Cooking with Satan

Welcome to the part II of our Mayhem Archive, a testimony of the early black-metal scene in Norway revolving around (the true) Mayhem.
Here’s the last known interview of Dead (and Dead alone), second and most notable vocalist of Mayhem who killed himself in april 1991, by Evil (A.K.A Morgan Hakansson of Marduk) originally published in Slayer Mag.
This brings us back in the days, at the very end of the first black-metal wave, right before the media explosion that considerably altered the essence of the scene…

Check part I here.

Evil: How come you left Morbid and moved to Norway to join Mayhem?

Dead: As everyone knows (or should now): Morbid never was a real band. However after the “December Moon” demo the band kinda split up. I don’t know the reason why, but we were all very different and couldn’t compromise on how Morbid should be or sound like. What’s most mysterious to me is how everybody could change so much. When I and John formed the band, the band was looking for some members and asked them about the thought of having a black metal band as black metal should be, but it never turned out that way. They all seemed to be totally into the idea at first, but… well… I must say that I don’t think the 2nd Morbid demo is in the same vein as the first. But why the hell do I talk about Morbid in an interview when the band never should have been featured???? I talked to Euronymous on the phone and he explained how his view of the most brutal stage show would be and we discussed the problem that everybody wants everything to be so normal, boring and wimpy. And we totally agreed on that, I should come over and try out some rehearsals, to find out how I would fit in the band. And I guess I do fit ‘cos I’ve been singing here ever since. But the problems was that short after I joined the band we were out of rehearsal places…

E: You have said that the “Deathcrush” EP will be released again, what about it?

D: We want to release it again, but we just don‘t know how the hell we can afford it. It was wrong to limit it and now the copies are being sold for far too much money and that wasn’t the idea at all. Those who want it can’t get it unless they are millionaires. We will never release anything limited with Mayhem again.

E: Tell me about your new LP “De Mysteriis Dom Sathanas”. When will it be out? Any old Mayhem songs on it?

D: Good question… I wish I knew when! It’s planned to contain 8 tracks and to be released on D.S.P. as antimosh 003. When the 2nd edition of the Merciless LP has sold out and paid, the next band will go into studio (Imperator from Poland). When their 1st edition has…
»  read on…

This interview was first published on www.emofag.net

A really cool interview I did with Dennis Dread, the infamous illustrator, some time ago. Enjoy!

emofag: Hi Dennis! How are you doing these days? What are you up to?

Dennis Dread: Things are going great, man! Lately I’ve been busy redesigning my website with a friend and I’m really excited about how it’s coming together! My old website was built with software that made updates very difficult but the new site looks really good and it will be much more interactive. Right now I’m just relaxing at home. You have my undivided attention.

e: Did you study art at school or are you a self-taught artist?

DD: Self taught. I’ve only taken one formal art lesson in my life and it was a requirement at the State University where I studied literature for a few years.

e: You said it’s been difficult to make people accept that your ballpoint drawings are not some kind of jail art. How are things now?

DD: Fuck ‘em! The right people are embracing my art and that’s all that matters. I don’t have any lofy “high art” career goals. This is what I do and people either like it or they don’t. I’ll be drawing until the day they dry the pen from my cold dead fingers!

e: You have a very particular and minutious technique. How would you define your style? Did you get the chance to meet some young wolves inspired by your technique?

DD: I don’t think about it much, but if I had to define my style I’d probably say something like “Ballpoint Horror Noir”. Academic types might call it “Obsessive Compulsive Revenge Fantasy”. And they’d be right! People actually think I’m colorblind but I just really love this hyper-shaded style I’ve developed over the years. Occasionally artists contact me and ask for advice and I’m always happy to assist. I don’t think I’m some hotshot artist but I’m at least as qualified as the average jerk on the internet. It’s important to support the young wolves so the pack grows stronger!

e: The combination of post nuke, medieval & pagan elements in your work create something unique. Do you have to think about it all or it just comes out naturally? What is usually the first kick to start a drawing?

DD: These days I’m usually drawing for a specific project so I tend to be relatively thoughtful and strategic. I actually consider research and reflection an important part of the creative process and it’s important to consider this when setting realistic deadlines. The first part of the drawing process is usually me pacing and wringing my hands nervously. This can go on for days. Then I usually blast some appropriate music to get the blood flowing. At some point I start scribbling on scraps of paper with no particular investment in the outcome. This allows my hand to relax and…
»  read on…

This interview was first published on www.emofag.net

This interview is the start of our massive south east Asia Black Metal scene report that we entitled “East Of Hell”.

From now on we will propose on a regular basis interviews from musicians, label managers, tape traders and die-hard followers who support this TRVE underground scene. A scene deeply rooted in the old-school shape of Black Metal: primitive, raw and totally uncompromise. Many, many great bands come from this scene and they all preserved the original essence of this genre now in serious decline in western countries. No room for trendies here, envenomed by ruthless life conditions and cultural censorship, their wrathful musical assault has nothing to envy to the so-called tenors of the scene. Hailing from Singapore, Istidraj is one of these bands and its charismatic leader Lord Arian Inferno answered our questions about his music, his life and the asian BM scene. We hope you’ll enjoy this first episode and guarantee you some really cool upcoming stuff. Stay updated.

emofag: Hail Istidraj, for those who don’t know you & Istidraj, could you please give us the history of your band? What led you to play BM?

A.Inferno: Hailz! I’m A.Inferno Ov Istidraj… I’ve been into Heavy/Thrash Metal back in
1988… Somewhere in 1990 I discover bands like Sarcofago, Bathory etc… Thats where it started & till now I’ve been possessed by Black Fucking Metal!!! Istidraj spawned forth in 1993 anno
bastardi… Istidraj had vomit forth 1 demo, 1 rehearsel promo, 2 ep’s, 3 album’s & 5 split releases…

Our wrath opus so far:
“Eastern Blood Reh/Demo” (Unreleased till included “Singakult Black Metal” Album as bonus)
“Metafizika” Album
“Bhinneka Tunggal” Ika EP
Istidraj/Luger Split EP “Total War Epuratio”
Istidraj/As-Sahar Split EP “Conquerors Of Syonan-To”
Istidraj/Insane Vesper/Ironfist Split EP “Unholy Demonic Trinity”
Singakult Black Metal Album
“Blasphemic Rites” Rehearsal Promo
Istidraj/Dry Split Album “Singanezian Heathens”
Istidraj/Makam Split Video CD “Alive In Solo”
“Blasphemous Ritual” Album
“Blasphemized Perversion” EP

e: You released a tape, “Blasphemized Perversion”, in september on the french label Chambragaz Records, is the tape format something you really dig? Tell us more about its content… The tape was limited to 100 copies, is that sold-out already? It seems that the label doesn’t exist anymore right?

A.I: The new EP has been only out on pro-CDr promo & tapes… Chambragaz Records has closed down due to some shit happens between them… Currently we are hunting for label to release it on CD & 7″EP.

e: Do you have any particular connections with the french scene? Who are the french bands you know & appreciate?

A.I: I’m only in contact with few french guys like Pzkw of ex-Luger, Arggon of Black Worshippers & Grimvald of Armaggedon…
I adore those above-mentioned bands & also Antaeus…

e: Before “Blasphemized Perversion”, you released “Blasphemous Ritual”… What was the feedback for this one? Did you manage to…
»  read on…

This interview was first published on www.emofag.net

In a little over a year span, Grammal Seizure (the one man Power Electronics tour de force is actually visual artist Erik Stanger) has produced 10 CD/EP’s, participated in a various artists compilation, and has a track coming up on the Sleepchamber Tribute download release (through Kill Your Godz). The musick is like a hammer, smashing through the social taboos of todays dogmas. Attacking our perceptions of the mind as band such as SPK and Whitehouse had before him with musick paid for in pain and suffering. Through his hard work, he has already generated considerable noise in the blogosphere. Sharing a considerable amount of musick with his fans for free. And what should happen with so much Grammal Seizure musick available for free? His CD sales have also blossomed. His name has gotten out there and is recognized. His musick is sought after. A case study for the modern musician. All this from Baltimore Maryland.

TheeBradMiller: It’s a strange journey for most of us from are earliest musick purchases to where we are now. It’s actually my favorite question to ask musicians I respect… what was your first release YOU bought. And how did you get here from there…

Erik Stranger: The first album I actually bought and paid for with my allowance money as a kid was Iron Maiden’s “Killers”… I had been listening to my dad’s Black Sabbath albums before that when I was like 7 years old… Oh and also obviously growing up a kid in the 1970’s I listened to KISS as well… I loved the “Alive 1″ record my dad bought for me… My father was a full time jazz guitarist who exposed me to a lot of music at a young age. So I suppose when I first heard the early Iron Maiden stuff, that sprung me into wanting to play guitar and get involved in bands and stuff. I just loved the raw energy and fast pace of the early Iron Maiden records and in a way they were kind of the beginnings of Speed Metal in a way (along with others like Motorhead)…. I wore that “Killers” album out on my suitcase record player…. Then I began buying Black Flag and Dead Kennedys records. Also got into bands like Celtic Frost, Bathory and Venom. Played around in Punk and Thrash bands as a teenager and it’s been all downhill since… In a good way.

TBM: Power Electronics, by the very nature of its core, is anger and aural violence. I guess this is a two part question. Is this therapeutic for you? Or is this punishment for the listener?

ES: I’ll tell you the truth, as I got into Punk and Hardcore in the early to mid 1980’s, I thought this was as far as things could be taken in an all out assault on the ears and mind… Then I got into the Anarcho Crust and Grind scenes around the time Napalm…
»  read on…

This interview was first published on www.emofag.net

P. Emerson Williams (or 333 as I call him). Musician, artist, illustrator, web mogul, chaos magick practitioner. Since the late 1980’s P. Emerson Williams has been making his mark in a world that is not often seen by the mainstream media. But through his incredible work ethic and vast amount of creative energies, as well as a knowledge of how to tap into the powers of the web, he is now able to reach across to his fans in a multi-medium fashion that has only become possible since the turn of the century. And just when the world catches up with him, he takes another quantum leap forward – as he did in 2005 with the multimedia work “Panic Pandemic”, and promises to do again this year with new releases including the newest Choronzon recording “Controlled Substance”. Perhaps the best way to describe 333 is like a Whirling Dervish – of the Sufi Order… Both in the constant movement and spinning (in great productivity), but also as a man on a mystical journey.

TheeBradMiller: You have been recording your brand of musick for over 20 years. I suppose one could say that you were berthed out of the Black Metal scene of the late 1980’s. Was that a scene you identified with in the beginning?

333: Well, I was listening to a bit of primordial Black Metal at the time I started out, but what I did on the first two tapes and corresponding events really had little to nothing to do with Black Metal. I can’t really say there ever has been a scene per se that I would say I could identify with. Obviously, a Bathory and Celtic Frost influence crept in at some point and I did find that the early Norwegian bands along with the Greek bands were tapping into a current that I still wonder if they knew what that current was, or even if they knew they were drawing on something not quite of this universe. That aspect disappeared as soon as the world found out about them in any case, following the events that have come to identify the genre in most peoples minds ever since.

TBM: While many of Choronzon distributors categorize you as Black Metal (they have to call you something), it seems that you are moving away from the standard trappings Black Metal fair… in fact, as I go through your catalog I noticed that this becomes particularly noticeable with “Psychosis Ex Machina”. Was this intentional?

333: I don’t think “Psychosis Ex Machina” would have happened without my having done Veil Of Thorns‘ “Birthed” right before it. “Magog Agog” was my first all digital recording, but I had used a lot of looping using primitive processes of splicing tape into loops or using a reacjmount digital delay and creative use of analog delay. If you compare “Magog Agog”, “Era Vulgaris” and “Larvae” which were all recorded using the same equipment…
»  read on…

This interview was first published on www.emofag.net

Is it because the heavy mists of Yuletide still wander in my mind that my hands are almost shaking and barely allow me to write a tiny single word every minute? Maybe… But I also think, and don’t blame it on laziness, that this interview with our comrade Dennis Dread doesn’t really need any introduction. As you’ll see, it truly speaks for itself. To those who don’t know him you, however, have probably seen his craft on the previous two Darkthrone albums. Well, he was the man in charge of the artwork. That can be a nice introduction to his art, but his multi-faced talent can also be found in various other domains that this interview attempted to present to our humble readers…. Anyway here’s a great artist who gave us the opportunity to do a great interview. Enjoy!!!

emofag: Hi Dennis! How are you doing these days? What are you up to?

Dennis Dread: Things are going great, man! Lately I’ve been busy redesigning my website with a friend and I’m really excited about how it’s coming together! My old website was built with software that made updates very difficult but the new site looks really good and it will be much more interactive. Right now I’m just relaxing at home. You have my undivided attention.

e: Did you study art at school or are you a self-taught artist?

DD: Self taught. I’ve only taken one formal art lesson in my life and it was a requirement at the State University where I studied literature for a few years.

e: You said it’s been difficult to make people accept that your ballpoint drawings are not some kind of jail art. How are things now?

DD: Fuck ‘em! The right people are embracing my art and that’s all that matters. I don’t have any lofy “high art” career goals. This is what I do and people either like it or they don’t. I’ll be drawing until the day they dry the pen from my cold dead fingers!

e: You have a very particular and minutious technique. How would you define your style? Did you get the chance to meet some young wolves inspired by your technique?

DD: I don’t think about it much, but if I had to define my style I’d probably say something like “Ballpoint Horror Noir”. Academic types might call it “Obsessive Compulsive Revenge Fantasy”. And they’d be right! People actually think I’m colorblind but I just really love this hyper-shaded style I’ve developed over the years. Occasionally artists contact me and ask for advice and I’m always happy to assist. I don’t think I’m some hotshot artist but I’m at least as qualified as the average jerk on the internet. It’s important to support the young wolves so the pack grows stronger!

e: The combination of post nuke, medieval & pagan elements in your work create something unique. Do you have…
»  read on…

This interview was first published on www.emofag.net

It’s 1997 – to the outside world the future couldn’t seem brighter for Sleepchamber… completing a successful German Tour, CD’s were now being distributed overseas and in the US by the Italian label Musica Maxima Magnetica and the German label FünfUndVierzig. And, perhaps more promising, Cleopatra Records out of L.A had signed the band with the promise of even wider distribution.

However, things are not always what they seem…

The gods had begun to frown on John’s life a year earlier. On June 21st of 1996 Swedish nanny Karina Holmer was found sawed in two in a dumpster down the street from John’s home. Her torso was left in two separate bags… Her lower portion has never been discovered. Although no charges were ever brought against John, he was brought in as a suspect and questioned. The fragile world of Sleep Chamber quickly began to splinter.

Also smoldering under the surface, out of public view, John was suffering from a 9 years hardcore addiction to Heroin. The fabric of the band had already begun to disintegrate. Friends of John even held a benefit concert to help him with his drug addiction in the early summer of 1997. It would be the second to last show of Sleep Chamber.

Effectively Sleepchamber ceased recording in 95 just before the Nanny Murder. A huge catalog of unreleased tracks managed to keep the band in existence by name till 2000. A final Sleep Chamber show went down December 31, 2000. It featured John, one musician and a dancer.

The final blow came on November 2 of 2001, when Zewizz girlfriend, and former band-mate, Laura Graff died from a heroin overdose. Heartbroken and addicted John went further into seclusion.

If this is where the story stopped then we would be left with the memories of a large number of outrageous live gigs, many compelling releases, and a virtual who’s who of former band mates sprinkled all over the “underground” musick landscape. But November 2 was not the end of the world for John or Sleepchamber (as of 2000 Sleep Chamber became Sleepchamber).

In 2004 John beat heroin addiction, reformed Sleepchamber and began producing musick. The first foray came quick, with the ultra limited release of “Sirkle Circus” – a collection of remixes. Work on other projects quickly began to fill John’s time. As of 2008 John has a number of projects nearing completion, and the hunt for a distributor has begun. All of this is good news to fans who have been hungry for new material for nearly 9 years.

In early 2008 “The John Zewizz Appreciation Society” was created by me out of frustration at the lack of Internet representation of a true American musick pioneer. As an archivist, completest, and all around obsessive compulsive pack rat, I knew going in that this was going to be a time consuming effort. During the Spring of 2008 I had…
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This interview was first published on www.emofag.net

“We sing the praise of war. Not for the way it makes people die, but for the way it makes people come alive”. This is how Arditi (re)introduce themselves when their latest album was released earlier this year. Their music brings the war at your doorstep like a blood-stained letter from the front. Grandiloquent tales of glory and sacrifice stomping mercilessly on the battlefield, Arditi has definitely something to say and they say it well. So I couldn’t miss the opportunity to interview this great band. The questions took the form of an ABCD questionnaire where, as you’ll see, the duo played the game showed a great sense of humor. Unless…

This interview was first published on www.emofag.net

De par ses activités de musicien et de label manager, Shaxul est une figure incontournable du Metal underground. Son label, Legion Of Death, est aujourd’hui LA référence en matière de Metal extrême issu des quatre coins de la planète. Fort d’un catalogue comprenant des groupes allant de l’Afghanistan à la Malaysie en passant par la Thaïlande, la Jordanie et les Philippines, le label, qui presse uniquement du vinyl en édition limitée, ouvre la voie à une scène majoritairement ignorée du grand public. Un interlocuteur idéal donc pour notre deuxième épisode de la série East Of Hell, consacrée à la scène Black Metal d’Asie du sud-est. Activiste passionné et ardent défenseur de la bannière Metal, Shaxul nous parle ici de son label et de ses projets musicaux, de ses motivations et de sa vision de l’underground, sans fausse modestie ni langue de bois. Un discours aux antipodes du music-business et une dévotion exemplaire… Trop rare pour qu’on passe à côté.

emofag: Avé Shaxul, peux-tu te présenter à nos lecteurs?

Shaxul: Infernal hails. Je m’occupe du label Legion Of Death Records. Côté groupes, je fais partie d’Arphaxat (batterie/basse) et d’Annthennath (chant).

e: Tu es là pour nous parler de ton label, Legion Of Death. Peux-tu retracer pour nous l’historique de celui-ci? Quelles étaient tes motivations à l’origine? Tes premières sorties? Voulais tu dès le départ te concentrer uniquement sur des groupes non-européens?

S: Le label est né début 2001, sur l’initiative de Karnage (créateur d‘Eternal Fire Zine). Je l’ai rejoint immédiatement sur ce projet. Nos motivations étaient de soutenir les scènes méconnues que nous avons toujours adorées, donc oui, notre but initial était de se concentrer sur des groupes non-Européens. Notre première sortie nous a permis de nous faire connaître facilement puisqu’il s’agissait d’un split 7″EP entre 2 groupes Japonais de légende: Sabbat et Terror Squad.

e: Il s’agit souvent de pays ou la pression sociale est plus forte pour les individus en marge, la religion plus présente dans les mœurs et la censure plus active… Est-ce que tout cela contribue selon toi à l’authenticité de la scène Metal de ces pays?

S: Bien évidemment. En Europe, tout est très facile, la société est relativement tolérante. Dans certains pays, c’est l’inverse et tu dois te battre, parfois même au péril de ta liberté ou de ta vie pour faire vivre ton groupe de Metal. Ce type de situations, où tout est difficile au quotidien, influence forcément ta musique et tes paroles.

e: Tu as au cours de ta carrière de musicien, joué avec des groupes de ces contrées: tu a été musicien live pour Surrender Of Divinity. Est-ce que tu as joué en Thaïlande avec eux? Raconte nous tout!!!!!!

S: J’ai fait un voyage en Thaïlande avec ma femme en novembre 2006 et il se trouve que Surrender Of Divinity, avec qui je correspond depuis toujours, avait prévu un concert pour fêter leurs 10 ans d’existence. J’ai donné au groupe 3 textes pour leur…
»  read on…

This interview was first published on www.emofag.net

It took me quite a while to really get into this band…
I bought “The Trident” when it came out but only listened to it a couple of times. Good for me and you, that was not the case with their last effort, “Electrocution”. I guess this album came out at a good moment for me: spring was still expected in Paris back then… Who knows? Anyway, this unique mixture of Sludge and Hardcore concentrates everything I like in both genres. The production on this LP is really huge and tempos are faster than what you can hear in their previous work which is something I definitely enjoy. On top of excellent music, Unearthly Trance always came up with interesting lyrics and the use of occult symbols. “Electrocution” is no exception to the rule. I needed to know more. So when Relapse gave me the opportunity to interview Ryan Lipynsky I coudn’t say nothing but yes… Apologies to the band and the label for delay, this webzine lives in its own space & time. Check this out, that’s a good one…

This interview was first published on www.emofag.net

Depuis “Hanger” d’Unlogistic aucun album de Punk français ne m’avait fait cet effet là…
Est-ce l’imagerie croix de fer du groupe? La syncope rythmique façon Métal Urbain? Le casus belli qui suinte de chaque texte? Ou tout simplement l’affriolante barbe du chanteur? Peut-être un peu de tout ça à la fois… Mais quelque chose me dit que Déja Mort est bien plus que ces premières et fugaces sensations et j’attend avec impatience la suite de leur parcours discographique. En attendant jetez une oreille à leur impérial premier album “Tête De Mort” et prenez le temps de lire les réponses de Gwardeath, insolent frontman cagoulé de cette formation Bordelaise, à nos humbles questions.

This interview was first published on www.emofag.net

I was just browsing Blabbermouth without really payin’ attention, as usual, when suddenly this unexpected but nevertheless great new appeared on the screen: Arckanum is about to enter the studio to record its fourth album! For those of you who don’t know Arckanum (shame on you maggots!), this is the BM band which should have no secret to anyone who looking for a true authenticity in the scene. After its acclamed debut with the album “Fran Marder” who defined the Trollish Black Metal genre, its second release “Kostogher” is one of the best thing who ever happened to Black Metal. The kind of music posers try to play but they can’t. Arckanum is raw, dirty and definitely Metal. The double LP “Kampen” is considered to be the latest Arckanum album but since then the band granted us with a few releases among which the split with Svartsyn “Kaos Svarta Mar” will remain forever has one of the most inspiring Black Metal act since a long, long time. Shamaatae, the only man behind the mask, is now back again to show to the world his vision of Metal. And so we ask him questions and he gave us answers. Behold, Shamaatae is now speaking:

This interview was first published on www.emofag.net

Just give one single spin to the “Waterloo” split and the fact that there are fuckin’ killer bands in Spain shall be definitely printed in your mind. Among them, Another Kind Of Death is about to release their long-awaited debut album and finally get the attention they deserve. Catchy HxC Metal combining Noise elements, inventive drumming and devastating vocals parts, here’s your new favorite Metal act from Spain or wherever… Before they get too damn hype we ask them a few questions to which they kindly replied… I think you should read.

This interview was first published on www.emofag.net

READ THE ENGLISH VERSION RIGHT AFTER THE FRENCH ONE

Ok, la section “Interviews” n’a pas été updatée depuis quelques mois mais on se rattrappe tout de suite et maintenant avec cette interview d’Aluk Todolo, obscure formation française à la musique rituelle étourdissante, hybride de Rock Psychédélique ténébreux et de Black Metal, puisant son inspiration dans la tradition occulte. Prochainement en concert à Paris, l’évenement s’annonce tout simplement incontournable, alors en attendant de découvrir le groupe sur scène pour la Grand-Messe, Antoine Hadjioannou à bien voulu répondre à nos questions.

This interview was first published on www.emofag.net

You walk down this dark back alley at night, whipped by an ice-cold rain. You’re tired, broke and filled with auto-destructive feelings. A neon sign is flashing, you push the front door, looking for some liquor strong enough to burn your guts and, why not, some venomous female company to forget this dog-day you could call “my best “life’s a bitch” experience so far”… Men dressed in black with faces full of scars looking at you as you approach a free table and grab a chair. You order a bourbon and gaze at the half-naked woman (is this a bruise on her face?) dancing on the stinky stage. The night has just begun and will probably end bad…
A tall dark-haired man approaches and sits at your table, his name is Bain Wolfkind and he’s going to talk to you about his music and everything else if, of course, you buy him a drink…

This interview was first published on www.emofag.net

This year, we got the opportunity to discover on a larger frame the mind-blowing talent of this Brooklyn native singer known as Julie Christmas… If “Coward” by Made Out Of Babies confirmed all the good we were thinking of them since their debut on Neurot Recordings, the Battle Of Mice album, “A Day Of Nights”, brutally brought us the certitude that she’s among the greatest vocalists we can hear today (and there are not that numerous)… Added to the fact that she seems to be quite an interesting person, I had no other alternatives than sending her my questions… Few of them returned unanswered, but regarding her schedule you won’t be surprised that she have better things to do that answer stupid questions from a stupid webzine… But, well, we manage to talk about Black Metal, James Bond girls & Chuck Norris, so I think this interview is not that bad… See for yourself!

This interview was first published on www.emofag.net

Back in the dayz (love to write that, makes me feel like a gangsta), I used to listen a lot of Neo-Classical, Folk & Ambient stuff… I remember listening Amber Asylum on a cold winter night as the high-school bus was bringing me back home, my forehead against the window, eyes gazing the bleak nocturnal landscapes of my hometown… And I know what you think but this webzine is called emofag so fuck you… Then I moved on, found more entertainment in Rock n’ Roll and sold my Amber Asylum CDs… But from time to time, I do make quite interesting discoveries in the genre and Dwelling is one of them…
Find the time to listen to their music, we’re on a high level of stunning beauty and commitment here, and enjoy a bit of soothing melancholy in this sick world of ours. But read the interview first…

This interview was first published on www.emofag.net

I discovered Colossloth on Myspace, I think he sent me a friend request, yeah, he asked me the supreme favor of being my friend… And I said “yes”, of course, or “approve” or something like that… Then, I discovered that it was good music there, well I mean not that good but good enough to make me ask him “hey, would you be ok for an interview?” and he answered me “yeah mate”… So I worked on my questions based on the only tunes I know of the band, which means the ones on Myspace, shame on me, and forwarded them to the guy… Andy answered us and then I discovered that he makes not only good music but he’s also a really cool guy and this is something I really appreciate… And by the way, check our Myspace page, Tom will thank you for that…

This interview was first published on www.emofag.net

You know Scott Kelly for being a part of the ultimate sonic Rock (let’s be wide on this) outfit named Neurosis…
A band it’s no use to introduce as it has influenced 99% of the people reading this interview and this for hundred of different reasons, whether they play music or not…
But you may not know him for being the co-founder and weekly host of the best radio show on the web: Combat Music Radio…
So we thought it was a good idea to ask him questions about this less-known aspect of his “career” for the main reason that’s a fuckin’ good radio show everyone should listen. Of course, as you all know, the new Neurosis album is coming very soon, so we also ask him questions on this forthcoming masterpiece… Scott answered us and you people, are going to read this…

This interview was first published on www.emofag.net

He is the man behind the greatest Anathema songs, the original founder of the Antimatter project and these days, he should be known worldwide as the author of the beautiful and critically acclaimed “Madre, protégenos” by his new band: Ion.

Duncan Patterson kindly answered to our questions and didn’t get mad because of the recurrent Anathema subject in it. So all praise due to the man & his music. Support them, they’re just great…

This interview was first published on www.emofag.net

It’s truly an honor for us to open this interview section with one of the most gifted musician in the actual scene, whatever the place, whatever the genre…
Superstars of the Martial Indus Rock scene, Albin Julius & his band Der Blutharsch will release their long-awaited new album in october 2007.
In the meantime, we decided to contact the man and ask him questions on his work, his life and everything in between…
Sure that some his words, especially in his music taste, will freak out some hardcore purists of the Indus scene out there but that’s the way Albin Julius does: like it or leave it!
Enjoy!

NB : Cette interview a été réalisée en anglais et est donc retranscrite dans sa langue d’origine. Pour les non-anglophones en galère de sous-titres contactez-nous par e-mail pour obtenir une version française de l’interview. Ce même principe sera appliqué pour toutes les interviews à venir dans ces pages.