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Interview with doomsters Project Armageddon (Texas,U.S.)

Project Armageddon (Houston,TX. U.S.)
Recently, I took a very important international corporate business trip to the big apple, Houston, Texas, where the cold winds freeze, the buffalo roam free, and the lunar beaches shine bright with the stardust of the future past. It was nice to leave my grandma’s basement in Washington State for a while and enjoy my wealthy lifestyle in Houston.

One day I was having my happy vegetarian meal with a couple of tycoons, and my grandma, who is blind in Texas. Anywho, The Hermanitor came up to me and whispered, looking right into my good, left eye: “I’ll make you an offer you can’t refuse, I’ll make your day, punk” and then handed me this cd, and added: “Say hello to my little friend.”
It was Project Armageddon!

After dinner, my grandma and I asked the limo driver to pop in the cd.
Little did we know about the doom that awaited us. My grandma exclaimed, “That’s brilliant! Simply, brilliant! I can’t believe that Texas has such splendid doom and we didn’t know. It reminds me of the music of my youth in England, when I would go to concerts in Birmingham and Tony would get together with Bill and the lads.”

The Hermanitor was right. Here they are, Project Armageddon, calling out to the doomster stoners of the world. You wanted the doom, you’ve got the doom! Here the answers by Raymond Matthews (drums) and Alexis (vocals/bass) to a set of questions that I sent them in Morse code. www.projectarmageddon.com

Read More....

Eternal Helcaraxe (Ireland), Avenger (Czech Republic)Moonkult (Finland), Cultfinder (U.K), Ahnengrab (Ger), Skinflint (Botswana)KREMATHORIUM (Panama).

Ara’Kus is a heavy metal opera, theater, with actors and a story to tell, with heavy metal music. If you are curious about the “heavy metal opera,” then do yourself a favor and take the time search out Ara’Kus. I’m certainly glad I did....

Ara'Kus

New interview by MMB: Interviews with Cadaver (China) Warseid (US ) & Void Moon (Sweden) Breed Infection (Iran), Dogbane & Immensity -MMB

Photo: INTERVIEW      Cadaver  (China)  To-the-point brutal death metal is what Cadaver delivers! For those times when you want the music to get you going, that’s when Cadaver sounds on.  	In this interview, Jason (guitars) explains the origins of their heavy sound, their interpretation of brutal death metal, and several other happenings in their camp.  Obviously, they are doing more than a few things right. In addition, they have some pretty cool plans coming up, as Jason reveals.  --  Hello, Jason! How are you? I heard Cadaver’s demo and I wanted to find out more. What’s going on at the present?    Hey, first of all, thank you for approaching us for the interview!  Currently, we are tracking guitars, bass and vocals (drum parts have been completed) for our self-produced EP which is scheduled to complete by around February or March 2013.  Over the past few months we were featured on an online radio show that focuses on the underground music scene of Hong Kong, played at a metal festival locally, and featured on overseas web radio shows.  And as for band merchandise, we are collaborating with a local illustrator (Tam Kwok Lun Illustrations) for band shirts, and the first design has been released and sold out, so a new design should be on its way out soon.     What kind of challenges and opportunities does Cadaver as a metal band confront in Hong Kong?     Hong Kong is a small city, and also one of the densest cities in the world.  In my opinion, this poses two contrasting issues.  First is that, we are not able to play as often as we would like to as Hong Kong is small enough for everyone who is into metal to attend a metal show, it wouldn't make sense for someone to turn up to see us, or any other band, say once a month.  Unlike, say US, or EU, where cities are spanned out further apart, it makes sense for the bands to travel around for the audience, therefore more show opportunities.  On the contrary, because Hong Kong is such a dense city, a band can promote themselves rather quickly.  With social mediums like Facebook and YouTube, news can spread very quickly.     Did Tak (bass) and Wai (guitars) start Cadaver in 2003? But Jason (guitars) and Sham (vocals) joined in 2009? Does Cadaver have demos from 2003-2005? Were Jason and Sham in other death metal bands in 2003? And your drummer Wil joined the band in 2011?     Yes, Tak and Wai, are the only founding members left in the band now.  They started the band back in 2003.  I joined the band in late 2009, and at that time Tak’s brother Ming, also a founding member, was on bass and vocals.  The four of us did a local metal festival in mid 2011 and Ming left the band shortly after that.  By the end of the year Sean Sham and Wil Ho joined the band. There weren't any recorded demos between 2003-2005, but there is a DVD of the 2005 Cadaver playing at another local metal festival.   Sham, Wil and myself were in various bands before Cadaver and I can say that we are all putting in the most effort into this band compared to our previous ones.      Do Wai and Jason write the songs together? Does Sham play instruments or only vocals? What type of collaboration is there in the band? Is Will present when the songs are written?    Wai and myself write the majority of the music.  Wai tends to write together with Wil, whereas I like to write the majority of a song and present it to the band.  When the music is more or less confirmed we sit down with Wil to work out drum parts, fine-tune the song tempo and arrangement.  We will then record a very rough live version of the song and give it to Sham to write the lyrics, and at the same time Tak will work on the bass parts.  We try to have all five members present at all writing sessions to throw in or out any ideas.  We respect each other's opinion, so if one person says that something doesn't sound right to him, we throw that away.     Are your lyrics and vocals in Cantonese? On Metal Archives, it seems like your demo has three songs in Cantonese and two songs in English?     Out of the five completed demos, two of them are in English, and the rest are in Mandarin.  “Manslaughter” and “Moment of Massacre” were being written during the time Wil and Sham joined.  At that time we hadn’t decided Mandarin lyrics was the way to go for us so these two songs were done in English.  For the up-coming EP we will have “Moment of Massacre” recorded in Mandarin to match the rest of the songs.  So when we wrote as a group of five, we decided to stick to Mandarin as it is easier for us to express ourselves in our mother language.  We also think that Mandarin sounds more brutal because of the language’s tone and pronunciation, and that each syllable is one Chinese character gives that uniqueness compared to a set of English lyrics.   The Mandarin songs are mainly about the existence and value of life.  We try to pick a topic of value and metaphorize it into an issue that is commonly experienced in life.  For example, we have a song titled “Poh Yung” (roughly translates to Emerge from a Pupa), we used the image of an ancient Chinese torture to metaphorize the renewal of a man that was once in greater pain than the torture itself.  Normally, we throw ideas around within ourselves and when we decide on one particular theme, we will let Sham write the lyrics on his own.     Some people have described your music as New York-style brutal death metal, like Suffocation, Incantation, Mortician, Immolation and Cannibal Corpse. What attracted you to playing this type of music?      These are certainly bands that we look up to.  Personally, it is the technicality and the sonic power of this style of music that really makes me obsessed.  What really fascinates me, as a guitar player, is that a guitar can be used to play the most brutal riffs, or the tenderest melodies.  This really made me want to explore the vastness of guitar based music and the deeper I dug the more extreme the bands I discovered.  My taste of metal developed quite gradually.  We all had our days listening to Metallica, then you would discover Pantera, Slayer, then came Cannibal Corpse, Suffocation.  I remember the first time I heard “Hammer Smashed Face” I was like, what the fuck is this, but in a good way.  Cannibal Corpse really made me dig deeper and deeper into the roam of extreme and death metal.  We don’t limit ourselves to the genre of metal or music in general that we listen to, what sounds good is good!  Within the band, we spin all types of music: Pop, electronic, core, metal, jazz, fusion, whatever you show us, we will listen to it and enjoy it.  There are some bands that inspire and influence Cadaver’s music and to name a few, Pantera, Decapitated, Cannibal Corpse, Gojira, Defeated Sanity, Spawn of Possession and Suffocation.     Do you think that in the future it’s possible for Cadaver to be a successful band by touring China, playing death metal?      We certainly hope to get successful enough to tour!  We have plans to do some shows in China to accompany our EP release in 2013.  We also aim to travel to Taiwan, Malaysia, Singapore, and hopefully Korean and Japan.  We have heard very good feedbacks from the bands that have played in China, so it makes sense for us to tour China as our first tour.      What do you think about the idea of touring Europe, South America or the U.S.? Maybe that is possible in the future?  Doesn’t every band dream about touring Europe and America?  We will definitely grab that opportunity if it comes up.  But first things first, we feel it is important at this point to produce an EP or album as a medium to present ourselves and show our dedication in what we do.     What is the best way to contact you?     The quickest and easiest way is to connect with us via our Facebook.  We also have a YouTube channel where we upload footage of any writing or recording progress.  And you can download all of our demo recordings for free on our Soundcloud.  Once again, thank you for your approach and it has been a pleasure doing this interview!  https://www.facebook.com/CadaverHongKong  http://www.youtube.com/CadaverHK  http://soundcloud.com/cadaverhk  Jason			THE END.Photo: INTERVIEW    Warseid (U.S.)  Given that Warseid (Madison, Wisconsin) works with longer song structures, those who are appreciative of bands on the more brainy side of metal should find in Warseid several aspects to delve into. The progressive melodic dark symphonic metal found on “Where Fate Lies Unbound” presents a treat for the patient ear willing to find out what the musical journey entails. Sounding black metal at times, and folky at others, frequently melodic, with both harsh and clean vocals, Warseid has made an effort to produce something to be proud of, and it shows.  	For example, “Farewell” is 11 minutes long, so there is a lot room to explore for the listener. It is not really the type of song that can be absorbed well with the first listen, of course. For this reason, it is true that Warseid requires a bit of a patient listener, and that patience is rewarded later, with repeated listens. Warseid is not a fast food hamburger, after all.  	This interview helps to understand Warseid. Kyle (bass) answers.  --  Your recording “Where Fates Lies Unbound” seems to have surprised some reviewers, who did not expect the good quality. Actually, you have four recordings so far, correct? What type of activities have you been doing since you published “Where Fate Lies Unbound”? How often do you play Madison, Wisconsin? What about Oshkosh and Oconomowoc?!! Oconomowoc needs to rock, too!!    We do indeed have four releases: two demos and two EPs. The two demos were us experimenting and trying to find our sound and the prior EP was a collection of what we felt was our best songs from those two demos plus a few new songs. It wasn't until “Where Fate Lies Unbound,” however, that we found what is our niche in the metal world.  Since releasing Fate, we've been trying to push out of Wisconsin and into different regions in the Midwest between our terms at college. We really do enjoy playing live, most especially for new audiences. We only play Madison once every six months or so because of school being as it is and that we travel a lot to play. Don't get me wrong, Madison is one of our favorite places to play (not just because it's our hometown!), but this way, we will always have something new to offer our fans there.  We'd love to play Oshkosh and Oconomowoc! The last time we played up in that area was at Arbor's release show of The Plutonian Shore in Green Bay. It was a fantastic show and the crowd ruled.      The song “Farewell” is some 11 minutes long and it has lots happening: prog, folk, blast, black, symphonic, to name a few. How do you start writing a song and end up with 11 minutes of a monster like that? By accident, “oops, this is now 11 minutes, what do we now?”    Haha thank you! Well, our keyboardist, Joe, had the idea for quite sometime, actually and wrote all of it shortly after the release of our “Sentry” EP before showing it to us. It was only a collective effort when we finally began rehearsing it as a full band.     Did “Farewell” have the same process of composing as the other songs? Did you write at home, together in rehearsal? Do you get together to play and write or only get together to rehearse a full song?     “Farewell” did have a similar process of composing as the other songs on WFLU, but unlike the other songs, Joe had written more or less all of it before showing it to us. From there, we changed and wrote more, which really just amounted to telling Joe to do such, and thus creating what is now “Farewell.”  Typically, our writing process is each one of us coming up with sections of song ideas and transcribing them onto a program (we use TuxGuitar, which is the freeware version of Guitar Pro) before putting them up online for everyone to listen to. We do that so anyone can alter and add whatever they come up with and see where it goes from there and, more importantly, have total control of what is played in the song and have an idea of the final product. After probably months of reiteration, we have a more or less complete song and will finally rehearse it together, further tweaking and refining the song.    “Frost upon the Embers,” like your other songs, has what appears to be acoustic guitars? Are those acoustic guitars? Now, what about the symphonic sounds, how do you come up with that, studio samples, keyboards, etc.? I’m thinking that “Embers upon the Frost” is your best song, and then I listen to “Vengeance Pact” and I change my mind. Then again, “Shackles through Sand” and its melodies is pretty darn good, too. The reviews on Warseid have been positive, but did you have an inkling that you had done something this good?     It's a classical acoustic guitar with nylon strings. Our former lead guitarist, that recorded “Fate” with us, is majoring in guitar and has become a very good classical guitarist. The symphonic sounds were programmed by Joe.  And thank you for the kind words! I know that we were thinking that what we wrote for WFLU was the best we have written, but we certainly did not expect the amount of great reviews that we have received so far. It's really encouraging to read that so many people have enjoyed what we have created. I think it's more that the reviewers are surprised that our kind of music has come out of the US than anything. But even still, I think Wisconsin is more known for death metal (Putrid Pile) and melodic death (Luna Mortis) than other metal genres.    Are the growled vocals done only by one person on the recording? What about the singing, is that the same person? Have you used any vocal effects on the growling? Have you used autotune on the singing?! Stupid autotune! Would you admit it if you had used autotune?!    The majority of the harsh vocals were done by Logan, though there is that part in “Shackles Through Sand” where we all do screams. Joe also has a couple of his own screaming sections in “Shackles.” There are no vocal effects done besides vocal layering to make the vocals more dynamic. The clean singing was done only by Joe. And no, no auto tuning haha. Never auto tuning.    I thought it was refreshing that you guys were honest in an interview that I read recently. Y’all mentioned that some of you used to like Slipknot and nu-metal or whatever. What happens in your ways of thinking that one would go from Slipknot to playing progressive melodic dark symphonic metal? (That’s what I’m calling Warseid today, by the way! I might call it Badger Metal tomorrow.)     In my case, I had a friend introduce me to Mayhem and Cannibal Corpse right after I finished 8th grade, when I was 13. It was love at first listen. I still respect Slipknot and other bands like them for all of the years I spent listening to them because they were, ultimately, my foundation for getting into much better metal, but I don't have any predilection to listen to them anymore, let alone incorporate that style into Warseid's music. I don't think any one of us does.    How do you balance having a good sound and too much studio “magic”? If a band uses triggers, sound replacement and things like that, is it almost like using a drum machine? Are we hearing what the person played, or are we hearing not the drums (the snare, the double bass, etc.), not the sound of the drums recorded, but rather the sounds of a computer program? How does Warseid view these matters of technology and ethics? Some big names in metal have used drum machines and claim that it is a real person playing drums.    That's a great question. I'm actually not sure how to answer it that well. I mean, we polished the hell out of the tracks as best we could, but we do what we can to show what we can do sans 'studio magic.'  I don't think using programs that do sound replacement for find are like using a drum machine. The drummer still played the part, still their skill, but it may not have had the best sounding kick or whatever, so the sound is replaced so that it sounds better/can be heard.  We view a lot of these things as tools. We use drum machine for when we record demos for ourselves and it's much easier than going through the hassle of recording drums (which really is a pain haha) and we also use plug-ins and emulated symphonies for our recordings. I really don't think it's that much of an issue to use these tools that are available to musicians.    Are y’all college students? Do you want to make a living from playing music and would you be willing to move to do that?     We are college students, yes. It unfortunately makes playing that much harder to do as we aren't together that often over the semesters. All we really can do is try and keep a steady online presence until the winter and summer seasons and hope that people remember us haha.  Even despite going to college, we really do want to 'make it' in the metal world (read: get on a label and tour our collective asses off.) I don't think moving would be that much of a help to our careers, honestly. With online promotion and putting our music out digitally (and free!), we can do much the same. Besides, Madison is a fantastic city to live in and the metal scene is growing every year.    Do you have a website, ReverbNation, Facebook, Twitter, Myspace or anywhere that is the best place to find out the latest on Warseid?     We have all of those sans Twitter. And a fair warning to those who want to check out our MySpace, we have not updated it in quite some time. However, the two best places to listen to our latest release are our Facebook (www.facebook.com/Warseid) and Bandcamp (Warseid.bandcamp.com) pages. THE END.Photo: INTERVIEW    Void Moon  (Sweden)  Reading reviews of Void Moon on Blabbermouth [calls the band “sloppy” and “messy”] and on Brave Words and Bloody Knuckles [says the band’s problem is “rawness” and the non-“modern” production], makes me wonder if they listened to the album hurriedly to write the review. I like to give albums proper listens, be it 4 or 6 or however many, until I think I get it, and then decide how to approach the review.  	Void Moon is a doom metal that plays midtempo and slow songs, with clean vocals, in the traditional doom metal sense, with a non-clicky production. Their album “On the Blackest of Nights” is melodic, melancholic honest-to-goodness doom metal. “Sloppy”? No way! “Sloppy” makes me think of some crust punk garage black death metal recordings (many of which are awesome!).  	I find Void Moon’s album to be fun, in a doom-miserable way, and well done and I have certainly enjoyed it. As with most doom, it does take a few listens to understand the vibe, but it’s a rewarding experience.  	Maybe it’s time you checked them out yourself, starting with this interview, answered by Peter (bass).   --  Hello, what’s up with Void Moon, now that you have released such a good album, what are your plans for world conquest?!    Hello! We are really pleased with the album and the great response we’ve gotten! At the moment we are actually rehearsing and writing new stuff, but we are also preparing for a few gigs during 2013 (nothing official yet). Our plan is to play live as much as possible to promote the band and our Doom!     According to Metal Archives, some of you have played in death or thrash bands, like Indemnity. Was it strange to get used to playing midtempo/slow? Was it difficult to convince Jonas Gustavsson to sing in a clear voice?     We have all played in a lot of different bands, heavy, thrash, black, death, doom. Haha, I think especially Thomas (drums) needed some time to adjust to the tempos. He is a very skilled drummer and he loves to play fast, but he also understands that sometimes for the good of the songs he has to play slow and simple. I think we have managed a pretty good mix on the album, there are some intense drum patterns as well as some really simple ones.   	As for Jonas’s clean singing, he has mostly sung in a clean voice before so there wasn’t an issue really. His main focus is melodies and I’m impressed how he changed some songs just by adding a little melody to some passages.     Question for Thomas Hedlund and Peter Svensson, your rhythm section. Void Moon made me think about the fact that I can hear the bass, and also that drummer is not playing at lightning speed. Is there more freedom to play this way?     We have started rehearsing more or less all songs just by playing bass and drums. After we set a foundation we added guitars, harmonies and vocals. I, for one, am very pleased with playing a bit slower which gives me a bit more room to add some bass lines. Since I was in charge of recording I was very keen on getting the bass up front as well as the drums. A lot of new doom records have extremely high guitars and bass and drums are very low. I think it should sound like a real band playing.     Void Moon sometimes does not do guitar solos, and I have noticed that Void Moon has found another method of doing things: You do slow, simple melodies that are very memorable. Have I discovered the secret ingredient of Void Moon?! Tell us about that wonderful melody on “Cyclops” at about 1:30-2:00. Who came up with that melody, both Jonas and Erika? It is such a good melancholic melody. “Among the Dying” is depressively good song. At about 1:12-1:35 there it is again, the Void Moon secret ingredient for melancholic melody of doom. I notice that Erika is also in Cult of the Fox, a traditional heavy metal band?    Yes, I think you stumbled in on our secret! Just don’t tell anybody! Since the band started without a lead guitarist we developed a solo-less sound I think (there are a few solos though). Doing short melodies is often more effective than a solo.   	I can’t remember who came up with the idea in “Cyclops,” but at first it was only one guitar playing. When both Jonas and Erika rehearsed it they both played that part with some variations. It sounded great and we worked how the melodies should fit together and then we kept it! Erika is, besides a good lead guitarist, excellent when it comes to melodies and harmonies.   	Yes, both Erika and I play in Cult of the Fox. You can hear a lot of her melodies on the coming COTF-record (out in early 2013).     For you to play doom metal, what are the bands that convinced Void Moon to go for it and play doom? Do you like New Wave of British Heavy Metal doom bands like Witchfinder General or Pagan Altar? What about lesser-known Swedish bands like Stillborn from the 90s? I imagine you will be asked a million times about Candlemass.    The sound of Void Moon actually came from the songs I was putting together in the beginning of the band (I’m a lazy player so I play slow). We didn’t have a fixed agenda, it is just how it happened. We couldn’t name the band until we had a few songs to know what band name would fit the music! I’m a huge fan of Pagan Altar and it was great to be able to be on the same festival as they last year at Malta Doom Metal Festival. I really enjoy Witchfinder General as well, all the classic stuff! One of my favorite NWBHM-bands is Satanic Rites, but they are not so much doom. Great that you mention Stillborn! We have actually been discussing cover songs and one candidate is “I, the Stillborn” from “Necrospirituals” (album)!   	We do not mind being compared to Candlemass, it is just a great honour that people think of them when they hear our music. They have influenced us both directly (like what would Leif do?) and indirectly growing up with their music.    Have you considered that the legends of doom metal (Black Sabbath, Candlemass, Trouble, etc.) are now old/soon retiring, and that at some point here in the next 10-15 years, a band like Void Moon can actually be one of the top bands of traditional doom metal? Your time is coming!     Yeah, that would be great! Not that they are retiring, but to get Void Moon up in the league of legends (of course, we know that we never can match those bands really, but it’s a very nice dream!). Hopefully, by that time we have put out a couple of albums and made a good name for us in the world of metal! Our goal now is just to put out music and play as many shows as possible!    How can people get in contact with you and your music and shirts? Maybe Void Moon fans can start a petition to get your band to play Wacken or Sweden Rock?     Thanks for the great interview! You can find all our merchandise (T-shirts, patches, cds and 7’) at our website www.void-moon.com or just e-mail us at contact@void-moon.com. We also have facebook and myspace. All tracks from the album are available at youtube, channel “mournblade666”. We hope that the word gets around so we can play at lot of gigs in the future. For us it doesn’t matter if it’s Wacken or the local pub, anywhere people want a dose of Epic Doom Metal we’ll be there!!!! THE END.--

Breed Infection - The Maze of the Inaccurate Assumptions

 

Eternal Helcaraxe - Against All Odds

Eternal Helcaraxe (Ireland)

Melodies within a black/viking metal framework, with slight symphonic/folk overtones (not too much, though), Eternal Helcaraxe is a solid proposition, with good arrangements and songs.

 

 

Power Theory

 

Straight-up, no-tomfoolery, rocking, mean, traditional heavy metal, as Power Theory have learned from bands like Accept and Judas Priest. Power Theory has a gritty, hard, street heavy metal sound; thus, this is not “keyboard metal,” nor “symphonic” stuff: just loud guitars, with heavy-metal riffs, and heavy-metal solos...

Avenger (Czech Republic)

Avenger - Bohemian Dark Metal

On one hand, Avenger’s sound brings together the intelligently-composed twisted heaviness, darkness and atmosphere that is encompassed in complete classics such as Celtic Frost’s “To Mega Therion” and Bathory’s “Under the Sign of the Black Mark” and “Blood Fire Death”; and Master’s Hammer’s “Ritual” and “The Jilemnice Occultist.” Those albums have an artistic intention to create atmosphere and imagery of the esoteric, dark and occult in the mind of the listener.

 

Interview by MMB with the band Cultfinder ( U.K) about their latest effort: Black Thrashing Terror. As always great job! check it out...

 

 

 

Moonkult - Tears of Seers

MMB interviews:

Moonkult (Finland) “Tears of Seers” is out, and it is available for free at www.moonkult.bandcamp.comBlack metal versions of Judas Priest??!

 

 

Ahnengrab - OmenSkinflint - IKLWANEW WAVE OF LATINAMERICAN METAL cover art