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deathstench · 26 days

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Formed ten years ago, DEATHSTENCH released three albums and many eps.. The "Massed in Black Shadow" album was a great obscure and dangerous one..The crown of their sacrifice was their collaboration with Bon Masters Phurpa. John Paul Whetzel and Darea Plantin spells behind this interview.

“Blood Moon Divination” was your latest release. It was released in a limited amount of copies and only in Tape format. Why this choice?

We have always preferred analog releases. We view physical copies as something that should be appreciated.. Let's face it, it's the 21st century, and people do most of their listening through some sort of streaming service. If they like it, they most likely pirate it. We understand this; Our physical releases are intentionally designed for coveting.

We put a great deal of energy into each release. In our past special editions, we have included ritual accouterments that correspond with each album, such as shards of human bone and incense we made specifically for the intent to conjure with the dead.

You have released three albums. Please tell us the concept behind each one and the process of the recordings…Each release turns out to more noisy and dark forms..

To be precise it's four albums, and numerous collaborations and splits. Our releases are not in any sort of chronological order, from conception to the final product takes its own time dependant upon the haste of that particular record label. We record basically the same for each album, building upon a structured theme. Our music is built on layers of sounds from instruments, traditional and otherwise, that we record with either handheld devices or microphones connected to an audio interface which we use to record our percussion and amps.

Each track on "Blood Moon Divination" is an audial ritual recorded and released during each specific Blood Moon in the tetrad cycle of blood moon eclipses of 2014-2015. Through that span of time, these celestial vibrations were available as they were being released on several streaming platforms, including Black Metal and Brews and Repartiseraren. A tetrad of lunar eclipses is extremely uncommon. This was only the eighth of such cycles in over two thousand years. We compiled them together for a physical album that we chose to release during the first exclusive total solar eclipse the United States had seen in over two hundred years. Eclipses, both solar and lunar, are considered to be very inauspicious events throughout the world. As an omen of war, the Talmud regards "If the face of the moon is as red as blood it is a sign that the sword is coming to the world."

"N.O.X." is a transcendent four track journey that starts out violently with the lo-fi black metal track OXEX DAZIS SIATRIS, Enochian for "Vomiting The Head of Scorpions" and slowly transforms itself into a less chaotic discord that concludes with the meditative piece "Mysterivm Tremendvm". N.O.X. or "The Night of Pan", is a mystical state that represents the stage of ego-death in the process of spiritual attainment. The Greek word Pan also translates as All, as he is a symbol of the Universal, a personification of Nature; both Pangenetor, "all-begetter," and Panphage, "all-devourer". Pan is both the giver and the taker of life, and his Night is that time of symbolic death where the adept experiences unification with the All through the ecstatic destruction of the ego-self. In a more general sense, it is the state where one transcends all limitations and experiences oneness with the universe.

"Nekro Blood Ritual", our second album, was designed specifically for its cassette release and is broken into two sections: Conjuration Rites and Burial Evocation. This album focuses on conjuring the dead and the desecration of human remains. This is by far our most atmospheric album; most of the tracks are rely heavily on field recordings and stygian synthesizers to evoke the abject darkness. These songs are reminiscent to the "Incantations in Dead Tongues" era of our work. There are only two conventional (for use of a better term) songs on this album, "Nekrobloodritual" and "Desecrating The Host" the latter being a harsh black funeral doom dirge for the departed.

In our debut album, "Massed in Black Shadow" we utilize all of our influences through the years. Incorporating elements of death industrial, dark ambient, doom, and black metal, and hideously transforming and conjoining them into a writhing mass of absolute filth, a sound truly all our own. The final track, titled “Bastards of the Black Flame” can be considered a motto to us, as it is exactly who we are. The byproducts of an unholy union between some of the most violent forms of music, in both sound and ideologies.

DEATHSTENCH collaborated with Phurpa. How did this Union take form? Are you interested in the theory of empiricism in Bon Religion?

In 2012 Alexei Tegin had discovered our music from our debut album and contacted us. Both Phurpa and ourselves operate with the same meditative qualities regarding our music. Although our sound derives from different spectrums, they coalesce quite vividly. "Evoking Shadows of Death" fuses our ultrasonic vibrations and harsh atmospheres with the harmonious chants and deep, droning reverberations of their tantric voice. These two tracks are designed to help the chod practitioner tap the power of fear. This transformation does not fall spontaneously, as grace, upon the listener: the practitioner must engage in the process. One must take steps to transmute through the aural plane and, through a process in which they must actively participate, requiring utmost concentration and mental stamina. This mystical experience is achieved, not bestowed.

Empirical reasoning has no place in esoteric practices and the occult. These objects are neither phenomena (empiricism) nor human constructs imposed upon the phenomena (idealism), but real structures which endure and operate independently of our knowledge, our experience and the conditions which allow us access to them. Some things cannot be reduced down to empirical measurements.

Thanatology and satanism are your basic influences. How do you define satanism and how death in your personal path?

Deathlore has always intrigued the both of us. There is absolutely nothing more final than Death. Every single one of us will die, as Death does not discriminate. Dying, death and how human beings respond to the inevitability of their mortality and cope with the reality of loss can be viewed from a wide range of perspectives. Our intent has never been to elaborate on our practices or rituals to any audience. Even the altars we allow you to see are set up specifically for public viewing. While they are still symbolic of what we would normally produce for our own rituals, the intent isn't there. It's merely superficial. Our personal altars and rituals will always remain clandestine, as all witchcraft should be.

“Those who know do not speak. Those who speak do not know.” ― Lao Tzu

I would like to hear your thoughts and if you are into the systems of O.N.A & Temple of the Black Light in theory and praxis as Traditional satanic approach you unveil through your works . Satanism is such an elaborate construct; Atheistic, LaVeyan, theistic, there are so many paths. Satan has always been symbolic with the quest for Knowledge, of opposition to arbitrary authority, forever defending personal sovereignty even in the face of insurmountable odds. Our path cannot be defined by one simple ideology.

We have absolutely no affiliation with these groups.

Does DEATHSTENCH ever perform live?

We are very selective in our live performances. The last show was in Portland, Oregon way back in 2015 when we opened up for MGLA, Weregoat, and Sempiternal Dusk. Alan Dubin (of Gnaw, Khanate) and Billy Anderson, whom we have long collaborated with, did a sort of dueling vocals approach to our fifteen-minute audial assault on an beyond-capacity crowd. This show was recorded by Mateo from Greysun Records who also released it on his label in 2018.

Necromancy is an Old Art Like Time.Ancient Greece had deep roots also in this Subject. Are you familiar with the Ancient Greek Mysteries?

Yes, we are familiar with some of the Chthonic mysteries highlighting mortality and the briefness of life, and the spirits of the blessed dead. Though, like most true paths of esoteric knowledge, not much is truly known about the intricacies of these rituals, having been sworn to secrecy and then lost to the Sands of Time. It has been suggested that communicants would drink Kykeon infused with the psychotropic fungus ergot which helped the initiate to reach a fuller understanding of their purpose in life and to shed their fear of death and this, then, heightened the experience and helped transform the initiate. The same can be said of the Huichol in Mexico, who eat peyote at the completion of long arduous pilgrimages in order that they may experience in the journey of the soul of the dead to the underworld. Death worship and eschatology are celebrated by all cultures throughout time, most with the use of hallucinogens.

I would like to hear your thoughts on these words: “This being true for the ordinary Universe, that all sense-impressions are dependent on changes in the brain we must include illusions, which are after all sense-impressions as much as “realities” are, in the class of “phenomena dependent on brain-changes.” ― S.L. MacGregor Mathers, Goetia the Lesser Key of Solomon the King: Lemegeton, Book 1 Clavicula Salomonis Regis

In contemporary education, the emphasis has been on the psychomotor and the cognitive, namely reading, writing, and arithmetic, at the expense of the affective, namely, the emotions, the sensual, the intuitive, and the imaginative. Priority has been assigned to the verbal-intellectual skills. Anything else tends to be shelved or boxed and put away as ephemeral, esoteric, or mystical, each of these terms being used in a pejorative sense.

Consider for a moment the human sensory system. To the scientific mind, the senses are perceived to act as a kind of data-reduction system. The problem with this concept of the senses is that we do not respond to all that is potential sensory input. Perception is quite a selective process, attending to only a small fraction of so-called reality.

To some extent, scientist or artist, everything we perceive is "illusory," since to perceive anything at all we must use our imaginative capacity for fantasy.

What can we expect from DEATHSTENCH in the near future?

We have a few albums waiting in the shadows including collaborations with Sektor 304 and LINEKRAFT, as well as another full-length album incorporating both Billy Anderson and Alan Dubin. Time is relative, and there are no promises as to when any of these releases will see the light of day.

#DEATHSTENCH #zazen sounds #dark experimental art #ritualistic expression #dark ambient #esoteric black metal #death worship #audial witchcraft #occult black ambient #ritual music #death industrial #death ambient #black ambient #ritual ambient #occult magazine #indie zine #metal zine #band interview

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cavedwellermusic · 9 months

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Tainá Bergamaschi (Crypta) Interview

Photographs from the Crypta official promo shoot, 2023 by @eromera On July 31st, CRYPTA guitarist Tainá Bergamaschi graciously took the time to answer some Cave Dweller questions before heading back out on tour. They talk metal, touring, and the band's new album “Shades of Sorrow” out August 4th on Napalm Records.

Read Christian's full interview with Tainá and find music videos and links to listen to and order Shades of Sorrow at the link below:

#crypta #death metal #interview #extreme metal #Tainá Bergamaschi #brazilian metal #shades of sorrow #cave dweller music #band interview #Bandcamp

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25carbon · 8 months

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ben folds five - three page magazine spread

#ben folds five #magazine #magazine scans #music #band #band interview #90s #ben folds #darren jessee #robert sledge #archive

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dougwallen · 1 year

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Dry Cleaning feature for The Big Issue Australia

#Dry Cleaning #The Big Issue Australia #The Big Issue #Stumpwork #4AD #indie #post-punk #music #band interview

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gbhbl · 1 year

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Band Interview: Recorruptor

Games, Brrraaains & A Head-Banging Life bring you an interview with death metal band, Recorruptor.

Games, Brrraaains & A Head-Banging Life bring you an interview with death metal band, Recorruptor. 1. How did you get started as a band? The band was started by Dustin Cook in 2013 under the name Rotting Inside. After a couple years, the name changed to Recorruptor and became fully realized as a band in 2016. 2. How would you describe your sound? Death Metal, with a mix of old school sound with…

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#Band Interview #Interview #Recorruptor

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poppedmusic · 1 year

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Interview Exclusive: The Pale White

Words: Julia GranthamPhotos: Trust A Fox Casually rotating between Instagram and Facebook one day -looking for anything music or gig-related that might excite me over The Christmas period- I spotted a poster for a Deja Vega gig, on a night I was free, but nowhere near my house in a town I’d never heard of called Darwen, in Lancashire. Annoyingly, living on the other side of The Pennines and…

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#album #band interview #deja vega #exclusive #Interview #Music #new music

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n3wmoonradio · 2 years

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An Interview with Dead Possum Girlfriend

On May 9, 2022, I had the pleasure of interviewing Patrick Glynn of the up-and-coming folk punk band, Dead Possum Girlfriend! After performing alongside them at Unity Fest, a community gathering dedicated to celebrating the unionization of local Starbucks stores, I knew that I had to have them come on the show. The band is self-described as sometimes folk, sometimes punk, and always fun, singing songs from the river.

Isabella Stevens: Patrick, thanks so much for being here with me today.

Patrick Glynn: Thanks for having me!

IS: I’m curious to know, how did your band get together, and how did you all start making music?

PG: Well, Dead Possum Girlfriend really started out as a pandemic project. It was just me, sitting on my porch with an acoustic guitar, playing the same improv songs multiple times. Then, I started writing some of my own music, and I was able to find the two other members that make up, I would say, the “core” of the band: Patrick, and my other friend, Hayden, who actually works at Starbucks with my wife. We were able to work together, and they added their own specialty flairs to everything, helping to evolve our music into what you hear today.

IS: That’s so awesome! Branching off of that, is there a story behind your band name?

PG: Not really, I wish that I could have a really funny story. But, I think, I was actually just singing a funny song about taxidermy and possums, and I just said that and thought, “Man, this is a great band name!” We just kind of stuck with it.

IS: Sometimes, that’s how the best band names form.

PG: Right!

IS: On another note, how did you become involved with the Richmond music scene and what has your experience there been like?

PG: So, for this band, the performance at The National was our first real show, because this project was really born of the pandemic. We really haven’t dived into the local music scene really yet. But we’re hoping to, and we have a couple of shows lined up in the Richmond area, so, we’ll see how that goes.

IS: Great, that’s so exciting! Any shows that you want to shout out?

PG: Not quite yet, they’re all still in the works, but hopefully soon!

IS: Awesome. I’m curious, what does your creative process look like, and how have you gone about writing your songs so far?

PG: So, the band is kind of in a transitional area. I had, I’d say, 5-7 songs by myself before I even had the other two members of the project. So right now, we’ve been kind of focusing on those songs. Since then, our writing process has kind of been... well, our guitar player, Hayden, is just a killer guitar player. And Patrick is a genius with lyrics as well as percussion, and I can keep a few tunes in my head occasionally, especially with some lyrics, right? So, we kind of just honestly jam and find a rhythm the we like and play around with it. I’m mostly, you know, our “studio man.” So once we jam, I’ll be looking back at sounds and stuff that we have previously created, like chord progressions, and I’ll record those and start building songs from there.

IS: Yeah! Kind of branching off of that, what’s the recording process look like and how do you go about producing your songs?

PG: So... my process is a little, well extremely, tedious. I actually do it all on an iPad, with just like two mics, a lot of time and effort, and a lot of EQ-ing and mixing. But, I usually just start with an acoustic guitar, and I just strum the chord progression and start adding layers, layers, layers... and next thing you know, you have a song. The only problem with me is like... remember when you would make a painting and people would say “no negative spaces?” Well, the second I hear a negative space in the music, I’m like, “Oh, there should be a tambourine right here,” or something, and next thing you know, you have like 83 tracks. I can’t stand a moment of silence in any of my songs.

IS: It’s kind of nice though; I like songs with a lot of layers like that. It’s really cool to hear!

PG: Yeah, definitely.

IS: Is there any common theme or idea in your music? Or, anything you’re hoping to write about with this new band?

PG: Mostly, my stuff, especially what I write, is just about my life in Richmond. I like to think of Dead Possum Girlfriend as, like, the folk band of Richmond. It kind of has songs about how you would feel about Richmond, places that people have been to... like, my one song, Bitsy’s Rock, is about the journey when you’re walking around the river, all the crazy things you see that I think you only get in a Richmond river. It’s kind of like, music for Richmonders, about Richmonders.

IS: Yeah, I love that! Is there any specific reason why you picked folk punk as a genre to convey that?

PG: Punk played a huge part of my entire life, I’ve played in mostly punk bands for most of my life. And folk, I think, is music for people especially in the working class. Sometimes, folk gets construed as this, like, “high-brow music,” when I think deep down that folk is traditionally music of lower-class people. And that’s what punk is, and I think the merging of them sounds really cool. Acoustic guitars and an angry message works just as well as heavy guitars and screaming.

IS: Yeah, I think that’s really interesting. Have there been any particular influences on your songwriting and the type of music you try to produce?

PG: For my music, Rancid was a huge band growing up for me. I love 90s and 2000s punk, as well as one of my favorite bands of all time, Old Crow Medicine Show, which is kind of a faster, looser side of the bluegrass movement. And then, of course, Bob Dylan. He’s a genius about everything. And I think, although those are all very different sounding types of music, they all convey a similar message. They’re true songs about true people and things.

IS: I love that. What do you think has been your favorite piece you’ve written so far?

PG: Oh, so you’re making me choose between all of my favorite children.

IS: I know, kind of a broad question, but...

PG: I don’t know, the problem I have is that I have made a lot of music for a long time. I have made music in punk bands, in metal bands; I’ve made electronic music for a long time. But really, I think Dead Possum Girlfriend is the truest thing to what I would call “my music” and how I feel.

IS: That’s great! Do you have any releases coming in the future with the band?

PG: Yes, we do have our first album coming out in July. And also, we’re going to be on a folk punk collab with a bunch of people from around the United States as well as with a couple of people from the Netherlands and stuff. It’s helping out the Trans Lifeline charity, and all of the money from it will go to them and help out people in the transgender community.

IS: Wow, that’s really great.

PG: Thank you.

IS: What do you think have been some of the challenges that you’ve faced as an up-and-coming band, so far?

PG: Really, COVID has put a huge dent in all music establishments, for new bands... it’s so hard to get shows nowadays, because all of the bands are looking to play now. You know, especially in Richmond, it’s a very oversaturated place with music. Which, is not a bad thing, but makes it hard starting out. Really, getting shows is a difficult thing and I feel like you have to know people and have a reputation. But, if you don’t have a reputation, it’s hard to get started.

IS: Have you thought about trying to play at the Richmond Folk Festival?

PG: Oh no... maybe one day. I would play anywhere really. I just love playing.

IS: Kind of on the other end of that question, what do you think have been some of your greatest successes as a local artist and what does it mean to you to be a Richmond band?

PG: I think Richmond is a beautiful place for music, arts, nature, life in general. It’s my home and it always has been my home. I’ve enjoyed sharing that with other people. I would say, when we played at Unity Fest, it was a great moment. We played a lot of union songs and hearing people sing and be passionate about it was very cool. Like, we played “Solidarity Forever,” and I don’t think we actually finished the song. We got maybe two verses in and then the crowd just kept singing the chorus, and we just let them do their thing. It was a really cool moment and it was beyond what we were playing, it was a whole thing in itself.

IS: That’s really amazing. I have one more question for you today, what direction do you hope to see the band moving in for the future?

PG: So, adding Hayden and Patrick has really opened up the musical world for me. Our first album has a little bit more of the folk-y side of it, but we’re beginning to play more jazz-y stuff, blues... I’m starting to play the accordion in some of our stuff. So, I think we just want to keep branching out, all three of us. I can get super bored playing the same sounds and the same thing, so I think it’s just going to be a future of trying new things, experimenting, having fun, and continuing to make music.

IS: That’s awesome! Thank you so much again for being here!

PG: Yeah, thanks for having me!

#radio #college radio #interview #folk punk #band #folk #rock #indie #music #music interview #band interview #punk #new music #richmond #dead possum girlfriend

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thenwothm · 11 days

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INTERVIEW: GENGIS KHAN (ITALY)

A fan of Manowar and Kiss, a lover of true heavy metal music with a warriors spirit, Gengis Khans leader Frank gives TheNwothm an insight into the world of the band!

A fan of Manowar and Kiss, a lover of true heavy metal music with a warriors spirit, Gengis Khans leader Frank gives TheNwothm an insight into the world of the band! TheNwothm: Hey there thanks for agreeing to this interview! Can you tell us your band name, who is in the band and where you are from Frank Leone: Hello , we are Gengis Khan, we come from Bologna Italy , this is Frank, leader of…

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#Band interview #Gengis Khan #Gengis Khan band #Gengis Khan italy #Heavy Metal #New Wave Of Traditional Heavy Metal #Possessed By The Wolf #thenwothm #thenwothm.com

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beginagain-- · 5 months

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Band Interview Of The Day - The Haptics

If If could introduce yourselves for us, who are you?My name is Jin, and I’m the lead singer for The Haptics! How did you all meet?We found each other through posts on Craigslist, actually. We were all looking to play music with other locals and I really vibed with the music that Cam (guitarist) and the other bandmates were making. It reminded me of Joy Division, one of my favourites. How long…

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#band interview #interview #the haptics

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ianspideythompson · 11 months

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Sat down with my friend Maggie Schneider of glimmers last month! We talk about the band's origins, growth, new music, touring, and their recent expansion to Twitch. Glad to finally sit down and talk! Give it a read above!

#glimmers #pop rock #pop punk #alternative #alternative music #interview #all punked up #band interview

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brandiisgoingtohell · 11 months

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Episode 28: You Bred Raptors? NYC's Instrumental Post-Rock Trio

BRANDI IS GOING TO HELLEP. 28: Episode 28: You Bred Raptors? NYC’s Instrumental Post-Rock Trio LISTEN HERE EPISODE DESCRIPTION I kick off this episode with new releases that I dig, which includes Covet’s catharsis, Jesus Piece’s …So Unknown, As Everything Unfolds’s Ultraviolet, The St. Pierre Snake Invasion’s Galore, and Doom Genesis & The Alchemist’s No Idols. My special guest includes Peat…

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gbhbl · 2 years

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Band Interview: Radio Aftermath

Games, Brrraaains & A Head-Banging Life are pleased to bring you an interview with alt-rock band, Radio Aftermath. 1. How did you get started as a band? Chris (Dennett, Vocals and Guitar): I started the band in 2014, I had songs written that didn’t gel with the pop punk band I was in at the time, as they were much darker and aggressive. I had grand visions and aspirations from the start: from…

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#Band Interview #Interview #Radio Aftermath

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jasonaaronpro · 1 year

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Armchair Boogie: Exploring Bluegrass Energy with a Modern Twist

Explore our exclusive interview with Armchair Boogie, the bluegrass fusion band set to rock the stage at the Sustain Art & Music Festival. Learn about their influences, unique sound, and passion for sustainability in the arts.

Meet Armchair Boogie, the exciting bluegrass fusion band set to perform at the upcoming Sustain Art & Music Festival. Discover their unique sound, musical influences, and commitment to sustainability in the arts. Get a taste of their high-energy live show and find out what to expect from their performance at the festival.