to the radio

by Brett Stevens on September 11, 2013

Are You Morbid?, the radio show by newer generations to keep the music of the underground years alive, has returned from the dead. This show briefly thrived on two different radio stations during the 2010-2011 time period and became notorious for its love of the old school spirit in metal, whether past or contemporary.

The new show will be Monday nights from 11PM – 12:30 AM on KUOI FM Moscow 89.3. However, listeners worldwide can tune in via the live stream at http://kuoi.org:8000/kuoi.m3u. You can also watch the show happening live via the KUOI web cam

For those who enjoy classic metal radio, Are You Morbid? utilizes the format of long blasts of music centered around a theme, briefly interrupted by DJ explanations and topical commentary. During its previous life, the show gained listeners worldwide for its quality selection of death metal and black metal.

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Tags: are you morbid?, Black Metal, death metal, radio

Interview with Andrés Padilla (Underground Never Dies)

by Brett Stevens on September 11, 2013

Recently the word got out about a new book that’s going to explain the metal underground. This book, called Underground Never Dies, is edited by Andrés Padilla, the longstanding publisher and chief writer of Grinder Magazine.

Like several underground books before it, Underground Never Dies does not attempt to summarize the underground from a single point of view. Rather, it lets many different voices speak and, like harmonization in song, a truth emerges.

Cover art by Mark Riddick graces the entrance to this all-star production of underground metal analysis and opinion. In these pages, you will find people that you know of, or will want to know of, who helped build the underground into what it is.

We were lucky to get a chat in with Andrés as he prepares to launch this challenging work. Thanks to Andrés Padilla, Grinder Magazine and Doomentia Records for helping us secure this interview.

Click here for the full interview.

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Tags: andres padilla, Black Metal, book, death metal, extreme metal, grinder magazine, underground metal, underground never dies, zine

Interview with Andrés Padilla, author of Underground Never Dies

by Brett Stevens on September 11, 2013

We were lucky to get a chat in with Andrés as he prepares to launch this challenging work. Thanks to Andrés Padilla, Grinder Magazine and Doomentia Records for helping us secure this interview.

The most difficult question first (sorry!): what is the “underground”?

From a Thrasher’s point of view, it’s a very particular phenomenon developed in the early eighties when the roar and corrosion of Metal began to sprout all over the world. Ignoring rules, norms and standards, this trend and way of thinking opened up its way in a pure, honest and caring manner. Personally, the underground has been the path I have followed all my life, not only musically (I also listen to other music styles) but also in the type of life and philosophy to follow. Since the metal stench entered my blood it has never left. On the contrary, it has grown and strengthened my vision for this movement that in spite of any dogma, represents a way of life not only for me, but for many other devoted followers of this sound, which becomes my daily sustenance.

Underground is devotion and commitment; it is to follow your own path, not accepting the mainstream as your food, rejecting the rules of the religion – Christianity , impose your own voice, make your mark, teach others that way which means to believe in yourself. It’s a “fuck you” to the system.
Musically it is the opposite to the establishment. This is where the mind has a space to open freely and go with the corrosive and distressing death metal sound, which in my case is my favorite style.

It may have been born in the eighties, but not everyone who was there at the beginning has continued its traditions. I feel lucky to have never given up this way of life and even to this day, have supported its development and growth, either by editing a fanzine for 25 years as well editing and distributing discs and demo tapes. Although the rise of the Internet has dramatically changed the way it’s distributed and spread out, the underground has mutated over time, trying to keep his old philosophy and aesthetics. Long life to Death Metal!

How did the idea of this book come to you, and how did you embark on the course to write it and publish it?

Before finishing school I started to make my own fanzine. Up to this day I continue, sending letters, talking with underground bands, exchanging demos/CDs/LPs/videos etc. has been my way of life. I never wanted to look for a job in an office. Metal has been my best ally and daily food since I started listening to it in the mid eighties.

So if you ask me how I got this idea, well, it just came to me, I never looked for it! Everything came naturally. I like thriving, without losing its philosophy, and after 25 years doing fanzines, I wanted to do something more challenging, something that defined a little better what my life linked to music has been like, even if it’s been behind a desk. I’ve always believed that nothing is impossible, only death is unavoidable.

Then, as there is no worldwide publication that has managed to piece together an overall concept about this repulsive and dark phenomenon, I wanted to be the first madman to embrace every corner of the planet and display it in a book with a ton of posters, photos and comments that may finally tell, what, how and when all this happened. Underground Never Dies is just that, an incredible journey into the past where you can explicitly revive what was a unique time.

About the way it’s going to be published, maybe it was fate or luck that made me send a copy of my first book — Retrospectiva al Metal Chileno 1983-1993 — to Doomentia. Lukas (founder) loved my work and when I told him I was doing a new book about the worldwide Underground, and in English, he gladly accepted to publish it.

Do you think “underground” (perhaps like “outsider”) is a cultural identity more than a marketing category?

Absolutely, at least for me. I am very different from other normal people who wake up every day to go to an office or accept system standards. So this phenomenon for me has its own identity, and even though throughout its developmental years many people have left to take on another identity, I know that we are thousands who still believe that this sound must be kept in a low profile, away from the mainstream and with a unique identity.

And I’m not talking about the aesthetic aspect, because personally, even though I really like the aesthetic that surrounds it, if anyone sees me on the street probably they will not think I listen to Death Metal. For me the image is not everything. It is the thinking, actions and congruence with yourself. The rest does not matter. Now, I will not dress like a Glam Rock fan of the eighties. No way!

How important do you think “non-commercial” attitudes are to the underground?

They are important to sustain its aesthetics, spirit and coherence with the environment. However, commercial attitudes are also valid. It is impossible to make a ‘zine and give it away for free, to spend thousands of dollars on a disc and then give it away. Money is in the middle of it whether we like it or not. Always. Moreover, we grew up on the grounds that money is everything. Unfortunately we are doomed to follow that path until humanity reaches its end. I prefer to make music or a magazine and sell it than belonging to a stupid company and take orders from an asshole boss.

Do you think the underground was a product of its time, when there was no Amazon and import CDs weren’t in regular stores, or does it still have relevance today?

To me, Underground is a concept born out of many factors, like our interest in something intangible like belonging to a music scene. We, are the ones who keep this alive. The bands, zines publishers, fans attending a concert, etc. All this makes the Underground continue thriving over time and avoid death to changes in humanity, like technology. Underground will always exist, but it is not going to go towards you, it is you who has to go to it.

What defines or identifies an “underground” band? Is there a specific sound, or is it an attitude, or a social position like being on an underground label, small pressing runs, etc.?

Arguably, in Thrash, Death, Speed, Black, Doom, etc, all trends derived from this devotion. Yes, there are patterns, pre-established rules and forms which we interpret as good or bad. Underground is devotion. And when it’s honest and pure, it is recognized. Who does not recognize it, then, they are on a different path.

How long did it take you to write the book? What is your process for writing?

From the first interviews, trips and design, I think it has been three long years. The first stage was the longest, perhaps collecting the information (posters, photos, etc.) and checking my personal collection amassed over the years of editing fanzines. Much of the material had been stored and forgotten.

Then it was about organizing the book concept and selecting the best of the material, trying not to be like any other work which has published about it. After several years, I think I arrived at the final concept. The experience of having done something similar, only dedicated to the scene of my country, was fundamental. That book, Retrospectiva al Metal Chileno 1983-1993, edited along with a 12″ vinyl disc (made by Iron Bonehead Prod, Germany) was very well-received worldwide.

Who’s going to print the book, and where/when will we be able to buy it, and for how much?

Doomentia Czech label will be responsible for publishing and distributing the book through its network of contacts and labels within the Metal realm. We all know who they are! If you’re reading this, it’s because you know! I have to confess that thanks to the Internet, now with a few clicks anyone can have the book. Hopefully the printed copies reach the right people. I have no idea what the price will be, but if you calculate a hardcover book with over 400 pages infested with posters and photos of the eighties, plus a 12″ gatefold with bands like Slaughter Lord, Incubus, Necrovore, Mutilated, Dr Shrinker, Fatal and more, then the price is more or less imaginable. I hope that the material is ready and available for December 2013.

You mention on your flyer that the underground was a way to fight transformation into a mindless sheep. This sounds straight out of “Invasion of the Body Snatchers” or “They Live.” Is it really that bad?

The promotional poster you speak of, contains quotes taken from the people interviewed in the book. That phrase you mention is something you will have to interpret when you read the book and the complete response of the interview. That mystery I leave it for when you have the book in your hands. Each individual has his own version of what happened in these corrosive years, when Metal was a threat to the system. In my case, I lived through Metal in chaotic times for my country with a military dictatorship. I think that counts and left a huge mark in our youth.

Where does the underground live today?

Worldwide. It has never ceased to exist. We are the ones who should feel a natural devotion to go after it. Those who don’t feel that, simply do not belong in this cult. This will cease to exist only when there are no more humans on earth.

Can you give us a small biography of yourself and your past writing experiences?

Since 1988, I have been editing fanzines, corresponding with bands, tape traders, attending concerts and festivals worldwide. I saw the birth of Death Metal since it started wearing diapers. With 25 years of experience in this art, I think I have enough to identify which smells more rotten than the other. This is all I have done in my life.

I have never been part of a company, nor have I been employed by one, except for a radio station in Santiago for three years, but at that time it was only two days a week on the radio, so I wouldn’t call it being employed by them. The program was called “Ground Beef”, and was devoted to Metal . We played stuff like Morbid Angel, Cannibal Corpse, Nihilist among many other killer bands. It was a fun experience hanging out with some international acts when they played in Chile.

Will you be covering the internet, for example pre-1995 websites like the Dark Legions Archive?

The book mainly talks about the beginnings of Metal, but at the end it has a brief chapter on these issues, the emergence of the Internet and databases such as these and many others, like Metal Archives.

Thank you for this interview. Our readers will enjoy it!

Thank you very much to you for this tremendous space and support to spread this work that has required three years of my life. I hope that when it’s published, the public can appreciate it.

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Tags: andres padilla, Black Metal, book, death metal, grinder magazine, underground metal, underground never dies

Entrevista con Andrés Padilla, autor de Underground Never Dies

by Brett Stevens on September 11, 2013

Recientemente se corrió la voz acerca de un nuevo libro que va a explicar el metal underground. Este libro, llamado Underground Never Dies, es editado por Andrés Padilla, el editor y escritor desde hace mucho tiempo jefe de la revista Grinder.

Al igual que varios libros que estén bajo tierra antes, Underground Never Dies no intenta resumir el metro desde un único punto de vista. Más bien, permite muchas voces hablan y, al igual que la armonización en el canto, emerge una verdad.

Arte de la cubierta de Mark Riddick adorna la entrada a esta producción de estrellas de los análisis de metales bajo tierra y opinión. En estas páginas, usted encontrará personas que usted conoce, o tendrá que conocer, que ayudó a construir el metro en lo que es.

Tuvimos la suerte de tener una charla con Andrés mientras se prepara para lanzar este trabajo desafiante. Gracias a Andrés Padilla, Revista Grinder y Doomentia Registros por ayudarnos a asegurar esta entrevista.

The most difficult question first (sorry!): what is the “underground”?

Mirado desde el punto de vista de un Thrasher, es un fenónemo muy particular que se desarrolló a inicios de los ochenta cuando el rugido y corrosidad del Metal empezó a brotar por toda la orbe. Ignorando reglas, patrones y normas, esta tendencia y manera de pensar se abrió camino de una manera pura, honesta y solidaria.

En lo personal, el underground ha sido el camino que he seguido toda mi vida, no solo en lo musical –aunque también escucho otros estilos-, sino que también en la vida y tipo de filosofía a seguir. Desde que el pestilente metal entró en mi sangre no se ha ido más. Todo lo contrario, ha crecido y potenciado mi vision sobre este movimiento que a pesar de cualquier dogma, representa una manera de vivir no solo para mi, sino que para muchos otros devotos seguidores de este sonido, que se transforma en el alimento diario de mi existencia.

Underground es devoción y compromiso, es seguir tu propio camino, no aceptar al mainstream como tu alimento, rechazar las reglas de la religion – cristianismo-, imponer tu propia voz, dejar tu huella, enseñarle a otros ese camino que significa creer en uno mismo. Es decir fuck you all al sistema. Musicalmente es lo contrario y opuesto a lo establecido. Es donde la mente tiene un espacio para abrirse libremente y dejarse llevar por el corrosivo y angustiante sonido del Death Metal -que en mi caso es mi corriente favorita-. Puede haber nacido en los ochenta, pero no todos los que la vieron nacer han seguido su tradición. Me siento afortunado de nunca haber abandonado esta forma de vida y hasta el día de hoy, haber apoyado a su desarrollo y crecimiento, ya sea escribiendo en un fanzine por más de 25 años, como así editando y distribuyendo discos o demo tapes.

Aunque la aparición de Internet cambio drásticamente la manera de distribuirse, manifestarse y procrearse, el underground ha mutado con el tiempo, tratando de mantener su antigua filofosía y estética. Long life to Death Metal!

How did the idea of this book come to you, and how did you embark on the course to write it and publish it?

Antes de salir del colegio commence a armar mi propio fanzine. Hasta el día de hoy, mandar cartas, hablar con bandas subterráneas, intercambiar demos/ cds/lps/videos etc ha sido mi camino. Nunca quise buscar un trabajo en una oficina. El Metal ha sido mi major aliado y alimento diario desde que comencé a inyectarmelo a mediados de los ochenta. Entonces, si me preguntas cómo llegó esta idea. Bueno, simplemente llegó. No la busqué! Todo se dio de manera natural. Me gusta avanzar en la vida, sin perder la filosofía, y con 25 años detras de fanzines, quise hacer algo más desafiante, algo que definiera un poco más lo que ha sido mi vida ligada a la música –aunque sea desde el escritorio-. Siempre he creido que nada es imposible, lo único inevitable es la muerte. Entonces, como no existe una publicación en todo el mundo que haya logrado juntar un concepto global sobre este repugnante y oscuro fenómeno, quise tartar de ser el primer loco en abrazar cada Rincon del planeta y manifestarlo en un libro con una tonelada de afiches, fotos y comentarios que podrán finalmente decir, qué, cómo y cuando sucedió todo esto. Underground Never Dies es simplemente eso, un incredible viaje al pasado en donde podrás revivir expl+icitamente lo que fue una época irrepetible.

Ahora ómo va a ser publicado. Quizás fue el destino o la suerte que me hizo mandarle una copia de mi primer libro a Doomentia. Lukas –fundador- alunió con este trasbajo y cuando le dije que estabaarmando otro referente a Underground mundial, y en Inglés, él aceptó encantado en publicarlo.

Do you think “underground” (perhaps like “outsider”) is a cultural identity more than a marketing category?

Totalmente, al menos para mi. Me siento muy diferente al resto de los normales que se levantan a diario para ir a una oficina o aeptarlas normas del sistema. Entonces este fenómeno para mi tiene una identidad propia, y a pesar de que a traves de sus años de creimiento, muha gente ha abandonado y elegido tomar otra idendidad, sí se que somos miles los que aún creemos que este sonido debe mantenerse siempre en bajo perfil, lejos del mainstream y con una identidad única.

Y no estoy hablando del aspect estético ya que en lo personal, a pesar de que me gusta mucho la estética que lo envuelve, si alguien me ve en la calle seguramente no va a pensar que escucho Death Metal. Para mi la imagen no lo es todo. Es la forma de pensar, los actos y la congruencia con uno mismo. El resto, da lo mismo. Ahora, tampoco me voy a vestir como un Glam Rock de los ochenta. No way !

How important do you think “non-commercial” attitudes are to the underground?

Son importantes para mantener su estética, espíritu y coherencia con el medio que nos rodea. Sin embargo, actitudes comerciales también son válidas. Es imposible hacer un fanzine y tener que regalarlo, invertir miles de dolares en un disco para luego regalarlo. El dinero está de por medio querámoslo o no. Siempre. Es más, crecimos con el fundamento de que el dinero lo es todo. Lamentablemente estamos condenados a seguir ese camino hasta que la humanidad llegue a su fin.

Prefiero hacer musica o una revista y venderla a pertenecer a una estúpida empresa y aceptar órdenes de un jefe imbecil.

Do you think the underground was a product of its time, when there was no Amazon and import CDs weren’t in regular stores, or does it still have relevance today?

Para mi Underground es un concepto que se dap or muchos factores. Nuestro interés en algo intangible como pertenecer a una escena musical. Somos nosotros, quienes mantenemos vivo esto. Las bandas, los editores de zines, los fans que asisten a un concierto. Etc Todo eso hace que el Underground siga escabuyéndose con el paso del tiempo y haya podido evitar la muerte ante cambios de la humanidad como la tecnologia. Siempre va a existir Underground, pero este no va a ir hacia a tip por si solo, eres tu quien tiene que ir hacia el.

What defines or identifies an “underground” band? Is there a specific sound, or is it an attitude, or a social position like being on an underground label, small pressing runs, etc.? Podría decirse que en el Thrash, Death, Speed, Black, Doom etc, todas tendencias derivadas de esta devoción, sí hay patrones, reglas o formas pre establecidas y que nosotros entendemos por buenas o malas. Underground es devoción. Y cuando es honesta y pura, se reconoce. Quien no la reconoce, pues, está en otro camino.

How long did it take you to write the book? What is your process for writing?

Desde las primeras entrevistas, viajes y diseño, creo que han sido 3 largos años. La primera etapa fue la más larga, quizas la de recopilar información (afiches, fotos, etc) revisar mi colección personal de material que he juntado en largos 25 años editando fanzines. Mucho material estaba guardado y olvidado.

Luego ordenar el concepto del libro y tartar de seleccionar lo major del material, intentando no ser parecido a ninguna otra obra que se haya puvlicado al respecto. Luego de varios años, creo que llegé al concepto final. La experiencia de haber hecho algo similar, slo dedicado a la escena de mi país, fue clave. Ese libro Retrospectiva al metal Chileno 1983-1993, editado con vinilo 12” (hecho por Iron Bonehead Prod, de Alemania) fue muy bienacogido en todo el mundo.

Who’s going to print the book, and where/when will we be able to buy it, and for how much?

La etiqueta checa Doomentia estará a cargo de publicar y distribuir el libro a través de su red de contactos y sellos amigos devotos al maldito metal. Todos ya sabemos cuales son! Si estás leyendo esto, es por que lo sabes! Hay que confezar que gracias a Internet, ahora con un par de clicks cualquier persona podrá tener el libro. Ojalá que las copias que sehagan, lleguen a las personas idóneas. El precio no tengo idea de cuánto va a ser, pero si calculan un Libro con hardcover más de 300 páginas infestadas de afiches y fotos de los años ochenta, más un 12” gatefold con bandas como Slaughter Lord, Incubus, Necrovore, Mutilated, Dr Shrinker, Fatal, etc el precio es más o menos imaginable. Espero que el material esté listo y disponible para Diciembre del 2013.

El poster promocional del que hablas, contiene citas extraidas desde los mismos entrevistados. Esa frase que mencionas, la vas a tener que entender cuando leas el libro y la respuesta completa del entrevistado. Ese misterio lo dejo para cuando tengas el libro en tus manos. Cada individuo tiene su propia version de lo sucedido en esos corrosives años, cuando el Metal era una amenaza para el sistema. En mi caso vivi el Metal en tiempos caóticos para mi país con una dictadura military. Creo que eso cuenta y nos marcó mucho en nuestra juventúd.

Where does the underground live today?

En todo el mundo. Nunca ha dejado de existir. Somos nosotros, quienes debemos sentir la devoción natural de ir tras el. Quien no la siente, simplemente no pertenece a este culto. Este solo dejará de existir cuando ya no hayan más humanos en la tierra.

Can you give us a small biography of yourself and your past writing experiences?

Desde el año 1988 he estado editando fanzines, escribiéndome con bandas, tape traders, asistiendo a conciertos, festivals por todo el mundo. Vi nacer el Death Metal desde que comenzó a usar pañales. Con 25 años de experiencia en la material, creo que tengo la suficiente fascilidad de identificar cual huele más putrefacta que otra. Esto es lo único que hecho en mi vida. Nunca he participado de una empresa, ni he sido empleado dealguna compañía, con excepción de un programa de radio en una estación de Santiago port res años, pero en esa época iba solo dos dias a la semana a la radio, no podría citarlo como pertenecer a una empresa. El programa se llamaba Carne Molida, y era dedicado al Metal. Pasabamos desde Morbid Angel, Cabbibal Corpse, Nihilist hasta Pantera.

Will you be covering the internet, for example pre-1995 websites like the Dark Legions Archive?

E libro habla principalmente de los inicios del Metal, pero al final incluirá un capítulo breve sobre esos temas, la irrupción de internet y las bases de datos como esas y muchas otras como Metal Archives.

Thank you for this interview. Our readers will enjoy it!

Muchas gracias a ustedes por este tremendo espacio y apoyo a difundir esta obra que ha demandado 3 años de mi vida. Espero que cuando salga, el public pueda apreciarlo.

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Tags: andres padilla, Black Metal, death metal, grinder magazine, language-spanish, underground metal

Krieg announces release of Transient in 2014

by Brett Stevens on September 9, 2013

The next Krieg full length will be titled Transient and will be recorded in 2014, according to Krieg frontman Imperial. The new album will be 40-50 minutes long, “with some return to the old Krieg style in the sense that there will be a lot of very aggressive parts and a fair amount of samples.”

Transient will also blend in more influences from strange industrial projects, nothing you can dance to obviously, but the feeling you get from certain Coil, Whitehouse, and Controlled Bleeding recordings as well as a strong push into the more crusty rock n roll moments from the last three records.

Active since the middle 1990s, Krieg pioneered a unique sound of semi-improvisational and chaotic New World black metal that took many influences from violent and disoriented punk music and merged them with the minimalistic black metal of Darkthrone and Havohej. Recently, Krieg has been incorporating more post-metal influences in their music with The Isolationist, the record releases in 2010.

“It’s going to be a strange beast for sure, as always uncomfortable and hopefully challenging to the listener. We will be recording the majority at a different studio than we’ve used previously as to try to bring a newer feeling to the overall recording,” said Imperial.

http://www.youtube.com/watch?v=FkOqE7MzzYA

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Tags: Black Metal, krieg, USBM

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