Interview: Berial of Betrayer

February 15, 2015 –

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Back in the hazy 1990s, many of us encountered a band from Poland who in the wake of Vader had been signed to Nuclear Blast and distributed in the United States. This band was Betrayer and the album Calamity, a work of high-speed metal in the Slayer-influenced style of Vader but also going in its own direction including a prescient use of melody, anticipating where death metal would go in the next decade. After two decades, Betrayer has returned with a split 7″ that is turning some heads for its aggressive integration of old school speed metal and death metal styles. We were fortunate to be able to sit down with mastermind Berial over a cup of hot blood and discuss Betrayer and the exciting possibility of new material…

When was Betrayer formed? How many demos did you put out? How did you get signed to Nuclear Blast?

Betrayer was formed in 1989 as a thrash metal quartet and as such, in 1990, recorded its first demo “Forbidden Personality.”

The same year there was a change in the line-up. I joined the band as a new bass guitar player shortly after splitting with my previous band Slaughter. I also took over the space behind a microphone. Since then Betrayer started drifting towards stronger and more extreme sounds. That was a turning-point and the beginning of a new era for the band.

Consequently in 1991 Betrayer released their second demo “Necronomical Exmortis”. It happened to be the real killer those days. One of the biggest metal magazines of that time in Poland, Thrash’em All,ranked it second in the category “Album of the Year.” Betrayer hit #4 in “Band of the Year” category. To this day the release is regarded as one of the milestones for Polish death metal music. This is how, I guess, we got signed to Nuclear Blast… Hard work, great gigs, loads of enthusiasm and energy with remarkable music art on top…

Where was “Calamity” recorded, and were these new songs or songs from the demos? What were your musical influences at the time?

Our debut full album Calamity was recorded at Modern Sound Studio in Gdynia, Poland. It was the best option at that time. Really modern and open for new trends in music so most of the reputable bands in Poland cooperated with them. “Necronomical Exmortis” was made in CCS Studio in Warsaw, which was the choice of many Polish stars, not only those in the metal stream. That was the first experience of working with a professional studio and the first official release for Betrayer. “Forbidden Personality” was different, more of amateur and self-made production.

Influences? Everyone had their own and not all were strictly death metal ones. All of them put together, however, made us what we happened to be…

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Was it difficult to record and release at that time, just a few years after the political changes in Poland?

I don’t know if that was more difficult than today. I do not even know if political changes had anything to do with those difficulties. Those were different times, times of rebellion and discovering new options and possibilities. Metal underground, and actually all music underground in general, was strong and buoyant in Poland at that time. With Calamity which turned to be a milestone in Polish death metal history, were lucky to be on the top of the ladder, arm in arm with another polish legend, Vader, when the changes turned to be in favor of the musical revolution which opened new horizons and roads of going worldwide.

Finally we were able to spread the power of Polish extreme music all over the world. This also gave us the opportunity to share stages with bands like Morbid Angel, Deicide, Cannibal Corpse, Carcass, Death and too many others to count… Fantastic times!!!

Has Betrayer been on hold since that time, and are there are any other recordings people outside of Poland have missed out on?

We split up in 1994 shortly after releasing our debut album. It was nothing but a huge disappointment for us and the crowd of metalheads devoted to Betrayer. Only years later we learned that Betrayer had been well noticed in so many corners of the world. Instead of going on tour promoting such a great album as Calamity really was and pushing forward, we fucked it up. What a waste… Personal shit, you know… but it’s too late to moan now, isn’t it? I was so pissed off and consequently totally dispirited that I decided to stay away from the stage. In 2012, after nearly eighteen years of non-existence, demons of my inner self decided to remind me who I am and what I live for. There was no other option… Betrayer had to come back to life… and no, you didn’t miss any new recordings, except the split you know of.

You recently released a split with Neolith. What was it like recording this? Why release now?

From the very beginning we didn’t want to built our resurrection on the old stuff so instead of brushing up the songs from the past we decided to concentrate on making completely new material and release a new album. We didn’t want to, however, wait too long to announce to the world that we are back on the road. That’s why we decided to release one of the new tracks on the split. Same was with live appeariances. Initially we planned to do so after releasing the new album but for aforementioned reasons as well as unstoppable craving for going onstage we had to change the assumptions. In summer 2013, Betrayer appeared at Ragnarock Open Air Festival in Germany followed by a series of gigs around Poland. Obviously next to the new songs we performed some of the old ones too. The feedback was so great that in 2014 we were invited to play as a main support for a death metal legend Obituary in the only concert in Poland. Really good feeling and immense motivation, you know.

The Betrayer track on the Neolith split, “Beware,” shows more of an aggressive style and speed metal influence, with less death metal of the fast strumming variety. What motivated this change? Does this show a new direction in your music?

I wouldn’t say that there is a distinct change in Betrayer’s music in general. “Beware” is a song I would put somewhere between Calamity and the earlier “Necronomical Exmortis” demo, and I agree it’s kinda melodic at moments. The split features “Beware” just because this was the only song that we had ready to go at time the opportunity to release came. You might notice that it was not even finally mastered. Be forewarned that this song does not give justice to the whole new stuff …so do not be misled! Betrayer definitely stayed faithful to the death metal genre! You will see it yourself soon!

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The question everyone is dying to know… (a) Will there be another Betrayer album? (b) are there any negotiations to re-release Calamity so a new generation can discover it?

Sure it will! I’m proud to announce that our new album Infernum In Terra will be released on March 18th, 2015! The music was mastered in Hertz Studio which cooperated with such bands as Vader, Behemoth, Decapitated or Hate in the past… and I tell you, this is a real good piece of death metal, no doubt about it! We are exteremely satisfied and hope you will be too… and yes, Calamity will also be re-released, just a little bit later! Sounds good, doesn’t it? It looks like it’s gonna be a good year for Betrayer.

How do you describe the music of Betrayer? When you write music, what ideas do you aim for?

Well, it’s the same old Betrayer I reckon. Maybe a bit heavier but still drifting on the old school death metal wave. This is deeply rooted in our mentality and our hearts and truly defines the way we live, think, feel and create at the moment.

Ideas? Hmm, pretty same as before. Music, you know, is the way to express yourself with some kind of ecstasy which you try to give away and infect others with it. When it comes to lyrics and the message, it’s kind of my personal thoughts and feelings about the systems that our existence is implicated in. Especially the religious one, full of contradictions and hypocrisy… you might say “nothing new” but in that context Polish society is deeply premised on that. All this blind glorification of the institution of the Catholic Church as well as other creeds makes me sick and contemptuous. This is what I mainly speak out against.

It seems that everyone knows Poland these days with Vader, Graveland and Behemoth having become popular. What else are we missing out on? You can include both musical and non-musical items!

Oh,yes… Vader… indisputable pillar of the Polish death metal scene! I happened to be the part of the crew for a short period of time back in the 90s. Behemoth… yes, no doubt about it… true gods on the firmament of black metal music world! I’m not too familiar with Graveland, but talking about the extreme music stuff you missed out at least astonishing Decapitated to start with or Hate…

How should people learn more about Betrayer and your own personal (Berial) musical projects? Where do they go to hear the music and keep track of news from the band?

Definitely by reaching our albums and staying tuned to all oncoming news on our web page or facebook profile. There are no other projects in my life at the moment. Betrayer is the only and one that gives me strength and makes me survive in this world of misery.

I’m pleased to hear that in the past we were noticed and are still remembered in the United States with the real hope that we will keep it this way and be honoured to visit your vast lands in future!

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Dhwesha – Sthoopa

February 14, 2015 –

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Dhwesha create death metal with a large influence from classic heavy metal, sounding like a cross between the first Torchure album and a melodic Swedish band like first-album Sentenced or Desultory. Their bread and butter is the crossover between recursive downpicked rhythms like a speed metal band would use underneath melodic rhythm leads, and death metal riffs which re-direct these songs to more vicious ends.

Aesthetically a good comparison might be Monstrosity: drums, bass and guitar work together to create a powerful unison which hammers out a clear theme which corresponds to song title and vocal concept. But like early Therion, Dhwesha incorporates older heavy metal patterns and pulsing rhythms as opposed to the darker and more abstract death metal themes, which creates an organic heart of energy to this band which allows them to incorporate speed metal technique without it taking over songwriting. Songs generally cycle between verse- and chorus-like sections with a couple riffs each and a transitional section or two per song, focusing in the death metal way on the presentation of each. Frequently a lead-picked tremolo will outline a melody over a grinding but bouncy rhythm riff which creates a sense of a landscape shift.

Vocals take on the best attributes of Blasphemy, which is an incoherent shout so hoarse it sounds like the wind or a wild bison charging on an inattentive traveler, giving the music a feral air. All musicians show great proficiency but avoid showing off, which makes Sthoopa move like a single entity. Unlike many of the recent death metal attempts, Dhwesha show no desire to incorporate modern methods but homebrew their own instead, but also unlike death metal, this band seems content to exist in the late 1980s ambiguity between death metal and heavy metal. The result has the sentiment of Desultory with the earth-moving power of a more explosive act, but by balancing the two creates more of an atmosphere than one might expect from a band on their first album.

Death metal is big money these days

February 13, 2015 –

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Blabbermouth reports that Cannibal Corpse have sold more than two million albums, which makes death metal one of the more successful niche genres out there, since album sales of that nature plus tours equal a tidy sum of money. With founding bands like Morbid Angel and Slayer still gracing the charts, the spectrum of death metal related music sells more of its older albums today than it did back in the 1980s.

This puts an end to the assumption that bands cannot sell out by choosing underground metal. Once that might have been true, but now a band can launch into a genre with millions of fans, sell some albums and then detour into an indie rock project which then carries the cachet of edgy cool from having been involved with that rebel badboy metal music. There’s a lot of money in this genre for those willing to dig, and this means more entryists pounding at the door with careful camouflage for their insipid rock music.

Nocturnus – The Science of Horror

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Early death metal barely made it out of the shadow of speed metal before. We call it speed metal, not thrash, because it was a direct extension of NWOBHM using some punk technique, not an outright punk hybrid like thrash. Speed metal represents one of the most varied sub-genres in metal, running the gamut from percussive (Exodus) through traditional (Metallica) and all the way to adventurous stuff like Voivod, Anacrusis, Coroner and Sacrifice. It is in that latter category that The Science of Horror begins.

This demo re-issue will be — for now — limited to 100 copies pressed to vinyl that incorporate two demos, The Science of Horror (1988) and Nocturnus (1987). These show both a band looking for a balance between the early death/speed hybrids and its future as a technical death metal band, and the personal vision that Mike Browning has been refining since this time through the present day with his current band, After Death. This vision unites the progressive with morbid rock and extremity, aiming for a theatrical presentation as much as musical obscurity, and never afraid — unlike too many prog bands — to use a primitive riff where it is effective. Like many progressive-inspired bands, there is a high degree of internal variation in these demos, Nocturnus and After Death, used like an ancient storyteller might use an extensive vocabulary. The theatrical nature of this approach means that the songs on these demos, which are mostly duplicative, take an atmospheric approach to a genre in transition that was otherwise more inclined toward all-ahead aggression. But like Anacrusis, Voivod and Coroner, Nocturnus adapted its songs to use both death metal technique and speed metal but creating a sense of rhythm of its own that emphasized frequent transitions and complex patterns without drifting into other known genres.

Several of the song segments used here show similarity to what appeared on Morbid Angel’s early work, notably its 1986 Abominations of Desolation, and feature the same flexible rhythm that nonetheless approximates the chorus rhythm without doing so in trope, leaving plenty of space for instruments to work independently. Like speed metal, much of this material aims for discrete chords in repetitive patterns, but especially on the second demo, use of tremolo to create smooth transitions gives this material a new aura of mystery and suspension of belief. As a document of early death metal, The Science of Horror both emphasizes the creative possibilities of metal at the time and reminds us how weirdness was once more front and center and how it did the genre well. On another level, this music provides pleasurable listening at the nexus not only of two genres but also several compositional styles, and the change from the first to later demo shows the incorporation of keys in the way that would later define Nocturnus and be expanded to become a fundamental part of the technique as a way of creating spacious, atmospheric death metal. With any luck, this pressing of the demos will see CD release later this year, as despite being the same tracks twice this recording serves well for casual listening as well as historical examination of death metal.

Tracklist
The Science of Horror Demo 2 (1988)
1. Before Christ – After Death
2. Standing in Blood
3. Neolithic
4. Undead Journey
Nocturnus Demo 1 (1987)
5. Nocturnus
6. B.C. – A.D.
7. The Entity
8. Unholy Fury

Personnel
Tracks 1-4:
Mike Browning: Drums, Vocals
Mike Davis: Guitars
Louis Panzer: Keyboards
Jeff Estes: Bass
Gino Marino: Guitars
Tracks 5-8:
Mike Browning: Drums, Vocals
Richard Bateman: Bass
Vincent Crowley: Guitars
Gino Marino: Guitars

Gorguts re-issues Obscura and From Wisdom to Hate on Century Media

February 11, 2015 –

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Death metal band turned prog-core act Gorguts has re-issued the latter two albums from its classic period, Gorguts and From Wisdom to Hate, on industry powerhouse Century Media Records. The re-issues — on jewelcase CD, 2LP and limited edition 2LP — will be available in pre-order starting March 9, 2015.

Says guitarist/composer Luc Lemay: “I’m proud to announce that our 1998 record Obscura and 2001’s From Wisdom To Hate will finally be re-released! …For this re-issue, I decided to include liner notes that tell the story behind each record. How we got together as musicians, what was the composition process that made this sound possible and that made us grow as artists…I decided to change the logo because, with a step back, I realized that I never really like the original one on Obscura and I wanted to give the record a fresh look. I kept the same logo for From Wisdom To Hate, because it was created for this record…Thanks again to all our fans for their unconditional support through all those years.”

The re-issues see official release on April 6, 2015 in Europe and April 7, 2015 in North America. Both are dedicated to the memory of former members Steeve Hurdle (R.I.P. 2012) and Steve MacDonald (R.I.P. 2002). While Gorguts has deviated into progressive-themed *core territory with their latest, Colored Sands, this band helped forge the sound of technical death metal back when that term simply referred to death metal which required technical ability to play. While Obscura has often been imitated in style, those who have tried to imitate it have generally done so on the basis of style alone and missed the sublime composition within which made this album a classic independent of style.

Vader to re-issue early demos “Morbid Reich,” “Necrolust” and “Live in Decay”

February 9, 2015 –

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Ripping death metal band Vader, who gained stature in the field of Morbid Angel/Slayer-influenced fast tremolo death metal, plan to re-issue three early demos on CD, cassette and LP via Witching Hour Records starting on April 3, 2015.

The three demos — “Live in Decay” (1986), “Necrolust” (1989), adn “Morbid Reich” (1990) — will see separate releases unlike the last collection of Vader demo material, 1996’s Reborn in Chaos which remains a sought-after release for its Pavement Records version which contains better sound than other variants. These capture the transition of Vader from aspiring speed metal/death metal hybrid to catching on to the new death metal style and picking a fast but explosive style that graced their first album, The Ultimate Incantation and subsequent albums De Profundis and Sothis EP.

As Vader continue to release material in a fast although simplified and more hookish style, these retrospectives may provide insight into the origins of this band back in the days of the Soviet bloc. It will be interesting to see what bonus tracks, if any, Witching Hour Records adds to pad these releases up to full-length duration.

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Desecresy – Arches of Entropy

February 8, 2015 –

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Unlike many bands, Desecresy — the product of experienced musicians a decade after their first entry into the scene — formed with a full concept that manifests on the first album as a slow form of death metal. Peeling back the layers, influences can be seen at many levels here, but the most prominent are Bolt Thrower for the sense of rhythm, Carnage for riff transitions, Therion for use of synchronized strumming to adjust rhythm, and Paradise Lost for the use of lead-picked melodies evoking harmony in the riff below for a resonant, haunting sound. The result more approximates the moods and sensations to the listener of a funeral doom metal band, but at varieties of middle pace instead of extremes, creating the feeling of a descent into a subterranean world populated by non-verbal creatures.

The important distinction between death metal and doom metal that appears in this work is the tendency of death metal toward wonder, and a Lovecraftian obsession with the workings of the universe, where doom metal focuses on a despairing, passive and self-focused mood that makes no such commentary and in fact symbolizes fatalism. Desecresy keeps that outlook, and shears from it any sense of real-world issues such as the crusade against Christianity or need for social justice, replacing those with a mythological view of existence in which darkness is not self-pity but an outlook reflecting the red in tooth and claw essence of nature, itself a logical response to the need to avoid stagnation and mediocrity. Like Bolt Thrower, Desecresy envisions a world of constant warfare, but in this case the warfare emerges from the clashes of biological and mystical entities rather than modern political forces. All of this emerges from the music itself — the lyrics could as well be ingredients written on soup cans — which uses its riffs in a constant grinding which slowly grows into articulation of dual principles, ending without resolution into a singularity but a fragmentation followed by evolution which more reflects the state of nature in which conflict creates speciation instead of singularity. Riffs start as two chords colliding, then through the slowly equalizing rhythms of downstroked chords reach equilibrium, at which point they mutate into something else. The intense similarity of many of these riffs, built of the same few chords, puts emphasis on their form and its mutation and development from a microbial state to that of full of organism.

Over this flow the type of chanted vocals that adorned the first Therion album, using the death shout not as a rhythm to impart urgency to the guitars, but in a timekeeping role that counterbalances that of the drums which serve more as a texture of rhythm to allow internal motion to have reference points. In the midst of this sonic landscape the reverb heavy lead picking of melody creates a sheet of sound against which the power chorded rhythm guitars can develop, allowing songs to slide forward under this cover and develop what are essentially background riffs into rhythms that pick up additional internal variation and thus command more complex riffs. Desecresy generally keep it simple and grinding in the style of middle-period Bolt Thrower, but at crucial moments intervene with complex riffs and elegant transitions. This completes the cycle of this album, moving from serene but conflicted stability to complex and ambiguous change, a repeating pattern which creates the impression of lawless growth and beauty appearing from nothingness that lingers in the mind of a listener like a nearly-forgotten hope.

Perdition Temple – The Tempter’s Victorious

February 6, 2015 –

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Perdition Temple’s sophomore album is one of riffs written and dispersed as discrete packages. These are sewn together into short, explosive bundles extremely dense in content but not always boasting the smoothest of transitions.

Often the tonal shift between adjoining bars is far too drastic to convey any sense of uniform texture, giving the impression of an album constructed from a granular, low-level perspective rather than a more holistic, top-down approach. Meaning that the band came up with a whole bunch of riffs first, before cobbling them together into songs. Performed at near-always breakneck speed, songs pass by in a whirlwind of intense activity that isn’t always easy to discern. This is blistering and warring death metal displaying none of the stalling tactics practiced by modern death metal bands, and for that much it deserves credit.

There is interesting micro-play within individual parts but the whole doesn’t foster or even attempt to put much store in memorability. The addition of Bill Taylor as guitar foil has given Gene Palubicki free rein to indulge himself as he never had chance to on past efforts in Angelcorpse or even the Perdition Temple debut. The role of rhythm is sometimes completely dispensed with, the two guitars intertwining like Hermes’ serpents about a support of hyperactive drumming, sniping and spitting out angular phrases that, in surface aspect, wouldn’t be unseemly on a tech-death album. But this act’s pedigree being firmly rooted in death metal, the constant barrage of information never loses its essence of violence. A return to themes familiar from older works, primarily through the use of groove as introductory and relaxation device, is in greater evidence during the second half of the album.

As always, incendiary solos faithfully modeled after Trey Azagthoth find space on a Palubicki album. Azagthoth’s best work was unparalleled, however, because it was the original extension of its creator’s will and personality, much like the eternal consciousness standing outside of time and space, before the birth of time and space, that Eastern monism proposes, willing all creation into existence from within itself. Palubicki’s solos are the finest replicas of Trey Azagthoth that death metal has seen but ultimately they fall on, and should be judged by, the sword of rote inspiration that created them in the first place.

Codex Obscurum – Issue Six

February 5, 2015 –

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Underground metal zine Codex Obscurum gained an audience for its focus on music of an underground nature without the associated fetishism of image and product obsession that blights most zines no matter how underground. In that sense, it was a regression to the healthier times of the 1990s, when fanzines were fan-oriented instead of label-oriented, and both old and new audiences have delighted in it for five issues.

Contemplating Issue Six of this magazine shows how far it has come and how it has not lost any of the delight in the music that marks a good fanzine. Over the past several issues the focus of the magazine has shifted to interviews and reviews, and this shows in the much wider coverage that Codex Obscurum achieves with Issue Six. More bands see print in this issue and, through greater experience of interviewers, questions cover a wider range. The issue starts with an interview with War Master, whose albums regularly feature in our best-of lists around here. While this interview is short, it provides the vital news that this band is working on a second album and an EP, and talks about touring and general attitude of the band after switching vocalists. After this follows a thoughtful and probing interview with (the New) Mayhem guitarist Teloch, which contains mostly striking revelations about the black metal scene and its relationship to political correctness. For those of us more inclined to avoid newer versions of once-classic bands, this shows insight into the thought process behind the current “scene.” Further interviews with Anatomia, Lantern, Obliteration, Rottrevore, Symptom, Acid Witch, Castle Freak, Impaled Nazarene, Fister, Hecate Enthroned and Ritual Decay. The interviewers in all of these approach the subject with knowledge and tailor their questions to the subject’s personality, which brings out more of the people behind the bands.

One of the bigger changes since the last issue appears in the abundance of reviews that Issue Six has to offer. These take two forms: mid-length descriptive and personalitied reviews, and semi-dismissive Haiku form reviews that often tell more than a few pages of labored, assiduous writing. The descriptive reviews offer a practical assessment of how a metal listener might approach an album in a compact package. Witness the review of Cruxiter Cruxiter:

Cruxiter – S/T (2013 – PrismaticO Records)

Wow, what a surprise this album was. Cruxiter are not a well-known band, as this is their first full-length and they’ve only been around for a couple of years. But it sounds like they’ve been around since the ’80s. In fact, this whole album sounds like it’s from the ’80s. Cruxiter are traditional heavy metal from the wastelands of Texas and will not disappoint one bit. It’s as if early Mercyful Fate had a ménage à trois with Manilla Road and early Iron Maiden, all while listening to ’70s guitar-driven rock. The musicianship on this album is fantastic; each song is a classic metal anthem with soaring vocals and impressive guitar riffs. Miggy Ramirez’s vocals are high-pitched and remain steady throughout — he certainly pulls off the style perfectly. The highlight of the album is “The Devils of Heavy Metal” and is one of the best songs of this style I’ve heard in quite some time. The one thing that may dissuade some listeners (and it’s a shame, at that) is the production of the album. There are no crystal-clear sounds on this album, everything is produced in a way that makes sounds like it was recorded in 1984. It adds to the retro-feel of this album, and is part of what makes this album a great listen. The album is streaming on their bandcamp page, I’d highly recommend you check it out if traditional heavy metal is your thing. Keep an eye out for this band. — James Doyle

Ten pages of reviews of this type help inform the listener on the cutting edge of underground metal, skipping the numu/indie/post gibberish, and then detour into two pages of Haiku form reviews which cut to the core of each album from a listener’s standpoint. While these are more dismissive, oftentimes they utterly nail why an album is irrelevant or why we the audience should look past style and appreciate what makes it great. These offer a counterpoint to the desire for articulation that motivates the descriptive reviews, and give a quick synopsis where that is all that is needed. They are more motivational than merely reporting the facts; this style might be useful in dismissing some of the recent material that labels pump out which requires no more than a few minutes to recognize as an archetype of fail and dismiss.

As has been the trend with the last few issues of Codex Obscurum, the editors struggle to balance a gory old-school art-driven layout with a postmodern format that is easy to read in the age of computers, tablets and whatever “et cetera” will soon encompass. An abundance of great artwork appears throughout Issue Six, with more use of graphics inserted in the text stream or offset to one side. The Acid Witch, Fister and Ritual Decay interviews could fit in either a glossy pro-printed magazine or a contraband underground zine and show an optimization of this layout style. One thing that could improve is the differentiation between interviewer and interviewee, which is currently done with the industry standard of the speaker’s initials at the start of the line. An ideal layout of this format has proved elusive, with some zines bolding the comments by the interviewee, but this like most other solutions burns more page real estate. On this site, we put the interviewer’s comments in bold because that makes them easy to skip, but also requires more paragraph space which is at a premium in a zine that has to render itself to paper instead of the limitless scrolling of modern society’s replacement for daytime television, the internet. An ideal answer may conceal itself on this issue but it is the only area where this zine proved difficult to read at a glance, which is otherwise facilitated by its clean layout with clearly separated art and well-signaled interviews with band logo at the top of each.

Issue Six continues what seems to be becoming a section in Codex Obscurum, which is an unboxing and review of Dungeons & Dragons gaming sets and lines of books. While many in the metal community seek to isolate themselves from the inner nerd inherent to all metal, a more realistic assessment shows that many metalheads are in fact nerds “in the closet” who enjoy many activities which stimulate the imagination and analytical thought process simultaneously much as D&D does. This feature goes beyond the knowledge of the casual attendee at D&D games and could stand on its own in any lifestyle or technical magazine. Among the thoughtful interviews and carefully articulated reviews, the role-playing game material fits hand in glove, and adds to the feeling of this zine as well-rounded in the underground sense, covering music and lifestyle without drifting into the product fetishism that shears mainstream magazines off from the flow of what fulfills people both as metal fans and individuals. Looking forward to seeing this zine continue to grow and develop.