Southwest Terror Fest – A Fest for the West

By: kevin.stewart-panko Posted in: featured, interviews On: Thursday, October 3rd, 2013

deciblog - swterror banner

It would appear that amongst the many names I get lovingly and not-so-lovingly referred to as, the ether has added “fest guy” to the list. Have a fest to promote or chat up and I’ve become yer go-to-man. Not that I have a problem with this, jus’ sayin’ is all so you’re not surprised and/or disappointed in the coming weeks (hint, hint). So, with my new title and crown in place, I got put in touch with David Rodgers, one of the three principles responsible for Tucson, AZ’s Southwest Terror Fest. In its second year, SWTF has doubled in size and length (it’s like the state’s musical Viagra!) from two days to four and features more signed and touring acts like Kylesa, Red Fang, Helms Alee, Pinkish Black and SubRosa to go along with their focus on bands hailing from the bottom left part of our continent. The fest kicks off one week from today and if I already didn’t have prior engagements, you’d better believe I’d be there. David hit me up while on a hiking/camping vacation somewhere near, or maybe even in (!), the Grand Canyon to let me in on what life has been like as a relatively newbie fest organiser and promoter.

deciblog - swterror flyer

What are the origins of the Southwest Terror Fest?
We used to have L.A. Murderfest out here and it’s been gone for a couple years – I know he’s trying to bring it back – but a bunch of us were sitting around at a show one time saying, “Man there’s no festivals out here any more.” The closest one is Chaos in Tejas over in Austin, but that’s still a long way from here. We just said, “Should we be the idiots to pull the trigger and do this?” We were drunk, so it sounded like a good idea at the time.

So, after you sobered up…[laughter]…what sort of experience did you bring to doing this?
I book shows and regional tours for bands around the southwest, so I have some experience with shows, so does Ryan from Pigeon Wing and Dave Carroll from Diseased Reason – it’s the three of us who do a lot of the work for it. I mean, other than booking shows on that level, we didn’t really have any experience. We just looked around at what other people have done, like MDF, FunFunFun Fest, Chaos in Tejas and it was like, well, if we can kind of do something close to that, we should be able to make it work. None of us are idiots; I run my own business aside from playing in a band, so we all have pretty good minds and pretty good business sense among the three of us. So, we just took a swing at it.

What have the differences been in doing a fest versus shows/tours?
It’s just ten times the amount of work. Getting bands to come to Tucson, unless they’re already touring through, is difficult. You have to convince a few people that, yes, people will come out to this and it will be worth it. Tucson is kind of out in the middle of nowhere, almost down to Mexico, so we went through quite a few bands trying to get four headliners for four days as opposed to two for two days last year. I probably went through two-dozen bands who said, “Yeah, we’ll do it,” but for some reason something came up and they couldn’t do it and I had to move on. It’s stressful because you think you have a band locked in and they get offered a tour on the east coast, and it’s like ‘Sorry, tour’s more important.’ And you can’t really blame them; I’m in a band, I know how it goes, but it’s a lot more work.

What did you learn from the first year of the fest that you applied to this year?
We just tried to expand outward a little bit. We had a couple bands from the east coast last year and most everybody else was from California or Arizona. This year we added the two days. We were lucky to get two tours coming through; that’s how we got Kylesa on Thursday and the Red Fang on package on Saturday. Once we expanded our reach outward past the southwest, a lot more fell into line for us and we’ve already got plans for next year and two years down the line. The one good thing is that the more people hear about us, more bands are starting come to us asking about playing.

I’m assuming that the venue is a friendly place and host, but have you had problems with the locals? I mentioned this because I had a friend put on a fest in the city I live in a few weeks and ago and the city did nothing but give him a hard time [Read all about it]. Also, there’s an upside-down cross on the flyers, which I don’t have a problem with, but you live in America…
[Laughter] I’m in Arizona, and I don’t know if you’ve heard about us, but it’s a touch conservative in this state. The venue, The Rock, is luckily one I work with all the time and a lot of tours that come through Tucson get booked there. It’s a regular joint for bands coming through town. Luckily, I’ve known the guys who run the place for a long time. My wife went to school with the general manager of the place, so we have a really good working agreement. They pretty much let us have the run of the place for the weekend. As long as things don’t get crazy outside the venue, the city stays out of our business, which is good. The only problem is that if the fest gets any bigger, we’ve talked about getting an outside stage and at that point we’ll have to get the city involved and that’s the part we’re worried about. It’ll be the same thing as your friend’s fest; they’ll take a look at the papers initially and be like, “Cool.” Then, somewhere down the line someone will take a deeper look at it and be like, “No, we’re not having this in our city.” Stuff like that happens all the time. Other than that, The Rock is good place; they’re real friendly to bands and take care of them. Some of the punk guys in town have a problem with them because back in the day we had a couple of those pay-to-play promoters and sometimes people have a hard time differentiating between a venue and a promoter, so there are a few angry souls out there, but for the most part tons of bands have played there. I’ve seen Neurosis, Eyehategod who played to like four people back in the day. It was amazing!

Well, they may not have thought it was that amazing [laughter].
No, they weren’t real happy about it at all, but it was an amazing show for the people who were there.

I notice you have a bunch of sponsors. How does sponsorship relate to your fest?
We try to keep the sponsors local, which most of them are. There’s a local tattoo shop, Lindy’s on 4th, which is a world famous burger place that’s been on Man vs. Food and whatnot, and then we have some bigger companies, but I kept them within the music business. Like Lace pickups is sponsoring it and I know they’re legit dudes because I’m an endorser for them so they’re easy to work with. I’m not necessarily a big fan of that whole Scion thing and I’m not entirely sure what cars have to do with punk and metal, but luckily we have a lot of local people that have been more than happy to chip in money and mainly what that money goes towards is to pay for advertising and to pay for all the hotel rooms for the touring bands as we’re putting up 10-15 bands every night at the fest.

How big is The Rock?
It holds 650. The cap will be brought down a little – to about 500 – because with so many bands each day there are going to be 100 musicians or more in the building. Last year I think we filled up half the place. This year we’re thinking we might sell out Friday and Saturday. Thursday and Sunday area little tougher, but they’re also a little smaller shows. We’re hoping Friday and Saturday sell out so we can push it a little more next year and put more money into it and eventually sell out all four days, then go to the city and go, “Look, we’re selling out four nights, we’re bringing this amount of dollars to the city, can you let us block off a street and put up and outdoor stage that runs between 6 and 11 or something?”

As far as Southwest Terror Fest goes, what would you say the fest does differently when compared to others?
We push a little more towards regionalism. We’re not trying to be a huge national fest, even though we have national bands on it. I also have a lot of bands from Arizona, New Mexico, Nevada and California. All the rest of the year when we go on tour, these are the people we’re playing with in other cities. When my band, Godhunter goes to Vegas, we play with Demon Lung. It kind of made sense to not only bring in some nationals, but do something to incorporate the region and get a little more friendship going on between bands because people are just so disconnected and music is just as bad as every other part of society. I’m sure you know how it is; before the internet, your region was your scene and I think we’ve lost some of that. Bands from California should know who the bands from Arizona are and have them as contacts.

How long do you work on putting the fest together?
We kick around ideas from about November to the time of MDF and usually when my wife and I get home from MDF is when we start kicking into high gear. I’ll usually find a couple people at MDF and drop the idea of our fest in their ears. So, pretty much from June on is when we start nailing bands down and making announcements. I think we announced our first bands in July this year because we had a couple early ones locked down like Landmine Marathon and Transient that we knew for sure were going to play. From there, it’s a process of announcing confirmed bands while I’m getting other ones confirmed. Sunday was a rough one this year because we had a list of bands that would be confirmed, then unconfirmed, and it took me right up until the last minute and I knew Early Graves would do it if I asked them.

As I’ve been doing more and more of these fest previews, I always end up asking this: who would be on your booking bucket list?
We’ve said right from the beginning, myself and Dave and Larry Horvath who’s also been pretty integral, the three of us had a goal that in 5-10 years we would get Tragedy on one night, Bolt Thrower the next night and neurosis on the third night as headliners. If we did that, there’s pretty much nothing else we could do after that. What do you do, unless you’re bringing in Iron Maiden or King Diamond? For me, personally, that’s the glass ceiling.

And check out Dave’s band while you’re at it.

Decibrity Playlist: Watain

By: zach.smith Posted in: featured, interviews, listen, lists On: Thursday, October 3rd, 2013

Ester Segarra

In our September cover story, Erik Danielsson told J. Bennett that “it will be interesting to see people’s reaction to [The Wild Hunt].” Those comments were made shortly before Century Media hosted a pre-release private listening party, but Watain‘s frontman could have easily been talking about public reception, particularly now that his band’s fifth full-length has been out for over a month. So on the eve of his band’s (mostly) US tour, Danielsson was kind enough to address, via playlist, at least one of the responses he’s heard thus far: “Many of those who have heard The Wild Hunt seemed to have been surprised by the musical diversity of the album. This diversity is a consequence of many things, mainly spiritual in nature. But of course, being in many ways a retrospective album, it is also a reflection of what music has echoed through our world for the past 15 years. What follows here is a selection of songs that has meant very much to me ever since Watain started, songs that have burned their way into my heart and soul.”

Feel free to listen along here and if you haven’t already, pick up a copy of The Wild Hunt here.

Bestial Warlust’s “Bestial Warlust” (from 1994’s Vengeance War ‘Till Death)
In 1995 I bought a compilation called Blackend, which had just been released by some UK label. I suppose it was meant to be a kind of summary of the black metal scene at the time, which in a way it was, regardless of how many bands were left out. It had a lot of crap on it, but also a few real gems such as Unanimated, Samael and Sigh. But there was one track that took over the whole experience for me, and that was the one with Bestial Warlust called “Satanic”. I remembered I had seen their album Vengeance War ‘Till Death at the local metal store so I went there and listened to it over and over again until the owner eventually taped it for me. Through discovering Bestial Warlust, I also got into bands like Slaughter Lord, Destroyer666, Gospel of the Horns and all the other killer Australian bands proudly carrying the torch of Rok and his mad fellows.


Tormentor’s “Tormentor II” (from 1988’s Anno Domini)
“Hideous music of the dark burns sounds for me as I stuff your nasty body into the dirty hole.” I don’t know what the fuck was going on in Hungary in 1988, but needless to say something was very, very wrong. Two years after Chernobyl, one year after Under the Sign of the Black Mark, Attila Csihar (whose life story I hope someone makes into a biography one day) and his band truly established a new level of backwardness and insanity within black metal. And listening to this, it comes as no great surprise that Euronymous some years later would ask him to replace his dead vocalist.


Bathory’s “Twilight of the Gods” (from 1991’s Twilight Of The Gods)
I think I was too young to realize that it might be considered strange that Bathory had made such a drastic musical turn between Blood Fire Death and Hammerheart. I still think of it as a natural evolution, genuine artistry at its best! The song “Twilight of the Gods” embodies everything that I admire about the later era of Bathory: the melancholy, the jaw-dropping guitar solos, the unique atmosphere, Quorthon’s “I don’t give a fuck if I miss a tone, I still sing like a god” attitude, and so on. Definitely some of the most dramatic and emotional music I have in my record collection. By the way, compare the atmosphere and lyrical themes on this album with Tyr by Black Sabbath, released one year earlier.


Thorns’ “Aerie Descent” (from 1992’s Trøndertun demo)
I first heard Thorns on the legendary Nordic Metal compilation, and still to this day I firmly believe they belong as the most important bands to emerge out of the Norwegian black metal scene. What Snorre lacked in loyalty he sure made up for in terms of writing songs that out-darkened most of his contemporaries. Unfortunately Thorns only ever recorded two songs in their original sinister form, this and “Funeral Marches to the Grave”. But those two songs still remain as some of the most disturbing music ever to come out of Norway, and whenever I hear them, I am taken back to a time when black metal was–not only for me but for everyone involved, it seemed–something that those belonging to it would kill and die for in a heartbeat.

Dissection’s “Black Dragon” (from 2006’s Reinkaos)
The memories I have from the years surrounding Reinkaos are still too important and valuable to speak too openly about. But I know I am not alone in remembering how the air would grow thick and a sudden darkness would descend whenever we got to hear bits and pieces of what was to become their most important album. Every song on that album had an immense impact on my life, and still has.


Current 93’s “I Have a Special Plan For This World” (from 2000’s “I Have a Special Plan for This World” single)
When one of our security boys quite randomly introduced me to this song, it turned my entire world upside down. I hope it does the same to all of you. It has been a very precious companion on many a late night since then. Make sure you read Thomas Ligotti’s fantastic lyrics.

Fields of the Nephilim’s “Sumerland (What Dreams May Come)” and “And There Will Your Heart Be Also” (from 1990’s Elizium)
Hard to pick one single song off Elizium, which is an album that requires a perception of its totality in order to be fully appreciated in all its magic and otherworldliness. So here are two. It is probably the album that together with De Mysteriis Dom Sathanas, Storm of the Light’s Bane, Ride the Lightning and Use Your Illusion II that I have been listening to the most in this life. Some people call this “goth”, but to me this is really music that transcends genres. So these two closing tracks off Elizium seem suitable for wrapping up this list of songs that are indeed “just songs”–but also, in the grand scheme of things, shards of a divine disaster. Distortions in the plan of god. Embers of a secret fire that would not die.


*Photo by Ester Segarra

**Watain tour dates:

Oct. 8–New York, NY–Irving Plaza
Oct. 9–Philadelphia, PA–Underground Arts
Oct. 10–Worcester, MA–Palladium Upstairs
Oct. 11–Montreal, QC-Foufounes Electriques
Oct. 12–Toronto, ON–Opera House
Oct. 14–Detroit, MI–The Magic Stick
Oct. 15–Chicago, IL–Bottom Lounge
Oct. 16–Minneapolis, MN–Triple Rock Social Club
Oct. 18–Denver, CO–Marquis Theatre
Oct. 19–Salt Lake City, UT–In The Venue
Oct. 21–Seattle, WA–Studio Seven
Oct. 22–Vancouver, BC–Rickshaw
Oct. 23–Portland, OR–Hawthorne Theater
Oct. 25–Oakland, CA–Oakland Metro
Oct. 26–Los Angeles, CA–VEX
Oct. 27–Phoenix, AZ–Rocky Point Cantina
Oct. 28–Albuquerque, NM–Launch Pad
Oct. 30–Austin, TX–Red 7
Nov. 1–Atlanta, GA–Masquerade Hell
Nov. 2–Charlotte, NC–The Casbah
Nov. 3–Baltimore, MD–Baltimore Sound Stag

***Order The Wild Hunt here.

****We update one Spotify playlist for each new Decibrity entry, so feel free to subscribe to that here.

Past entries include:

Orange Goblin
God Is An Astronaut
Primitive Man
Scale The Summit
Mikael Stanne (Dark Tranquillity) (Part 1) (Part 2)
Mouth Of The Architect
Kings Destroy
Call of the Void
Saint Vitus Bar
Soilwork (Dirk Verbeuren) (Björn Strid)
Inter Arma
Helen Money
Misery Index
Ancient VVisdom
Holy Grail
Rotten Sound
Ancestors (Part 1) (Part 2)
Kowloon Walled City (Part 1) (Part 2)
Aaron Stainthorpe (My Dying Bride) (Part 1) (Part 2)
Early Graves
All That Remains
Bison B.C.
A Life Once Lost
Fight Amp
Witchcraft (Ola Henriksson) (Magnus Pelander)
Vision of Disorder
Anders Nyström (Katatonia) (Part 1) (Part 2)
“Best of” Rush (Part 1) (Part 2)
Shadows Fall
Greg Mackintosh (Paradise Lost) (Part 1) (Part 2)
“Best of” Meshuggah
Barren Earth
Shane Embury (Napalm Death) (Part 1) (Part 2)

Metal MBA: Fatality’s tips for successful crowdfunding

By: Posted in: featured, gnarly one-offs On: Wednesday, October 2nd, 2013


Everyone is trying to crowdfund their metal projects these days. But what is the right way to, essentially, ask strangers for money to help do something you love? Toronto thrashers Fatality did it right. Today, they’ll tell the Deciblog faithful how they did it and what they learned.


Hello friends! This is Adam Zlotnik, bass player of Toronto-based thrash band Fatality. This summer, my band had our first ever crowdfunding campaign to raise money for our new album, 62-day North American tour, and a professional video. We successfully raised more than $5,600 in 35 days from fans and friends.

It started when we noticed crowdfunding being used by other musicians and artists alike to fund their projects or creative ventures. We began to pay close attention to the artists who were raising money and the keys to their success. Watching their videos and observing just how compelled fans were to help out their favorite musicians was inspiring. Fatality has always felt close with our fans. We also have a knack for producing homemade videos and utilizing social media to entertain them. We always been proud of our independence, which gave light to the idea of crowdfunding.

We figured, why not use these essentials to try financing our new album through our dedicated fans?


First timers – take some time to look at current and past campaigns on sites like Indiegogo or Kickstarter and take notes. What are they doing that you could do better? How much can you realistically raise? Look at the core of their campaign. Use existing ideas for perks/incentives. I guarantee that you will be able to get some great ideas for your own band or venture. One notable campaign that inspired us was Canadian band Protest the Hero’s Indiegogo campaign which raised more than $300,000 for their new album.

Most of the success of Fatality’s campaign stemmed from a carefully crafted plan. I can’t stress enough the importance of a good plan for achieving ANY goals that you’ve set out for yourself or band. That might sound obvious to most but the breadth and depth of your plan can make or break your campaign. An easy way to start is by asking the simple questions:

· What is it for?

· How much do we need?

· How will we promote this campaign?

· Who will we target?

· How will we manage the funds?

· How long do we need?


Then, break it down to the specifics and create a timeline.

Fundamental sections to be included in your plan should comprise of the following:

Video: The biggest factor to the success of our campaign was our video. This is the primary way to connect with fans and get them on the same level. Give them a clear understanding of exactly who you are, what you’ve already done, why you need the money, and most importantly, what they get out of it.

DON’T CHEAP OUT. If you’ve spent the time to carefully craft a script, video segments, and scenes why would you skimp out on the production? Find a friend in film school, anyone with a professional camera and lights to make sure you get it just right. If you have to, hire somebody. Include it in your budget! If you’re asking your fans for money, how can they be confident in giving it to you if your video is half-assed? Make sure you nail this part or I can guarantee your campaign will be greatly hindered.

It’s not always true but humor is a good factor to include in your video as long as it doesn’t take anything away from your key points. Humor can help your video spread easily through social networks. You want people to share your story.

Transparency: This is the hardest part of a good campaign: explaining your plan for their money. I label this as transparency because that is exactly what you need in your numbers and description. You need to explain clearly and explicitly what you will do with the money earned. Give a solid breakdown in order to gain trust. Also, give them more than just your idea. Show them. If you’re doing an album: give them the name, show them the artwork, where you plan to record it, who the producer will be and why.

Incentives: Choosing incentives that are actually desirable can be tough. The first basic incentive for contributing to Fatality’s campaign was a copy of the new album prior to release. The “exclusivity” in getting something before anyone else was an important factor constructed into the value of said incentive. For our campaign we chose to release our first single from the album Psychonaut as well as the artwork. Being able to hear at least one song allowed fans to sample the production and album so they weren’t buying into something they didn’t know.

It’s important to make incentives available at every level possible. From a $2 perk to a $500 perk or even greater depending on your campaign is important. You want everyone and anyone to be able to give something.

If your perks require shipping be sure to include it in the cost or be very specific about the shipping terms. You don’t want to ask for more money to cover shipping at the end of your campaign or fans will lose confidence.

Marketing: For those who have never launched a crowdfunding campaign, the first 48 hours and the last 48 hours are key in demonstrating urgency. At the moment of launch for your campaign, get your team (band etc.) ready to start spreading the word. If you’ve constructed a good plan, it will likely include a list of potential contributors (hint) that you can contact directly and explain the essence. Social media was key in spreading the message of our campaign.

This is where your video comes in handy. A good video is brief and explains the essentials of your campaign and is easy to digest. Asking your fans that cannot contribute money to simply share your video can go a long way as well.

Updates: Once you’ve launched your campaign, it is far from over. Use feedback from your fans or contributors to improve. For example, they may want to know what single you’ll be using for a music video. Tell them, and release that single. This will help keep you engaged. Notice what perks are doing well or bad and update them. You want to offer perks your fans actually want. If you notice no one cares for your $125 music lesson, change it to something more desirable.

I wish you all success on your next or first crowd funding campaign.

Get in touch with Fatality here.

STREAMING: Germ – Butterfly

By: Chris D. Posted in: featured, listen On: Wednesday, October 2nd, 2013


Tim Yatras is Australia’s answer to Dan Swanö. From Austere and Nazxul to Woods of Desolation and Ilium, the Wollongong-based multi-instrumentalist has had his hands full over the last decade. True, he may not have the visibility of Swanö, but his contributions to all types of metal is noticeable and commendable. In fact, he’s mostly a drummer, but the kit doesn’t seem have restrained Yatras too much.

His latest—well, from 2003—project is Germ, a one-man band project is not to be confused with punk legends Germs. The song presented, “Butterfly,” shows Yatras in inspired form and comes off Germ’s latest full-length, Grief. His uplifting guitar lines clash unexpectedly against desolate screams. It’s like black metal mixed with British new wave. And then there’s Audrey Sylvain (Amesoeurs, Peste Noire) contribution. She sounds like a ghost dispossessed. Creepy yet somehow basking in the glow of a fading sun.

Grab the soul of a long departed relative and stare together at the bronze autumnal sky. Feel the warmth of death approaching on the winds of seasons changing. Germ is your sonic vessel.

** Germ’s new album, Grief, is available for order by clicking HERE. We had to break out the frame to get the full URL from Eisenwald’s store, but the link gets you where you need to be. Hand-in-hand with Germ and leaves transforming from the green of summer to the color bursts of fall.

For Those About to Squeak: October 2013

By: Jeff Treppel Posted in: featured, listen, stupid crap On: Tuesday, October 1st, 2013

hamster Cthulhu small

I have a pet hamster. His name is Ozzy. He is adorable but terrified of everything. However, over the course of his cohabitation with me, he’s become acclimated to the sounds of heavy metal, probably due to the fact that I play it for 16 hours a day. I’ve discovered that he actually has quite discerning taste, and reacts differently to the different things I play. So, in this column, I’m going to play him some of the latest metal singles, record his reaction, and then offer my scientific interpretation of what his behavior means vis-à-vis the song.


Song: Carcass – “Zochrot”

Reaction: The subject pokes his head out of his hutch. Climbs his ramp to the second story ledge. Pulls himself on top of his tissue box. Turns around in a circle.

Interpretation: Yes… At last, my time has come! After studying the forbidden texts hidden within the folds of my bedding, I have uncovered a spell that will deliver all that I desire upon me. I must prepare my preparations. The Deliverer of Food plays noise at me once more to distract me. But I shall not be distracted! More the fool him, in fact – the clean, precise melodies and steady beat only help focus my work and hasten both my freedom and his undoing. I can see what I must do clearly before me. However, I must hurry. It must be done tonight, as Saturn ascends the heavens.


Song: Gwar – “Madness at the Core of Time”

Reaction: The subject drops down from the top of the tissue box. Dashes down to the floor of the cage, starts picking up his food pellets and stacking them carefully in each corner of the cage.

Interpretation: Ha! This only further invigorates me! It reminds me of the battle cries of my ancestors, a horde of noble hamsters sweeping across the plains of Asia and laying waste to every sunflower seed and sapling in their path. Just as those that came before me were underestimated by their victims – until it was too late – so shall I build the pyre of my captor’s destruction as my unsuspecting foe watches on.

Ester Segarra

Song: In Solitude – “Sister”

Reaction: This subject climbs to his perch. Stands on his hind legs, ears perked, for the entire length of the song. Shakes out his fur and jumps to the floor of his cage. Runs into his hutch.

Interpretation: I have waited many moons for this opportunity. Squeaked the right incantations, sacrificed the proper corn kernels. And yet, and yet – as the moment of my glory waxes, I find myself transfixed. Unable to perform the final cantrip that will bind my captor in excruciating pain and free me from this accursed cell. This song, it fascinates me. Reaches into my very rodent soul and shows me glories that I had only previously experienced in commune with my Satanic master. Something about the way the rumble courses through my fur prevents me from moving. It is like the infernal divine is speaking directly to me. I must listen…

Blast! All that preparation was for naught. The moment has passed. I have lost. I curse my captor to the very tips of my claws.

Crucial Blast Fall Showcase

By: Shawn Macomber Posted in: featured, listen On: Tuesday, October 1st, 2013


We can make this introduction brief: Crucial Blast is hands down one of the most innovative, adventurous labels currently operating in the world of extreme music, specializing in capturing sounds from that nether region where ethereal beauty intermingles with disquieting darkness. As such, the first day of October seemed the perfect time to query label head Adam Wright about his upcoming plans for boundary-pushing. Here is what he sent along…

Oh, also, one quick note: If dark ambient isn’t your thing, be sure not to skip the final three tracks of filthy black metal and extreme prog insanity…

HUSERE GRAV You Are Transparent (10/1/13)

The mysterious Husere Grav — pronounced “Huss-urr-ee Grahv” — first rose out of the ashes of black metal duo Homunculus in 2006, and over the past eight years has released some spectacular pieces of utterly dread-filled industrial blackness. Following up splits with Meditations, TRTRKMMR and Robedoor and the 2012 CD Ten Graves, Husere Grav’s latest full-length offering comes via the Crucial Blaze imprint, a seven-song album of macabre ambiance and ghostly black drift that combines the charnel perfume of early 90’s black metal with the desolate early industrial sounds of the Broken Flag label and the subterranean reverberations that Lustmord pioneered on albums like Heresy and The Monstrous Soul.

THEOLOGIAN Some Things Have To Be Endured (10/15/13)

EXCLUSIVE STREAM: Craven Idol “Towards Eschaton”

By: jonathan.horsley Posted in: featured, listen On: Monday, September 30th, 2013

Craven Idol pic

Ladies and germs, pray silence please for Craven Idol’s Towards Eschaton. Pull up the easy chair, pull on the headphones; you’ll no doubt find the north Londoners’ debut long-player an extreme metal album of rare power. This here’s a bona fide contender for album of the year, a soundtrack for those evenings when your ouija planchette is jiggling all over the board.

Taking cues from Australian black thrash, Bathory, Venom, Teutonic thrash bands like Poison, Craven Idol have a sound that’s brutal yet creepy, a sound that shifts constantly between death and black metal, thrash and Heavy Metal but always thick with apocalyptic fever. Towards Eschaton transcends genre and easy classification. There are monastic chants, guitar solos, blasts and oohs! Fuck, there are even melodies if you’re the sort of sicko who gets off on that sort of thing.

Towards Eschaton drops on October 15th. Courtesy of Dark Descent Records, you can check it out below. Enjoy.

**Order Towards Eschaton here
**Craven Idol on Facebook

STREAMING: Valkyrja “The Cremating Fire”

By: Chris D. Posted in: featured, listen On: Monday, September 30th, 2013


Last Monday, Decibel and Valkyrja teamed up to premiere “Madness Redeemer” (click HERE) to great applause and buxom ladies defiled. Well, what you didn’t know was that the evil that courses through our collective veins—ours is more like Snake Mountain-type evil, if we’re being honest; Valkyrja’s is something that would make 1990-era Glen Benton run back to church—is that Decibel and Valkyrja planned not just one but two premieres. We’re that chuffed on The Antagonist’s Fire, actually.

It’s true this writer had a bonafide boner over Contamination, but The Antagonist’s Fire is Valkyrja all mature; like that perfect moment when a corpse reaches its apex ripeness; like that perfect moment when the night takes over the day; like that perfect moment when you realize Valkyrja are cut from the same Swedish cloth as Dark Funeral (early), Unanimated (all), and Dissection (all), only they’ve got their own thing happening. Yeah, we’ve heard The Antagonist’s Fire in its entirety and it rules every autumn.

We even got a quote out of Valkyrja frontman A.L., which is sort of like getting Fenriz to talk in 1991: “‘The Cremating Fire,’ the second preview of the third album,” says A.L., “is an ovation to the heralding storms and their blades whose edges bring inevitable and concluding end. A dedication to the hungry ones who carry perdition’s fire within their hearts.”

** Valkyrja’s new album, The Antagonist’s Fire, is out November 11th on W.T.C. Productions. Pre-order available soon, but in the meantime, check out diehard versions of Contamination and the CD of The Invocation of Demise by clicking HERE.

Tales From the Metalnomicon: Despumation Press

By: Shawn Macomber Posted in: featured, interviews On: Friday, September 27th, 2013


Welcome to Tales From the Metalnomicon, a twice monthly column delving into the surprisingly vast world of heavy metal-tinged/inspired literature and metalhead authors…

Writer/editor extraordinaire Kriscinda Lee Everitt‘s brand new Despumation Press “seeks to champion writing that explores the diverse themes metal customarily addresses using language in such a way as to evoke the feeling of listening to the music.” The imprint recently opened up submissions for its first metal-thology Song Stories, and to mark the occasion the Metalnomicon asked Everitt to compose a playlist that might help guide potential contributors toward acceptance while simultaneously giving literary metalheads a glimpse of what is to come. Graciously, she agreed, and sent along the following slate of whimsy, brilliance, and darkness…

For more information visit the Despumation Press official website, Facebook page, or Twitter feed.

Any of these songs can provide a story, but there are literally thousands of songs to choose from. And stories are great, but this is a collection of metal stories, and just being based on a metal song isn’t enough to make the story “metal.” When I read your story out loud, I want to hear the metal. Trying to figure out how to structure your story? Listen to the song; use its rhythm and tempo to hammer out the plot and timing.

Are you at a place where the topic or action seems particularly “metal” to you? Read it out loud. What does it sound like? Are there some consonants that sound more pounding, or sharp, or burning, or stabbing? Are there some vowels that drone on, drag out? Use those words, but don’t sacrifice meaning. How about your setting? Does it evoke the plodding of the drums and bass? Does it look like the vocalist sounds?

I know, right? It’s harder than you thought it’d be.

This is what I’m looking for. Stories that celebrate a song’s theme and sound; stories that read like a live show. Stories that make the reader feel like they’ve just spent twelve hours with a warm beer in their hand, satisfyingly half-time nodding to the bowel-shaking pulse of a double bass, or like they’ve just crawled out of a pit and are wondering if maybe something is broken. It’ll be a challenge for the writer, but I think any writer would welcome it. It’ll also be a challenge for me, as an editor, to sort it all out and find the songs/stories that really embody metal as fiction. It’ll be interesting to see where this leads.

Here are some samples as to how a writer could think of songs as stories…

Death: “Together as One”

Give me a story about Siamese Twins. There’s not exactly any real plotting going on here, so you’ll have to make that up. But don’t give me the fictionalized Happy-Time Adventures of Eng and Chang Bunker. A living hell has begun… Give me that.

Venom: “Don’t Burn the Witch”

How about a story of a witch burning, or a witch saved from burning by some bastard? Again, the plot’s yours to create, but sticking with the imagery here would probably preserve the metal cheese of the song. Eye of lizard, wing of bat, testicle of man, tongue of eagle, brain of rat, Jesus Christ’s left hand… If this wasn’t in a scene, I’d be truly disappointed.

Despumation Press Logo 2

Carcass: “Captive Bolt Pistol”

BREWTAL TRUTH: Drink This Now!

By: adem Posted in: featured, liver failure On: Friday, September 27th, 2013


Given the opportunity to write about craft beer every month in Decibel has been eye-opening. The idea that our “Brewtal Truth” column would have lasted more than four years (and counting) and even spawn a book—The Brewtal Truth Guide to Extreme Beers, out in November—is pretty amazing. Now it’s time to bring a little “Brewtal Truth” to the Deciblog. Each week we’re featuring a different craft beer that you should drink now. These aren’t so much reviews as recommendations. We won’t post anything here that we haven’t happily poured down our own gullet. There’ll be a new one every week at noon Eastern time, a little something to get you thinking about your imbibing options for the weekend.

OK, the hop fixation of the last several weeks’ posts is officially over. For now. We move on to what is being marketed by those beer-style shunners at Dogfish Head as a “continually hopped India Pale Ale brewed with Syrah grape must.” Which in layman’s terms is basically a beer/wine hybrid, something that Dogfish Head has become more and more enamored with since it introduced the concept with brews like Midas Touch and Raison D’etre. This “style” (we use the term loosely, because it’s not really a style) isn’t so much about pleasing both wine and beer drinkers as it is an opportunity for a brewer to see what kind of flavors he/she can introduce. Dogfish Head prez and founder Sam Calagione apparently came across the idea for Sixty-One after pouring a splash of red wine in his pint of 60 Minute IPA at a get-together with friends. It’s now part of the brewery’s year-round lineup.


Dogfish Head
Rehoboth Beach, DE
6.5% ABV

If this is indeed an IPA (and we contest that on a number of different fronts) it’s the reddest IPA we’ve ever seen. It’s like French rosé red. Only with carbonation. And the smell? Well, tons of fruity wine notes, with a hint of malt and a little sprinkling of hop sauce in there, too. Someone could pretty easily wave this under our nose if we were blindfolded and convince us it’s a sparkling wine. Without trying to sound like a pompous wine nerd, it has aromas of ripe berries and plums. It in no way smells anything like an IPA of any description. Which is our first point of contention regarding this beer’s IPAness. Actually make that two points: since when are pale ale’s red?

If there’s enough syrah grape must to turn this pale ale red and overcome all typical beer aromas, especially from a beer that’s been “continually hopped,” you can bet that it’ll be present in the taste. And it is. In a very unexpected and goddamn excellent way. First of all, this is a very dry beer. There is little in the way of residual sweetness which is likely the result of a yeast strain that takes its job of gobbling sugar seriously. This is a good thing, as it prevents this from tasting like a wine cooler. But that is also another point we use against in denying it tr00 IPA status.

A lot of the fruit notes detected on the nose are definitely there on the palate as well. Again, the grape flavors dominate, but they arrive quite innocently, do a little dance across the tongue and then get swished away by perhaps the lone characteristic of this beer that’s beer-like: a nice bitter hop bite. So, the end result is a tart, dry, refreshing and pleasantly bitter malt beverage. Not an IPA. Still, we could drink plenty of these, especially on a warm, sunny day. Calagione could easily make a whole line of these brews featuring different kinds of grape must and hop varieties. How about Mosaic and Viognier, or Sorachi Ace and Pinot Blanc? DFH has the blueprint dialed in. They just need to drop the “IPA.”