Friday, May 11, 2012

DOTDR Interview With Atmospheric Old School Style Black Metal Act Kavra

DOTDR: In preparation for this interview I revisited Extranos Dias De Pandra and it still completely amazes me. What did you guys set out to do on EDDP?

Enrique: Well, to be honest the recording happened only after a period of inner turmoil and the fracture of the band's basic core, which was I and guitar/vocalist Inkvlto. Then, like a year after (2008) I started listening to the then-new Crepusculo Negro stuff like Volahn, Arizmenda, etc. and I felt very related to that anger and fierceness, so I took a guitar and started "playing" it… sorta. I realized I would need help so I asked two old friends from the local scene and showed them riffs and well, the main aim was basically to capture the sound of my/our distress.

DOTDR: Right now "Render Null and Void" is playing and I love the way it goes from psychedelic and shoegaze black metal to almost a raw Summoning feel, the misanthropic mournful howling and raspy vocals that are buried so far behind the mix that the whole song feels like it’s on the verge of evaporating into oblivion. That has to be one of my favorite tracks on the album. You really captured the turmoil, but in all honesty, I’ve rarely heard something so ethereal and unique in recent days. It has an even more vaporous feel than Velvet Cacoon!!!

Enrique: Yes, it's funny you mention it because we recorded that one on a Panasonic boom box from the 90s!  Also, that track is improvised.

For the record, I only wrote riffs for "Behest of Mayhemic Buzz" and "Raving Fanatical to the Dire".

DOTDR: Whoa!!! That's awesome!!! It really has that unique lo-fi sound to it that fits the song title. Did you record it like that on purpose or did it just come out that way because it was all that you had available?

Enrique: This is a bit embarrassing... 'cause we were just too lazy and/or stoned to set up the mics again (borrowed from one of the guys of the local band Korgull), so we ended like, yeah, whatever, let's improvise; put a (probably used) tape and pressed record.

DOTDR: That's hilarious, and it was probably the best lack of decision a band could have. So then how did you record "Behest..." and "Raving...", they also have a great warm lo-fi feel to them and are also really old school black metal?

Enrique: Hahaha thanks, I'm glad you like it; you seem to be one of the few persons capturing most of the RECORD essence. As with most friends/boss labels/journalists we've shown the tape, the thing is they either like the black metal OR the experimental tracks.

Those were the two tracks recorded with proper mics, a 12-channel mixer and computer/soundcard. I hate 80s/90s techniques of recording (when people records "clips" and then the engineer assembles everything in sync/time) so I've just set it up in the room with mics everywhere, kinda like the 50s jazz recordings and we did it live, first take, it's full of "mistakes" and shit. I overdubbed some guitar on Raving, though.

DOTDR: Shit!!! That's a brilliant way to go about getting the right sound!!! I'm a 50-60's jazz nut and many believe that the recording styles are the whole reason that those albums sound so good on vinyl.
I also love the combination of both styles on the album. It's different, but still very much coherent and really does give a very bleak and dark side of things wavering between fanatical and pissed off to solemn. I'm now on "Steel of Elitism and Blood", another experimental track that is incredible. What's the story behind this one?

I also don't hear any mistakes on "Raving..." it's that raw instantaneous vibe that makes it so harsh and REAL.

Enrique: Sick story. That one is a track done using a technique called "granular synthesis" in which a short sound (from, you say, less than half-a-second) is divided into "grains" of sound, which can be altered in pitch, speed, etc. I'm really interested in the concept of "error", so I ended running a micro sample of the sound of when you accidentally unplug the guitar, you know that DAH! static sound, through some granular delay synthesis effect, I press record and manipulated it in real time. No overdubs, no keyboards, no "musical" sounds, just the annoying sound of static dissected and re-organized in infinite ways.

And about "Raving", what can I tell you...I'm so partial to that's prob. my favorite.

DOTDR: Wow!!!! How did you come up with that?

Enrique: Well, to be honest much of these granular techniques were shown to me first by a younger composer of contemporary music, called Elias Puc. I happen to play and organize experimental gigs here in my town alongside a couple of friends who have been into experimental and contemporary music for quite a long time. I'm still learning from them.

DOTDR: I know that the cassette sold out a while ago, so others must hear and sense the incredible energy it has. Are you going to do another release in the future?

Enrique: Yes, actually we're about to have two different releases, one is a demo tape which will come out through Depressive Illusions, the other one is the debut single-sided LP for the Prison Tatt label from our esteemed Wm. Berger!

DOTDR: Outside of the inspiration mentioned in the beginning, what other sounds/styles of music are you into?

Enrique: it's pretty diverse and indicative of a mental illness. For example, I collect old house records. Obscure 90s deep NJ/NYC/Chicago/Detroit house. Love it since I was a kid. I hate so much of what passes nowadays for "house". I also really like electro acoustic improvisation and composition, like the American composer Michael Pisaro, who is a MUST. Of course noise, jazz, specially early 70s, 60s and 50s, a bit of sludge/doom/stoner, Wagner, Strauss, Shostakovich, Mahler... tons of black metal tapes with poor production...

OLD 80s/90s Hip Hop like KRS-One! shouldn't make the question. I'm now thinking of dozens of shit!

DOTDR: Yeah, once you get me going on what music I like it becomes this explosion of stuff like ripping a fire hydrant out of the ground. Jap psyche is another one of mine, I scored a nice Blues Creation Demon and Eleven Children a few weeks ago!!!

 I just cleared out my entire Detroit techno/acid house collection. I had so much of it and was really into it for about a decade at least but never listen to it these days and needed cash to fill holes in my death metal collection. That's pretty cool to hear that you're so diverse. I'm a huge prog/kraut fanatic and my recent obsession over the last year has been Turkish Psychedelic Rock.

Enrique: Whoa!! I'm a huge kraut fan and Jap psych; I even bought that Julien Cope book!
What can you recommend me of Turkish Psychedelic Rock? A good compilation?

DOTDR: OOOH yeah. I’ll send you some info, but start out with the Love Peace and Poetry series, also grab the Turkish Freakout comps while they’re still available, I can give you the info on where to get them, labels, etc.
Great book as well, I need to pick that up but still tend to get books on metal instead (laughs).

You've been my first live chat interview victim!!! I'm so glad you were able to do this, I've been waiting to get a chance to hear more Kavra material and am glad to know that there's more coming. You're really innovative!!! So in closing, is there anything you'd like to say?

Enrique: Well, thanks a lot first for the chance to do this, it was really great, so far off from the shitty posed interviews I often read from black metal interviews. I just want to add that nothing of this will be happening without the terrific work and commitment of Mr. Kenny Crum of Wohrt Records. Kenny believed in Kavra since he heard it, so much that he let us have the huge honour of starting the Wohrt label with EDDP. I always look forward to work with Wohrt again, so, I raise my keg of beer to him.

DOTDR: Absolutely!!!! WOHRT is great and I'm stoked to work with Kenny!!!! Kenny has taste; I did not know that you were the first release though. That’s really great!!

Thanks again for your time, the making of the album was really interesting as was the album itself. Keep in touch and best of luck with the next crop of bet I'll want them!!!

Enrique: I'll be more than happy to send you copies of both, the demo will be out just before summer and the LP is expected in November!



Thursday, May 10, 2012

Kristoffer Nystroms Orkester – Overlook Hotel (Malignant Records 2012)

“The Night Corridor” is the perfect Hitchcock style precursor to set oneself up for classic suspense and creepiness, both of which are so fitting for KNO. Starting with a nightmarish classic silver screen Hollywood soundtrack intro, that eventually becomes swallowed in buzzing and gives way into the cyborg arctic electronic atmosphere of “Cleaning Still Houses”, which is somewhat similar to Antigen Shift, especially The Way of the North and some elements of brakeHEAD such as “biTer”.

“Cleaning Still Houses” is an eerie thumping rhythmic groove-athon that still avoids dancefloor cliché tendencies and goes for a sci-fi horror analogue atmosphere, not unlike some Death Factory material, that really pushes ambient and electronic forward. Expect colossal crashing metallic clanks and bass pulses like an iceberg falling apart in the middle of the arctic ocean, on repeat for five minutes, and that’s the intense and chilling experience that you get from “Cleaning Still Houses”.

“Industrial Pale Ale” is a vaporous seven-and-a-half minutes of very minimal electronic sculpting that has a darker and more organic feel on what was done by Wolfgang Voigt in his Gas project. Here one feels as though they are in an abandoned asylum under a narcotic/anti-psychotic influence, only a quarter consciously aware of reality and haunted by the clanking of old metal gurneys and the hollow echoes of wind gusts through the vast empty tattered corridors. Although the actual sounds on this track were recorded in one of the Nogne O breweries, some of the best European beers that I’ve had (their stout has some serious ABV and body which kills most American stouts which lack the density of a true stout), the atmosphere KNO creates is always a perfect storm of industrial versus organic and this creation is yet another example of the skill this duo contains.

“Becoming the Green” continues the vaporous misty fog sounds of “Industrial Pale Ale”, only to be out stomped by the rhythmic penetrating “Vulgalina Fever” with it’s infectious and heavy but very metallic crushing rhythm and whirring like an electric drill amidst some Russian vocal clips thrown in. Now “Vulgalina Fever” is fully into Deutsch Nepal territory and a majestic and haunting industrial soundscape is fully realized.

“It’s a Test” fascinates me the most, not just because it’s really eerie, surreal, and definitely psychotropic, but aside from the amazingly chilling industrial ambient textures that comprise the song, somewhat of a Yen Pox/Stahlwerk 9 combination with some slight martial/neoclassical effect on drumming that echoes in from the battlefield in the distance underneath the fog. It turns out that there are field recordings on here taken live at the Chernobyl nuclear power plant, reactor 4, in this song, which are slightly discernable as the dripping and subtle chimes/clanks/beeps in the background. The song is surreal on it’s own, but reading that puts it in a whole new realm of thought.

“Astronaut 47” closes the album with a Lustmordish hypnotic ambient drone that is as much soothing and organic as it is cosmic and dreamlike.

Five years in the making and VERY cerebral and dreamlike, Overlook Hotel will be a similar experience to portions of The Shining. Every track is it’s own experience and the sum of the parts yields an album that gives you a sense of wandering an endless desert in ones dreams. Available on both CD and vinyl, GET the vinyl!!!!!!! The vinyl contains the warm fuzzy haze tones that are a necessary element to this death industrial/dark ambient masterpiece!!! brakeHEAD was brilliant, but Overlook Hotel eclipses it in comparison.

Poisonous – Perdition’s Den ( 2012)

Perdition’s Den is one of those death metal albums form which you know straight from the first tones and seconds of the album that it’s a brutal fucking mess and will remain to reign in blood and septic flesh for it’s entirety!! Chivalry might be dead, but savagery is eternally feeding and spreading with this album.

“Subterranean Rules” opens this album with a doomy and filthy vehement stench of violence and inhumane desires that reminds me of a toxic concoction of Autopsy, Immolation, Morbid Angel, and Incantation. The experience of hearing Poisonous is without doubt intense enough to cause your internal organs to implode from the pressure generated by the depth of the growling demonic throat bursts of vocals that literally extend in a sulfurous caustic vapor after the words of condemnation and hate are uttered, or it’s the doom riffs and extent of down tuning that will literally cause your bowels to tie themselves into knots.

“Worthless Christ” sounds and feels like early Morbid Angel circa Altars of Madness and Blessed are the Sick, but, ironically, putrefied, possessed, and coated with a veil of bloody vomit.

“Under the Blessing of Death” is a charred blackened surge of homicidal tendencies that’ll leave you with blood on your hands once it’s over. There’s a subtle blackened death metal sound to this one as it does it’s diesel powered riffage that comes at you like a shredder of anti-Christian jagged jig saw blades (like the silver sphere in Phantasm that comes at people when they enter the crypt) and drills straight through your forehead.

“Perdition’s Den” makes me think of the filth and bombastic gnarling The Dead Shall Inherit (Baphomet) with the chugging torso sawing riffs and beyond the grave vocals. Some tones are just so low that they really do practically become a natural disaster and those will be heard with Poisonous.

I’m not going to go through each savage song of blaspheme and depraved indifferent brutality so in short: Poisonous lives up to it’s name, they are like Leprosy, an infectious flesh eating filthy dismembering and rotting contagion that brings back the true essence of gut-wrenching morbid filth and bestiality to a saturated death metal era. If you weren’t filthy, vile, and diseased prior to crossing paths with Poisonous, then prepare to be sodomized with a shit-covered ice pick until the tip pokes through your eye socket when/if you do. This is DEATH metal and to hear is to believe!!!!!!

Concrete Mascara – Excess Takes its Toll cassette (WOHRT Records 2012)

Concrete Mascara delivers ten tracks of screeching and bombing power electronics on this little tape that really capture a handcrafted physical layering of sounds and feedback that encompasses both rhythmic blasting, screeching, and fairly audible vocal shouts.

“Burial at the Salt Flats” starts the album off with a heavily muffled collage of screeching tones buried beneath the bass drenched throbbing stomp. Although short, 3:08 in length, it’s dense enough to suffocate you in a cloudy electric storm.

“Ready for Harvest” is a less muffled, bass less, screeching DIY style power electronic /noise experiment gone right. The constant buzzing in and out in the background reminds me of a shorting circuit, it creates this choppy and awkward rhythm that alongside the shrill screeches will keep your bowels clenched as your mind attempts to cope with making sense of this montage. There’s some reminiscence of Gelsominas “Narttukoira” off Sick Seed, or “So Many Ways to Kill a Man” off Dead Body Love’s Maximum Dose where the entire track is screeching with little to no background rhythm, but the fluctuations of the  “on and off “ choppy textures in the sounds really make the track flow. The only difference that specifically weeds out Concrete Mascara is that DIY, Nurse With Wound, choppy, collage, shot live in one take vibe, which really strengthens the track and the artist in comparison to others.

“Statement of Intent” is a thick stew of full-fledged fuzz fury of NTT/Steel Hook Prostheses/ worship, but with no love spared for the Cloama/Knurl screech tactics.

“Ruby Red” is one unusual “sore thumb” on this release. It has this bass line underneath a very minimal screeching and static layer that sounds almost like an actual bass at times. The reason this is such a unique track is due to the bass giving it an organic, almost Cabaret Voltaire tint. Don’t get me wrong, this track belongs on the album!!!!! It just takes the listener by surprise with the bass and it’s minimal structure almost like the audio version of a tree without the leaves, just branches bare. Definitely one more score for originality and craft for Concrete Mascara.

“Skin Crawls Cold” is a mega throbbing bass pulse that sounds as if it’s trying to slow to a “screeching” halt, a choppy and bouncing vehicle of heavy steel with a disastrous amount of momentum applying dry worn brakes. “Skin Crawls Cold” is also ironically “dancey” as a combination of  the rhythms of the thuds of bass and the jagged throbbing of the vocals and screeches on top. There’s a lot of manipulation in this 3:23 length excursion that is a huge juxtaposition to the previous “Ruby Red”.

Just released and limited to about 50 copies, the site says 47 available so a few have been set aside for trade or pre-order, so if you really want a tape of vicious and unrelenting power electronics that stands with the like of, Steel Hook Prostheses, Knurl, Cloama…. and still brings something new and sharp to the cutting block then you should move on this one quickly!!!!! WOHRT releases sell fast to the point of almost evaporation.

Here's some sound samples:

Wednesday, May 9, 2012

Interview with JPW of Stem Cell Research Project, Welter In Thy Blood,The Slaughtered Lamb, Deathstench...

DOTDR: Hey John, it’s been a few years since the last interview we did for your Pro-Death project and now you’ve had the recent Stem Cell Research Project as well as a few others that you’re involved in, so how about starting out with SCRP? How did the project idea and Charnel Houses album theme come about?

JPW: Stemcell has been around for awhile I just put out a veryselect material so it resurfaces once every so often.Charnel Houses was a very long process of an album, I had to collect lots of sounds to use. I had watched several hours of autopsy and actually had gone to a few and snuck in my hand held recorder.

Some of the sounds are also from different metal gurnies and the actual metal bench that they clean the bodies on. I have a couple friends at the L.A. corners office and I used to work at the Simi Valley morgue so I was allowed to make a little racket and bang on things. A lot of the Charnel Houses was actually recorded in Portland, Or. during some bad weather we had there. we actually got snowed in for 4 days so that kinda helped out a lot with my depression and creativity. The cover pic by Darea Plantin is an actual morgue in portland that the trees and nature started to take over and grow over which we thought would be perfect for this project.

DOTDR: Wow!!!! That's so insane that you actually worked at the coroners office!!!! I've never been to one or even seen a cadaver. I walked in on a laser eye surgery once as a kid, about 10 years old on a hospital field trip, it was freaky but really incredible at the same time. For the longest time I'd wanted to become a surgeon and when asked in school about it my answer was always "disturbing" to the administration because I'd say that "I want to be a surgeon so that I can open people up and look at their insides". I just thought anatomy was amazing and still do.

For Charnel Houses, what made you decide to go with the live autopsy recordings and autopsy   inspiration? It REALLY does come out during the album, as with all of your work, there's always this sixth sense of hallucination/nightmare lurking beneath the surface.

JPW: I've been really into anatomy and autopsies and I had collected a lot of material with my recorder while working at the morgue, so when I got permission to get some more samples it just fell into place that this was the right album to do this. I was going for a sedated Brightener Death Now vibe.

DOTDR: Alongside of the violently morbid black metal/dark ambient act Hypsiphrone, SCRP has to be one of creepiest and most genuinely thought out and composed releases that I’ve heard in quite some time. It literally beckons your skin to slither off your body so with that said what did you want/intend the listeners response to be?

JPW: Most of the music that I write is really to help get through most of my depression, it fucks with me a lot, and I rarely leave the house any more. I just hope I fall into the right hands of those that can appreciate the feeling that is in that album and find like minded individual who share my same vision.

DOTDR: I can relate to that.I saw recently that you are working on an upcoming Deathstench release,is there any inside info that you’d like to leak out about that one?

JPW: The new DEATHSTENCH is called NEKROBLOODRITUAL, this is a very dirty little black cassette being put out from Fall Of Nature Records. I am very pleased with the way this album came out and really couldn't have gotten through this without the help of Darea Plantin. She always refers great books for me to read and we have a shared liking for the occult,chanting, and organic sounds. We really wanted to make the blackest little tape that can just fuck you up in the vein of MZ412 and Cultes Des Ghoules,something that will make the listener vomit black blood and cut themselves.

DOTDR: Anton from Black Goat just commented on it and sent me a video link of a jam for it and it's definitely BLACK and crippling. I'm also huge Cultes Des Ghoules fan, love stuff like MZ412 and have to recommend you hear this 3-way split called 3 Ways to a Nuclear Funeral that's still in circulation from Vaginal Apocalypse Productions. 

The Deathstench split with Demonologists was some of the best black psychedelic/power electronic cross breed material that came out last year, and I know that I’m speaking for many others in saying that we’re looking forward to more Deathstench outbursts. What inspires your creative darkness overall and how do each of the separate projects represent that? Are they just collaborations or are they all based around different feelings, ideas, concepts,etc that require a different name/style?

JPW: Every album that I do is a very long process and concept, sometimes it's hard to keep the vibe of the album separate from the others with the hardest being DEATHSTENCH and The Slaughtered Lamb, they come really close together,  but DEATHSTENCH tends to be more black metal and The Slaughtered Lamb leans more towards doom so that helps.I get a lot of creativity from books I read, many books on the occult,cults,true crime and masonic practices. I actually live down the street from the Manson caves were the Manson family use to dwell and I use to take alot of acid as a kid and hang out in the caves, my friends father is actually the owner of the property that they rest on.

DOTDR: Man... that's really creepy and really fascinating!!!!I just saw parts of the first and only interview with Jeffrey Dahmer, it had it's moments but was generally lacking...that's as close to real killers that I've gotten to. I always think about the weird and crazy stuff that goes on out in the desert that no one witnesses, I used to think about the Manson family when driving up the 15N to Vegas, usually at night to beat traffic, and passing through Baker and Barstow, really creepy places on their own but with that connection it really amplifies it. 

On another note, I found the 3" of The Slaughtered Lamb today rummaging around, it's the Path of Ashen Bone and I'm actually listening to it right at this moment opening with its haunting "A Cold Beneath".You say that you feel this one is more doom than WITB and in listening to it, it's very rumbling and sonic low end dirge. Did you mix field recordings with live instruments, it sounds like a more psychotic and ethereal droning Lustmord nightmare tune using only bass and found sound? It's really physical, I can actually feel the bass frequencies thud and rattle. 

JPW:That is all Darea's low end bass and Moog, it is crippling how heavy she sounds. Live its like a black wave of sound that just shakes your bones and intestines. We've even gotten kicked out of some jam room's around the valley due to us not turning down the bass when we jam, but if we're gonna pay to practice:  "Fuck you, I paid my dues..." ; some people just can't handle it. We're actually recording for 2 upcoming tape releases, one
through HUSK Records and one through Black Goat Records and they will be very sick Black Doom.

DOTDR: Now I'm on "The Black Lodge" which is perfectly faded into by it's predecessor and now the ambient drones begin to dissipate into what sounds like an actual ghost talking. This is some seriously incredible shit!!!!! The riffs just started to kick in and the walls are rattling, so please do tell me something about this demented atmosphere of murderous minimal black metal meets drone doom and deranged psychedelia? There is some homicidal tendencies/actions taking place here and it's brilliant!!!

JPW: Thank you. I fucking love that song, "The Black Lodge" was our homage to the Black Lodge from Twin Peaks, we are both very big fans of the show and wanted to do something black and dirty so you can almost smell the burning oil in that song.

DOTDR: I haven't seen the show all the way through and started to sit down with it around December but didn't get too far yet again.I'll keep an eye out for when that comes into play.

Of all the expressive forms to choose from, how did you come to choose music as your expressive form? I can't do it, I tend toward the visual myself.

JPW: Since I can remember I was a fan of very dark music, my babysitter used to play Black Sabbath, Slayer, and Iron Maiden and that blew my mind and from there I just was always looking for more dark and Satanic music. I was later turned on to industrial like Ministry,Front 242, Psychic TV, and Throbbing Gristle at an early age due to hanging out with way older people than myself. I have always felt connected to the fans of that genre and will be doing this 'til I die.

DOTDR: Ministry broke me at age ten into an industrial fiend, back when there was no internet yet, so I relied on a local record store with an incredible selection of stuff and went by the insides of album covers, other releases from the bands, and the labels to discover stuff like My Life With the Thrill Kill Kult, Front 242, Cabaret Voltaire, Revolting Cocks,etc. That was my stuff for many many years. It often rivaled and even beat out metal for about 5 years or so in terms of my listening choices.

In all of your projects you tend to stay in the realm of dark ambient/power electronics/industrial/noise styles, even though some projects like Welter In Thy Blood and Pro-Death have a definite metal base. What drew you to these styles and what are some of your favorite acts within them?

JPW: It really just seems to come natural, I used to try to be in punk bands and such but it just never felt right even though I am a fan of bands like the Exploited,His Hero is Gone,and Neurosis. It just seemed that every time I would write music it would be darker than the last time. In terms of favorite acts, I mostly listen to songs/bands that I feel in the mood for: NORTT,Cultes Des Ghoules,Mercyful Fate,mz412,Horna... the list goes on. I also listen to a lot of Sisters of Mercy,Christian Death, and Bauhaus which I wouldn't of probably ever heard if it wasn't for the older kids on my block.

DOTDR: I also hung out with older kids who got me into old thrash, death metal, and traditional metal when I was about 10-12 years old, they'd give me their old cassettes because they were upgrading to CDs and that really shaped me into my obsessions today with the classic metal styles. I also really love SOM and CD, I also love the Chameleons, Alien Sex Fiend,etc.

Every so often I get the chance to put on the WITB vinyl that I have and always have to look at the cover art/layout. On both The Transference of Misery and The Grand Visage of Death, you really display the cutting/slitting wrists very openly and it adds an intense reality of suicide and anti-life.I know it's a personal question,but how does the feeling of suicide inspire you?

JPW: We really don't give a fuck what people think of our recordings and these are very personal albums to us. We're one of those bands where if you hate us I just don't give a fuck. We write this music for us and not anyone else. I hate most of everyone and feel that most people should go fucking kill themselves. Black Goat Records just put out a t-shirt
that says " FUCK LIFE " on the back that just says it all for us.

DOTDR: Just out of curiosity and being a huge fan, Is Welter In Thy Blood still active?

JPW: Oh yes, very active, we've been in and out of the studio like crazy. The new album is gonna be out in a couple months ..well, fingers crossed as we still have lots to do,  but it will be released on Dusktone Records from ITALY and  it will be available on cd and Vinyl 'cause I still believe only vinyl is real. This album is gonna  probably piss a lot of people off, which every album of Welter in Thy Blood does.There has been a lot of blood letting during the process of this album which helps clear my mind. I'm not afraid to admit my love for cutting and don't give a fuck what others think of me... they can fuck off and die.

DOTDR: The artwork on the two WITB LP's that I have great design/layouts. I know you draw and do photography with another member of several projects, Darea Plantin, but did you design any of these albums, do you ever design your own albums?

JPW: All the albums art and photos are always designed by Darea and myself. Even with the  "Through the Fields of Mourning" album where Kevin Yuen from Sutekh Hexen helped on he added a very minimal touch, and I mean minimal touch to Dareas photos. Like I said, we're very picky on the art we use and yes, all of the art is our own. All of those cut arms are actually Dareas arm's... it was a bloody mess.


DOTDR: Well John, it's been great to work with you and find out more about the upcoming releases. Is there anything you'd like to say in closing?

JPW: Thanks so much for your help and getting this out and some coverage, all the best
-John Paul

Syzmic Records:  
Black Goat Records: