Funnest Live Shows

We go to see bands live for a variety of reasons. We go see bands for the music (obviously), the musicianship, and sometimes just to have a raunchy time. Some of the following bands are bands I don't always listen to in my free time, but I sure as hell see them live whenever they come around because they ALWAYS bring a raunchy good time:

Exhumed
Matt Harvey and co. are back and from what I've heard of their new album, "All Guts, No Glory" (which you can stream here for free: http://relapserecords.bandcamp.com/), it's still the balls out Gore Metal you would expect! I think I've seen Exhumed a total of three or four times and each time is just pure thrashin' metal madness! Matt gets this crazy look in his eyes as he seemingly recites medical dictionaries and grisly necromantic tales while the other members whip their hair around like there is no tomorrow, enticing audience members to do the same. At one point during one of the shows, the three stringmen all held up the backs of their instruments to the audience and what did it read? "GORE.FUCKING.METAL." in crooked duct tape. Hell fuckin' yes!

Cephalic Carnage
I think the first time I saw Cephalic Carnage I was 15 or 16 years old. I think I had only recently bought "Exploiting Dysfunction" and my friend had told me their drummer was a bio-chemist. When they came out and launched straight into "Hybrid", I could have only assumed that their bio-chemist drummer (John Merryman) had cooked up some nasty stimulant concoction for the five of them because they all went bat shit crazy on stage. I then had the pleasure of seeing the great Cephalic at a 20 person show with about 7 good friends. When they put on their Black Metal masks for "Black Metal Sabbath" I think we all about lost it. Cephalic Carnage is one of those rare metal bands that doesn't take themselves quite too seriously, and they make it quite clear to everyone.

Weedeater
A while ago, I mentioned to Wulf that "Dixie" Dave (vocalist/bassist) has to be considered one of the "madmen" of metal, if elite and notorious group were to exist. I've seen them twice and I can certainly attest to the madness that runs through "Dixie" Dave's Southern veins. Besides having one of the dirtiest, meanest bass tones of all time and having a whiskey-drenched croak of a voice that would make your grandpa sound like Justin Bieber, Dave's antics on stage are numerous. Known to cross his eyes, slobber, and jump up and down like a cricket, one would think that Dave is not only playing a few cards short of a full deck, but maybe he is actually mentally handicapped. All joking aside, Dave's use and abuse of substances is also quite apparent. A few friends of mine tell me of a time when they saw Weedeater and Dave was puking on stage into a bucket in the middle of songs. Furthermore, Dave has been nicknamed (besides "Dixie", of course) "The Hummingbird" because he tapes a bottle of Robitussin to his amp, puts a straw in it, and casually strolls over to it periodically throughout a performance. "Why?" you might ask. To throat his coat when it gets raspy from too much touring! (http://www.spinner.com/2010/03/08/sxsw-2010-weedeater/)

Amon Amarth
If there is one time you feel the need to chug mead out of a drinking horn, decide to grow a three foot long beard, and drunkenly praise the glory of Valhalla to your uninterested girlfriend, then do it at an Amon Amarth show! On their latest tour for 2011 album, "Surtur Rising", the Swedish sons decided to play the entire tour without any supporting acts. They played the new album all of the way through, then they played old favorites. Two hours of nothing but mid-paced (albeit catchy and melodic) Viking Death Metal means one thing: bangover. My neck must have been sore for a week after that show. After every song vocalist, Johan Hegg, would thank the American crowd in the only way one can: with a raspy "Thank you...thank you very much!"

Converge
I've only seen Converge once, and although I LIKE Converge, I don't usually listen to them in my free time. But from what I saw of their live show, there are some people out there that would FUCKING DIE for Converge. I saw them around the time they had released "Jane Doe" (what many consider to be their finest album to date), and they were certainly in top form. With Jacob Bannon's maniacally shrieking and running around on-stage, the band acted as a tightly-knit killing machine with precise and violent noisecore. Unfortunately, with a band like Converge, you're going to see a lot of really retarded hardcore dancing in the pit. However, I remember at the apex of "The Saddest Day" that people literally converged in the front-center of the stage. It was like a gigantic car wreck with people trying to stage dive while simultaneously trying to get up on stage. Complete ecstatic chaos.

Soilent Green
Of the original NOLA bands, Soilent Green has been the only one I have had the pleasure of seeing live, but I dare say they are the only ones I would need to see! The night that I saw them, bassist Scott Williams (R.I.P.) was obviously drunk. He kept on yelling at the crowd with comments like, "C'mon you fuckers, what's wrong with you!" while violently swinging his bass around. As with Goatwhore, Ben Falgoust II is a great front man, and I would have no hesitation putting him as one of the best modern metal front men around today. Ben had no problem getting the crowd riled up while the rest of the band ripped Southern grind and groove at its best.

(The Lord Weird) Slough Feg
I honestly can't remember entirely too much from the time I caught Slough Feg. I do remember that mainman, Mike Scalzi, fearlessly standing on top of the pinball machines that were right next to the stage while ripping some ultra-melodic solos. All I could think of besides, "Holy shit he is going to break that glass and his leg is going to get cut up to shit and he'll probably break his ankle too and maybe his guitar and the show will be over" was "Fuck yea!" Slough Feg's Iron Maidenisms are far from hidden and one can practically imagine that you're seeing an embryonic Maiden when you see Slough Feg. For being an oft-dismissed band in the world of metal, Slough Feg manages to put on one helluva show.

Dimmu Borgir
Keep in mind that I saw Dimmu Borgir right after they released "Puritanical Euphoric Misanthropia" and they were still playing in small venues. Although I must confess that some of the show was plagued by bad sound management, it was one of the most entertaining metal shows I've ever been to. Galder with his various metal faces, Vortex with his operatic singing, Shagrath holding his invisible oranges, and not to mention Nick Barker with his virtuosic drumming and Uncle Fester looks. It was quite a symphonic black metal affair! I'm sure their live shows have only gotten more dramatic as time has gone on.

Mastodon
I've seen Mastodon twice and what enormous contrasts those instances were. I first saw Mastodon after they had released their first EP, "Lifesblood". There may have been about 10-15 people at the venue when the opening band played (local favorites, The Esoteric) and then half of those people left. Kudos to Mastodon for still putting on a really good show with the short set that they had. The next time I saw them, there were about 10-15 TIMES as many people on their "Crack the Skye" tour. Amazing live performance, never missed a note, and had the entire story in movie form on the back drop. They have truly turned themselves into a force to be reckoned with.

Dragonforce
Anyone that knows my tastes in metal knows that I hate 99.99% of Power Metal bands. I can't remember the last time that I casually listened to an album by a Power Metal band. However, seeing it performed live is a different thing altogether. I firmly believe that going to a Power Metal show will reinvigorate you with the power of metal and Dragonforce is no exception. With the guitar wizardry of Herman Li and Sam Totman, the ludicrous keyboard runs of Vadim Pruzhanov, and the undying energy of the entire band, they CRAM the power of metal down your throat.

Hammerlord
Lawrence, KS Thrash Metal Lords! Maybe I have slight bias because I'm friends with the band, but I have seen Hammerlord at least 10 times. Big credit to Ty and JP for every performance having spot on guitar work with virtuosic trade-off solos, whammy bar destruction, and catchy thrashing. However, the rest of the band is just as awesome with Stevie singing about metal and professional wrestlers, Terry headbanging with his bass, and the Hammerlord himself, Adam on drums. I think the last time I saw them I was headbutting Stevie in the stomach while moshing in a pool of sweat and beer. Thrash Metal superb!

There are also TONS of bands that I ASSUME would put on an amazing show, but I have just not had the opportunity for whatever stupid reason. Besides the obvious ones (like Iron Maiden or Motorhead):

The Dillinger Escape Plan
Municipal Waste
Primordial
SunnO)))
Wolves in the Throne Room
Immortal
Meshuggah
Neurosis
etc.

I invite any of the other Malicious Intent writers to edit this post to add their own!

- Judge Dredd

Interview with Isvaroth of Nephrolith!!

Interview conducted via PMs metal-archives.com forum, July 2011.
http://www.myspace.com/nephrolithband/

WULF: Congratulations on the successful execution of your new album, "Xullux". I definitely enjoyed listening to this album, especially from a promising new band from Slovenia! How has the reception been for this album so far? What were you aiming to accomplish with "Xullux"? Do you feel like you successfully completed these goals?

ISVAROTH: Xullux was reviewed by webzines all over the globe and it got some fine critics, so I think we are quite satisfied and we’ve broken the ice somehow and from this point on we are going forward and aiming even higher.

WULF: Would you care to talk about the lyrical themes on "Xullux" and the meaning behind this name? Your Myspace describes "Xullux" as an "infinite ignorance and evil light" that covers the essence within humanity. Would you care to elaborate on this more specifically? It's funny, for black metal I found some of the lyrics to surprisingly have a positive, self-empowering message, especially on the title track. Is this an accurate interpretation, or am I way off the mark?

ISVAROTH: Well, Xullux is combined from 2 words: Xul Sumerian word for evil and Lux Latin for light and the words are the reflection of one another. The title connects with the lyrics that individually connect in the same point being how we are spiritually incapable and how the material world corrupts us. The idea of the light being the main antagonist because it enables us to see the material world while it suppresses the soul. That is the core of humanity’s ignorance that is never-ending. Yes, your interpretation is quite correct. The lyrics try to encourage people to find the might within themselves, in their souls or through death. I think this as positive as any other Satanic message from other black metal acts.

WULF: Your album is surprisingly high-quality for a young, new black metal band. I was definitely expecting demo-quality, bedroom black metal type stuff. Did you record the album yourselves? What was this process like, and how long has this album been in the making?

ISVAROTH: We said we’ll try to mix that kind of quality into our music, because there is not much black metal bands that have that. We went into Dyz Sonic Temple studio on February 2010 and we recorded all the instruments including the vocals in three months. We were quite fast because we have recorded almost every day. So, the album was mastered and mixed in June 2010 and we were really glad that all happened so fast.

WULF: Honestly, besides Metal Camp I don't really know much about the Slovenian metal scene. What is it like there, at least in your region of the country? Is there an exploding scene, or is it still growing?

ISVAROTH: Slovenia is really a small country but I must admit we have quite a high number of concerts here. There are a lot of local gigs with Slovenian bands for about 50-100 people, and foreign bands, which also play in clubs for about 50-100 people. Then there are bigger metal concerts where the numbers revolve around at least 500 people. But like I said, we are small (population 2mio) and 100-200 people per gig is really good for a standard concert. Metal Camp is of course the highlight of our metal scene.

WULF: I find the album cover to be very well-drawn and intriguing. If I'm not mistaken, the art was designed with help by Simon D from the Slovenian black metal band Bleeding Fist. What role did he play exactly in creating this album art? To me, it looks like the rotting corpse of the Virgin Mary breastfeeding an infant Jesus. Is this meant to be a statement towards Christianity specifically, or organized religion in general? At any rate, it definitely grabs your attention!

ISVAROTH: That’s right, the cover was made by Simon D., the bass player of blasphemous Bleeding fist. We are friends with them and Simon offered himself he could make us a fine cover and we said yes, why not. As you noticed, that is an undead Mary with a baby Jesus. He is representing the humanity that sucks the hypocrisy and ignorance out of the breasts of material world. One of the main culprits for this cause is of course organized religion.

WULF: This is something I'm always curious about...so much of the time, modern metal bands talk about video games, movies, and other music, but I'm always curious as to what people are reading and the role, if any, these books play in a band's lyrical themes or overall philosophies. Is there any specific literature or writer that plays a strong role in Nephrolith's music?

ISVAROTH: I’m sorry to disappoint you, but our vocalist and lyricist Nerthag, as far as I know, idolizes no writers or tries to follow no specific ideologies or philosophies. The lyrics are just from self-experience and his view of this world.

WULF: You're a band that performs live. Have you only played in Slovenia, or have you toured Europe and/or elsewhere? Are there any future plans for spreading your live pestilence to North America?

ISVAROTH: Yes, we’ve played only in Slovenia, over 25 gigs in 2 years and still counting. We would love to go beyond our borders, but it’s not that easy. If we get any chance to play in the US, we would love to, because I know there are a lot of crazy mofos out there that have yet to hear our music. Maybe someday we’ll come overseas to cleanse you all! >:]

WULF: I hate to take the focus away from Nephrolith, but as someone who is ignorant towards much of what's going on in the Slovenian metal scene, would you care to recommend any Slovenian metal bands that are similar to your style or friends of the band that would be worth checking out?

ISVAROTH: There are no bands that are similar to us. But we have some fine black metal bands like Somrak, Grimoir, Krvnik/Vinternatt, Bleeding fist and so on.

WULF: Thank you for taking the time to do this interview! Any final words or comments?

ISVAROTH: Thanks to you for this interview and to all the people who’ll read this!

Finally, The Vikings Are Taking Acid!

Since its advent, one indelible element in metal has always been the musicians' use (and abuse) of substances. Whether it be Electric Wizard's or Sleep's (and essentially the rest of the stoner metal/rock genre) non-stop smoke-a-thon, Iron Maiden's legendary Herculean drinking, Sigh's use of hallucinogenic mushrooms, or EyeHateGod's use of...well, everything.

As legendary comedian, Bill Hicks, put it, musicians who make the records you love and cherish are “real fucking high on drugs” and Metal is no exception. Despite metal’s historical connection with substance use, starting with none other than Black Sabbath, what I would argue to be “psychedelic elements” have only relatively recently been introduced into many unexpected sub-genres of metal. Keep in mind that I’m not referring to Stoner Metal/Rock because the basis for that entire sub-genre is drugs, so we won’t be addressing that green monster. The primary sub-genres that have recently injected psychedelic elements on a somewhat large scale have been the Viking, Folk, and Black Metal genres.

In the last decade there seems to have developed a fascination of psychedelia within the Black, Viking, and Folk Metal sub-genres. Since the late 90s and early 00s, bands within said genres of metal have been experimenting with their foundational sound. One way they have been doing so is incorporating, only if subtly, the sounds of 60s and 70s psychedelia.

There are a number of bands...Enslaved, Peste Noire, Blut Aus Nord, and more recently Nachtmystium, Drudkh, Nokturnal Mortum who have been experimenting with such sounds.

Since the early 2000s, Norwegian Progressive Black/Viking Metal band Enslaved has praised classic psychedelic/progressive rock bands like Pink Floyd and King Crimson amongst others, whose influence has been more than apparent in their music. They also have openly referred to their use of marijuana in interviews (I can't find the link, but I remember reading a hilarious interview in Terrorizer many moons ago).

With 2010 releases from Ukrainian Folk/Black Metal bands Drudkh ("Handful of Stars") and especially Nokturnal Mortum ("The Voice of Steel"), their music has taken on more psychedelic qualities. On Drudkh's newest release, they seem to have stripped down their sound to essentially a minimalist sound (at least by metal standards). Furthermore, there are definite echoes of 70s guitar rock solos and even an instance of experimental guitar noise. Nokturnal Mortum have an elongated passage in "..." where they combine a bouncing folk rhythm with a 70s era guitar rock solo echoing Pink Floyd.

American bands such as Nachtmystium have acknowledge the psychedelic elements in their music to such a degree that they their 2008 album, "Assassins: Black Meddle, Pt 1", was partially named after the Pink Floyd album, "Meddle". Furthermore, the introductory track "One of These Nights" which even has a similar galloping rhythm to the Pink Floyd track entitled "One of These Days" which opens up the Meddle album. Musically, there are parts of almost hypnotic repetition and even a fucking saxophone solo. Not surprisingly, Blake Judd of Nachtmystium often casually talks about his drug problems in interviews (http://www.nocleansinging.com/2011/05/01/an-ncs-interview-nachtmystium/)

Within French Black Metal bands, there seems to be a far eviler approach to their particular brand of psychedelia. Bands such as Blut aus Nord and Peste Noire have a psychedelic sound that what one might characterize as "disconcerting" and "disorienting". On "The Work Which Transforms God" by Blut Aus Nord, one practically develops vertigo as the guitars swirl with dynamic use of the whammy bar and abstract dissonance. What can be said about Peste Noire that hasn't been said before? In their bizarre brand of black metal, they include birds chirping and French baroque/folk music (complete with accordion accompaniments). I pray every night to Prince of Darkness that Famine won't be committed to a mental hospital so he can continue to make righteously mind-altering black metal.

Who can forget English Black Metal madmen, The Meads of Asphodel? Their use of psychoactive substances (http://www.metalstorm.net/bands/biography.php?band_id=588&bandname=The+Meads+Of+Asphodel) has been documented and is more than apparent in their odd amalgam of Black Metal and seemingly every other style of music known to man.

So what is it about? Why this emergence in an oft looked down upon style of music in Black/Viking/Folk Metal, and hell, metal in general? For me, I often think about metal as a type of music that pushes the musicians and the listeners to a point of sensory overload in more ways than one. Adding psychedelic elements is just a different way that that point of "sensory overload" can be pursued. Rather than pursuing that point through pushing physical boundaries, these bands are pursuing that point through pushing mental boundaries.

I could go on and on about this, but I'll cut myself short while I'm ahead.

Tune in. Horns up. Drop out.

- Judge Dredd

Most UnMetal Band Names

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Interview with Barghest of Spearhead!!!

WULF: How has the reception for this album been so far on your end?

BARGHEST: The reception has been very good so far.

WULF: I would describe Spearhead's sound as relatively straightforward metal, but with allegorical, abstract lyrics and concepts. What were you aiming to acheive with this album, and was this album aimed at a specific audience in particular? Do you feel as if you've accomplished these goals?

BARGHEST: I don’t think there’s a great deal of allegory surrounding the lyrics, and the only abstract conceptions are abstract because they are metaphysical. We certainly planned on making a straightforward album, by which I mean plain-speaking, hostile and belligerent blackened death metal; there’s nothing subtle or equivocal about this album I feel. There is variation in the music - time changes, break-downs, etc. - but the focus was definitely on making a relentless and hateful-sounding album. I think we have achieved this with “Theomachia”. We do not have any specific “audience” in mind when crafting our music – we are not out to please anyone whatsoever.

WULF: While I understand that on "Theomachia" some of the lyrics involve the common misconceptions held by most people regarding ideas like "progress" and "pacifism", I get a strong sense of anger coming from your music as well. Would you agree? Or are you simply attempting to convey these ideas through aggressive music? I guess what I'm asking is how much of a role does actual anger play in your music?

BARGHEST: “Theomachia” is a genuine work of considered and focused hatred, so there is of course an element of anger pervading the music. The lyrics aren’t generally anger- or angst-oriented or anything like that though, yet what is said is done with a degree of force. I think if we were a bunch of hippies or something, with no anger in our blood, we would not be able to create this kind of music with any conviction. And I think you will find Spearhead has more conviction than a lot of other current bands in this genre.

WULF: Obviously, it's important for listeners to have their own interpretations of lyrics and lyrical themes when listening to music, but would you care to discuss the meaning behind the word "Theomachia", and perhaps in general some of the themes and ideas you explore on this album?

BARGHEST: I disagree that listeners ought to have their own interpretation of the lyrical subjects. This seems to be only something for bands with poorly considered lyrics. You end up with a superfluity of meaningless opinions this way – isn’t there enough of a problem with a superfluity of opinions? “Theomachia” (or “war of the gods”) refers to the common mythic motif of a divine conflict that precedes the cosmic or aeonic dissolution. This motif is probably more commonly known as the Norse myth of Ragnarok, but parallel conceptions are found in the Indic epic the Mahabharata, and in the Iranian/Zoroastrian mythos for example, as well as elsewhere. The cosmic dissolution and the declining cycle of ages is also something prevalent in a number of ancient world mythologies and cosmologies. “Theomachia” is all about the inevitable march of decay and degeneration, and the self-mastery that the last man must attain if he wishes not to rot among the ruins of the last age, before the cycle of time continues. But I’m not expounding anything new here – this is old wisdom.

WULF: Your interviews are quite fascinating. Obviously, you are often asked about your musical influences, but I'm curious as to if you are influenced by any specific writers or literature? You're quite well-informed when it comes to history, weapons, warfare, etc. Also, I have to ask if you are familiar with the writings of Robert Greene, author of books like 36 Strategies of War and 48 Laws of Power? Just curious.

BARGHEST: There is a certain amount of literary influences that have found their way into “Theomachia”, explicitly or otherwise. To name just a few direct influences: Spengler’s “The Decline of the West”, Evola “Revolt Against the Modern World”, Machiavelli “The Prince”; and mytho-philosophical works such as the Bhagavad Gita, the Eddas, Hesiod’s “Works and Days”, etc.

I’m not familiar with Robert Greene, but I’ll check him out.

WULF: The artwork for "Theomachia" is great. Would you care to discuss the meaning behind this artwork a bit? Who is the artist?

BARGHEST: The artwork was done by Manuel Tinnemans. I don’t want to go into this here in too much detail, but if you study the front cover you will see some relevant motifs, such as the Kali Yantra, some text excerpted from the Bhagavad Gita (11:32), etc. But perhaps you will be able to interpret yourself the meaning of the distant horizon that is flanked on each side by the trappings of war.

WULF: On a personal level, I must ask...are you or anyone else in the band a fan of wargaming (tabletop, video games, etc.)?

BARGHEST: No, I don’t think so. I used to play the Warhammer games a bit when I was a kid, but I don’t have the time nowadays. If you want to play a classic strategic, war-based board game, and you have a few hours to spare, “Risk” is good.

WULF: What are some future plans for the band? Is touring over here in North America something you're interested in? While I don't feel like a DVD or music video is especially your style, but I could be wrong...do you have any intentions of doing anything visually like this down the road? Also, your previous interviews are always fascinating and you guys definitely have some interesting philosophies and worldviews...have you ever thought about putting out something non-musical, like essays or a manifesto?

BARGHEST: We are currently looking into tour options. Another tour across the US would be good of course, but perhaps not in the immediate future; Europe needs re-conquering first! I can’t see anything like a music video working for Spearhead at the moment. Our standards are pretty high, and we’d probably need an exceptionally high budget to satisfy the requirements a good and appropriate video would entail. We’ll leave this to the MTV bands for now..!

I don’t think I have any real desire to put out an essay or manifesto, because I’m not interested in changing how people think. I am quite happy to let people rot in ignorance. Besides, there are plenty of good books out there for those who disagree with pacifism, modernist values in general, humanitarianism, etc. I wouldn’t be adding anything new.

WULF: Thank you again for taking the time to do this interview! Any final words or comments are yours!

BARGHEST: You’re welcome. Thank you for your support. Svpero Omnia!

------

www.spearhead.ws
www.myspace.com/spearheadofficial

Answered by Barghest 1st Jul 2011.

Interview with Serpent Est of Kaiserreich!!

E-mail interview conducted June, 2011.

http://www.kaiserreich.it

http://www.myspace.com/kaiserreichofficialpage

WULF: Congratulations on successfully executing a great work of black metal art! I know “Ravencrowned” has been out for over a year now, but I am just now hearing it for the first time? Is it being re-released by your new label, De Tenebrarum Principio/ATMF, or what’s going on?

SERPENT EST: Thank you, Wulf.
Actually, Ravencrowned is out now (2011) for the first time ever. We recorded the album in Fall, 2009, and we planned the album for 2010. We had also prepared a video trailer for the album with the 2010 release date. I guess that's the reason why so many guys think the album was out in 2010. We spent lot of time due to the fact we changed the mixing 'cause the guitars were digitally recorded and we didn't like the result. So we had to play the data streaming through analog guitar amplifiers and re-record what was coming out. Then, we spent time in search for a label that was interested in our band, and after lot of time we finally signed with De Tenebrarum Principio/ATMF for two albums.

WULF: I read in an older interview you’ve done with Xag (USBMS) that you felt that at that point in the band’s history you hadn’t had a chance to evolve or develop into a truly elite black metal band. Do you feel like you’ve achieved that state following the release of “Ravencrowned”?

SERPENT EST: Our goal and ideals have changed a lot since the beginning. We really enjoy playing the new songs live and that's a very important thing that most forget about. You should consider that playing again and again and again the same songs is pretty boring. We composed these songs by the end of 2009 and the album is out now, in 2011. We've been playing those songs for a very long time and we'll play them again for the upcoming months but we still like it. That means that WE are satisfied by the album and that's the most important thing for an underground band. If you make money from your music you won't care too much about it, 'cause it's a job. But if you do it just for passion, you need an immediate reward. Our reward is to play something we've done and something we like.
What we're aiming to accomplish is to have a great response from the people who participate in our shows. We would be happy to have good reviews on the net and good feedback from the fans, but the most important thing for an underground band should be the live trial, when you have to play in front of the crowd, taking your energy and theirs and mixing the whole thing into something relevant.
An underground band shouldn't care too much about selling albums, nor about criticism, there are too many website out there and there are too many guys that have no time to waste with minor bands like ours, so they will listen just 30seconds per songs and write a generic good-for-all-seasons review. We are reading lots of bullshit on our Ravencrowned. Someone's telling that our album is nothing but blast-beats, a Marduk-alike thundering strikes, but our album is filled with melody from the beginning to the very end.
Surprisingly, the best reviews we got are coming from U.S.A. and U.K. which aren't supposed to be Black Metal countries...
Of course, I'm not telling you that our album is something memorable. I won't fool myself with such delusions. Ravencrowned is an honest album conceived by an honest band, nothing more and nothing less. But beware of the internet reviews 'cause with this widened community of people, every cunt out there is spreading his own irrelevant truth.

WULF: Unfortunately, the digital promo copy I received of “Ravencrowned” didn’t include the lyrics. Would you care to discuss some of the lyrical themes of the songs on this album?

SERPENT EST: Sure. The whole Ravencrowned album is a concept about the "Kaiserreich", which means "Empire". The concept of the Kaiserreich was first told on a track from our first album which is entitled "Ravencrowned", itself. That track depicts the last chapter of the Ravendom (the Empire). Now we're narrating one of the previous events of this dark-symbolic fantasy which I often explain as a "Tolkienan Mordor mixed with the warlike code of Sparta". The whole story is drenched with honor, sacrifice and loyalty. And death, of course.
To be honest, I like the story I conceived but it's a bit twisted to be followed on the booklet for different reasons. First and foremost my bad English. I didn't spend much time on grammar at school, nonetheless I forced myself to write metaphorical lyrics. I guess that those with English mother tongues will be horrified! But for non-English speakers (which are the majority of the audience) it should work well enough.
Secondarily, the whole story is about a world that the album unveils just a bit. I'm working on a paraphrase of the whole concept in order to bring to light the events. For example, in one line you can hear the phrase “hornless undeserving mob”, which is a symbol of weakness 'cause in this world everyone wields horns on their heads and the horns are a symbol of strength and honor. But there are is no line where this is explained, so the line could be unclear (yet evocative, I guess).

WULF: The album cover is really cool. Who is the artist and how did you get in touch with him? Obviously, the art depicts some sort of infernal creature (or perhaps Satan himself)…would you care to elaborate on this?

SERPENT EST: The artist name is Michal Klimczak, and we found him on the net. He's a Polish guy, very skilled with digital art. The artwork was chosen because of its evocative power and the fact that it's a bit different compared to the underground black metal black/white covers. You can find some of his work here: http://grishnackh.digart.pl/
Without lyrics it's easy to confuse the subject with Satan, but it simply depicts the Emperor, ruler of the Ravendom.

WULF: Can we expect a music video for a song off of “Ravencrowned”?

SERPENT EST: Well, I guess it's probably too late for that. We would love to shoot a video from a song and we planned to do it, but the time passed and now we're already working on the new album. Besides, a video nowadays should be very well planned and executed. A video such as Satyricon's Mother North would be hilarious these days...
We are still interested in some video release, but we don't care too much at this time.

WULF: I’ve read several Kaiserreich interviews, and you always seem like pretty down-to-earth guys. You’ve mentioned that offstage you have many interests, but I was curious as to your literary interests and inspirations. Do you have any favorite writers or authors that particularly influence your music or life in general?

SERPENT EST: Oh jeez! Of course we're down-to-earth guys, we aren't in the '90s! Saying that I don't mean that the 'true black metal bands' have disappeared, I'm simply saying that they didn't ever exist. Nowadays, you can't pose as what you're not 'cause with the net you'll be unmasked in a very short time. Of course there are lot of morons out there that pretend that they themselves are 'evil', but I tell you, no one whose involved in playing music could be really evil.
About our offstage interests I can answer only about myself. Besides my job, which is pretty boring, I'm involved as a screenwriter for a small group of filmmakers named Hive Division. About the literary authors I do not have any preferred name but I'm oriented towards sci-fi themes. No authors have a real influence on my life, I'm a very lazy guy but not so much to plan my life on another guy's words.

WULF: This is a question based solely on my own curiosity, but being a black metal band I’m sure you’ve met and toured with some musicians with quite eccentric and radical personalities. Of all the bands you’ve played with and/or toured with, who would you say is the craziest, or most wild/unpredictable? Does the northern Italian black metal scene have its own share of intense, thriving, underground black metal shows and bands, or is it a smaller, more laid-back collective?

SERPENT EST: The Italian black metal scene is smaller than an ant's asshole! There are lot of bands of course, but most of them aren't that good and, usually, they don't tour too much outside Italy. By the way, the audience is pretty small for black metal bands but I guess it depends on the genre itself. You should consider that the last world-renowned black metal band is Dark Funeral (which has been playing since '93), all the other black metal bands remains confined into the underground scene. I don't think it depends on the decision of the bands to maintain a low profile for themselves, it depends on the diffused lack of interest for this kind of music.
About the guys we played with, you surely understand that I won't give you any single name in respect of others privacy. Nonetheless, we've met some noticeable guys. There were one guy which was completely high on cocaine and he was loudly and CONTINUOUSLY sniffling his nose. On another gig, I asked another band for a mirror to put on corpsepaint, but once I needed it, they were using the mirror to sniff some coke. There are lot of guys in the scene that are devoted to coke as most of people here in Italy. I tell you, these guys are total losers to me. Another guy was cutting himself with a razor blade whilst he was talking to us. He was totally drunken (and probably high) and he was cuttin' his arms with the blood spilling on the ground, then he offered the razor to us in the same way someone could offer a beer. I tell you twice, these guys are losers: misery is a sign of weakness. If someone's unhappy, he should be very unlucky or very stupid.

WULF: What are some future plans for the band? Are there plans for a DVD? What about a North American tour?

SERPENT EST: We'll play in Czech Republic this July, then we'll start recording the tracks of our third album which is already composed. We'll play as more as possible in order to support our new album but we'll play in Europe the most. We also have some contacts for Russia and Mexico but we have to plan it carefully. We would love to play in U.S.A. but we have no contact for such tour. If someone's reading is interested in hiring us, just send us an e-mail!
A DVD would be a nice idea too, but we never record video material of our shows. Again, this is something one should plan a lot before shooting. We refuse the idea to sell a DVD with a single camera placed behind the shoulder of those who's watching the show.

WULF: Thank you so much for taking the time to talk to me! Any last words or final comments?

SERPENT EST: No way, I've been delighted by your questions. It's great that people like you are spending their time to promote underground bands so, thank you so much. If someone here's interested in Kaiserreich, please follow the link to our brand new website: www.kaiserreich.it

Interview with MkM of Aosoth!!

E-mail interview conducted in May, 2011.
http://www.myspace.com/aosoth616

WULF: While Aosoth is unmistakably one of the most original and infamous bands leading the charge in this recent explosion of excellent French black metal (including other artists such as Deathspell Omega, Blut aus Nord, Peste Noire, etc.), it is stylistically quite its own beast. “III” is also one of the best albums I’ve heard this year. What were you personally aiming to accomplish with this album?

MkM: As a start, see, those bands you did mention, all are very different in their approach, am just very familiar with DSO myself; yet it seems that at the same time or so, we ended up having releases which would have something similar, more than just the geographic origin of the band.
I doubt that there is really an explosion of french black metal (or nothing compared to how the black legions got worshipped) but there is nowadays a scene. And even a scene at a turning point, wondering how things will go.
Just like we do feel like a void after each release, when “ashes of angels” was released, our previous effort... all the events that occured after (the tour with hell militia, personal issues...) all those series of event did create the climax that made the composition of III happen. Nothing is “marketed”, it does depict a moment of time, one sinister moment of time which is still lasting up to now.
As vocalist for this band, I wanted it to be really a performance & exposure. Just like an Art happening.
Right now, I couldnt even say how the future would be for us, if we would do anything. Just like there is no aim for now, there were no particular aim then, just having to let it out, create the most genuine piece of work at this moment of time, exposing ourselves.


WULF: A common lyrical theme of yours is, according to a recent interview with Metal Maniacs, “praising Satan, excess, and (your) own deviances”. If that is the case, then where does all this hatred and rage that is reflected in your music come from?

MkM: Being non reliable, unstable, lunatic, “negative” (while I’d say “realist”)... Any individual who had to work with me at one point or another do know that I’m not the easiest one to work along with. Lots of tension in the air and that eternal destructive desire. I need to harm what is near, I just walk this path and all makes sense that way for me. Having now more distance allows me not to get swallowed in my own stream, there is no one by my side. I just expose what is inside and turn it into an audio experience, be it with aosoth or antaeus or any other act I was involved in as “writer”/performer.
When reading this question, I do realise I never asked this very important question to the other band members in Aosoth, I shall do so soon, just to get an idea...

WULF: “III” is quite a nightmarish listen. The atmosphere on the album for me clearly evokes death, urban decay, abandoned cathedrals, and nightmarish hallucinations. What images or concepts come to mind for you personally when you create or listen to the music of Aosoth?

MkM: The breathing of the other, watching inside the eye of the victim/partner. Stealing moment, making others last long, feeling one with blood and pulse.
That would be how I would feel myself. But that vision you described seems closer to what the other band members are experiencing through III.
Those are two distincts approach : the music on one side, lyrics on the others. Both combined : that gives such result. With another vocalist and different structures and more “song structure” with chorus and so on, that would have been a very different album. I’d really like that to happen somehow, thus I’d keep “III’ just as my own. Really have a special relation to this release, somehow like unique and not willing to let it go.

WULF: In almost every Aosoth interview I’ve read you’re asked about your involvement with The Order of the Nine Angels. While you’ve stated that you’re not an official member, does the Order have a strong following among other French black metal bands Aosoth is associated with (such as Balrog, Watain, VI, Merrimack, etc.)? I’m not asking for any specific names or bands, of course, but I’m curious as to the prevalence or popularity of this organization and the role it plays, if any, in this specific regional scene.

MkM: To this question, I’ll have to say that I do not have a clue at all !!! Watain being swedish btw, and they are more affiliated to the Temple of the black light if I’m not mistaken.
Might come as a surprise to you, but I am really barely in touch with any individuals from the metal scene, or just anyone in general. I somehow did distance myself for a few years. About the ONA, I do not think that many were into this particular order. But then again, I could be mistaken...
Also you do refer to a “regional” scene : well that seems not too accurate in our case since there is no unity in this scene, which is not a bad thing : suits me perfectly that way.

WULF: I’ve read that the lyrics will be enclosed with the physical album. Unfortunately for me, I only have a digital promo copy of the album. Would you like to explain a little about the lyrics and concepts of “III”?

MkM: Indeed they are, both on lp & cd. They were written in a similar state as the lyrics I once did write for “blood libels”, the last antaeus album in date. Thus very personal and more of an “exposure”... the album is not a gathering of songs as far as I am concerned. There is no “sing along” parts or whatever, more of a performance recorded in one take (vocals wise) and being based on a monologue or “silent” dialog in between two characters. Mostly people are expecting lyrics with themas involving magic, satanism... there this is not as “obvious” and not really fitting the genre. Though it still praises & shows devotion towards the worst/best in us.

WULF: Is there any chance that you will supplement this auditory violence with a visual experience, such as a music video or DVD?

MkM: Highly doubt it. First of all, most of our live conditions are so low that capturing such events wouldnt be worth being witnessed. Also the cost for such release is just beyond anything we could ever afford. Took me years to cover up the cost from the antaeus video, which was at first not even meant to be even used. We had ideas about particular images we would have wanted to add to the audio related to III. Just do not think any of this will ever take place. Even having “band promo picture” is quite impossible, so a video !!

WULF: Now that Antaeus is more or less on hold indefinitely, do you have any other bands or projects you are involved in besides Aosoth?

MkM: No time for anything else at all. Each album is a sacrifice, takes a lot of time and implies involving yourself fully in it. Antaeus will just perform two gigs in the coming months, in June for the deathkult openair festival in Germany and in december for the Rites of Darkness part 3. About bst (guitar player) he has the order of appolyon (signed on listenable) as well as genital grinder (death metal), he’s about to have a split lp. InrVI is mostly busy with VI and should have a full lenght recorded this coming year on Agonia records. Aosoth should record two tracks maybe before the end of 2011.... time shall tell. For each plan we make, many problems rise and turn all into dust.

WULF: That is all the questions I have for you. Thank you again for taking the time to answer these questions. Good luck to you in the future! Anything else you would like to add to the interview at this time?

MkM: Hails to you for the support & having us in your zine.
AMSG
MkM