Desolate One Interview

A while back, I conducted an interview with Montandon of Desolate One, a short lived project that released two demos, both ripe with the anger of solitary individuals so often ignored by the establishment. I did review their two awesome demos, the first demo, the self titled Desolate One, and the second bombardment, Desecrate The Night, both are most likely totally sold out now, with little chance of being found outside trade forums and little known tape distributors.

CT: How did Desolate One arise from the graves to spew forth such vile music?

M: I was a pissed off 14 year old that was listening to an unhealthy amount of early black and death metal demos. The first few songs were really undeveloped, but I think they had a good spirit. Nothing very original, but I enjoy the early demos.

CT: Tell us about your two demos?

M: Well the first one is self-titled, recorded early 2009, and released June 2009. It lacks bass guitar, and I didn't pay much attention to mixing it well. Also, I wasn't very good at drums at the time. The second demo, Desecrate the Night, is a much rawer experiment, borderlining on pure noise during some sections. It shows lots of untapped potential. My personal favorite track is the final "Serpent's Blood", which was supposed to have vocals, but I never could arrange a meeting with the session vocalist, Possessor. Again, I play all instruments, though the insert lists "Magus of Hades" on bass.

CT:  Both of the demos were released on Darkness Shade Records. How has DSR been to work with? Are you happy with the promotion that the label did for the Desolate One releases?

M: Well, I haven't contacted DSR since January. I'm thankful to the label for doing exactly what I had asked them, they simply printed some demos and sold them all. But, they couldn't go the next step and print 500 or so copies, they don't have the means of selling that many tapes, which would stay in stock for months. As far as I know, Desecrate the Night will be the last Desolate One release on the label, but maybe I will do more, who knows?


CT: What would you describe as the central component to Desolate One's odor that makes each song reek of the blasphemies of a by-gone era? What previous hordes have influences these characteristic scents?

M: Well the obvious band is Blasphemy, however, newer material is becoming more distanced from that classic Fallen Angel of Doom sound. It's definitely not "war metal" anymore. The vital recordings that influence my sound are the classic Wrath of the Tyrant demo, the perverted Beherit demos, Infester's record, Morbid Visions, Haunting the Chapel, early Graveland, shit like that. Anything that sounds warlike.

CT: What is your opinion of the tape format? Both demos were released on this format.

M: I personally don't give a fuck. Though, this is the preferred format for extreme metal demos right now. This is what distros want to stock, so tape is what I print. I like it for the longer running time, and more classy packaging.

CT: I see that you are looking for a live drummer. Has the search for a drummer been difficult? When you find a drummer, what kind of plans do you have to play live? Will you tour, do some select shows? Is there a chance that Desolate One will come to the east coast to play?

M: It's been extremely difficult. I'd like somebody from my hometown, so I don't have to travel for rehearsal. I love my small community, they are hardworking people, but definitely not the metal type. I'd like to gig as much as possible when the time comes, though. Travelling to the east coast is not in sight until we gather more attention. Nobody would give two shits if we went right now.

CT: What will be Desolate One's next ritual? Are you planning on releasing more demos or will there be a full length out soon?

M: The next release will probably be a demo of higher quality than the last two. A better label, better material, and probably better production.

CT: What do you feel that Desolate One represents to fans of metal? Why do metalheads enjoy the crusty filth that is Desolate One and other bands of the same style?

Original Desecrate The Night Cover.

M: I'd like to think people appreciate us for what I try to convey. (Referring only to previous material not upcoming:) I wanted my songs to be grating hazes of death and war. But the majority of this crowd are just in it for the cool vinyl records with cereal box trinkets and photos of dudes in bullet belts.

CT: If you were to climb a pile of skulls and give a rousing speech before sacrificing a goat, what would you tell the onlookers?

M: Turn your lives over to Christ.

CT: Before you die, what would your last words be?

M: I don't fucking know.

CT: Thanks for momentarily taking a break from your torturous hobbies to answer my questions. You may end this interview any way you like.

M: I'd like to let everyone know that Desolate One will most likely be undergoing a name change soon. And I will also be getting rid of Possessor. Thanks to CONTAMINATED TONES for the interview.

Hammer Fight - Hammer Fight

The Impression I get from this New Jersey based band is of a really good high school band. They've got some really excellent songwriting ability and are excellent musicians but have yet to mature into their style. Overall Hammerfight is a hard rocking band borrowing sounds from both the stoner scene and the traditional metal scene but rarely doing anything to highlight either. Evidence for this appears in the first two tracks, Down the Line and Disas-tour. The band is having a good time playing the part of being caught in the middle, moderates in the scheme of metal extremism, neither adopting a full fledged sound from any particular class. Hammer Fight are preoccupied with rocking as mightily as possible and songs such as "Stuck in the the Chamber" and the inimitable "Get Wrecked" embody this up beat flavor. Not all is so peachy and fun though. Stand out track Tears of Unfathomable Sadness really takes the cake in terms of being atypical. It sounds less influenced by Thin Lizzy and Les Zeppelin and more influenced by any number of local metal bands that I heard trying out for my high school open house. The title alone stands out as the outrageously melodramatic.

"Stuck in the Chamber" is one of the faster songs from this rather short release which clocks in just over eighteen minutes; just under the time it takes Lance Armstrong to both finish a four hundred mile cycling marathon and simultaneously lose all his cycling medals and awards. Steroids aside, while Hammer Fight enjoy heaving and ho-ing along with their brand of decisively New Jersey flavored riffs, some steroids may have done the band well going into studio. Where as a band like God Forbid or Killswitch Engage enjoyed success in terms of record sales, Hammer Fight won't enjoy that success unless they can imbue their similarly styled efforts with some gusto. Fourth track "Tears of Unfathomable Sadness" retains the most distinctive New Jersey Melodic Hardcore stylings of the seven tracks here but throughout the whatever-this-is (I can't decide if it's a demo, EP or what) moments arise which hint at influences across the board.

The one thing most noticeable about the one-hundred percent unimaginative self titled effort is that for all the totally sweet and groovy leads spread across the attempted rock-solid release there rarely are any really exceptional backing riffs behind them. With a smearing similar to an insufficient amount of butter on an untoasted bagel, this just is a bit hard to swallow, especially with the closing re-do of AC/DC's "If You Want Blood (You Got It)" which highlights the kinds of riffs that Hammer Fight need to stay on par with their peers and influences. Where AC/DC are able to recycle riffs throughout the entirety of a song and retain the ability to be awesome, Hammer Fight on their original tracks are unable. On most tracks they shuffle through simple chord progressions in a manner that sounds amateurish for a band playing the same circuit as bands such Sacrificial Blood and Anvil Bitch.

Performances on the release are strong though. I can't complain about the band being sloppy or poor musicianship wise. Thought there is little real mentionable subject matter here, and the guitars sound a bit slippery and... local... the weakest performance, for me at least, is that of Drew Murphy. Vocals, for me, have to more substantial than some belted out yelps and gargled syllables. While Drew handles the vocals and doesn't do much of note on bass either, Rob Guiidotti and Todd Stern handle some inoffensive leads and solos with ease (perhaps too much ease). Justin Spaeth is left to his own devices on drums and does a commendable job. I guess the greater criticism I have of Hammer Fight is that, well, it's just so rehearsed. It's good to be rehearsed and all but these guys sound like they've played these songs so many times they don't like them anymore. It's a strange predicament to be in for sure. I don't think I'll come back to this much in the future even if there are some cool riffs spread out amidst the blandness. I have many better options. This will end up being the highlight of family members' CD collections and girlfriends' iPod playlists.

Autumn Myst - Black Fucking Demo

 

(An older review originally titled "Boring Fucking Demo" on Metal Archives back in 2008)

Autumn Myst's "Black Fucking Demo," is the black metal equivalent of a fourteen year old fat Gothic teenager crying in the corner, feigning the desire to be alone, while simultaneously hoping that someone who cares might be watching her. Why was this even released? I won't deny that there were moments in the songs which I enjoyed however none of these moments haven't been done before with more proficiency and heart. Unless your primary and ultimate goal in life - a goal that should be accompanied with immediate suicide - is to own every unwanted Canadian black metal demo, I wouldn't go out of your way to acquire this release.

The drums are distant and vague in nature and act more as a metronome, in many instances, than an instrument. The first track is a prime example of what I would label as boring black metal demo drumming: little variety; few if any well composed fills; minimal use of the toms; overuse of the ride and high-hat. The melodies are like dirty, used and abused whores which Adrammalech, the sole member of the band, can't seem to escape from. These stagnant melodies are accompanied by stagnant tone. The release gets better near the end with "Summoning The Prince of Armegeddon" containing several moments to stop and enjoy and its last riff being the sole worthwhile reason for listening to the demo. It is too short though, only repeating once, never allowing for enough time for its hidden wraiths to escape.

If the nature of a demo is to demonstrate ability and render an image of future capability, I have not been swayed to seek out more material from this band. My needs haven't been satisfied and at the end of this release I am left feeling a need for something much more fulfilling.

Sickness - Primordial Brutality Demo

An older review...

Primitive brutality would be a more apt name for this Greek band's first demo. Clearly worshiping the altar of the US death metal scene, particularly Obituary and early, pre-Human, Spiritual Healing even, Death, Sickness do not do enough to separate themselves from the packs of other death metal bands. Some slight tremolo riffing techniques jut from the landscape, leading me to feel comfortable citing Darkthrone and Mayhem as repeat offenders in guitarist / vocalist Christos Tsihlas' cassette and record collection. He seems to also have taken some of the signature wails observed on Soulside Journey and stuck them in a blender with John Tardy's tazmanian devil-like yelps.

Filling out the rhythm section are Yiannis on bass and Nickos Samakouris on drums. They competently keep time with ease and add some heaviness to the demo's primitive mix. Though this is a demo and was, most probably, recorded with whatever they have around at the time (8 track?), the production is something I hope they improved on their 1996 Enthroned Demo - their only other release. The guitars are a bit low in the mix and the rest sounds somewhat jumbled together. There is not enough frequency separation between the instruments.

My suggestion is to fast forward though side one, and flip the tape to side two. I found "Afterlife" and, to a lesser extent, "Deplorable Conviction," to be stronger songs than the two tracks on side one. Though each track has moments worth attention, "Afterlife" is the standout track. Primordial Brutality is worth a quick listen for this track but if you never hear this demo, you aren't missing much.

Bestia Arcana - To Anabainon Ek Tes Abyssu

All guns blazing is a metaphor used to describe the exciting death of tragic heroes in movies but I wouldn't consider Bestia Arcana's opening salvo to be the death throes of a band spending it's last sputtering breath devastating ears and minds with some vicious and furious black metal might. Instead, Bestia Arcana on To Anabainon ek tes Abyssu simply let loose with all the ammunition I expect young bands to have. I mean seriously, if you're not going enter the arena without a properly prepared attitude, just stay out of the way. You're not doing yourselves or anyone else a favor. While Bestia Arcana is a new project the members have some history together already, mainly with Nightbringer. I'm not too familiar with that entity but only Naas Alcameth currently resides there still with fellow Bestia Arcana troops Nox Corvus and the singularly name-shortened K. no longer being active with that band. History aside, this five song release is gnarly and Daemon Worship Productions is becoming a go-to place for some really strong black metal releases.

Opening the madness is the excellent "Cup of Babylon," a gritty, nasty beating mass of distorted fuzz and warlike thumping. It's thick and misty like a decaying body laying in a swamp amongst bullet riddled trees. Highlighting this track and the five minute "The Poison of Mannaseh" is keen use of shrill, tremolo guitar accents which arise out of nowhere and end before they settle nicely in the abdomen. It lends the demo an out of control and frightening sub-texture both auditorily and structurally. The layers of background depth - static, subtle melodies, bass thwomping, ambient surges and vocal experimentation - coat the inner mouth of listeners with the tastes and smells of a complex of endless torture chambers and masochistic residents. The release is all about this feel - hell manifested into a listening experience to revel in.

Other songs are more experimental at times. "The Pit of Sheh-ohl" starts with a long ambient mixture of pulsing drones that echo layered vocals living amidst a cake of reverberation. This last the entirety of it's eight minute length. Maybe a bit too long for some. I think the track drags maybe slightly but when "Feverwind," fades into the vista with a dramatic melody, murky drumming and pessimism reserved for elitist pundits, I am reminded of the earlier tracks and their best moments as well. It continues the slow, dragging tempo of the ambient track and hints at influence from funeral doom as much as the USBM influence on the rest of the album. The longest and final track on the release is "Shepherd of Perdition," a song which pulls together all the elements presented up to that point and jams them down your throat. Von (old) comes through in a repetitive theme overlapped throughout the song and Greek and Mediterranean bands are also in force in the guise of dense swampiness and increasingly noticeable synth backgrounds atonally layered across the decaying surface of the track. It just kind of gives out and gives up, releasing torrents of vitriol into your life.

If there is a complaint about this it would be that although all the strong points that I mention, for someone else the harsh production could be a turn off. It's not the most welcoming of productions even for black metal. Nowhere near as raw as some material out there of course but nowhere as acceptable as many of the albums which get favorably reviewed. For me, I adore the production. Additionally while this is a really sweet listen, one worth going back a few times over, Bestia Arcana aren't doing anything that isn't done by others out there. This new layered approach to black metal in an effort to create depth and atmospheres isn't new and isn't particularly innovative in anyway either. There is a genericism here which can't be argued away. It doesn't make me think less of this album though. The songs are awesome, enjoyable and exciting. The variety of material squeezed into a five track release is commendable and the flow of the release is great for a late-night session with your favorite bottle or intoxicant.

Diseased Oblivion - Portals of Past and Present Review #5

Review #5 for Diseased Oblivion's Portals of Past and Present echo my sentiments exactly as to the essence of this nasty piece of machinery. Whereas the vast majority of bands just float around on the surface, Diseased Oblivion sinks way down into the murky depths of uneasiness.

Check it out at Destructive Music or on the release's page here on Contaminated Tones.

Okketaehm Review #4 - Destructive Music

Another review for Okketaehm's Stones proves that this release is a must have for fans of black metal.

Check out the review on Destructive Music's site or on the release page for Okketaehm's Stones with the other reviews.

Immolith - Storm Dragon

 

Immolith is a band I've become intimately familiar with since my earlier reviews of their Hymns To The Countess and Sojourn demos. This, Storm Dragon, is their full length album available digitally, in a small CD run and on tape. Me, well, I think you already know which direction I prefer. Let me say this, I originally heard the tracks when they were being mixed and enjoyed them but didn't feel any incredible elated feeling of hope for the black metal mediocrity we've been suffering lately in New Jersey. Listening back now, I'm impressed and acknowledge that though this album is not in any means innovative or more extreme than other stuff out there, there is good song writing here.

First though, production needs to be mentioned. Produced by Woe's Chris Grigg, the engineering is expectedly awesome. He's done a phenomenal job on this release. The instrumentation is clear but visceral. Guitars sound angry, bass sounds full and plump and the drums are expertly mixed and crystal clear. The kick cuts through the mix and is punchy, not clicky, something lost on a lot of releases in this modern black metal arena. Vocally, Isiamon is excellent on here and sounds regal and incensed. His vocals crisply tackle the common problem of dull and bored vocalists with ease though, I can see listeners finding his screech and clenched teeth approach monotone possibly. On a production note that has nothing to do with sound or engineering, I did detect a flaw that often arises with cassettes - there is a HUGE gap between side Black and side Metal. Now, I understand that this is sometimes the case but a 5 minute gap on the first side is tough to stomach through sometimes. It would have been a perfect place to squeeze a redone version of Slaughter the Legions (Isiamon will laugh at me for this because he knows that is my all time favorite Immolith track but it's just such a catchy romp!).

Riff wise, there are a lot of great moments here that draw forth all the influences I know have inspired the band. You obviously have older tracks, two in fact, that have been rerecorded from the original demos. Ghost Tower of Inverness and Hymns to the Countess round out the Venom and Emperor (minus the keyboards) inspiration respectively while other tracks, the more recent ones, are more inspired by the second wave bands like Mayhem, Immortal and at times, such as in Rites Of The Blood Moon, draw essence of grandeur from Bathory and Enslaved. Overall, the songs are all enjoyable. Previously mentioned Rites of the Blood Moon is one of my favorite new tracks on the release and while I enjoy the title track and Torch of Baphomet the real stand out track for me is definitely The Obsidian Throne of Azazel. More on that in a bit. Additionally, the updated Ghost Tower of Inverness and Hymns to the Countess fit nicely with the new tracks, they've been adjusted to sound less Venom-y and more Norwegian-y. They are both still catchy as hell.

So yeah, back to Obsidian Thrones... From the earlier demo's through to this album, there has been an emphasis on catchy riffs that are ballsy. This song has it. It really takes the styling of Ghost Tower of Inverness and creates a really strong, enjoyable black metal experience. It blasts across a minute of intro and expands into a confidently meandering series of Bathory inspired exploration before reinstating the intense attack for a couple minutes longer. There are underlying melodies which peek through the half time section of the track and the whole thing is relatively quick; at four minutes and forty seconds it's the shortest track on the album but done excellently and leaves me wanted to listen to it again - such a rarity in black metal for me: the need to listen to a song multiple times.

Overall, with the album ending strong with Hymns to the Countess and a final new fleshy beast titled A Pact Of Blood which is similar to Ghost Tower at times with hints of Watain too, there is little here to complain about. Aside from a slightly monotone, though mostly energetic, vocal delivery, Immolith's Storm Dragon will probably not offend anyone and more than likely be a pretty enjoyable listen for anyone into the second wave black metal bands that like some hints of older, first wave inspiration tucked neatly into the folds. I enjoyed this on tape though I imagine on CD it would come across as less than it is, as it loses the nostalgia factor that is inherent in the tape format. It's a good listen for sure.

Sahg - Sahg II

 

Another old review...

Sahg's follow up release to Sahg I, which I found to be a phenomenally rendered debut, Sahg II, is very much the "Planet Caravan" of the two albums. This is not quite true in that Sahg II is more mellow or psychedelic in any sense - in fact I find the album heavier and more of a "punch in the face" than Sahg I - but the album flows liquidically, like two converging desert rivers - one lazily winding through the landscape and the other etching an scar unimpeded across the cacti covered hills.

"Desert!" you say? Don't worry. This isn't the follow up to Hex: Or Printing In The Infernal Method. There is not one moment that resembles anything that Dylan Carlson would compose. The desert feel comes from the smuggling of instruments not native to Sahg's doomy sound into their music repertoire. Rattles in the second half of "Star Crossed" alert to the angered rattle-snakes - possibly angered by the song's lyrical content. Tambourines spread across the songs allude to the journey of a lost outlaw. He travels across the album's entirety, his rusty spurs ringing in time with the larger symbolism of his existence; his echoes ringing forever.

I adore King's bass playing to a great extent on this album and while I enjoyed his playing on Sahg I, his playing is more distinguishable on Sahg II than before. I can attribute this to an increased level of memorability in his bass lines but also a slight tonal adjustment. King's tone is much richer and fuller on this album which is a critical detail in songs such as the aforementioned "Echoes Ring Forever" and "Wicked Empress." Olav (Iversen) and Thomas' (Tofthagen) guitar work is top-notch as well. There are some extremely fluid riffs and melodies present across the album's landscape. The leads in "Pyromancer" push the song into a new realm, preventing it from taking a back seat to other songs on the album. "Escape the Crimson Sun" is the "Planet Caravan" of the album. The lead in "Star Crossed" is, however, the strongest moment on the album.

Olav's vocals were one of the most enjoyable pieces of the Sahg puzzle, for me, on the debut album. However, I can't help but feel slightly let down this time around. Don't get me wrong, his vocals soar at times - I memorized the chorus to "Echoes Ring Forever" after only my second time through the song. Other times I found his vocals to fall short and not satisfy my expectations. I also felt that Olav resorted to similar vocal patterns and melodies that he used on the first album and while this, in and of itself, is fine, when coupled with some similar moments guitar-wise I am left with a sense of deja-vu. Deja vu and a slightly exploited fourteen dollars. The similarities were rare, but to my ears noticeable. It could be noted there wasn't a whole lot of progression between I and II.

Mmmm... Flames

I thought the choice of "Ascent to Decadence" as the album opener was the auditory equivalent of watching a tricycle race with one tricycle and no rider. The song is a bit too predictable and not compelling. Likewise I felt "By The Toll Of The Bell," squashed between the interesting yet unremarkable "Wicked Empress" and the longer more grabbing and captivating "Monomania," to be done a disservice. I would have liked to hear the intensity of B.T.T.O.T.B as the opening track.

I found myself enjoying the space between the second to fifth tracks the most and aside from By The Toll Of The Bell, drifting away from the music for what was left of the second half of the album. It's clear Sahg still have a lot of great ideas left and I think that their next album - fingers and toes [star]crossed - will be better than this follow up and might even give the debut a run for its own money. Until it's release, however, I will still enjoy the finer points of this - albeit slightly disappointing album.

As an aside: The artwork courtesy of Martin Knamme is stunning.

Murustrictus - Demo 2012 (Eternity)

Murustrictus' three song demo Eternity, though generic, offers some ingredients that fans of the black metal genre won't mind sinking their teeth into. The five man snooze crew from the United Kingdom emphasize what I don't need to hear at all any day. Though many times such as in opening track "Cycle of Eternity," the band resort to heard it before - don't need to hear it again black metal fast food, they also do offer some interesting melodic interplay. My gripe ends up being not with the genericness of the band but with the regurgitation of simple song structures and previously heard, but not altered melodies from earlier in the tracks. Often, the demo becomes predictable and bogged down in predetermination. Adding to the generic nature of the whole effort are black metal vocals that were hand picked off the shelf in a Wal-Mart aisle dedicated to crap nobody needs to hear again.

Production wise the demo is acceptable though at times flaws reveal themselves. Second track Purgatory is evidence of a poor mix which emphasizes a mediocre lead rather than the overall effect of the track. The resulting diminishment of dynamic between other instruments is hard to swallow, especially when said mediocre riff appears later in the song with an obvious trim adjustment towards the phrasing's big entry to create 'dynamic.' For some reason there is a gunshot or whip crack or butcher's knife on cutting board cue right before which appears twice in the track, once on the part's recurrence and another times when the whole segment is copied to another part later in the track. Though the percussion throughout the demo tends to be strong, last track "The Path Of Chaos," is evidence of either a lack of interest in the song, a lack of interest on the band to get a better performance or absolutely no time spent rehearsing. The kick is obviously not in time at moments and often lags behind, creating a pure essence of yeah, whatever guys.

Ultimately. I would pass this by. Even though I dig the artwork a lot - it really is a pretty excellent cover - it's not going to change the fact that Murustrictus' demo is oozing with some foul puss when it needs to be bleeding pure blood. It doesn't help that they let the puss dry and harden to the point where it needs to be removed by scraping it off the skin with a small razor. Every song is pockmarked with dried puss. Add to this disgusting metaphor of inconsistency-gone-awry the fact that the whole demo is so short it really doesn't warrant a purchase anyway. Eternity doesn't last long enough to really get a good feel for what the band is capable of and, unfortunately for Murustrictus, it becomes clear that this isn't going to be a demo that I will be sound-checking too often. There are some strong moments but who wants to watch a weightlifter who only works out one arm?

Mother Brain - Straight To Business

Mother Brain have a lot to offer everyone and this 7" is the prime example of it. It just sounds mean. On Straight To Business, the tone of the guitar is thick, crunchy and moist. The introduction track hints at a release that is going to take you for granted, it's going to meet you in a dark part of the park and you're not going to know it was there staring at you from behind those bushes. It's a fast, immediate punch to every part of the body at once. The amount of material here moves so fast and with such fluidity that you don't have a chance to consider what it is you're being subjected to. It's really a great representation of all that Grind has to offer - intensity, speed, immediacy and variety. It's not a noisy mess, not an endless incoherent jumble of riffs. The whole thing sounds like they plugged in and played and packed up and went home - something I witnessed firsthand live, and really enjoyed. These guys know they are good, know they deserve something more than fifteen people in a bar.

Joe Marchese's vocals are a little low in the mix here which is unfortunate because he's such a talented vocalist. He can do so much with his voice from high pitched squeals and ultra low grunts to everything in the middle. Dan Hernandez proves himself to be not only one of the most talented riffers in the grind world, but capable of playing pretty much anything you could imagine and Matt Cutty's drumming rounds out a stellar group of musicians solidly. The demo wanders between ultra-fast blitzkrieg attacks of sonic medicine and dosages of slimy oozing sludge-style groove which slide across the surface of this waxy monument like a bar of soap on a hot metal playground slide in the rain. Though short (the whole fray lasts a measly eleven minutes) the release is spot on for what the band is; anything longer and it's possible that it could overstay it's welcome and anything shorter would be a let down. I'm not going to name tracks in particular that rubbed me the right way but "Unamed," and "Scumbag" hit home hard with a furious reckless abandonment matching the smuggish disregard of a hardened mass murderer crushing baby birds and squirrels under a crusty and stench-emitting boot.

The artwork on this is awesome as well from Ken at Sarafin Concepts. If you've not experienced grind, get this... These guys, should things work out for them, could be touring alongside Napalm Death in a few years and I imagine Napalm Death would have a hard time following them up.

Countess - On Wings Of Defiance

 

How do you review an album which is so far removed from normalcy that it can not be compared to anything else in the metal canon? It's a problem I run into rarely since almost one hundred percent of all music is not created in a vacuum and since almost all music aspires, acknowledged or ignored, consciously or involuntarily, to be that which influenced it. Countess, however, is not a project that fits either of these groupings. Countess has never existed in a vacuum and, as such, has been influenced by and has influenced countless projects across its fifteen years or so of existence. At the same time though, it clearly doesn't aspire to be anything other than itself... because if it did, it sure as hell wouldn't sound like it does. I'm left trying to describe and analyze an album which can be reviewed from several different perspectives: for someone who is familiar with Countess and enjoyed what they heard, someone who has heard Countess and been able to withstand only several minutes (if that) of Orlok's creations, and someone who has never heard of Countess. There almost have to be three different reviews to explain this album. Luckily the first two groupings of fans are easy enough to review for:

Probably the "worst" of the Countess albums.

If you've heard Countess before and "got it" and thus enjoyed the previous albums, this will be enjoyable as well though I do think it might be slightly too long for it's own good.

If you've heard Countess before and cringed immediately for any reason, you will probably want to continue ignoring Countess. This album will not change your mind and would probably make you want to insert galvanized spikes, railroad ties and decking screws into your ear followed by a strong singular blow with a hammer to drive home the point that Countess should not exist in your world.

So this review is really for those that have never heard of Countess before and have no experience with the Orthodox Black Metal which Count Orlok has devised in some Dutch castle somewhere for nearly twenty years. Here's some background. On Wings of Defiance is the thirteenth (!) Countess album. They are all radically different in varying degrees of production standards though lately Orlok has been enamored with making his guitar sound like an amplified electric razor. The general style Countess has proceeded with since 1993 is difficult to describe. It's like a Manowar tribute album if the only songs chosen were from Louder Than Hell and all the bands that submitted tributes were Russian black metal bands from deep in Siberia. Additionally, Orlok has a knack for writing some of black metal's - actually any kind of metal's - most outrageously happy-go luckily, feel-good riffs. Did I mention the whole thing uses a drum machine? Thematically, this album revolves around invading Roman armies and burning down religious buildings and general black metal anti-religion angst. It's all well and good and some of the lyrics are really pretty good actually. One thing I've always admired with Countess is that it seems that for Orlok, his music is really nothing more than a way to say whatever the hell he wants and I have a feeling that he's actually probably super knowledgeable about history and theology.

I'm really fascinated with reviews I've read of Countess over the years which somehow are relatively positive. No other band that sounds like a twelve year old with a Korg who happens to be pretty exceptional at composition would ever receive such reviews. Somehow, across all this time, Orlok has earned so much respect that people just expect the musical equivalent of a Stretch Armstrong doll. No matter what Orlok does, Countess just can't break and people aren't even surprised when halfway through a song he belts out some throaty proclamation that sounds less like a Satanic warlord and more like a fifth grade English teacher pissed that every student in their class wrote book reports on internet facebook memes. It's an uncanny thing really. If Orlok released an album that was to Countess what St. Anger was to Metallica, it would most likely be hailed as a brilliant rethinking of the Countess doctrine. It's so strange to find not a single review which seems to objectively discuss the band. Even the reviews that DO blast Countess are usually short and poorly written. Probably because the reviewer just couldn't handle fifty-plus minutes of someone playing a guitar by rubbing a comb across the strings and listening to those ever-so-remarkably crisp and strained yelps.

Yes, Orlok has the single strangest vocal style I've ever heard. It's something I could never get used to and the first time I heard Ad Majorem Sathanae Gloriam, and consequently Blood On My Lips, I just had this revelation that somewhere out there was a grown man in his bedroom screaming into a microphone as if he was constantly being kicked in the nads while two rooms away his mom was cooking the best rookworst in the world and his dad was watching the world cycling finals on television. What's so great about On Wings of Defiance is that you get Orlok's barely tolerable yet considerably lovable and charming vocal approach for a full sixty-four minutes. Sixty four minutes of short, sharp bursts of snarling angst which is easy to mock and perfect to make anyone stuck in a car with you never ask for a ride again. In a genre which is supposed to be harsh and raw, there is nothing more perfectly ironic than Orlok's crystal clear delivery. It's Danny DeVito as the Penguin in Batman Returns singing over an emasculated Bathory with a Boss OD pedal. It's how Joe Biden pretends to imitate George Bush at family dinners for a laugh. Orlok's vocals are like being trapped in a 1930's horror movie full of actors that were never chosen to play the circus troupe in Freaks. It's listening to an album over ten times - as I have done - and still staring at your speakers not knowing if you should laugh, growl or just contemplate the fact that someone in the world thinks that vocals should sound like a human-cricket hybrid.

But as mentioned before, Countess has excellent songwriting and composition. The songs across On The Wings of Defiance are all excellent when you look deeper than outward appearances promote. Though slightly long, opening track "Where Eagles Die" displays a keen sense of dynamic writing with the inclusion of some keyboards at moments to elevate the song. Across the album there are moments in which Orlok creates a bombastic, regal vibe to accentuate the horny sounding lead guitar tone. Considering the themes across the album it works perfectly. See "Foggy Dew" for not only the best track on the album but a song which uses this feel to shine above the rest. The song is incredibly catchy and reminds me of bands like Forefather and songs like "Wudugast" or "These Lands." When Foggy Dew opens into the melody after the first verse you can't help but love what you're hearing just like when "Where Eagles Die" ascends into the first lead section or "At The Hot Gates I Stand," breaks the three-minute mark and reveals a brilliantly written instrumental section. "An Emperor's Stand" is another highlight for me. Much like other songs such as Sermon of the Devil Preacher (which shares an uncanny resemblance to Attacker's "Slayer's Blade") it opens with a grandiose and memorable intro.

Across the album are a few slower songs such as Invictus which sounds like that Graduation Song (Vitamin C happens to be from my town of Old Bridge... don't I just feel so proud!) that we all sat through during high school proms and graduations though with Orlok's crispy snarl tagged across his excellent piano and keyboard playing like some veteran graffiti artist marking up local highway underpasses with Satanic verse. The album's title track, "On Wings Of Defiance," also starts off with strong piano playing and, something I've not heard on other albums, an accompaniment of keyboards - a unique compositional treat. Across the whole album Orlok really keeps the album from devolving into boredom through expert use of comedic ingenuity and variety. He experiments with all kinds of instrument combinations, rhythms. tempos and collaborations in every song. It's one of the highlights not just of this album but all the Countess albums going back to Return of the Horned One which sets Orlok apart from other projects of this style - not that there are many out there. To believe that one guy out there somewhere is writing incredible music and getting overlooked due, most likely, to production standards which are incredibly high but so far removed from your everyday black metal bands both produced and unproduced is a crime of the metal underground's seeming penchant to write off bands that bear little resemblance to the genres they are supposed to represent. Also included on this are awesome covers of Demon's "Night of the Demon" and "In League With Satan," obviously a Venom cover. Both are incredible.

Ultimately, I would like to propose to Orlok, should he read this, that I offer to engineer the next Countess album should there be one. Countess are a band that deserves recognition for many reasons. Consistent, innovative, totally ambivalent towards what everyone wants black metal to sound like, musically proficient... the list can be long and arduous to finish. To allow production to prevent a band this excellent from prospering and gaining the admiration I believe, and so many others believe. look at the reviews on Metal Archives, they average a score of 75.7% and albums like Heilig Vuur, Spawn of Steel, The Shining Swords of Hate and The Revenge of the Horned One Part II plus several others all have multiple reviews adding up to a rating of over 90%. The most comment complaint is the tone of the albums and the production on them. Orlok has nothing left to prove with Countess and he should take the opportunity to create more masterpieces of the genre with nothing to hold him back such as drum machines - a major no no to many metal fans - and tonality.

Descantation - Descantation

Another older review, this one from back in 2006...

Descantation hail from Ontario Canada, were formed in 2003 by main man Pestilence, and play black metal. This is, from what I know, to be their only widely released album or widely released to the standards of the band since this is only limited to 50 copies. There isn't a whole lot to say about this album but ill try to at least make an effort at giving a decent description. Three tracks clock in at 11 minutes with the longest being the second track, While the Frozen Air Awaits Morning. This is also my personal favorite track due to the incredible atmosphere and sheer evilness of the song.

Production wise, its not bad in that all the instruments can be heard well. Of course, as is the nature of the product, there is the static that accompanies most underground black metal releases. The guitar tone sounds like its being played through a 12 watt amp turned up to 13 on the dial and the speaker is blown yet regardless the guitar actually sounds fitted to the music. The bass is also well played and never out of key. Vocally, there is nothing new done here but the vocals are mixed well and work more as another instrument than vocals. I would consider them one of the best aspects of this particular album aside from the great melodies. The only perturbance (Yeah... I was using words back then that didn't exist just like I do now) that I noticed was the drumming on the first track which lacked anything that could be called interesting. musicianship isnt bad but its not on par of anything such as Leviathan or Xasthur. Though I would say its a notch better than fellow Canadian, Sabazios Diabolus and his outfit, Lust. The musicianship is not that which would win the award in any particular contest but the slower, doomier last two songs show an incredible ability to create interesting melodies.

The first song is titled Firmament and is the fastest track on the album. It starts off as a mid - hi tempo black metal snare and bass drum pound-fest which then leads on into a great mid section and back out into what sounds to be the beginning of the song played again. Simple yet effective. Nothing meticulously structured or outdone. It starts, your listening, and before you know it, its over. Not a bad opener and it showcases all the strong points of this album - the melodies (especially in the center part of the song), the vocals, and the back to basics nature proving how black metal can be simple yet well done. As I mentioned before, the drums could have been worked with a bit more however I don't think they seriously hinder the music in anyway.

Song two is my favorite on the album and differs quite differently from the first song. gone are... the drums aside from accents here and there. If there was a child daycare service in hell and they had a commercial on television, this would be the theme song. haunting melodies complimented nicely by the eerie twang of the trebly guitar and also a simple bass line following the dark melody make this peice akin to playing with Lucifer while listening to his favorite "soft rock." The song continues on. sadly, the only thing holding this song back is a lack of any variation in the tempo or riffage. Though a great song, it falls slightly short of an excellent song. A little more effort could have made this song classic.

Song three is very slow and very wretched. The first minute of "The death of Fenrir" is nothing but bass and it stays this way for a while. Haunting like the interlude on the first track and the whole of the second track, the song crawls on until it comes it's fading end. an interesting choice for a final track but somehow it works well.

In total, this eleven minute album is quite good as far as underground black metal is concerned. it has its moments and is an interesting listen. for those who are looking for grim, fast, and headbangable black metal, this is NOT what your looking for. Those looking to light candles, sing hymns to the black lord and wander through untouched forests at night, i think you may enjoy this impressive debut but I would turn to masters Drudkh, Astrofaes, Empyrium, and Negura Bunget first.

Motherbrain - Live At Tobacco Road NYC 9/21/2012

A quick live video I shot the other night of the awesome Long Island grinders Motherbrain. Definitely go see these guys live if you have the chance. This video does NOT do them the justice they deserve. Most impressive about the whole thing was the overall tone of their sound. One guitarist sounding like a full band of a bassist and two guitarists. Joe, their vocalist, was awesome to talk to and gave one of the most impressive vocal performances I've seen in a long time. I give this band a ton of respect. Look for some reviews in the near future.

Necrosadist - The Alpha Nihil

The Cypriots behind Necrosadist led me to really expect some great stuff from this short EP. Although Menthor on Drums has been in several other bands seeing Dictator's name amongst the participants immediately evokes images of the awesome Dysangelist released under his self-titled project. And though I knew that this was a different force than the classically influenced, black metal tinted funeral doom which evaporated out of hell and into my stereo speakers during ritual playback of that tape, I believed that Necrosadist could be for me what Apolion was last year - a glistening beacon of resiliency amongst the matte black metal current that has pervaded so readily these last several years.

So does Necrosadist's EP, The Alpha Nihil, live up to my expectations? I don't know. Somewhere in the middle maybe but something hints at a subdued greatness here. It's like hearing a lot about a great restaurant only to get there and find that they ran out of the dish you wanted to order... To be frank, this EP is raw, dirty, unpolished and resembles a simmering pile of scat in the corner of the room. When you think about it though, when was the last time that you were walking down the street and didn't stop to confirm your fears when you saw roadkill lying in the street? My largest gripe with the EP is that the first song was longer than I felt it needed to be and contained some rather mediocre riffs while the two songs really displayed two different styles of the filthy stuff Necrosadist create. Opening track "Day of Dissolution" is a much more conventional sounding raw black metal track. There are some really good slow marching sections and near the four-fifths mark a fascinating clean section with blast beats that sounds like something Watain would do if they weren't too busy being generic. Unfortunately, there are other sections which make me seriously consider never listening to the song again. The caboose is the title track and it saves the EP for sure.

The second track on this fifteen-minute EP is a weird mix of bubbling and fizzing textures; frothy atmospheres of curdling blood and melting ligaments. It is far less direct than the opening track and where the first track had moments which could've come from any 'ol black metal band anywhere on the planet, The Alpha Nihil, is a much more interesting setup. It resembles a wandering hermit, confused and downtrodden, exploring his surroundings in a circle, his mind hazy and somewhere within, his consciousness is screaming in anguish. The layering of the guitars is an interesting thing with the most prevalent layer being a lead layer with a lot of whammy-bar experimentation. The first half of the track relies heavily on a layer of phasing and echoing guitars while the second half of the song is more solidly built of riffs. The drumming is set back but crisp enough and the vocals follow the same pattern as they did in the first track on the EP. While the first track is questionable but hinted at some great Ideas, the second track took those opportunities and excelled at them.

To go back to the restaurant metaphor, The Alpha Nihil is like going to a restaurant and finding out what you really wanted to order was no longer available but they brought you out this really phenomenal plate of french fries covered in bacon and chives and cheese, only the plate wasn't a plate... it was a naked woman and you weren't actually eating at a restaurant, you were in a ritual mutilation ceremony.

Midnite Hellion - The Fever

 
I waited to review this for far longer than I promised so I apologize to Midnite Hellion and Drew for the long period of absent reviewing. That said, I did so because I wanted to wait until the final copy sold out of my distro and, hopefully, their stock. I maintain the belief that it's not proper to review product I am trying to sell for fear that my opinions may influence someone to not buy a release. In the case of Midnite Hellion's debut demo, The Fever, this most likely would be the case. The Fever is not a bad demo, in fact it's a very good demo in some regards but it does have some major flaws, flaws similar to the Horrifier album I reviewed a few months back. The fact that the bands share members, and share styles could be discussed deeper but I'm not going to waste time with the minutia of describing Midnite Hellion as a response to Horrifier. The under currents between the two bands are known to those in the area so whatever that may imply is up to those involved to consider.

Midnite Hellion are an awesome live band. They really hit the nail on the head if that nail was being used to build a stage or show-prop or a doghouse. I was excited to hear the demo, hoping it would capture that energy on tape which, unfortunately it doesn't. At the demo release show they really hit it out of the park - their stage show was exciting and fun to watch, there was headbanging galore and the intoxicated nature of the whole thing was a definite blast into the ever increasingly distant golden age of metal. The main problem though was covered up; Sonny Zackeo is a great live performer but on record, he truly falls short. Falls very short, in fact. He falls flat on his face - and his notes - and is forced to drag himself through a mire of uneasiness and hesitance that is audibly equivalent to watching a good friend get shut down constantly by everyone around him. In the time since this demo was released, the band has changed vocalists and I have not had a chance to get out to see the new vocalist. If they can get that position filled with someone with some serious chops, the band have a good chance of being a local favorite. I don't think that world domination is within their grasp yet though.

To return to discussion of Midnite Hellion as a response to Horrifier, While I felt Horrifier was a confused example of a prodigal possibility, Midnite Hellion is the opposite. Midnite Hellion is a totally focused though mediocre entity at it's heart. The standout performance on the demo falls solely on bassist Bill Dripps with Dan Sclavi and Amadeus Zajac presenting strong - but average - guitar performances. Drew, as a drummer, is not going to do anything that will make you want to struggle through rewinding the tape or picking your head up from the morning crossword puzzle. He's a simple yet effective drummer as were the vast majority of NWOBHM drummers but to stand out, there needs to be more. The standout track on the demo is Cross the Line, but only because it really doesn't fit. It's a fast, thrashy piece that no one seems like they wanted to record. It would have fit better on the Stench album (There's some connections here too) with a song title about dipping children in a toilet full of vomit and excrement or some other ridiculous thing that Amadeus would talk about outside one of the many shows I see him at across NJ and PA.

The strongest song here is the second track, 1903. A bass intro opens the track, displaying some of Bill Dripps' talents. The song crisscrosses between verse and choruses with some gang vocals and solos. It's structured well, stays interesting and has Sonny's best performance as well. In a few places for about three seconds he almost comes across as a student of James Rivera that really didn't take class seriously. The other highlight is the cover of Invaders. Now, most of you don't know this but all my immediate friends do: I loathe that song. It's the biggest pet peeve track of all time for me. The almost lackadaisical and poorly thought out ascending and descending chorus section makes me want to slap my face with large slate slabs covered in vomit and urine. The pain of such an impact would be far less torturous than Bruce Dickinson's whiny vocal explorations. Hearing Sonny attempt those shrill high parts created stiffening fear and curdling blood in all parts of my body upon the thought that I was about to hear my least favorite song get redone by Midnite Hellion, of all possible people. Fortunately, Sonny did something great... he didn't try to hit the glass-shattering high pitched shrieks that Bruce made criminal. The result, a tolerable version of my most hated track! Midnite Hellion do in fact have some things going for them. They are good song writers, and the tracks, with some additional production standards and vocal improvements could in fact be significantly better. The demo's faults aren't really a fault of the band but a fault of what might be a rushed effort to get material recorded and released.

Although the poor production may have been a blessing in disguise, for some reason my tape was panned entirely to the left, with no sound on the right. I tested the other tape I had at the time and it was the same issue... on three tape players, each with two separate tape decks, and a portable walkman. The guitar tone is fairly weak though the separation of instruments is perfect. You can hear the bass clearly, though the bass sounds a bit limp. I don't know how they recorded this so I can't point to anything particularly but the overall feeling I get from the production is that it may have been a four track recording or something in a basement. Ultimately, with a new EP being released in a few weeks and a new singer present, Midnite Hellion may have improved considerably in the time between this demo and the show I saw them play. I plan on being at their EP release show in about a month so, I can only hope that their new EP and singer add the Midnite Hellion the pieces they need to become the awesome band that those guys deserve - they are all awesome people and I wish them the best. I'm definitely going to pick up the EP because with minor adjustments, it could turn out to be an awesome set of songs.

Demolizer Interview 9/17/2012

Of all the bands which I've received tapes from and traded with over the years, there have been few which truly moisten the loins and perk up the soul like the Motorhead and Bathory influenced Speed Metal Slovakians Demolizer. Fortunately, not only is the band skirting, what I feel, could be breakout success with recent surges of interest in bands like Midnight and Speedwolf, but the two main men behind the unruliness that is apparent on their awesome demo Possessed and their raucous Live Demo are genuine blokes. Amidst all the emails about beer and boozing with both Vrana and Demolator, we pulled ourselves together to get something out to the metal fanatics seeking something to crank during the binge drinking, house parties and all that other metal tomfoolery. Thanks again to my friend, Demolator, for taking a minute to answer some questions.


CT: Demolator, thanks for taking the time to answer some questions about your awesome band Demolizer! Tell me about how Demolizer came to exist back in 2008.

Demolator: Greetings ! Idea of making this band came simply from my fanatical attitude and love to the 80's extreme metal. I started it as a solo project due to lack of musicians around and also to have 100% control of music and band itself. I have decided to learn and play guitars, vocals and other instruments to handle the whole band. Luckily I've found later in 2009 another fanatic - Vrana from my friends Thrash Metal band RADIATION, who absolutely fit in and he joined. And he really knew how to PLAY guitars hehehe. I am still very grateful of him.

CT: Are there simply no musicians in Slovakia or is old school metal just not popular? It seems that early 80's metal is on an upswing in popularity here in the USA.

Demolator: Thats great to hear, you have really great "retro" bands like Toxic Holocaust, Midnight or Steel Panther, I saw that pussies this year and they did very great show !!! But there is also a lot of US bands, that did not catch that 80s feeling, which if you dont have, that tons of great riffs turns into a waste in a moment... Here in Slovakia (and I believe I can say in whole Central/East Europe) Old school Metal is dead at all... Germany, Finland or Sweden have very great bands in this genre, but the rest of Europe seems to have no interest in it anymore... It would be very nice to have bands only like Black Ghost around these time hahaha

CT: When someone asks you about your influences as they relate to Demolizer, what bands do you mention? What bands have had a large impact on the Demolizer sound?

Demolator: I am a total maniac to "1980-1985" era, which is in my opinion absolutely the best Metal could ever offer. To name the most important bands which inspired us are - VENOM, BATHORY, MOTORHEAD,  BLACK SABBATH, DISCHARGE, GBH, IRON MAIDEN, JUDAS PRIEST, MERCYFUL FATE. And sound ? We are trying just to sound like a total darkness !!  (which suceeded only on debut album of BATHORY and BLACK SABBATH...)

CT: Tell me about your awesome demo, Possessed. I think it's a classic sounding Speed Metal / Black Metal demo in the vein of Venom and early Sodom. How did you acheive this sound during the recording? Was your intent to create a demo that sounds like it came straight out of the early-mid 80's?


Demolator: Yes and no hahaha. Our intention was to create a sound like it came straight from hell !!! We were recording it on a tape machine and then vocals and bass has been recorded separately. Of course we were trying to be as close as possible to the 80's sound, but there are things hard to fight with like drums for example. In the 80's there were very different sounding drums with long toms and extremely loud snares etc., it is almost impossible to get this kind of drum kit today. But anyway, it is most important for us to do things by our own, because I like to do music as it comes, naturally, with no digital repairings and plastic shit around.


CT: The track titles say everything about Possessed but my favorite grouping of lyrics on the demo is for opening track, "Masturbation." It's such a twisted song. Across the whole demo though, the lyrics are really awesome. What are some of your favorite lyrics across Possessed? Are there any stories or background to any of the lyrics in your songs?


Demolator: Thank you. There are no favourite lyrics I guess. I just write as I feel it, on the first hit. Masturbation song wasnt meant seriously to be honest, one of those "lets make some fucking Motorhead" but lot of people like it mostly hahaha. Some lyrics are personal, some reflects my anger against this world and life, and some are dedicated to metal way of life.

CT: What things are you angry about that inspires you to voice your hate and frustration with Demolizer?

Demolator: Music and lyrics should speak itself... I can sum it into one sentence - Fuck this world !!!

CT: You also had a really small demo in 2009. What happened with this demo? Will it ever get released as bonus on another future album or will we never hear it? Apparently there are no vocals on it?

Demolator: Yes, it was recorded as rehearsal promo with no cover or info at all and spread only to close friends (shortly after Vrana joined the band). It has extremely great old sound in my opinion, even older than on Possessed demo. I played on Amati drums (very old Czechoslovakian drum producer, you can hear them on old TORR, MASTERS HAMMER, GLADIATOR, etc.) but I dont have them anymore... I haven't think about re-releasing of it yet, but when it will happen I will do some vocals for it definitelly.

CT: Tell me about Demolizer's live performances. What have been some live highlights? What is your favorite story to tell people that ask about your live performances?


Demolator: Well, Demolizer used to have very wild stage performance haha. Sometimes it was like GG Allin on stage !!! I use past time because we've decided to quit doing shows, I lost interest in it, because it's very difficult to find bands that understand it and which play REAL and VIOLENT Metal. Maybe some tour in Germany would be cool but fuck it anyway. Every gig we did was pretty extreme, with lot of booze, drugs and violence hehehe. I remember some Czech Demolizer fans started to throw chairs or tables through the window (it was second floor !!!) and there were a lot of fights during the show, our last gig ended up when the guy in the crowd started to bite me hahaha. This is rock n roll !!!

CT: Speaking of Live performances, you also have released a live demo. Do you feel this tape reflects the energy of Demolizer live?

Demolator: Definitelly not ! It captures only our drunkeness maybe, but I think Demolizer is very energic on stage.

CT: Tell me about the Slovakian metal scene. What are some of the bands that you've played with that deserve some attention? Are bands in the scene willing to help each other or is it a scene of people going it alone, doing everything themselves?

Demolator: Good question. There is no support I believe nor "scene" at all which is very sad. There are some guys from different locations of Slovakia, we are in contact with, but generally people are not helping to keep it. Most of Slovakian bands play shit - a new, modern, technical, with female-vocals, trendy, trendy and plastic music. Nothing for us !!! When speaking about our metal music, I can name RADIATION, HELCARAXE, TEMNOHOR, OLDBLOOD, EVIL, KORIUM, but almost every one does not perform live. RADIATION is playing live only so to speak hahaha.

CT: Other than Demolizer, you have played in some other bands in the past as well. What other bands have you played in and how would you compare those bands to Demolizer in terms of your involvement in writing and composing?

Demolator: Demolizer is very special in every meaning. It is my personal tribute to occult philosophy and heavy metal music ! 80's heavy metal era as I mentioned before is the most beautiful act of darkness ever done in a whole art. And I always try to be as close to this as possible with Demolizer. So every other musical feeling I have I put to different bands and projects. I will name other bands only with some releases or recordings - GOATCRAFT (black/death metal), MORGANTE (ambient, black metal), SVARTHAT (very primitive black metal), NIHILISM (black metal), GATES OF PTULAH (black/death metal with member Mrož from RADIATION) and BROKEN CRUCIFIX (heavy metal, also with Mrož) and from the past - STRYGON (heavy metal), POSTMORTER (thrash metal) and THE BAG OF BONES (70's hard rock)

CT: Other than metal, what else do you enjoy doing with your time? What other hobbies are you involved with?

Demolator: There is no other than Metal hahaha (only crust/punk and acid rock!) . But I am into occult, Satanic philosophy, horror movies/literature and nature or travelling.

CT: What would you list as your favorite horror movies or novels and why?

Demolator: I like retro spooky movies mostly like Häxän, Faust, Nosferatu, or The Exorcist, Lynch films, and Italian classics from Mario Bava or Lucio Fulci. They have incredibly great and obscure dark atmosphere. You dont need litres of blood and super-effects to shit from it. And I read mostly historical/religious books of fact or writers like Lovecraft or Velmistr (one current Czech uknown writer).

CT: You obviously enjoy the bottle. What Slovakian liquors and beers are worth seeking out? I'd love to get my hands on some Slovakian beer!

Demolator: Hahaha well we have a drink called Borovička with about 40 % of alcohol but I cant drink it anymore, I prefer whiskey (Jack Daniels !!!). And beers we have some but mostly crap, Slovakian prefers more Czech beers (Pilsner or Black Hill). My favourite Slovakian beer is called Goat of Velkopopovice, it has great taste and has logo like old Bathory hahaha.

CT: If there was one little known fact about Demolizer, what would it be?

Demolator: We never performed or recorded with clean minds.

CT: What are the future plans for Demolizer? Are you working on new material? Any plans for another demo or release anytime soon?

Demolator: Currently I am living abroad so the band is off, but I should be back for a while during this winter and for sure we will recorded some new stuff. First there will be recorded a 7" single and then a debut LP, I hope we will find someone who would like to release us on vynil.

CT: That's all! Demolator, you've got the last words brother!

Demolator: Thanks for your time and space here, I enjoyed your questions. Support the true spirit of extreme music !!!

Diseased Oblivion Review #4

Thanks from the awesome guys at Aristocrazia webzine for their great review of Diseased Oblivion - Portals of Past and Present. Check out the link here and also be sure to check out their review of Okketaehm - Stones while you're visiting their site.