All About Brotherhood: Pig Destroyer


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Fresh off their Friday set at Temples Festival and ready to head into their debut performance of Natasha, US based Pig Destroyer have really managed to capture the true breadth of their style over the two days. While they may straddle grindcore and doom, styles that so often seen as opposing, both have a chaotic element that holds them together. The music may be violently aggressive, but the band themselves are surprisingly laid back and fun as we quiz JR, Blake and Jarvis on everything from how a set comes together to whether Agoraphobic Nosebleed will ever hit the UK with a show.

You’ve already played one set at Temples festival, how has it gone?

JR – Good, very good. It was one of our best ones in a little while actually.

 

You’re playing a double set, how did that come about?

JR – We’ve had a couple of releases that are along the slow variety and they had a doom day going on. They asked if we wanted to take part, we figured since we were already here we’d give it a try. We’ve never done a set like this before so we thought it would be interesting.

 

How did you decide how to divide the sets?

Blake – With our band it’s kind of always like a timing thing. Recently we had a couple of dates scheduled in Germany and France and they fell through. Temples had somebody drop off and they offered us a second day. We’d been discussing doing it anyway so we really needed a finite goal or we’d just never do it.

JR – We need a kick in the ass at times.

Blake – We started working it out.

JR – For a long time we thought Natasha wasn’t really doable for us because there’s a lot of noise passages that aren’t necessarily musical. We didn’t know if we’d be able to tie everything together rhythmically. We managed to work it out at least to the point where we could practise it.

Pig Destroyer EP album cover

Do you have any challenges bringing the noise elements of your music into the live environment?

Blake – I guess that depends on how much I’ve had to drink but yeah, sometimes. It depends you know, it’s kind of… I don’t want to say a freeform thing, but its just ‘lets do it’. Depends how much time we have and what’s going on.

JR – How the PA system works as well. It’s noise so there’s a chaotic element to it, and that’s why we do it, we like the chaos to it. You don’t want to get too nitpicky about something like that.

Blake – It’s got to have a little freeform vibe to it.

 

Pig Destroyer has two very different styles; do have any difficulty pulling together shows? How do you decide what goes into each set list?

JR – We do have a lot of songs. We have songs that we definitely personally like to play. I think sometimes we lean on those rather than what other people want us to play. We don’t play our video songs very much or our hits but we just have songs we prefer to play ourselves. It’s usually not hard to get a regular set list together. The slow stuff, this will be a new experience for us.

Blake – Might be the last time…

JR – You never know! We’ll see how it goes.

 

What influence came in that caused you to split out into two such differing genres?

JR – I think it’s our personalities, it’s very representative of our personalities, both directions.

Blake – Also, really early grindcore kind of lends itself to that. If you listen to Godflesh it’s still rooted in grindcore and it’s not fast, it’s just churning.

JR – It’s two sides of the same coin, the way we look at it. We like it really fast, we like it really slow.

Blake – So does my wife! [laughs]

JR – Yeah, there you go.

 

You all seem to have a lot of different bands; do you find it hard to juggle your various workloads?

Blake – Not me.

Jarvis – Luckily we have management and people that can get everything in order for us so it’s a lot easier when there’s people helping out. Last week at Maryland Deathfest we had multiple sets, and getting from one venue to the next can get chaotic sometimes.

Blake – I think JR and I are the least busy in that respect. I’ve got Hatebeak but that’s not a real live project. I know that Jarvis has started jamming with a couple of other guys.

Jarvis – Yeah but that’s just fucking around. I don’t like to bite off more than I can chew, because we all have other things in our lives going on outside music.

Blake – This would be a great question for Scott if he were here.

Jarvis – He’s the ultimate mulitasker.

Blake – Doing Agoraphobic and Pig Destroyer, it’s been a lot of work lately.

 

Agoraphobic Nosebleed at Maryland Deathfest, by Hillarie Jason Photography

Is the UK ever going to see a live show from Agoraphobic?

Jarvis – Probably, probably. I would say we might even come back next year. You never know, right about this time.

 

We’d love to see a show over here now that Maryland Deathfest had one.

Blake – Well it was the first show and it was only a week ago.

JR – It was a killer set.

Jarvis – Yeah it was a lot of fun and we put a lot of work into it. We were kind of worried, same thing with tonight playing Natasha for the first time but it worked out. We’re going to keep playing, that’s for sure.

What do you want people to take from a Pig Destroyer show?

Blake – Black Eyes.

JR – Bloodshed is always good. We don’t anyone to die, but if they come close then that’s cool. [laughs]

Blake – Basically just having fun. Our music may be kind of serious but as people we’re easy going. Obviously we’re not raking in the millions here so we’re having fun and we want the crowd to interact with us and have fun. We don’t fly half way across the world for no reason.

JR – The crowds over here are great. They love grindcore. We just love playing for people that have the same interest as we do.

Blake – The same passion.

JR – That’s what it’s all about, brotherhood. We’ve been all over the world at this point and metal shows are about the same wherever you go. Even if the culture of the country is totally different, you can go to a metal show and it’s a universal language.

 

CAITLIN SMITH


Mission Critical – Marco Minnemann


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Marco Minnemann is a talented man comfortable wearing many hats. renowned for his drumming in many high-profile projects such as The Aristocrats, Steven Wilson, Joe Satriani, Levin/Minneman/Rudess (LMR), and countless others, Marco is one of the most respected musician in the world. His solo career has been equally fulfilling and affords him opportunities to be in total control of the creative process, playing all the instruments as well as handling production duties. His new album Celebration (Lazy Bones Recordings) has just been released, and we conducted a Q & A interview over email, to learn more about his creative process, how he deals with challenges in the studio, and the sound of the next album from The Aristocrats.

 

Celebration is a great title that conjures a lot to mind. What does the title mean to you and what creative frame of mind were you in when you began to write the album?

It started off as a writing process for an album with a fairly dark vibe around it, which I wanted to name ‘Above the Roses’. After re-listening I just didn’t feel that the album was complete the way it sounded like. So I kept writing songs and then basically made a selection of songs I thought would make a statement. And all of a sudden, voila. I had one album that I called ‘Celebration’, leading through aggressive, sparkling and into film music like vibes and missions. And then there’s the more vocal laden, dark song focused ‘Above The Roses’ I just finished now, it will come out as a special vinyl and download edition, but more of that later. ‘Celebration’ just got released and needs the attention now.

Since the topic is partially about Roses, in songs symbolically and in artwork, I thought that Celebration might be a good title.

Marco Minnemann, by Lasse Holie

Marco Minnemann, by Lasse Holie

The album is definitely diverse, but has some of your heaviest songs of your solo albums. Is that a by- product of some of your other bands you are in, rubbing off on your solo work?

That clearly would be a no, as I think that some of the material on Celebration is actually heavier than what we do with the bands I currently play in.

I mean, if we’re playing the category game, maybe then Joe Satriani could be Rock, Aristocrats instrumental Rock/Jazz, And Steven Wilson more well, prog and ambient pop/rock.

On my albums I just really compose for what is needed for ‘the mission’.

 

You have definitely “arrived” on Celebration as a vocalist and lyricist. Do you think this was an important step for you artistically?

Thank you. But if you look into my solo back catalogue that so far holds 14 albums, I wrote, played and sang as well. But thanks again for appreciating.

 

As you have become more hands on (creating, playing/tracking, producing/mixing/mastering) with each new project is it more troublesome to wear so many hats, or a relief to be able to oversee it all with confidence?

It’s great I think, because when you know exactly what you want and are able to translate it, instrumentally and production wise, then it’s a fairly seamless and rewarding process. See, my studio is pretty much dialed in to my needs. So once I have a sound in mind I really just record, then add tracks, basically mixing while doing this, and soon the ‘house’ comes together :-).And honestly, it’s so cool that meanwhile you can carry amazing production softwares in your note book. Then along with a few good audio interfaces and outboard recording gear, you can do deliver a great production, that would’ve costed a fortune about 20 years ago.

Is there a style of music you have yet to incorporate into your solo work, that you haven’t yet, but would like to try?

Hmm, I don’t really think that way. I really just do and play what I feel fits the vibe of the composition.

 

On Celebration, is there a single performance you can name as most gratifying to you?

Hahaha, well, I was doubling my vocals to that guitar solo I recorded on ‘How Can I Help You?’ And I’m not really a trained singer, so fuck, I was punching in numerous times in order to nail that thing. And then later I listened back and couldn’t help laughing, because it came out quite cool, and I wasn’t sure if I could pull it off at first :-). Also, I’m quite happy on how the vibe in ‘4000’ succeeded. I used the chains at the port in Marseille, sampled them and then put them in to additional reverb, undermining the vibe of these fairly ‘evil’ and dark vibes and chords in that song. I wanted to create a haunted environment. And that one came out quite intense I think, as I wanted to achieve it..

 

You have an intense touring schedule this year with all of your many projects. How do you keep your sanity on the road?

Girls :-). hahaha. What can I say…. well, seriously, with a good and professional organization you learn to feel at home on the road. Good and comfortable travels and schedules are important.

 

What can you tell us about the upcoming new album from The Aristocrats?

It’s pretty much contains compositions more focused on song structures, rather than soloing, well, hat happens of course too in places, hahaha. But Tres Caballeros is a tad different once again from the last album. Actually, the difference is that this time we have a Spanish album title and wore hats in the desert :-)).

Necrophagist is like the Loch Ness Monster of metal! Do you ever have contact with Muhammed (Suiçmez)? Do you think we will ever hear from that band again, or any other project from Muhammed and yourself?

Well, can’t say too much there. Necrophagist is Muhammed’s project/band, he’s a fiend of mine. But the rest about any release can only be assumed. And I have a lot of things going on myself here, that occupy all of this and next year as well, which is a good problem to have I think 🙂

KEITH CHACHKES


INTERVIEW: Pleasure from Pain – Ethan McCarthy (Primitive Man) and Oliver Irongiant (Sea Bastard)


The calm, traditional setting of Manchester’s Crown and Anchor suits the affable off-stage demeanour of Primitive Man vocalist Ethan McCarthy, and Sea Bastard guitarist Oli Irongiant. Strange for two men whose bands purvey some of the most brutal, Sludge-based horror around today. Before resuming their joint UK tour in the City, we spoke candidly about the tour itself and their forthcoming dual ‘split’.Continue reading


Cave Dwellers – John Fitterer of Crowned by Fire


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California metal crew Crowned By Fire breaks the mold of many bands from the LA scene with a raw blend of stoner-rock grooves, and firey blues. Veterans of the scene, they have a “not our first rodeo” approach to metal that fans of Black Sabbath, Black Label Society, Down, Fireball Ministry, Lord Dying and the early records of Soil will flock to. Recorded at Zakk Wylde’s Vatican Studios, their new EP Space Music for Cave People (Chrome Mountain) throws the kitchen sink at you in terms of fuzzed-out, badass tracks and killer solos. The band is just starting to tour outside of California now, and has promised more big things in the future. Ghost Cult caught up with front man John Fitterer to get the scoop on the new EP, covering the greats and rubbing shoulders with some metal gods on a the regular basis. You know, no big whoop.


Your band has been around for almost a decade, but the new EP Space Music for Cave People feels like a real coming out party for the band with a lot of “wow” moments. How did it all come together?

I think the EP has a lot of diversity because of how and even more so when the songs came together. This is almost entirely a B-Side album.

There is definitely a lot of groove-based stuff going on in your music and slower songs really stand out. Is there a Crowned by Fire go-to tempo?

Maybe? ha! It seems even our more upbeat/faster songs like I Spit On Your Curse, I Am The Crime and Shake The Bag off our album Prone To Destroy still have the same tempo as our slower songs, just more fills between the tempo, so maybe we do, If anything it’s the tempo of Sabbath…

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What is “space music for cave people”?

I was living up in Cherry Valley in Riverside County on 42 acres of property in a ranch style house built in 1908. At night I would sometimes walk into the blackness of the surrounding fields with my German Shepherd Elsa, a folding chair, a cocktail and just sit, look at the sky and listen to the wildlife, mostly Elsa chasing rabbits in the dark. I only had one visible neighbor and I couldn’t even see him at night. Anyway, I guess I had this sort of vision looking over all the city lights from the hilltop that we humans are still just cave dwelling folk but our caves are constructed of wood, drywall, concrete, metal, stone and that most of us are driven by the identity of music from the past and present propelling us into the future. It inspired me to write a simple song to tip my hat to the gods of thunder (rock n’ roll) and thank them for throwing me into the mix in some way shape or form.


Along with the throwback feel of the tracks, it’s cool to see a band with a song named after itself again. Do you think little things like that send a certain message to the listener about the band?

In this case yeah, Justin hit me up to sing for a band he was in because they were replacing the singer, I thought the music was really heavy and had the potential to be something special. The stuff they were doing was more balls out Slayer/Pantera-ish which showed they had chops and I was really impressed by the looseness of the guitars. I wasn’t sure if we were going to mesh at the time mainly because I was listening to a lot of stuff that was slower and darker (Goatsnake, Neurosis, Celtic Frost, Venom, Sabbath, Vitus, Cathedral, Satyricon, Bolt Thrower) and I really didn’t want to sing to fast songs.

The very first time me and Justin (Manning) jammed together in the Summer of 2006, he broke out this heavy swampy blues metal riff and I immediately started singing this thing I’d written called Crowned By Fire. The riff and lyrics came together so organically we were blown away. We both decided that this was a beast of it’s own origin and to start this band from the ground up. Never once did we play a note of the songs previously written. A month or so later we agreed that Crowned By Fire was the best name for the band.

How did you get Tommy Victor to guest on ‘Buried Away’?

Justin first met Tommy when he was working at Schecter Guitar Research. Tommy was (is?) endorsed by Schecter. CBF played a Schecter party in Hollywood that Tommy was at, he said he dug the set and we gave him a shirt and cd and whatever else we could throw at him, ha! Later Tommy asked Justin to tech for him for a few Danzig gigs. Next thing you know he’s up at Zakks per our request to do some vocals on the new EP, the rest is history. Tommy is fucking awesome and killed it in the studio, -total pro and stand up dude!

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You are very versatile vocally, more than a typical rock or metal guy. I even heard some Leonard Cohen stuff in that ballad. What are some of the not-so obvious influences of the band?

I can really only speak for myself on this, yes I’m a huge Leonard Cohen fan, I probably own 95 percent of his catalog. I was thinking I was going for more of a Michael Gira (Swans) or Scott Kelly (from Neurosis on his Blood and Time) thing there, but it was probably all three. My relationships are complicated.

As far as my influences, 60’ psychedelic rock, 70’s classic rock and FM radio, 80’s & 90’s punk/goth and underground metal, some of the decades overlap in genre but you get the picture, I believe all of the influences live and breath through me vocally.

What is Zakk Wylde’s studio (Vatican Studios) like to record in and did he have any advice for you guys?

Kinda. There were 2 actual surreal moments I experienced while recording at the Black Vatican. One was hanging in Vatican kitchen with Tommy Victor and drinking Valhalla Java Coffee while writing down a verse of my lyrics to our song Buried Away for Tommy to sing on, then watching him perform the part while Zakk frequented the room with words of sarcastic encouragement. The next was a complete Spinal Tap moment as I walked into the Vatican to lay down vocal tracks with Adam Klumpp and find Zakk throwing down about 10 takes of the lead guitar on the song Space Music For Cave People. He was schooling Justin on playing a blues lead over the tune. Fucked up thing, both mine and Justin’s iPhones were frozen in limbo uploading new IOS software (in a cell phone dead zone) in the hills of the infamous BLS compound, so none of this was documented at all, and worse yet, no thumbs up to use the boss’s lead on the album, ha!!

 

Is it a little daunting to record a cover of such a well-known song as ‘Burning for You’ by B. O.C.?

I don’t think so, we talked about doing it a certain way and did it that way. I like it when a band does a cover and you know it’s “that” band doing the cover. I’m sure we’ll occasionally catch some shit about hacking the song or whatever, so what! Scott Hill from FU Manchu once told me that some dude was giving him crap about switching the word “bus” to “Camaro” in their killer sludged out version of BOC’s Godzilla, funny shit. Sometimes people just need to lighten up. Most bands that I truly like, well they can do no wrong for the most part, they aren’t always 10’s and that’s ok with me. One of my favorite cover albums is Six Feet Under’s Graveyard Classics 2, where they cover AC/DC’s Back In Black LP in it’s entirety, total brutal genius.

Sidenote… no cowbell? Bogus! Lol!

I actually wanted cowbell on the song Crowned By Fire, I still do, ha! The first time we attempted to record it in 2006, we sent Justin in the drum room with a cowbell in hand and every time we went to record it we almost died laughing. He looked like a drunk bullfrog hitting an oil can with a flyswatter in there, it really brought out the hillbilly in him. Since then it was unfortunately never revisited..

 

Is it tough cracking the LA scene with this kind of old-school metal band these days?

No. I actually think it’s brought us more respect with the promoters because they seem to see the genuineness in what we do. We’re almost falling into the “fad” of things now, it feels like anyway. In 2006, when we started, the majority of the bands out there were playing all this technical skinny pants eyeliner metal, now you rarely see any of that shit, and actually a lot of those bands now look like they rolled out of the same smelly van as us, which is a bit disheartening.

Your video was directed by Matt Zane who is known for his distinct visual style. What was it like working with him?

Matt’s a total pro when it comes to directing, he was to the point and extremely articulate in his vision of what we could and should pull off with the resources at hand.

 

What kind of touring and gigs do you have lined-up in the near future?


In the near future, as far as shows, we’ll be at The Rail Club in Fort Worth on Friday August 15th at Ride For Dime Texas with Texas Hippie Coalition, Malone’s in Santa Ana, CA on Friday August 22nd with Gypsyhawk, Saturday August 30th at The Viper Room in Hollywood with our friends All Hail The Yeti and Lords of Ruin. We’ll probably be hitting the northern west coast this spring (SF, Santa Cruz & such).

We’re working with Black Radar Management in the UK and hope to be making plans to get to Europe sooner than later!

 

Crowned By Fire on Facebook

 

KEITH (KEEFY) CHACHKES


Changing Paths – LG Petrov of Entombed A.D.


Entombed AD album cover

 

From humble beginning as Nihilist to the mega band of today, Entombed have forged a place in the metal elite to an extent that most bands can barely dream of. Little did we know when conducting this interview, that Entombed founding member, vocalist Lars (LG) Petrov was about to announce stepping out of the band and reforming in a new guise, Entombed A.D. Their latest album Back to the Front will be released under Entombed A.D, leaving original members Alex Hellid and Ulf Cederlund the old name and old material. Chatting with Ghost Cult magazine, Petrov talks about 23 years of death metal and everything Entombed had come to be known for over the years: hate, killing, Satan, and more hate.

 

It’s been 23 years since the release of left hand path, where do you find the inspiration from to keep writing after all this time?

Life. That’s what we were born to do. Every song is a step forwards so for me that’s what keeps us going. After 23 years still seems fresh. A newborn kid every day, every morning.

 

How do you keep your sound new with each album?

We don’t think that much about it, you do riffs and you put them together, your excited and you get goose bumps. That’s when you know it’s right; it sounds good. We just make it and record it. You can always do a song and then be picky and rearrange, you can do that for years without completing it so we just say ‘sounds fine, lets make it.’

 

 

Entombed is one of those bands that every death metal fan has heard of. How do you feel about your success over the years?

Yeah, it’s great. When we play shows there’s a lot of people turning up and they see that we have a good time on stage. We don’t see it as a routine. Every show and every album we do is because we love it. If it becomes routine it gets boring, but it hasn’t happened yet so that’s a good sign. We just do what we do, particularly now that it’s been 6 years between albums. I don’t know what we’ve been doing, we should have done one more album in between but we kept changing paths.

 

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Despite being Swedish, you sing in English. Have you ever thought about doing an album in your native tongue?

No. I think that would sound ridiculous. Swedish doesn’t go well with death metal vocals. I’m going red just thinking about it actually.

 

You’ve just finished your 10th studio album, Back to the Front, how do you feel it turned out?

I think it turned out fucking great actually. When we started doing the songs that was about 5 or 6 months before we entered the studio. We were not distracted; we were just working fast and efficient. I like the songs and the sound of the album. The producer, Roberto Laghi, he didn’t want to change our sound drastically; he knew what we were after. He took the time to mix it his way but combine with the old school sound. I think it’s the perfect album for where we are right now.

 

Back to the front has obvious military connotations. Could you tell the readers what kind of lyrical ideas are running through this album?

Basically it’s the usual song ideas; killing with a little bit of Satan. There’s a great feeling of hate, positive hate, and there’s the total war theme. It’s up to the reader really, we can mean something with a lyric but it can mean something different to someone else. It’s a very open-ended interpretation. It’s hard to say what the lyrics mean for the songs because there are so many other opinions, so we leave it up to the listener.

 

There’s been a 6-year gap since your last album. Why such a long gap?

Yeah as I said this album is long overdue. We should have done at least one in between, but we’re actually getting older and time goes faster. Some members of the band have had kids so that’s why we’ve waited so many years, but we’ve been touring. Eventually we sat down and made a plan and just said ‘lets do this.’

 

The artwork for the album is very interesting. Tell us a little about it.

We found this great guy from Poland, Bielak, he’s done some previous artwork for Watain and Ghost so we asked him to do the album and he was really excited. We just gave him free rein basically. He came up with a drawing and we were like ‘OK, we’ll take it’. It looks good and that’s the cool thing about art, we don’t think about it that much, if it gets the result and we like it, we take it.

 

Entombed A.D. on Facebook

 

CAITLIN SMITH


Black Magick Spells And Rituals- Helmuth of Belphegor


Belphegor - Conjouring The Dead

 

Forming in 1992, Belphegor have been seen as an icon, as one of the most fearless projects within the black and death metal scene. After the grandiose Pestapokalypse VI in 2006, and the well-received Blood Magick Necromance, in 2011, the band returns once again at the top of their game with Conjuring The Dead (Nuclear Blast) Are you able to say Belphegor is at their best? Every band always says their latest album is the best they’ve ever done. In the following interview with co-evil overlord Helmuth, he goes to great length to discuss the shifting tastes and style of the band, how important experimentation is to him in writing, shred guitar, Classical music influences, utilizing guest stars on the album, and other topics of interest.  

 

It seems death metal is more present than black metal nowadays. Is this the path Belphegor will continue to take?

Belphegor has always been a Death Metal band. Those familiar with our discography should be able to see that it is not a new path for us.Yes. This album is more Death Metal focused than the past few releases

This was not due to a trend. It was inspired by my actual dance with death and our need to raise the bar and experiment further with each album. The process to create this lasted ages. A lot of sweat, blood, and energy flow into Conjuring The Dead. I never worked so hard on another release. I always had in the back of my mind,and feared after my life threatening health issues, it could be the last Belphegor album. So I didn’t want to fukk around, I wanted do things absolutely right.

The press sometimes describes us as a Black Metal band, maybe because of our brutal stage rituals. I never understood the misconception as the Death elements clearly lead. If you turn the volume all the way up, it’s as if the band is in the same room with you. I guess people that want to hear extreme Musick will dig it and understand the Death Metal approach. Don’t want to end up as an epic or melodic band. It just was time to return to our roots and celebrate and glorify Death musick.

 

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Belphegor’s lyrics are mostly embodied by obscene and sacrilegious themes against Christianity, but the single ‘Gasmak Terror’ leads into a nuclear holocaust. Is there any particular reason to write something like that in 2014?

No wonder why when we can see the world being destroyed right before our eyes more than ever. The blasting ‘Gasmask Terror’ doesn’t reflect all of the content or entire concept of the full album. I just wanted to do some war-related and downfall of humanity themed verses once again.

14 years ago, we did the first track entitled S.B.S.R with war-related lyrics on Necrodaemon Terrorsathan ( 2000 ).

We wanted to go for a fast, typical Belphegor track, that’s why we decided for ‘Gasmask Terror’ as first single. It has everything we stand for. The 2nd single will be the monstrous ‘Conjuring The Dead’, a double bass assault. Totally different than ‘Gasmask Terror’.

I dare say Belphegor’s riffs are the nearest to the powerful classical music, like that which was written by giants like Tchaikovsky – for instance. I recall the track ‘Chants for the Devil 1533’ from 2006 or ‘Rex Tremendae Majestatis’ off of the new album. When listening to songs like these I hear an entire orchestra in my mind.

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Great man. Thank you for your appreciation, an honor.

For ‘Rex Tremendae Majestatis’ we added a lot classical tones in the guitar department. The title is taken from Wolfgang Amadeus Mozart’s last composition, ‘Requiem’. He wrote it on his deathbed. He knew he would die soon. It shows how good artists can get when they feel threatened, or know their time is up! The song has influences by this composition when it comes to the intensity of the atmosphere. I have to be careful with such statements, I don’t want to be, as often as it happens, misinterpreted. I’m not a composer like Mozart, he was a genius. But this exalted, majestic track is exactly what I felt as I started creating ‘Rex Tremendae Majestatis’ and when I listen to ‘Requiem’.

We approached the music more maturely than ever before. All was very serious this time because of my health issues. You also hear a lot of tri-tones, dis-harmonic tones that were forbidden in middle ages by the church- they really feared those tones. Back then, these sounds were called the “Diabolus In Musica”.

The most known song, in my opinion, that is based on the tri-tones is the riff ( 3 tones/ including the octave) of the song by the name of its band, ‘Black Sabbath’.

 

 

‘The Eyes’ is an instrumental song with a very melodic guitar riff delivered by shredding. What’s the message you want to give by including such song in the album? What are The Eyes?

‘The Eyes’ is an intermezzo,classical guitar picking and a lead guitar.It calms everything down after the first five brutal sound collages. After ‘The Eyes’, starts the most complex and technical song on this LP, ‘Legions Of Destruction’. Brutal!!

 

 

Besides that track and the epic finale in ‘Gasmask Terror’, do you feel Conjuring The Dead is Belpeghor’s most extreme and less melodic album so far?

Yes, exactly. That was the master plan as I started this new project back in December 2011.

 

For the first time, you’ve decided to invite two heavyweight musicians: Deicide’s Glen Benton and Mayhem’s Attila Csihar. Do you feel those additions help the album to be more popular than you imagined?

 

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I had this vision for a long time, wasn’t a marketing thing. It was just to please my ego, hahahrrr. Truly, it’s really cool to me. I respect what their work brought to the extreme Metal community.

I wanted to have those two guys, not just any dudes from some other bands. My plan was either them or fukk the plan. Thing is, Glen is my favorite Death Metal vocalist and Attila my favorite Avant-garde/Black Metal singer. I think I first asked Attila about it in 2007, as we recorded ‘Bondage Goat Zombie’. With Deicide we did two big tours, one in the US one we conquered and devastated Europe. And Glen liked the idea, which was awesome. There was always this schedule problem, they were on tour, or we were on tour, it was difficult, but finally it worked out. Both bands in the beginning were very important and inspiring to Belphegor.

This is an honor to me to have these two guys putting their magick on the track. The listeners can decide what impression it makes upon the entire album.

Belphegor on Facebook

DIOGO FERRIERA 


A Sense of Freedom – John Garcia


 

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As the frontman of Kyuss, John Garcia helped define stoner rock. Since their breakup he’s had success with the likes of Slo Burn, Hermano, and last year’s excellent Peace (Napalm Records) album with former Kyuss bandmates in Vista Chino. Finally, after 20-odd years in the business, he’s putting out a self-titled solo album. Ghost Cult’s Dan Swinhoe talks to John about how it feels to get a life-long project off his chest.

I heard you put everything else on hold for your solo album?

That’s right. I’ve been wanting to do this for a very long time, and I’ve literally have put this on hold myself for years. My former managers didn’t want me to do this, they wanted me to put it on hold, and I got tired of saying no to these songs. I had this collection of songs that I literally looked at every morning. I had this cardboard box that I kept of songs that were very close to me, they were very personal songs that I liked and had a relationship with, and felt bad for them. I was exhausted of saying yes, yes, yes to fucking everything else and I finally had to say yes to this group of songs. And I got to tell you, you talk about a sense of freedom and a feeling of being liberated – those are not even the words to explain how happy, excited and passionate I am about releasing this record.”

I’ve been working very hard on this project for a long time and it feels good to be where I’m at right now and all these other bands, all these other cars if you will, are parked in the garage. The Vista Chino car’s parked in the garage, the Unida car’s parked in the garage. Hermano, Sloburn, all these little projects that I’ve got going, they’re all parked. And this car that I’m in right now is fuelled up and she’s purring like a kitten. And I’m gonna take her out for a nice long drive, and I don’t plan on parking her any time in the near future, and it feels good.”

 

John Garcia album cover

So how long have you had this solo album in the works?
I’ve been wanting to do this since I was about 18 or 19 years old, and I’m going to be 44. You talk about pent up energy and pent up feeling and emotion- that’s a long time to have held on to some of these songs. I wrote ‘Her Bullets Energy’ while living in Palm Springs with Nick Oliveri, and if someone were to tell me that at 19 years old, “Hey kid, you’re going to release this song and Robby Krieger from The Doors is going to play Spanish guitar on it,” I would have told them, “You’re out of your fucking mind, go jump in a lake, there’s no possible way.” and here we are, me at 43 that song’s about to be released, it ends the record and Robby Krieger is playing Spanish guitar on it. Talk about a special moment that I will never ever forget.”

‘All These Walls’ is a rework of an old Slo Burn demo, ‘Cactus Jumper’. How did you pick which songs to put on the album and which to leave off, and how many are left in that cardboard box?
When I co-wrote ‘Cactus Jumper’ – now ‘All These Walls’- with [Slo Burn bandmates] Chris Hale, Damon Garrison and Brady Houghton, that was special to me. We got together at this little Mexican restaurant in Palm Springs about 5 years ago and I told them that I wanted to put this song on my solo record. For some reason I felt a connection with that song and I thought, you know what, I’m gonna redo this one, this is a song that speaks to me, that’s personal to me.”

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I have a total of about 44 songs, and I picked out 14, and only 11 of them made it. So there’s quite a bit more. There’s no rhyme or reason behind this collection. I didn’t get methodical. It just made perfect sense to have this group of songs be sequenced the way that were and have them be given a shot to have new life brought back into them at my age. This group of songs is a collective thing but songs that were very special to me and I knew eventually I wanted to release, and if I ever were to release a solo record this group of songs needed to see the light of day.”

This is obviously a very personal project but you’ve got a cover on there and Danko Jones wrote a song for you – was it difficult to give up places on the record if you’ve got others waiting to be heard?
Danko Jones wrote ‘5000 miles’ specifically for me about 10 years ago. What an honour and privilege to have someone like Danko write a song specifically for me. We always had these conversations when were on tour together of me releasing a solo record and so he took our conversations and recorded this very crude demo while he was on his balcony and he sent it to me. I immediately fell in love with it and there it went on a CD in my little cardboard box, and there it sat. I knew I was going to get to it and eventually I did.”

 

I’m a fan of songs and I’m a fan of music. I don’t care who wrote it. If I like it, I’m going to most likely cover it. I got a chance to see band called Black Mastiff out of Canada when Vista Chino rolled through town and I fell in love with one of their songs [‘Rolling Stoned’] so much that I had to put it on the record. If I could sing like Philip Bailey from Earth, Wind and Fire chances are there was gonna be an Earth, Wind and Fire song on this record. My next record could be 100% full of covers. If a song touches me and it moves me, chances are I’m gonna cover it and I’m gonna sing it. I personally don’t seen anything wrong with that.”

Was it different recording as a solo artist as opposed to a band?
Yeah it was, because each musician was hand-picked for a specific song. I’m not a guitar player, my guitar playing is very primitive, but my ideas come down and if I give my ideas to Dave Angstrom [Hermano] like I did with ‘My Mind’, it turns it into something that’s special. There’s not just one group of guys that I worked with, there’s 10 or 15 guitar players and it was an honour to work with every one of them. Dave Angstroms, Eric Belt, Danko Jones, Robbie Krieger, Nick Oliveri, Chris Hale, Damien Garrison, Mark Diamond [The Dwarves]. These are great players and I’m very honoured to play with them in the studio for this collection of songs and I think record would not have been nearly as good without these guys.”
Was it hard to get that continuity throughout the album?

The conducive part of it was obviously my voice and the percussionist Tom Brayton. Those two pieces made it more conducive because all these collection of songs were from spread out throughout my career from 20 years old to 10 years old to 5 years old to a couple of years old so it had to flow, so we tried to make it sound it wasn’t recorded in different eras. It was a very conscious thing what we wanted to sound like something with flow, and conscious of keeping it simple.”
That’s where the producers and the passion came in. the musicians were just as passionate about the songs as I was, as the producers were, so that made it really, really easy to go in and record. Again credit where credit is due, Harper Hug and Trevor Whatever at Thunder Underground made it all happen. I couldn’t have done it without them. It’s great to have producers that are equally passionate about the songs and the music as I was.”

How long did recording take?

It took a year in the planning to due scheduling the players, but start to finish, once we started tracking it took about 30 days. I could have stayed in there for another month but at some point in time you lift your hands up. At that time we were going, “What about this other mix, what about this mix,” and we were thinking if we keep on finger fucking this thing we’re gonna ruin it, and I think at the end of the sessions we looked at each other we went, “Ok, let’s just get it out.”

Does the personal nature of the album mean there more pressure or less pressure than normal?

Super excited is not the word. I feel like I’ve got handcuffs off me. Not like I was being held hostage by anybody else or another band, but in a way like why haven’t I done this before? A big monumental moment is upon me and I’m basking in it. I’m nervous, but it’s a good nervous. I’m exposed, not under a cloak of a band name, but just my own first and last. But there is an excitable nervousness back behind it. It’s good, if I wasn’t nervous about it, I would be worried.”

Some people are not going to dig it, and it’s not their thing, and that’s alright. I’m not looking to change the face of rock and roll with this record, I’m not looking to become a rock star, I was never one to begin with, I don’t want to be one, and I’m not backstage thinking I am one. That doesn’t interest me. What interests me is creating and being on stage.”

It’s been about a year since Vista Chino’s album Peace came out – was worth all the legal troubles you had about the name now you’ve got some hindsight?
Let’s reword it- would I do it again? No. Because the shit I had to go through behind the scenes – I don’t want anybody to go through that. If I would have known the amount of hurt and heartache that I was about to embark on, no fucking way I would have done it. Absolutely not a chance in hell, I would have went in the other direction and never looked back.”

But we did it. All the shit we went through, we pulled it off and nobody was going to stop us. We were on a fucking mission. There was no question about it, we knew we couldn’t just say, “Ok, later, I’m done.” We knew we were on a mission and had to do it, there was no turning back. We were on a strict hard-core mission to get that record done and we did.”

Is it still hard to think about?

I don’t even think about it anymore. All of that stuff is in the past fully and I’ve moved on a long time ago.

John Garcia on Facebook

 

DAN SWINHOE

 


Old Souls- Byron Braidwood from Monumentomb


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The UK has had its share of legacy bands from the world of death metal. Many bands have come along to thrill us with gore, speed, rawness, and technicality over time. However, it has been quite a while since an new band was formed with some of the ideals of the innovators, but had something current to say in a modern sense. One such band is Monumentomb. Recently signed to Metal Music Austria (unannounced at the time of this interview), the band is about to release its brutal and impressive new EP, Ritual Exhumation. Ghost Cult scribe Caitlin Smith caught up with frontman/ lead guitarist Byron Braidwood (ex-Spearhead) via email for a Q & A interview to discuss the origin of the band, the new EP, assorted influences from across the death metal spectrum and the outlook for the future of the local death metal metal scene in the UK.

Can you give us a run down of how Monumentomb came together? Where and how did it all begin?

I was drinking at a metal pub in my local town. The Beherit shirt I was wearing at the time prompted conversation very quickly when Alex noticed it, and we’ve been very good mates ever since. Then after some time, we got talking and decided to form a band, utilising our strong agreement in musical tastes. At the same pub at a separate time, I met Gaius while drinking at a mutual friend’s birthday. I then met Lee at a gig Alex was playing with his band: Infected Dead. Alex heard on the grapevine that Lee was a decent and freed-up drummer and introduced us that night. We all started getting along very quickly and easy with no hassle fortunately.

You have played in some major bands before, namely Spearhead and Archaicus (now Lychgate). Why the decision to start a band from the beginning this time?

Archaicus was the first ever band I joined. I was still in my teens and still at school, we played a few gigs in London but we decided to concentrate on starting Spearhead properly. This was due to the Black Metal scene at the time losing its pull for me. Personally, death metal has always been my main ambition. I left Spearhead due to personal and directional reasons, after we got back from touring the USA. I took some time out and took a step back from music altogether for a little while. Since then, I decided that I want to play a style I’ve always wanted to play and enjoy the sound of, as opposed to just writing/playing for the sheer sake of and becoming completely devoid of passion.


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You released your first EP Ritual Exhumation this year. Tell us about some of the lyrical inspiration behind the album.

They’re simply inspired by morbid horror stories/movies and matching the visual themes for us. The themes and lyrics are essentially all based around necromancy and death rituals/rites with an apocalyptic goal, with narratives and side-stories in between. A lot of inspiration comes from the Necronomicon by Lovecraft and related grimoires in terms of direct literary inspiration. I’m an avid fan of 80′s horror and splatter films and comics, it’s usually easy enough to write lyrics to these themes but it’s tough to attempt a new angle when a lot of the subject matter has been broached upon before. So just sticking to familiar territory lyrically just fits and suits the sound we’re trying to achieve.

The album is dripping in old-school death metal sound. Was this something you were aiming for when you started writing material

 

Not entirely, the production values resulted that way by chance to some extent, the equipment and time constraints we had impacted the overall feeling. The sound itself, would have more than likely ended-up being cleaner if we had more time, but we never wanted to have a squeaky clean production as it wouldn’t compliment the style/character at all.

 

 

You mention being inspired heavily by older bands. How do you feel about the current death metal scene?

The current scene is surfacing with some like-minded bands thankfully, such as Decrepid, Hellsworn, Gravecrusher, Sentience, Crypticus etc.. Which is very good to see: Bands that believe that the pioneers of the genre are owed recognition and homage for inspiring the new bands we have today, so to speak. We all have a lot to thank them for. I think the current scene is still going relatively strong, obviously there have been some killer death metal gig line ups in the UK this year so far to demonstrate this.


How did the EP come together? Was it a joint writing effort or did someone take the lead?

Myself and Alex started with jamming riffs, licks and ideas together. As time passed, it then transpired to the riffs and sections for the EP being all written by myself. In essence, someone took the lead, haha.

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The EP is mixed by Graham Waller, where did you come across him and why did you decide to use him for the EP?

We originally met through some mutual friends at a local Wretched Soul gig and got talking about his studio and options at first. Then after some lengthy chats at Bloodstock 2013, I was very confident that he would be the right man for the job and the sound we were looking for. His professionalism and technical ability totally surpassed our expectations, also considering the budget we had he did a stellar job on the EP.


Kent has not always been known for its prominence on the metal radar when it comes to metal bands. What is the local scene in your area like?

The local scene is active, and very diverse in terms of the styles of metal. Bands like Infected Dead, Vulgate, Victim Identified, Wretched Soul, Then the Wave Came, Greg(o)rian and Dark Theory: All these bands are valuably contributing to the live scene in Kent. They are all relatively different styles to each other which indicates that there is a demand and interest for extreme metal in Kent. But the attendance of local extreme metal gigs can be very unpredictable in terms of turn-outs.

 

 

What can we expect from Monumentomb in the future?

We are still writing material for a full-length to be released next year hopefully. This is in conjunction with playing Beermageddon festival in August, and playing 2 London dates later this year with Krow and Gravecrusher. Label dealings are ongoing too, there will be official news in regards to this announced soon, though. Looking into touring and increasing our live presence is ever a forefront intention for the band as well.

 

 

Read our 8/10 review of Ritual Exhumation.

Monumentomb on Facebook

 

CAITLIN SMITH


Sweat And Sacrifice- Russell Orcutt of All About Records


 

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A legend of hardcore punk and metal once told me that D.I.Y. is just a slogan. A catchphrase for t-shirts worn by non-punks. Meaningless words without action. More to the point, it’s what you actually do that matters, and it’s not about getting props, credit, or bragging rights when it comes to the music scene. However, some people just find satisfaction is helping other people achieve their dreams, on bit at a time. Russell Orcutt is one of those people. Between his venue All About Records, which also includes a record label, merch company, and other artists services he provides, Russell is helping punk and metal bands of all walks tour and support themselves. Earlier this year, All About Records secured their new, current location, and continue to soldier on, with little hope of a big payday. That’s not why he does it anyway. We thank him for clearing some time from his jam-packed schedule to let us pick his brain.    

What’s new with All About Records this summer?

We just released an amazing 7 inch with the band Dynamite Dynamite from the UK and The Hideout from Boston. Our next releases will be 2 LPs, Northernmosts s/t and War Games acoustic LP.

   

It must be a 24/7 commitment to run a venue like this in a small community and make it a success.

It is a huge commitment that requires a ridiculous amount of sacrifice, I have given up so many things to keep the space going. I no longer have a car or cell phone, but its worth it to be able to help artists have a place to showcase their talents.

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What were the challenges in securing a new venue? Did you need to get the cooperation of the town?

Well the 1st we had to find a place that would allow us to have live music, that took about 6 months of calls and meetings and looking at various spaces. After that the permit process began, which ended up taking about 6 more months and by the end we had invest around 12k in rent deposits and permits. All before opening the doors. A lot of people were afraid of the idea of kids in bands playing loud “punk” music and I actually had a probationary period on one of the permits due to their fears. Neighbors actually came to council meetings to express their concerns about noise and loitering, in a downtown area.

   

I see you have shows with not just local acts, but national touring bands as well. What can you offer the national touring act that most people don’t often associate with your type of performance space?

Yea we have booked bands from all over the world since opening the new space. All we can offer them is a place that cares about the music more than profits. A lot of promoters are concerned with making money and using small bands to cover costs of touring bands, I have no interest in what band is cool or not, I just wanna help bands when they need it.

     

In addition to running the space you have run a boutique label for many years. Tell us about your success with you annual Summer Download Cards?

This whole thing started with the label, I’ll probably always put out records. The download cards are just a good way to help bands get some promo, we pass them out at our booth when we do warped tour and try to give small stacks to touring bands so they get distributed all over the place.

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What about you business model allows the merch arm of your brand to be so competitive, when many other companies charge 2 times what you do?

Everyone involved with AAR is a volunteer, myself included. I have never profited off the label or anything I’ve done musically. I have always had other jobs or sources of income. This allows me to do merch orders at low cost, our profits go directly into the space. Their business models are to make money, ours is to help bands.

   

Do you do all the design work yourself for your original AAR merch? You have a lot of clever designs.

I’ve come up with some of them, friends, volunteers, etc have helped a ton. I have a hard time coming up with designs for myself, so a lot of time I put out a call for help and see what comes from it.

   

You have toured both the US and UK with bands in various capacities. Can you think of 3 Do’s and 3 Don’t to offer as advice to bands just starting to tour?

Don’t tour before you are ready, wait at least 6 months before doing a long tour, build up a base for that tour by doing weekends.

Don’t tour without merch. Merch helps fund your tour, and helps people remember your band.

Don’t tour without money. Your van will break down, tolls add up, and gas isn’t cheap. I tell bands to save $100 for each day of tour for an emergency fund. Also get a Paypal debit card, Paypal is quicker than normal banks for money transfers.

Do’s 1. Plan, Plan, Plan, start working at least 3 months before you plan on touring. Use FB, send messages to people in the towns you will be playing, try to create street teams, etc.

2. Make sure your van can handle tour, it’s gonna break down, but you should still make sure its in decent shape before leaving.

3. Talk to people, always have a CD or download card in your pocket. Give those things out! Tours are meant to promote your band, not act as a vacation.

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Any parting words about AAR for our audience?

You may have never heard about AAR before, but if you look at us as a company or label you’ll see an amazing history of working with some people and bands that have gone on to do amazing things. It isn’t always about money or being famous, sometimes its about memories and experiences and that’s why we keep going and will always be around in some way or another.

All About Records Official Website

All About Records on Facebook

KEITH CHACHKES