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New Black Metal Book Series by “Cult” Author Dayal Patterson!

By: Dan Lake Posted in: featured, interviews On: Monday, February 9th, 2015


A year ago, metal enthusiast and writer Dayal Patterson presented the world with his authoritative document Black Metal: Evolution of the Cult, claiming the dark hearts of literate misanthropes everywhere.  To anyone who read the book and thought it could have been more developed… well, the author thought so, too.  This year, we will have the opportunity to read the first installment of The Cult Never Dies, a multi-volume project designed to explore black metal’s participants, histories and directions more deeply, more broadly and generally more inclusively.

Decibel asked Patterson a few questions about his laudable efforts in drawing these pieces together, in order to give you an idea of what to expect and, frankly, drool over while you anticipate reading the interviews and analysis that Patterson has dragged from the infernal darkness.


What’s the idea behind The Cult Never Dies project, as opposed to what you accomplished with last year’s Evolution of the Cult?

Evolution of the Cult was essentially the foundation for what is a fairly ambitious project, and it’s role was to provide an examination of how black metal came to be in the first place and how it evolved into the genre we recognise today. For that reason it primarily looked at the eighties and nineties because so many formative moves and significant music was made in that time.  Furthermore, big as the book was, I was forced to decide whether to really go into depth with the artists involved or cut down their interviews and get some more bands in there. Depth, detail and insight was always my aim in telling this story so I chose the former option.

The Cult Never Dies books therefore present the opportunity to continue the tale, to dig even deeper and to look at some of the most important artists, subgenres and scenes and tell some of the more incredible and fascinating stories. The first book is split into three parts and begins by finishing off the Norwegian story (dealing with Satyricon, Moonfog Productions, Kampfar, Manes, Solefald, Wardruna/Jotunspor/Gorgoroth), looking at some of the more seminal and compelling acts in the Polish black metal movement (Xantotol, Mastiphal, Arkona, Evilfeast, Mgła, Kriegsmaschine) and examining the creation of depressive/suicidal black metal (Strid, Bethlehem, Silencer, Forgotten Tomb, Total Negation).

How many volumes do you have planned, and what will be the focus of each volume?

At the moment the plan is to create new volumes for as long as I’m enjoying the project and have something to say and for as long as people are enjoying reading them. Volume Two is partly written and I’ve even conducted some of the interviews for Volume Three, so there’s definitely more to come. The plan at the moment is to have each volume explore three aspects of the movement, and the order these make their way into series will be determined in part by chronology and in part by the order of the material I collect; I’m not in a rush with this, so if I don’t feel I have enough interview material with a particular band I want to explore, I’d rather wait until I can talk to them properly rather than including anything superficial.

What were the most enjoyable/interesting interviews you did for this book?

It probably sounds like hyperbole, but I’d dare to say that all the interviews in this book are interesting for the black metal fan – that’s how these particular chapters made the final cut really. I think in all cases they reveal a wealth of new information on the band in question but also deal with wider issues that surface within black metal as a genre, be it politics, drugs, suicide, Paganism, magick, philosophy, stylistic limitations or whatever else. This book is also arguably a bit darker than the first one and that was something I wasn’t expecting – the stories and insights regarding bands like Strid, Bethehem, Silencer and so were amazing for me personally to learn, so I would include those.

What was the most difficult situation you dealt with when pulling this book together?

There are people involved in this volume who don’t tend to do interviews and some who have actually never done an interview in their lives – to find these people and get them to talk openly was of course a big challenge. The other major difficulty – just like the first book – was in finding images that were of a good enough quality to merit inclusion. That took a lot of work but I think the finished product is looking great – there are about 150 images and many are never before published or even seen before. The boxed set edition actually includes an extra 52 colour pages images, and really sucks you into the whole journey of the thing I feel.

What approach did you take with Norwegian Black Metal this time around?

I realise that there was a fair bit of Norway in the first book, but I really wanted to tie up some loose ends in the first part of the new book. I had wanted to include Satyricon properly in the first book for example, but I didn’t have sufficient material to do it justice, so I laid that ghost to rest with what I think is probably the most thorough telling of the Satyricon/Moonfog story to date. As well as talking about the band and the label there’s a lot of insight on Satyr’s relationships with Darkthrone, Snorre Ruch of Thorns, Euronymouse/Helvete etc. So there was that, then similarly I finished the story of Manes, there’s the Kampfar chapter which looks not only at the band’s story but also some of the ‘unknown’ side of Norways ‘inner circle’ dynamic, then there’s Kvitrafn’s telling of the journey from Gorgoroth to Wardruna and Nordic spirituality, a discussion with Solefald’s Cornelius on nature, nationalism and counter-revolutions within black metal and also a piece looking at Norwegian artist Theodor Kittelsen and his affect the black metal aesthetic.

Is there any particular black metal subgenre/style that you have trouble getting excited about?

I don’t think I’ll be writing about ‘gothic black metal’ or ‘Christian black metal’ anytime soon, but those genres arguably don’t have a great deal to do with black metal anyway. Besides that, nothing springs to mind. Don’t get me wrong – there are plenty of mediocre and poor bands out there, but I would say that every subgenre has at least some worthy bands within its arsenal.

Would you like to see black metal get more (wider) attention, or do you think it’s doing just fine as it is?

I don’t feel that black metal needs more attention particularly, but I’m pretty sure that it will continue to get it. Had you asked me this question during the nineties I would have told you that black metal should remain in the shadows and so on – fact is those days are long, long gone (by about  a decade and a half): ‘Underground’ means something very different in the age of the internet and the problem now is not unwanted attention as much as it is misrepresentation from within and without. I feel strongly that if black metal is going to keep appearing everywhere and being talked about then the people telling its story and putting it into context ought to be those within the scene and not outsiders or newcomers looking to retell the same stories over and over again or muddy the genre’s meaning(s) to suit their own agendas.

Wishing you could read about black metal right now?  Order Patterson’s Black Metal: Evolution of the Cult here at Amazon.

Die in Hell!: Author Lewis Dimmick Uncovers Hardcore Hero Tom Capone’s Mutilated Metal Roots

By: Shawn Macomber Posted in: exclusive, featured On: Tuesday, September 30th, 2014


Last year we excerpted a couple selections from Lewis Dimmick’s excellent book This Music over at the Metalnomicon. He came back not long ago to take us behind the scenes of hardcore megaliths Sheer Terror. Today he returns with another great guest essay on Beyond/Quicksand guitarist Tom Capone’s metal roots and his uber-brutal Mutilator fanzine…

In 1985, Tom Capone, renowned guitarist for New York Hardcore legends Beyond and post-hardcore trailblazers Quicksand, published a single issue of Mutilator fanzine. It documented the proliferating world of underground metal: thrash metal; death metal; satanic metal; power metal; deathcore thrash.

Playing fast and destroying wimps and posers are dominant themes throughout the issue.

As the title of the fanzine might suggest, Tom was something of an outcast in high school. Mutilator was his creative outlet: interviewing bands; trading tapes; writing letters — you know, on paper, delivered by a postman, that guy with the funny outfit who’s always getting bitten by a dog — typing out interviews on a manual typewriter; learning to cut and paste layouts together.

“Seeing other zines was what inspired me to do my own,” Tom tells me. “I ordered the Hellhammer demo from a zine called Kick Ass Monthly. That demo made Venom sound like Mickey Mouse. No one knew about all these underground bands. They were doing really advanced stuff. It was genius.”


The initial batch of Mutilator was fifty copies. Dutch East India Trading, a prominent distributor, saw a copy and was impressed; they asked for two hundred more.

Heavy Metal Movies: Interview with author Mike McPadden

By: Sean Frasier Posted in: featured, interviews, uncategorized On: Wednesday, June 11th, 2014

Mike McPadden - Chris Roo

I blame every sobering statistic regarding global literacy on the fact that until now the world didn’t have Heavy Metal Movies, the twisted tome cataloging Mike “McBeardo” McPadden’s infatuation with extremely extreme music and film. With 666+ reviews of headbang-friendly films, McBeardo is your personal Virgil leading you into the underworld of metallic cinema treasures.

What was your first distinct memory of metal and cinema colliding in your own life?

In 1976, when I was eight, the New York Daily News Sunday Magazine ran a feature on an emerging crop of freaks in the Village who were repeatedly returning to the Waverly Theater and dressing up as characters from The Rocky Horror Picture Show. This, I needed to know more about.

Moms McBeardo reports I emerged from the womb loving horror movies and all the classic monsters. Rock-and-roll came to me quickly enough, largely through repeated spins of my cousin Mary Snow’s Sweet 45s—“Little Willy” and “Fox on the Run”, to be specific—and when I stayed up late and got simultaneously terrified, transfixed, and transformed by Kiss on NBC’s concert series, The MidnightSpecial. And then the real apocalypse hit when I struck gold in an old hamper and discovered Pops McBeardo’s Playboy stash. I invoke all these things because Rocky Horror seemed to combine each of these elements into some living, thriving new thing.

The following year, I secured a copy of the Rocky Horror soundtrack album and I’d spend days staring at the back cover with Susan Sarandon in a bra under the words “Lots of Larfs and Sex!”

And then, monumentally, the newspaper ran a misprint that labeled Rocky Horror as being rated PG, and I conned Moms into allowing some hippie aunts and an uncle to take me into Manhattan to see it for my tenth birthday. It was the ’70s, everybody—people did this. And there it all was: monsters, rock-and-roll, a spooky castle, leather jackets, motorcycles, cannibalism, polymorphous perversion, and, as promised, “lots of larfs and sex!” The girl who played Janet in the live cast even took off her bra. Hers were the first boobs I ever saw not attached to someone to whom I was related.

From Stuart Gordon’s underrated Dagon to French stomach-churner Inside, you cover hundreds of hidden gems. What are a few of the films you recommend, no matter the person’s taste?

It’s impossible for me to imagine anyone not being launched into a sphere of pure joy while watching the fifteen-minute 1986 documentary, Heavy Metal Parking Lot.

I feel similar affection for This Is Spinal Tap, but in the course of the writing the book, I’ve stumbled across some folks who don’t find it funny. We don’t hang out anymore. Some people hear the words “Spinal Tap” and automatically bark how the NWOBHM spoof Bad News is better. You can love both, you know. I do.

Don Argott’s recent documentary As the Palaces Burn, about Randy Blythe’s manslaughter trial after a fan’s death at a Lamb of God concert, is a gripping, moving film that would work even if the heavy metal elements were removed.

One nice aspect of writing about the bumper crop of heavy metal horror movies from the ’80s is that I didn’t come across one that I didn’t enjoy—even Monster Dog with Alice Cooper, which is horrendously incompetent, but still a knee-slapping good time. Of those movies, The Gate from 1987 feels like a real buried treasure, even though it was the only title in that subgenre to actually be a theatrical hit. Somehow, it’s fallen through the cracks since then, and I’m kind of hoping the book can help bring it back.

The Gate is about a couple of kids who play a heavy metal record backwards and thereby open a portal to Hell in their backyard lawn. All kinds of cool creatures come out, the greatest of which is an army of amazingly real-looking foot-high demon-men. The movie is extremely well crafted and, as it’s just scary and funny enough for a PG-13 audience, it’s a great introduction for kids to both horror and metal.

Heavy Metal Movies Cover edited

When did you start writing the book, and at what point did you realize all the work it would take?

After coming up with the initial list of titles to review and getting the go-ahead from Bazillion Points in early 2011, I just started writing the movies up, willy-nilly. About six months in, I imagined I had to be nearing the halfway mark, so I took stock and totaled up the amount of finished reviews, and the tally barely scraped one hundred. I freaked. Right on the spot, I had a vision of all these zombies and slashers and DVD bonus features and Swedish TV documentaries bombarding me—hundreds of them, thousands of them—and I wanted to crawl into a corner of my office and melt into a puddle. But I didn’t. I am occasionally taunted by seeing initial book announcement materials that proclaim “Coming in 2012!” Remember that year—2012? I kind of don’t.

If you could watch a film based on any heavy metal concept album, which would you choose?

Music From the Elder by Kiss, which actually did go in to production as a movie starring Chris Makepeace, who was Wudy da Wabbit da Winna in Meatballs and who co-starred with Tom Hanks in the hilarious anti-RPG TV movie Mazes and Monsters. That would have been awesomely terrible.

2112 by Rush is one my all-time favorite albums and side one has always seemed to be screaming to turned into a film. It still could be, I just hope not by whoever churned out those cheapo Atlas Shrugged boondoggles.

I’d really love to see Mastodon’s Blood Mountain in movie form, but only if they did it without CGI effects. The Cysquatch—a one-eyed psychic Sasquatch—would have to be played by a guy in a full-body Cysquatch suit.

What would be your early vote for Decibel’s album of the year for 2014?

The Oath by the Oath. The Devil’s Blood has been my favorite band of the twenty-first century, so I am delirious over the onslaught of witchy, druggy, female-fronted occult rock going on—Gold, Blood Ceremony, Christian Mistress, Witch Mountain, Jex Thoth, Jess and the Ancient Ones, and so on.

I thought the first singles released by the Oath were just spectacular. When the full-length album finally came out and I thought it was very good, but not great. But then this band that had a great in-born theatrical gimmick—two ludicrously sexy Nordic sirens wailing up top—pulled the pin and set off the greatest of all gimmicks: they broke up! One and done. Boom. Seeya!

Bolstered by that context, The Oath now sounds to me like an instant classic.

Between your work with Mr. Skin and Hustler your career may be perpetually connected to nudity. What’s your favorite metal album cover featuring nudity?

Let us immediately rule out Virgin Killer by Scorpions and Led Zep’s Houses of the Holy.

Discovering Coven’s proto-metal milestone Witchcraft Destroys Minds and Reaps Souls in my stoner uncle’s record collection was definitely a before-and-after moment. Lead singer-cum-sorceress Jinx Dawson is complete nude in the gatefold, splayed out on a sacrificial altar while the other band members loom over her black magic sacrifice.

Electric Ladyland by Jimi Hendrix certainly set a standard to which all other album covers—and maybe all other everything else, too—should aspire.

I love Death Penalty by Witchfinder General. On the cover, that poor bare-bosomed witch they found sure is enchanting. She really got MY stake burning—nyuk, nyuk, nyuk.

While it’s only metal adjacent, Cristina Martinez practically launched me into a second puberty in 1989 by nakedly posing as the Playboy Femlin on the bluesy noise-punk Boss Hog EP, Drinkin’, Lechin’, and Lyin’. I was always hoping Julia Cafritz from Pussy Galore would do an answer cover. So far, it hasn’t happened.

I’ve also had an image of the Dwarves’ Blood, Guts, and Pussy album cover posted somewhere in all my various residences since 1991. Right now, it’s in sticker form on a file cabinet.

Once and for all, what’s more metal: Star Wars or Star Trek?

Star Wars opened when I was eight and I loved it like religion. But just a few years before that I loved Sesame Street like religion too. And for all the same reasons. Eventually I saw a naked woman and a slasher movie and I heard Black Sabbath and the Sex Pistols and the baby scales fell from my eyes and ears, among other organs.

This whole present-day reality of grown adults not just clinging to but proudly championing their most infantile passions from kindergarten—meaning superhero blockbusters being the only movies in theaters now and the Internet’s maniacal preoccupation with playground concepts like “bullying” and “their fair share”—all that comes from Star Wars.

Star Trek tackles the big ideas and cosmic questions that come up when you’re in high school—stuff like ethics, race, politics, globalism, liberty, responsibility, the dominance of certain cultures over other cultures, humanity’s role in the universe versus the individual’s role within humanity, and so on.

I’ve long said that by the time I turned fifteen, I was essentially done forming in terms of taste and mentality and perceptions of the world. Layers have been added but, really, by sophomore year of high school, the core McBeardo package rocked complete. As a result, I get to congratulate myself via feelings of superiority, due to my teenage Star Trek degree of development, over the swarms of contemporary conversation-cloggers stuck, by way of Star Wars, in kindergarten.

More metal, then: Star Trek.

***Order Heavy Metal Movies over on the Bazillion Points site, and check them out for more extreme books. Author photograph by Chris Roo.

Decibel’s most anticipated albums of 2014: The unauthorised Deciblog addendum

By: jonathan.horsley Posted in: featured, lists On: Monday, January 6th, 2014


Consider this here, folks, as an unofficial, off-the-cuff (read: poorly researched and impulsive) addendum to Decibel #112’s Top 20 2014 preview. This being the Internet, consider the following dispatch to be largely free of firm facts such as album/song titles, empirical data (release dates), and official words to corroborate our conjecture as to when said albums will appear and—perhaps more crucially—what they will sound like. Now, no doubt primed from issue #112’s forecast of box office releases from blue-chip heavyweights such as Behemoth, Napalm Death, Mastodon and Triptykon, make sure you spare some of your disposable income for the following fistful of metal . . .

Pre-order here

Another slice of unrelenting morbidity from Finland, Corpsessed’s debut LP is the year’s first essential death metal release. Anyone who enjoys the sort of necrotic register the likes of Krypts and Vorum occupy should be able to get down to Jyri Lustig and Matti Mäkelä’s decomposed riff-work. Abysmal Threshold’s is full of harrowing tracks—but perhaps the atonal doom-death epic “Necrosophic Chaneling” is already a highlight, an epic that winds itself into to weird chaotic blasts and guitars that pay little heed to one other; they just seem to coalesce around Niko Matilainen’s leonine roar. Awesome stuff.


Whatever Vancouver’s most vitriolic do next, it is most likely to pull death metal through the wormhole and change its physiology entirely. Once refracted through their tortured consciousness, genres don’t really mean much, as their gravitational pull hauls in elements of black metal and outré metal in a chaotic sound that could really only be theirs. They have already sounded a warning of where their sound will go next—a few months ago we posted the demo for “Writhen unto Abraxas” right here on the Deciblog. Who knows when album number three will be released but if they had demo tracks ready back in November, an early summer release could be on the cards. Here’s hoping. Catch them in action at MDF 2014.


It has been almost four years since Spain’s premiere black/death metal kvtlists released their debut full-length, Seven Chalices, with only two tracks released across two EPs in the meantime. Yeah, sure, those tracks were real epics, but considering just months after the release of Seven Chalices guitarist/vocalist Nsk was telling Voices of the Darkside that there was material already written, this album has been a long time coming. Details at the moment are sketchy. Indeed, you could file this under unsubstantiated rumor, but sends you to a holding page marked “Death”, and check this out on Norma Evangelium Diaboli’s homepage . . . Something is going to drop, but whether it is an album or another EP, time will tell.


Speaking of bands who have fallen off the radar and into the fathomless sink-hole of inactivity, Greek old-school death metallers Dead Congregation have been conspicuous by their absence since 2008 debut, Graves of the Archangels. Given that it was a record of perfectly pitched old-school putrescence, gore-hounds, rivethounds and death heads the world were jonesing for new material as soon as it dropped. None came. But lo, their Facebook page posted some tantalizing art emblazoned with “2014 The fall is imminent . . .” meaning that, surely, the wait could be over.


Mick Kenney announced yesterday that a new Nathrakh album is in gestation and heralded its development with a picture of a whole bunch of potential songtitles. Sure, some of them will no doubt change before the release is firmed up and finalized, but we kinda hope they call the album Txtbook Nathrakh. But then Crust Necro sounds pretty catchy too. “The soundtrack for Armageddon, the audial essence of evil, hatred and violence, the true spirit of necro taken to its musical extremes . . . ” Anaal Nathrakh have yet to welch on their mission statement, even though Mick Kenney has now swapped the bleak, concrete grey of Birmingham, England, for the sunshine of California. But then Dave Hunt’s disposition and necro-throat is never going to lend itself to surf-pop and vocal harmonies. Don’t expect Pet Sounds.

Dayal Patterson, author of Black Metal: Evolution of the Cult give us his Top 10 BM albums

By: jonathan.horsley Posted in: featured, interviews, lists On: Monday, November 11th, 2013


We’re all listed out after totalling up the scores for the albums of the year and putting together our Top 100 Black Metal Albums of All Time special issue. But author Dayal Patterson, a man in league with unfathomable evil, kindly dipped into his wellspring of arcane ancient darkness to muster the energy to give us one more list, a top ten to mark the unholy birth of his 2.636lb magnum opus, Black Metal: Evolution of the Cult.

For the story behind this mammoth tome, check out our post here. But read on for Patterson’s list. It isn’t in any order and it’s a personal top ten as opposed to the more academic, most-important/best-BM albums of all time list.

VENOM Welcome to Hell (Neat Records, 1981)
“I think we have to put in Venom’s Welcome to Hell because that effectively kick-started the genre. Black Metal is the more obvious album because it gave a name to it—maybe I should have gone for that—but they are both essential. It’s not really an album; I guess everyone knows this but it was demo tracks released without the band’s consent, and it sounds pretty raw because of that. Then again, I think that became quite an important part of black metal, that lo-fi approach. It was a long way from what we call black metal now but that was the inspiration for the Norwegian bands, a lot of the second generation bands who followed; they considered it black metal, and I think after writing this book I would as well. Those first three Venom albums really are timeless. They get better and better with age. Black Metal is the better album—maybe you can stick those together?—but Welcome to Hell is the more historically important. That is where it was born, if it was born anywhere. With Black Metal they had a bit more time in the studio, refined things a bit, the songwriting is better. Venom were hugely successful; they never did the whole band-in-a-van thing, they were headlining big venues almost straight away. When you look at a band like Immortal you can see a lot of Venom; I always thought Immortal were more of a First Wave than a Second Wave band, despite the corpsepaint—their attitude is very Venom, larger than life. Venom was all about entertainment and I think that is what it was about back then. None of those [black metal] rules came in until later one. You were allowed to be a bit of a rock star back then. In the ’90s—Fenriz and Apollyon talk about that in the book, and Samoth as well—stuff was labelled black metal, but in the ‘80s it was almost like you had to find the black metal in releases. You had to extract it, and those early ‘80s albums by Sodom, Destruction and Kreator, bands like that, you could hear it, you could discover the black metal in it. A lot of it was down to interpretation.”

In Person Aural Devastation: Author & Punisher Live

By: Shawn Macomber Posted in: featured, videos On: Monday, September 16th, 2013


Decibel has made no secret of our love for the idiosyncratic have-to-see-it-to-believe-it one-man doom behemoth Author & Punisher. And these insane videos from the band’s recent performance at the Fillmore basically speak for themselves. So…further comment is probably unnecessary. The new record, Women & Children, is available here. Bonus: The Lynch-ian video for “Terrorbird” after the jump.

INTERVIEW: Author Dayal Patterson on Black Metal: Evolution of the Cult

By: jonathan.horsley Posted in: featured, interviews On: Monday, May 13th, 2013


A couple of weeks ago we told you that UK writer Dayal Patterson had finished off a 600-page history of black metal, Black Metal: Evolution of the Cult, a book that aimed to peel the corpsepaint off black metal’s sensationalist public image and look at how it started and how it got to where it is today. Evolution of the Cult is now available for pre-order here at a discounted price. Well here’s author Dayal on what it’s like trying to piece together the scene’s chaotic history without sexing up the controversy and focusing on the music.

Firstly, here’s something to set the mood . . .

An Unauthorized Guide to Maryland Deathfest XI

By: Shawn Macomber Posted in: featured, lists On: Tuesday, May 7th, 2013


We got semi-retired punk/metal atavist Stevo do Caixão, currently of Tombstones and formerly of the legendary Impetigo, as well as Axeslasher guitarist/vocalist Professor Pizza, and metal scribe Andy O’Connor — sadly, that’s his real name — currently of Pitchfork, Metalsucks, and Noisey, among other publications, to break down the upcoming Maryland Deathfest, debunk old myths and create new ones…

Stevo do Caixão: So this is eleven years of Maryland Deathfest, how does that make you feel? Old? Sick? Like you need more sleep and more money?

Professor Pizza: It makes me feel like it should be in a nicer place than Sonar.

Andy O’Connor: Well, this is actually my first ever Deathfest. So, it doesn’t really make me feel old.

Professor Pizza: Although there’s hella titty bars around Sonar, so that’s awesome.

Andy O’Connor: Isn’t there one where you can bring in fried chicken? This is VERY important.

Professor Pizza: There’s one next to a chicken place where you can indeed bring the chicken inside. If you’re smooth enough you can feed the strippers.

Andy O’Connor: RIP Andy, that’s my Vallhalla.

Stevo do Caixão: I tend to agree, fried chicken is kind of important not only to metal, but to the festival atmosphere in general.

Andy O’Connor: Austin does not bang when it comes to fried chicken. I hope Baltimore has the goods. You know your city got the fried chicken game fucked up when the main alt-weekly devotes a cover story to that very issue.

Professor Pizza: I know it sounds ridiculous, but there’s a tasty fucking barbecue place in Baltimore near the harbor.

Andy O’Connor: Barbecue? That far north? Hella sus.

Stevo do Caixão: So Thursday night is “Just the Tip” night.

Andy O’Connor: My flight gets in around 4:15, may miss the first band. Stoked on Deiphago and their brand of PCP black metal. And Bolt Thrower, obviously.

Professor Pizza: “Just the Tip” night last year was rad. Autopsy had the police pull the plug on them.

Andy O’Connor: Autopsy gets it turnt up. When I saw them at Chaos it was ratchet for a death metal show.

Professor Pizza: I’m pretty much only going for Cobalt and Bolt Thrower on Thursday. Pretty interested to see those Colorado boys considering I’m from there and have never seen them.

Stevo do Caixão: Well, that’s my point. For Abigail and Bolt Thrower night, you could do a lot worse with “just the tip.” And yes, things got crazy last year.

Andy O’Connor: Cobalt will be interesting. Man’s Gin were awesome two SXSWs ago.

Stevo do Caixão: So what are the chances of there being trouble with the law during Bolt Thrower’s set? And with Cobalt being sandwiched between Abigail and Bolt Thrower?

STREAMING: Author & Punisher “Terrorbird”

By: Chris D. Posted in: featured, videos On: Wednesday, August 22nd, 2012


Not sure if you’ve missed out on “industrial doom metal” one-man outfit Author & Punisher, but if you own a Godflesh record, maybe a pre-suck Pitch Shifter 12″, or think Scorn’s Vae Solis is the only Scorn LP worth playing in the solitary confines of your treasured abode, then we think you need to stand up, wipe off the “I’m jaded” dandruff, and check out Tristan Shone’s music to end all music project.

While Author & Punisher could’ve been an Earache band when the label mattered, the super-sweet aspect of Shone’s DIY robo-pocalypse sound is that everything’s generated from hand-made “instruments”. No, he’s not gluing a computer circuit board to a guitar, but actually crafting—no, engineering—his own sonic methods to destroy earholes. So much so he’s caught the hawkeyes of Yahoo and Wired, the latter a geek institution of the highest order.

Check out the superbly lensed video for “Terrorbird”. Directed by Augustine Arredondo and starring Rob Crow (Pinback, Goblin Cock). And lots of spewing human fluids from parts and sources unknown.

** Author & Punisher’s Ursus Americanus is out now on Seventh Rule Recordings. It’s available HERE to appease the ear systems of cyborgs, audio algorithms of robots, and humans who think they’re mechanical, which includes several of Decibel’s Decibel-award winning staff.

Maiden Tales: New Unauthorized Book From Neil Daniels

By: adem Posted in: featured, gnarly one-offs, heavy tuesdays, stupid crap On: Tuesday, June 12th, 2012


We are of the opinion that Iron Maiden exists today not so much to make music, but to provide a steady source of work for people around the world. Maiden has, in its own way, become an economic heavy metal juggernaut spreading dineros far and wide via merchandising, albums, tours and all the residual backdraft from their enormous fame, such as books like author Neil Daniels’ upcoming Iron Maiden: The Ultimate Unauthorized History of the Beast, which will be published June 26 by Voyageur Press.

Other bands have certainly sold more records, but Maiden’s fame and power within their genre is unmatched. Probably because, unlike, say, Metallica, they actually manage to put out good albums with some regularity and still have a fairly decent grasp on reality. (Other than that whole “our singer flies us to our gigs in our private plane” thing…) And as they roll on into their fourth decade as a band, the magnitude of their influence continues to spread. Not many other metal artists beyond Black Sabbath have had decade after decade of influence on the genre. Thus, books like this (and others sure to come in the future) will continue to mine “the Beast” for its riches.

Daniels’ Iron Maiden band bio is a 200-page hardcover packed with more than 400 images, including live performance and candid off-stage photographs, as well as memorabilia, gig posters, T-shirts, backstage passes, buttons, and tickets. Maiden artist Derek Riggs, who is responsible for the incredible imagery that is a staple of the band’s massive merchandising empire, even created the book’s exclusive cover art.

Yep, the Beast will flexing its economic might (and, of course, excellent musical chops) this summer, in fact, on a two-month U.S. tour, with Alice Cooper and Coheed & Cambria in tow. And Daniels’ book is perfectly timed to, well, make some hay from that high-profile jaunt and the interest in the band it will bring.

Iron Maiden on tour:
6/21 Charlotte, NC, USA Verizon Wireless Amphitheatre
6/23 Atlanta, GA, USA Aarons Amphitheatre at Lakewood
6/26 Boston, MA, USA Comcast Center
6/27 Wantagh, NY, USA Jones Beach
6/29 Philadelphia, PA, USA Susquehanna Bank Center
6/30 Washington, DC, USA Jiffy Lube Live
7/2 Newark, NJ, USA Prudential Center
7/4 Milwaukee, WI, USA Marcus Amphitheater – Summerfest
7/5 Chicago, IL, USA First Midwest Bank Amphitheater
7/7 Ottawa, CANADA Bluesfest
7/8 Quebec City, QC, CANADA Colisee Pepsi Arena
7/11 Montreal, QC, CANADA Bell Centre
7/13 Toronto, ON, CANADA Molson Amphitheater
7/14 Sarnia, ON, CANADA Bayfest
7/16 Buffalo, NY, USA Darien Lake Performing Arts Center
7/18 Detroit, MI, USA DTE Music Theatre
7/19 Indianapolis, IN, USA Klipsch Music Center
7/21 Cadott, WI, USA Rock Fest
7/24 Winnipeg, MB, CANADA MTS Center
7/26 Calgary, AB, CANADA Scotiabank Saddledome
7/27 Edmonton, AB, CANADA Rexall Place
7/29 Vancouver, BC, CANADA Pacific Coliseum
7/30 Seattle, WA, USA White River Amphitheatre
8/1 Salt Lake City, UT, USA USANA Amphitheatre
8/3 San Francisco, CA, USA Shoreline Amphitheatre
8/4 Sacramento, CA, USA Sleep Train Amphitheater
8/6 Phoenix, AZ, USA Ashley Furniture HomeStore Pavilion
8/9 Irvine, CA, USA Verizon Wireless Amphitheatre
8/10 Irvine, CA, USA Verizon Wireless Amphitheatre
8/12 Albuquerque, NM, USA Hard Rock Pavilion
8/13 Denver, CO, USA Comfort Dental Amphitheatre
8/15 San Antonio, TX, USA AT&T Center
8/17 Dallas, TX, USA Gexa Energy Pavilion
8/18 Houston, TX, USA The Woodlands