Sleeping Village Reviews - OLDE INTERVIEWS

Interview with Erin Palmer of DREAD MAW and RAGE OF DEVILS

Thu, 27 May 2021 15:06:06 GMT

Erin Palmer is no stranger 'round these (pseudo-medieval) parts. You may know her as the sole member of both raw black metal outfit Dread Maw and black metal/black n' roll entity Rage of Devils--or perhaps, if you have a ridiculously acute memory, you may recall a few guest posts here at ye olde Sleeping Village. Or you may know her by benefit of an active community presence over on twitter.

In any case, Erin is great, and we're honored to have had the opportunity to chat about a wide variety of topics, from the upcoming Dread Maw release, to black metal as a genre and a mindset, to maintaining distinctions between multiple projects, to Mortal Kombat, and beyond. We hope you enjoy! Once yer done reading this, I recommend making the trek over to bandcamp and snagging that sweet Libations of Blood preorder.

Enough preemptive chit-chat. Without further ado:

Sleeping Village: Hey Erin! Thanks for stopping by our humble Village. Firstly: how are you holding up these days?

Erin Palmer: Pretty well, thanks for asking! I recently quit a job that was killing my mental health, so I've just kinda been relaxing and working on the music.

SV: Shoutout to quitting jobs, and congrats on the impending release! Now that Libations of Blood is sitting in the nebulous space between "being finished" and "being released," how are you conceptualizing the release as a whole? Is the anticipation and curiosity as to your audience's reaction occupying you at this point, or are you excited to just get on to the next thing?

EP: I'm not going to lie and say I'm not anxious as to how people will react to it, because I definitely am, as with any release. But Dread Maw has always been a project that's been for me, first and foremost. I'm proud of what I did, and that's the important thing. I've also got the third Rage of Devils album occupying my time at the moment, so that's helping me not focus on anxiety too much.

SV: How does Libations of Blood differ from your debut EP under the Dread Maw moniker?

EP: I think it's a little better produced while still having that raw edge. I also double tracked the vocals, did one track with a high pitched shriek and then did a second one with a more mid range growl under it. I think the effect is nice and chaotic and they're some of my favorite vocals I've done.

Libations Of Blood by Dread Maw

SV: What was the impetus behind the creation of Dread Maw? Does Dread Maw provide you the opportunity to cover different sonic/thematic territory than Rage of Devils does?

EP: It definitely does provide that opportunity. I have always loved dissonant music, and I was listening to a lot of Terra Tenebrosa [read Erin'sretrospective review here! - Ed.], Drastus, Dearth, stuff like that before I started the project. I don't really necessarily think Dread Maw sounds like any of those bands, but they were definitely the inspiration. I wanted to do something that I could just go nuts and have fun with. I wasn't really expecting a lot of people to like it, I just wanted to do something that was 100% me.

SV: Similarly: I'm always interested in the ability to maintain multiple creative projects separately, particularly in the case of solo acts where other personas intrinsically don't have an impact. Is there always going to be a clear delineation between Rage of Devils and Dread Maw in your mind, or is their trajectory bound to intercept at some point? Rage of the Devil's Dread Maw solo supergroup inbound?

EP: It's interesting that you ask that, because I'm currently writing the third Rage of Devils album, and it's coming out more dissonant than I expected. I'm employing some of the techniques I use when coming up with Dread Maw stuff. There is still definitely a clear delineation between the two; Rage of Devils is always going to have more accessible riffs and hooks and things, but the third album is going to have a little Dread Maw flavor.

SV: Continuing down this train of thought, do you generally know what project a new song will be attributed to during the songwriting process? Does that decision ultimately come later?

EP: Yeah, I know where a song's going when I write it. It helps that the Dread Maw stuff is in large part improvised, so I'm only coming up with the basic skeleton of the song when I write for that project; with Rage of Devils I have most everything planned out before I sit down to record. That being said I did switch projects with a song once; “Hate,” the instrumental opener for the Sanctified Murder EP, was originally going to be an interlude in the second Rage of Devils album, but I decided it worked better as an intro for Dread Maw.

SV: In terms of your overall process, what's the hardest part of operating as a solo act? Is there an aspect that you would prefer not to do, or is doing everything yourself all part of the appeal?

EP: Doing everything myself is both the appeal and the hardest part. I like having complete creative control, and the amount of pride I feel when I listen to a song that I have written, performed and produced in its entirety is beyond words. That being said, I'm also in Ophelia Drowning with Sarah Allen Reed where I'm just doing drums, and it'll be nice to only focus on one part of the music.

SV: Having been witness to your twitter-mind for a while now, it's clear that you have thought a lot about black metal as a genre (and perhaps as a vehicle for, in your words, transgression and shock.) On a fundamental basis, what is black metal? Is black metal defined by its sonic qualities and thematic qualities in equal measure?

EP: My views on black metal have evolved quite a bit over the years. In my late teens and early twenties, when I got into the genre, I was very taken by the themes of black metal, the misanthropy and the sense that it was more outsider music than any other type of metal. I loved the Satanic imagery, I felt that that was the perfect expression of those themes. I am now in my early thirties and have grown up considerably. On one hand, you could say that black metal is simply a dark genre of music, and you wouldn't be wrong at all. If you want to think of it as just riffs and drums and shrieking that's perfectly valid. But the themes that struck me as a teen are still part of the musical experience for me, still help send a little shiver down my spine when the riff hits just right. I think as long as you're not making it your whole damn personality, and as long as you're not using the philosophy as an excuse to be apathetic or outright hateful, it's fun to let yourself appreciate the mystique a little

Life of Horror by Rage of Devils

SV: In a similar vein: what does it mean to you to be a black metal musician?

EP: It means taking the philosophy of black metal, that outsiderness, that Satanic idea of going against the grain, against society, and turning it queer and leftist. Turning it into rage at the injustice and bigotry that is part of the very fabric of life

SV: I'm obviously preaching totally the choir here, but an awful aspect of black metal is this association with injustice and hate and bigotry--so much so that hate and bigotry are often cited as essential to the genre's core sound. Is drawing a visible line in the sand when it comes to the fascist ideologies that permeate metal a mark of pride for you, or is it just an unfortunate reality of your role within the space?

EP: Unfortunate reality. I would love to not have to worry about any of that shit, but I do kind of understand why it happens. As we talked about just now, black metal is a genre of music with a very extreme philosophy, and that will attract people with other extreme views, be they right or left. Now, that is not to say black metal is “extreme music for extreme people” ONLY. Far from it. Black metal is for everyone to appreciate, and thus it should be, yes, a safe space. For everyone except fascists.

SV: Allow me a compliment! I generally have a difficult time connecting with raw black metal, but Sanctified Murder had me immediately hooked and invested due to the sheer force of your emotive delivery and personality. As someone who is significantly more familiar with the genre: is the draw similar for you? Is there some other notable aspect that pulls you in?

EP: Thank you very much! The draw for me with raw and dissonant music is the atmosphere it creates. Dark, unhinged, sometimes even a little frightening. I love the feeling it creates. It takes me mentally to another place entirely. It's a form of escapism, really, much the same way reading a good book is.

SV: Along with representing some of the best riffs in the game at the moment, the queer black metal community also seems to be host to a uniquely strong ideology of mutual support. How has being a member of this community had an impact on your respective projects (and on you as a creative person in general?)

EP: The queer metal community has been great. It took me a while to figure out I was even queer, but once I did, they welcomed me with open arms. I remember when I did the Plague Upon Four Houses split with Karnstein, Everson Poe, and Wyeth, and I still hadn't fully come out as trans yet and was worried I wasn't “queer enough” (nonsense, for the record), and they were immediately like, “okay, this split now has four queer people on it.” It was wonderful. As I've progressed in my queerness and come to terms with the fact that I'm trans, the queer community here has only continued to inspire me.

SV: With that in mind, is your inspiration primarily outwardly or inwardly sourced? Or a combination of the two?

EP: A combination. Rage of Devils started because I was furious about the state of the world, and a lot of songs come from that anger, but sometimes a lyric or a rhythm will pop into my head and I'll write a song around it. Dread Maw is usually inspired by whatever I'm reading at the time.

A Plague Upon Four Houses by Rage Of Devils

SV: I feel like this could be its own separate interview, but here's a (probably failed) attempt to keep it concise. You seem to be quite the avid reader, and have mentioned being influenced by both Greek mythology and fantasy novels. Are there any particular stories within the mythical ouvre that serve as threads in the tapestry of your works? Similarly, what fantasy series/books/authors are you liable to geek out over?

EP: There's not really any consistent thread, but books I can highly recommend: The Nevernight trilogy, the Something Dark and Holy trilogy, the Locked Tomb trilogy, the Grave of Empires series, the Red Rising series, the Black Company series, and A Song of Ice and Fire. Special mention goes to the Crimson Empire trilogy because the author is clearly a metalhead. There are so many metal references in those books.

SV: Over the past year or so, your projects have only continued to gain support. Do you have an overall goal or dream when it comes to Dread Maw/Rage of Devils, or are you content to just see where the road takes you?

EP: Really just content to see where the road takes me. Both projects have already exceeded my wildest expectations. All I really wanted was to have my own little spot in the black metal scene, and I think I do.

SV: Getting away from music for a brief second: as another fan of the franchise, and an admirer of your affinity for its convoluted lore, I've gotta ask about your thoughts on the new Mortal Kombat movie.

EP: Ah, it was a lot of fun. I'm not going to say it was a good movie, but it was fun. I enjoyed the new take on the story. But I'm a huge fan, so honestly give me anything involving Mortal Kombat and I'll like it. MKI was the first video game I ever played, at this older kid's house when I was like four. Even before my parents let me have my own video games, I used to buy the strategy guides just to read the lore.

SV: And swiftly back to music, as is our curse: what are your favorite albums of the year thusfar? In your professional estimation, how is 2021 stacking up in the grand scheme of Years That Have Produced Excellent Music?

EP: Naturgeist – Reinvigorated Terror; Febris Manea – Through Pale Opulence Thy Reign is Doomed [Erin's guest review can be found here! - Ed.] Hymnr – Far Beyond Insanity; Worship Him –Carmina Diabolicum Profana; Amafufunyana – Demonic Possession I; Fornicus/Ofstingan split; Nordjevel – Fenriir

I honestly don't pay much attention to music by year so I really couldn't say.

SV: Fair enough! And besides, y'know, your own stuff, what else should we be paying attention to as we head into the summer?

EP: I don't know if this counts as my own stuff, but keep an eye out for the next Ophelia Drowning album, which I'm playing drums on.

SV: You're quite prolific, so the question is inevitable: what's next for Erin?

EP: Third Rage of Devils album, tentatively titled The Devil's Own. It's coming along nicely, if I do say so myself.

SV: Looking forward to it, as always! Thanks so much for taking the time and energy! We'll give you the last word--is there anything you would like to add?

EP: Satan is queer, no I will not elaborate.

Dread Maw - Libations of Blood will be released June 4th, 2021 via The Forest at Night. Preorder a cassette here!

Thanks to Erin for chatting with us! She can be found:
Twitter
Bandcamp (Rage of Devils)
Bandcamp (Dread Maw)

Interview with Maxwell Jeffries of UNDERKING

Fri, 02 Apr 2021 21:21:39 GMT

Greetings, dear reader! In lieu of our typical pre-interview banter, I'm just gonna drop a quote from our review of At Hell's Gate, the forthcoming album from today's interviewee:

"Underking--the moniker of the very talented Maxwell Jeffries--plays a stupidly infectious blend of traditional heavy metal, thrash, alternative metal, and NWOBHM, all encased in a decidedly modern sheen. Across the varied breadth of At Hell’s Gate, Jeffries sounds like he’s paying homage to a veritable horde of influences, while simultaneously delivers a fresh-faced take on the side of metal that revels in jubilant hooks, catchy choruses, and enthusiastic groove. Underking arrives at hell’s gate with glee-inducing energy and a penchant for catchy-as-hell songwriting, and if that ain’t enough to wet yer whistle, I can offer nothing but sympathy and condolences."

Big thanks to Max for taking time to chat! After you're down readin,' I highly recommend checking out the pre-order and three available singles. But, without further ado, let's get to the good stuff!

Sleeping Village: Thanks for agreeing to chat with us highfalutin peasants, and congratulations on the imminent release! At this stage in the game, are you enjoying the anticipation, or do you just want to get this thing out into the world and see people's receptions?

Maxwell Jeffries: Absolutely no problem--it's an absolute pleasure to have the opportunity to chat about something I love doing! Its a bit of both really! I've been working on some of these songs since early 2020, so it's been a long time coming and I'm really happy to be finally sharing them with people!

SV: Of course listeners will interpret connections and commonalities in distinct ways, but from a perspective of artistic intention, does At Hell's Gate have a central topic or theme?

MJ: Throughout the writing process, the album's lyrics kind of took on their own life. I rarely write songs with lyrics in mind and I usually finish the entire "musical map" before I even start thinking about the lyrical content or message. So as the lyric writing went on, the thematic concept of 'being beyond hope' and 'dealing with inner demons' kind of developed unconsciously - perhaps because of the events happening over the past year. With Shadow I've Become, its about the consequences of Darth Maul's need for revenge--revenge that leads him to his death. In The Dream is Over..., the character of Spike Spiegel (from Cowboy Bebop) is trying to find meaning in his life and in his words: "Watching a dream [he'll] never wake up from". The closer, No Mercy, is centred around the character of Geralt (The Witcher)--someone who's constantly having to deal with morally ambiguous conflicts between men and monsters. I feel, in hindsight, the lyrical content is much more cohesive than on my previous releases because of this!

At Hell's Gate by Underking

SV: I'd agree, there's not a direct through-line in terms of characters, but the lyrical themes surrounding their respective struggles feel consistent. In terms of your process, what's the hardest part of operating as a solo act? In a similar vein, is there a part of the album-making process that you would prefer not to do, or is doing everything yourself all part of the appeal?

MJ: The hardest part of working as a solo act is having a lack of people to double-check ideas before you've fully committed to them. Sometimes I'll have an idea and be second guessing it all the way up until the release date so it'd be nice to have bandmates to help me through that feeling occasionally! In terms of the process of actually releasing music, it can be a challenge to handle all the marketing by myself, which can be a bit overwhelming at times. On the whole though, I do enjoy being a solo musician as it allows me to be or do whatever I want and totally shape my sound - which is a huge bonus!

SV: Speaking of working as a solo artist...who would you jump at a chance to collaborate with?

MJ: I'd love to collaborate with some other solo musicians, as they're the people that tend to inspire me these days due to their work ethic and ability to create awesome tunes on their own! In particular, I've been following Hellripper for just over a year now and everything James puts out is fantastic--a real treat for fans of blackened-thrash! It'd be great to have James feature on a song! I'd also love to work with a band like WarlocK A.D, a comedy trad-metal band with a fantasy theme. They're a really solid bunch of guys and it'd be really fun to collaborate with them! In terms of larger acts, a dream would be to collaborate with someone like Rob Halford from 'Priest or Jeff Waters of Annihilator, they're both real idols of mine and it'd be crazy to do something with them - however unlikely that is!

SV: Shoutout to Hellripper! A clear strength of yours--and, indeed, something that consistently drags my back for more--is a focus on earwormy choruses and vocal hooks. What is your process for songwriting? Does the chorus itself come first? Does lyrical content serve as the foundation?

MJ: Yeah - I wish I could tell you how it happens! It's a mystery to me! What I can tell you though is that I never write the lyrics first, I really wish I could but I can't do it. A normal Underking song will start with me writing the main riff and working outwards from there. Then, when I have the whole song mapped out musically, I start thinking of a lyrical theme to go over the top. This is normally influenced by what TV, films, books or games I'm enjoying at the time and I try to work those themes in! Lyric and melody writing is something that I've been working hard over the past year to develop so it's really nice to hear that people are enjoying the music!

SV: Is there a track that you are most proud of having created?

MJ: On At Hell's Gate, there's a clear winner in my head for the song I'm most proud of. The first time I listened back to the final mix of No Mercy, I actually felt a bit of imposter syndrome creep in. I couldn't believe that I'd written it--it really feels like something special. Dustin and Charlotte both completely nailed their parts and to have a choir of fans on the track was an awesome experience that lends itself so well to the song. On a wholly different note, I'm also really proud of Oblivion. As an instrumental track, I'm not sure about the mass appeal of the song, but it's something that I've wanted to 'put to tape' for some time now!

SV: I'm a big fan of Oblivion, it holds its own in the midst of super catchy tracks, so I'd say it was definitely a success. In terms of inspiration, is your focus on fantasy and science fiction born out of nostalgia and comfort, like you mentioned in your recent video about re-watching the LOTR extended editions, or do you gravitate towards fantastical worlds and stories because they inevitably promise something new and unfamiliar?

MJ: I feel most at home in fantasy/sci-fi worlds. At times, they feel more real than the real world to me. The characters and stories from them have formed an integral part of the person I am today and yes, whilst some of it may be influenced by nostalgia, I believe it's something a little deeper than that. Immersing myself in a fictional world is often the only time I get to escape reality and I really do find comfort in it. I often get hyper fixated on things like Star Wars and Lord of the Rings and often find myself consumed by them to be honest. However, it's something I love and wouldn't ever change about myself!

SV: You've mentioned that At Hell's Gate turns a lyrical lens on issues of mental health. In your experience, is mental health at all associated with the fandoms we attach ourselves to? Speaking personally, I take a lot of solace in the escapism of fictional worlds and universes that seem detached from the anxieties of everyday life, but am always interested to hear how other people interpret that correlation (or lack thereof).

MJ: I'd agree yeah! I think personally, I turn to fantasy and sci-fi to relieve the pressure of everyday life for sure. I much prefer to immerse myself in the somewhat black and white morality of something like Star Wars, than deal with the mundane, often greatly depressing truth of reality. I know that seems pretty doom and gloom but yeah, I think they are intrinsically linked!

At Hell's Gate by Underking

SV: Speaking of the truth of reality, how do you maintain your constant productive creative state? As purveyors of the ol' "creative burnout," we villagers could certainly use some pointers.

MJ: With this, I feel like it might be a bit of a misconception surrounding Underking. My inspiration tends to come in very short bursts of super intense musical work - so I get a lot done in a short space of time. I tend to focus extremely intently on something once I'm "in the zone" and it gets done rather quickly (well, as quickly as anything in the music world can get done). However, I do go through lots of lengthy periods of not having any ideas at all, which is usually really frustrating! With my music, I just tend to wait until I have an idea naturally, as all of my forced ideas never see the light of day.

SV: Now that At Hell's Gate is on the brink of release, what's next for Underking?

MJ: A little bit of a rest! I think I've put out enough music over the past twelve months to take a couple off! I'm aiming for a single release later in the year, with maybe a cover on top of that but that's all I have planned for now!

SV: Sounds like a plan, I hope you find some relaxation! Thanks again for taking the time--is there anything you'd like to add?

MJ: Thank you to everyone who has given my music a listen so far! It all still means the world to me and I can never express that enough! I hope you enjoy the album!

Underking - At Hell's Gate will be released April 23rd, 2021, and can be pre-ordered here.

Underking can be found:
Bandcamp
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Twitter

Interview with Sunny Faris of BLACKWATER HOLYLIGHT

Sun, 21 Feb 2021 00:02:10 GMT

Interview conducted by: The Voiceless Apparition

Some of you may be familiar with the name Blackwater Holylight, but some of you may not. For those uninitiated I will fill you in. Blackwater Holylight are a Heavy Psych/doom metal band from Portland, Oregon. They play a beautiful and melodious, but also heavy and doomy blend of psychedelic rock, shoegaze, dream pop, and doom metal. They are currently signed to the always incomparable Riding Easy Records, and have released two stellar albums so far. Their latest, Veils of Winter, was, in my opinion, one of the best albums of the past 5-10 years: an utter masterpiece. Go check out that album if you haven't already.

I had the absolute privilege of speaking with founder and main songwriter Sunny Faris. We talked metal, the beauty of emotional music, their upcoming 3rd album, and so much more. I hope you all enjoy this interview. Cheers!

Voiceless Apparition: First off I hope you are doing well. How has 2021 gone so far for yourself and Blackwater Holylight?

Sunny Faris: So far so good! Easing our way into it like everyone else I am sure.

VA: Music is such a great gift to us, especially during stressful times. What have you been listening to to keep your spirits high?

SF: Oh man. I listen to so much.. mostly metal but I am really all over the place as well. Been listening to a lot of Mizmor, Nothing, Thou, Chokehold, Rainbow, Chtonic Diety, Living Gate...

VA: At what age did you discover that music was a place of salvation for you?

SF: I have been a lover of music for my whole life, as far as I can remember it's been a huge part of my identity. I didn't start playing music until my early 20's but I've definitely always loved it.

VA: When did you initially pick up the bass and what inspired you to do so?

SF: I started playing bass seriously in 2012 when the bassist of my band at the time left. My bandmate and very good friend Dylan handed it to me and said "here, we are going to teach you how to play this." Before that I was just singing in that group.

Veils of Winter by Blackwater Holylight

VA: A bit of an abstract question, but what compels you to write such emotional music? I personally think it's really brave to have the courage to pour your heart and soul into art.

SF: Simple. I am an emotional person. Music is a vessel in which to show and appreciate the ways I feel vulnerable. What is art if you're not pouring your heart and soul into it?

VA: Now to switch gears, your upcoming third album is highly anticipated by me (and a host of other Villagers!) Each album takes on a different sound. How does LP #3 differ from the first two?

SF: Tonally it's a bit different, although I think all three are different in that regard. There are some more synth focused moments, there are some nice moments of duality between soft and heavy that we captured in a very tender way. Not as many vocal harmonies as before but I guess you will have to tell me how it's different!

VA: Do you foresee the second guitar player position being filled in the future or do you plan to continue as a four-piece?

SF: If we are ever able to play a show again we will perform as a five-piece for sure.

VA: Now to switch gears once again: Blackwater Holylight, while not entirely a metal band, has found a lot of love within the community. While there is certainly a small sect that are staunch elitists, I find that we've been so much more inviting and accepting of diversity lately, do you agree?

SF: Oh definitely, it's been really amazing the way we have been welcomed into the heavy scene. It's good to get some different flavors in the mix.

VA: What is your relationship with heavy music like currently?

SF: Married.

Veils of Winter by Blackwater Holylight

VA: This past year has been quite a struggle for everyone, especially musicians. What do you hope for in the near future?

SF: That we can all safely travel and perform again.

VA: Music is a utopia for everybody, it heals so many wounds we all have. Any words for anybody out there struggling right now?

SF: You ain't alone and there is beauty in the darkness. If you need something, ask for it, you are loved and you have value.

VA: Mental health has been a topic of great discussion lately, something I'm very happy to see being discussed, I myself suffer from depression as well. What tips do you have for staying positive in this world and why do you feel it is so important?

SF: I think we are all hanging on by a thread here. I don't have tips for staying positive but I think that moving and exercising your body and creativity is one of the most responsible acts of love we can give to ourselves, now and always.

VA: And lastly, if there was one thing you could change in the music or art scene what would it be?

SF: Patriarchy.

VA: Is there anything you would like to add as final words for the wonderful supporters out there?

SF: Thank you to each and every person that supports this project, we love you all much more than you will ever understand!

Thank you so much to Sunny for taking the time to do this interview with me, it was an absolute honor. Thank you to Blackwater Holylight for existing, and thank you to Riding Easy Records for having them on your roster. Be on the lookout for their upcoming third album, due out sometime soon! - The Voiceless Apparition

Blackwater Holylight can be found:
Bandcamp
Instagram
Facebook

Artist Spotlight: Meg of SLUDGEWORK

Sun, 07 Feb 2021 21:30:03 GMT

Welcome, dear readers, to the grand opening of our Sleeping Village Gallery and/or Curiositorium! For our inaugural exhibition, we're very pleased to present assorted examples of the artwork and design of UK based artist Meg (of Sludgework fame,) alongside an interview with the artist herself.

If you frequent various online metal communities, there's a good chance you've seen her easily recognizable work: black and white, and often featuring viscous lettering and skulls (or other gory oddities.) I mean, check out that logo. Meg's freelance work can be found gracing the halls of many a band, podcaster, streamer, author, or online personality. A sampling of said designs are featured here today, and if you like what you see, you should absolutely check out the Sludgework website for a more complete catalog. And, needless to say, if you're on the hunt for a top-notch artist for your logo, cover art, poster, tshirt, etc., you should get in touch, 'cuz this stuff is, as ye shall soon see, quite good.

I'm personally a big fan of the stark Sludgework aesthetic, and, as such, was very excited to chat through a variety of topics related to both her work and inspirations. Without further ado, then: let's dive in!

SVR: This is our first official artist spotlight, and we greatly appreciate you taking the time to chat! Right out of the gate, how are you doing during these (always increasingly) unprecedented times?

SW: Wow, that's a nice thing, being the first artist spotlight. I'm all nervous now, haha. Thank you guys though. Personally I've been very lucky not to have been affected negatively in terms of employment and health during this never ending pandemic, so I myself am doing fine, and I am aware each day of the need to be grateful for that. I've known friends and family that have been more adversely affected, so that in turn has been unpleasant however.

SVR: Your work has been popping up all over the place as of late--you're remarkably prolific! In your Heaviest of Art interview back in 2018, you mentioned being pretty busy, and from an outside perspective it certainly seems like business is only continuing to pick up. Is that indeed the case?

SW: Yes, my workload has been increasing steadily and positively since 2018. I am grateful for each request that comes through and all the connections and awesome people I've had the chance to work with and for.

If I'm busy with Sludgework, I'm a happy lady.

SVR: Piggybacking off the last question: has the pandemic had an impact on people's interest in your work?

SW: I can’t say I've noticed any huge difference, apart from the number of commissions and projects I am a part of has been increasing gradually. Not sure if it's directly related to people being at home more and having a bit more free time, I mean it could be.

I did worry a little bit back in March 2020 that with the sudden downturn of the world that people's creativity and drive to work on their own things may decline or take a step down, but it seems the opposite. It's awesome.

SVR: Having free reign over a project can feel simultaneously liberating and suffocating--the blank page is, in my experience, a little intimidating. To that end, do you get excited about projects that give you total creative control, or does having a fleshed out idea to work from prove more enjoyable?

SW: Both, for different reasons. If I'm sent a request which is very open ended and general and told I can run with it, then I love the research and digging (concepts and what they like and enjoy within their brand) to make sure I'm making something that fits that person or brand. I do initially ask if they have any reference pictures or specifications just to double check though. The blank page in that case is exciting. It's often the case I'll draft up something and check in with the client and it's at that point they will give feedback and find that they now have more clarity or ideas and then we have a direction to go in. I can honestly say I don't feel worried or anything by a blank brief.

With requests where the client knows exactly what they want, I love those because I can put pen to paper and get going off the bat. That's then more about ensuring I am following it correctly. I find myself reading and rereading their messages to make sure I'm on the right track. I never have a problem with redrawing or redrafting and revisions, because without those then neither the client or me can be happy that the end result is right.

SVR: While the satisfaction of creating art for other people is often wrapped up in their reception to the piece, is there a piece or design that you are particularly fond of from an aesthetic standpoint?

SW: I really enjoyed and love the three album artworks for Lunar Cult because they all follow a theme and build on the previous. I think on a shelf they would be quite satisfying. I also like the banner and logo for Riffspreader on Twitter. It turned out great with the skeleton and flying V hanging from the letters.

SVR: If you had the opportunity to remake a popular brand logo in your skull-ridden style, which brand would you like to tackle?

SW: I don't think there's any I would remake, but there are a few bands who I like of which I'd love the opportunity to make a logo for them in my style either for them to use instead if they liked it, on a shirt or as an alt piece, if that makes sense. I wouldn't like to swoop in and be like "I'll do this better."
To do a piece for Birds in Row would be awesome, I'm a massive fan and their artwork is already quite monochrome. Portrayal of Guilt as another that comes to mind too, incredible band and to make something for them would be exciting.

SVR: Do you have a particular aesthetic aversion to color, or is your (instantly recognizable) black 'n' white brand a result of the limitation presented by the tools of your trade?

SW: I love this question because I sometimes wonder if people think I'm anti-colour, haha. That's not the case. There are so many fantastic colour-using artists out there, with various mediums. I know that colour is not my strength nor area of interest so I leave it alone. Also yes, in that I use black ink pens and brush pens my work is black and white by nature. I have added splashes of colour to some client pieces because occasionally it's requested and adds something to it, which is fine, but if someone came to me and said I want a five colour piece I would have to be honest and say its not my area.

SVR: Speaking of, do you have any interest or plans in exploring beyond your pen and ink medium?

SW: Oooooh. Never say never. I mean I have considered trying some pieces using black acrylic paint on canvas, maybe as a personal project. I just love my pens and ink though, as cliche as that may be!

SVR: Moving away from the art side of things: what is it about sludge metal that attracts you as a listener?

SW: One of the main things I enjoy is how it translates live. I've seen a good few sludge metal bands live (when that was a thing - *sigh*) and gosh it makes for a good sound. Big Business were mind blowingly good at Damnation fest 2019. Gurt were incredible on the Sophie stage at Bloodstock 2017. I'm not a musician or a writer/music reviewer so I can't go all technical and wordy as to why I love it haha, but I do.

SVR: In a similar vein, what are a few sludge bands we slumbering scribes should be checking out?

A few of my current Sludgy go-to's are: Old Man Gloom, Conan, Gurt, Cult of Luna, and Big Business. These guys are all well known so I'm sure you know of them. I could list 50 though, haha. Almost everyday I'll come across a new one to look up through Twitter, Bandcamp, etc.

SVR: On to another interest that we have in common: horror! It's an admittedly oversimplified system of categorization, but when it comes to horror films, I personally lump stuff into two vague genres or traditions: "gross gory stuff" and "creepy psychological stuff." Do you have a preference between the two, or are you happy to sink your teeth into anything under the broad umbrella of horror?

SW: I do have a preference with horror, so for me I gravitate towards slow burn, psychological horror that makes you think and draws you in, and also found footage is a favorite category. I have such a soft spot for low budget, indie horror as well where you can tell a team of creatives have put their passion into a film. They aren’t blockbuster polished but they can be so creepy, unsettling and effective. I'm currently working on a poster for Bella in the Wych Elm for Carnie Films and that is a short horror with these characteristics.

That’s not to say I don’t sometimes put on a hack and slash, haha. Old classics are great too. Just as a recommendation here whilst on the subject, Korean horror is something that needs to be way more recognised and appreciated. It’s absolutely fantastic and there are some gems to be watched.

SVR: Favorite horror villain?

SW: Hannibal Lecter is a fascinating one for me, and when portrayed by Anthony Hopkins, just insanely effective.

In contrast, I like the shark from Jaws! It sparked me searching and finding almost every shark movie made and watching them. Sharks are misunderstood. Pennywise the clown is one that sticks with me as very horrifying, and then also Jigsaw is a controversial one which sparks conversation, so I like that one too.

Also sorry, you asked for my favourite and I gave four. Hope that's okay.

SVR: From a professional standpoint, what is the ultimate dream for Sludgework?

SW: To be able to sustain myself and make a living doing what I absolutely love full time. Making art for awesome people and brands. I don’t need to be rich and famous, just happy doing what I do.

SVR: We’d like to thank you again for taking the time! Are there any last thoughts you’d like to leave us with?

SW: A massive thanks for offering to spotlight me on your website. As you know, I follow you guys on Twitter and I've discovered a lot of music from that. Also you guys promo bandcamp Friday and are always so supportive of artists and bands and the like. It's great to see.
I wish you guys all the best <3

If you'd like Sludgework to draw something equally cool for you, here's that link again!

Sludgework can be found:
Website
Twitter
Facebook
Instagram

Interview with AS and DB of REVERED AND REVILED ABOVE ALL OTHERS

Fri, 05 Feb 2021 22:20:50 GMT

To say that I am a fan of what Revered and Reviled Above All Others hath wrought is, erm, a bit of an understatement. This drudgery of this reviewin' life has led me to seek out music that tries new things and creates new listening experiences, and the briskly sludgy doomviolence of RRAAO most certainly scratches that particular itch.

If you want to hear me proselytize further, check out this review of Toppling The Rotten Pillar. But speaking to the more immediate matter at hand: working with this duo over the past few months to bring you their (excellent, obviously) split with Cyttorak has been a dream. To that end, I'm happy to present an interview with AS and DB regarding the split in question, their approach to music-making, the general RRAAO ethos, and so on. Without further ado: enjoy these (particularly thoughtful) answers!

Mandatory plug! Once you're done reading, check out Revered and Reviled Above All Others' Split EP with Cyttorak here. It's available for the low, low price of Name Your Own Price. That, dear readers, is a damn bargain.

SVR: Right out of the gate: how are you both doing?

AS: Doing great, thanks! Staving off isolation jitters by doing a bunch of long overdue household projects and relearning long division so I can be a helpful tutor.

DB: Trying to stay busy to distract myself from the general state of the world. Pretty much constantly in a state of creating music in between work and playing legos with my kid. How are you doing, Ian? Tell us about yourself.

(Let the record show that I am decent, albeit Very, Very Tired, which I suppose is a fairly average state of being.) - Ed.

SVR: Thank you for agreeing to be part of this project! On that note, what can you tell us about yer two tracks?

DB: Oh, just moving on to the next question? Ok.

AS: Right? So selfless. Thanks for having us--these splits are a killer idea! We pulled “In Porcos Laqueo” from a batch of songs that are finished or mostly finished being considered for the next album. It’s RRAAO in a nutshell: primitive and suffocating drums & bass with a vocal vortex whipping it all together. As for the cover, DB suggested that one earlier in the year, and it’s just lucky that you gave us a place to air it out.

DB: Not sure where along the process it was decided that each band would do a cover, but it seemed like a great idea. I felt like “Gut Feeling” has this ambiguousness to it where, depending on the context, it can refer to a lot of different people or things. We have a common theme of anti-cop/anti-state control and this is the angle I’m coming from here.

SPLIT by Revered and Reviled Above All Others

SVR: "Gut Feeling" was certainly not the track I was expecting when you mentioned a cover, but time quickly proved that you absolutely nailed it. What's the significance of DEVO in your music-listening careers?

AS: First of all, thank you for that! I admit that I’m still really only familiar with “Whip It” DEVO, but when DB suggested “Gut Feeling” and pointed me to the lyrics, it struck me as one of those serious-subject-to-upbeat-music songs and seemed perfect for both the moment and what RRAAO is all about. I see you. I do not like you. I do not trust you.

DB: I’ve been a big fan of DEVO since I was a kid. My older brother had Q. Are We Not Men? A: We Are Devo! vinyl and I would listen to it a lot. When you’re young bands you like can get imprinted on you. They just become a part of you. As I got older I started to understand a lot of the messages behind their music and it definitely affected how I viewed the world. Something to point out is they would also take cover songs, strip them down and completely make them their own. I like when bands do that. Makes it interesting.

SVR: Unlike a variety of genre tags that hit the ol' inbox, "doomviolence" is a pretty damn accurate description of your sound and aesthetic. For people unfamiliar with what you do: what is doomviolence?

AS: Doomviolence is slow songs for short attention spans. I should say that we’re not the originators of the term, but I hadn’t run across it when I hatched the idea for the band, so it’s an honest case of multiple discovery. I was going back and forth between World Peace and Primitive Man and thought: “what if you played really short songs really slowly?” It’s a great challenge to experiment with brevity in a genre that is known for the opposite…we’d rather leave the listener wanting more than overstay our welcome. I liken listening to our songs to watching slow motion footage of sudden, brief, violent attacks.

DB: AS is a genius and perhaps he didn’t invent the term, he did it the loudest and that’s everything.

SPLIT by Revered and Reviled Above All Others

SVR: In a typical interview, there's the inevitable question about influential artists. In your case, that question becomes a little more interesting, given a tendency to draw and combine elements from seemingly disparate genres. Are you fans of artists within both doom and powerviolence arenas, or does one genre tend to to supersede the other when it comes to your own musical tastes?

AS: We both have pretty deep wells of experience and influence, but for me the aforementioned World Peace and Primitive Man specifically started the stone rolling, and beyond that a hate-marriage of the concepts of PV and harsh, heavy doom adds the moss. There’s always a risk of accidentally creating unpalatable garbage when you mash genres together like this, and we avoid that by INTENTIONALLY CREATING UNPALATABLE GARBAGE.

DB: Both doom and powerviolence are big favorites of mine which is one of the reasons I basically begged AS to let me join the band. Chris Elder from Despise You is a big inspiration both lyrically and just his delivery. I’m doing my own thing with it, but the way you can just hear his intensity in his voice. I strive for that. Another band that really influences what I do in RRAAO is Plutocracy. They would just go all out. It sounds like they are throwing everything into their voices, just overloading their vocal chords.

SVR: Given the "Improvised May 1-5 2020" note on The Atrophy of Empathy, as well as the quick turnaround on "Gut Feeling," I would assume you move pretty quickly. How does the down 'n' dirty doomviolence ethos impact your songwriting process?

AS: AoE was entirely improvised and everything was done in a maximum of two takes. It was a case of the idea lighting a fire under me and I wanted to capitalize on the fact that I had time to spend banging around on my drums. The material on Toppling… was more considered, but I feel like it still retains the urgency of AoE. The writing process is purely reductive. Each idea is whittled to the sharpest point possible and then stabbed into the song. I record drums and bass and then send it to DB, where he polishes the turd to a surprising lustre. I still one-take almost everything because ornament is undesirable in this band. “Gut Feeling” was a more challenging cover thanour first (heh), but all I had to do was distill an already fairly simple song down to its foundation and hammer through it. I suspect DB had some ideas already, so when he added his magic touch, it really became something special. Honestly, thank goodness for DB. RRAAO is what it is because of him.

DB: I’m blushing now, great. But seriously, thanks. I genuinely enjoy what AS lays down for the tracks so he makes it very easy for me to do my thing with it. Other bands I’ve been in could take quite a while to get lyrics and vocal patterns going, but the ideas come to me a lot faster with this project. Something just clicks. In the spirit of the thing I also try to keep everything to first or second take. Just make as abrasive and intense as possible.

Toppling the Rotten Pillar by Revered and Reviled Above All Others

SVR: Perhaps similarly, RRAAO had quite the prolific 2020. Is there a larger method to the pace, or do you just make stuff when the mood strikes?

AS: 2020 was a great year for both of us, musically.  RRAAO went from DIY demo stuff to a proper, collaborative band in like six weeks. Unfortunately for DB, it starts with me, and my muse is kind of flaky. I’ll go through periods where I have both the inspiration to create and the time to capture it, but as an adult human, it’s tough to predict when those will hit.  RRAAO is always churning around in my head, though.

DB: AS and I are on the same page, hell even the same word sometimes. It makes things go really smoothly when the ideas hit. We seem to have a fairly unified vision of how this band is supposed to be. In my experience that’s pretty rare.

SVR: Reception to your work thusfar seems to be pretty great, with one notable exception--you handled a (hilariously) negative review with a grace that, in turn, ended up being a major selling point (for me, at least.) Is the ability to shrug off negative criticism a result of a confidence in your creation, or is it a confidence that the reviewer just had no clue what they were talking about? Or perhaps a third option I'm not considering?

AS: Ha! There was a time when that review would have made me seriously think about putting the project to sleep, but that review a) was hilarious and b) took issue with everything that made the music what it was, and that I had clearly and honestly stated about it. “This sounds improvised and amateurish…” My dude it says that it was improvised and I am 100% an amateurish drummer. I play a five-string bass like a guitar--in fact I chose not to use guitar in this music because that’s my primary instrument and I want to think outside of that box. None of this is faked or forced, it’s the most honest music I’ve ever made. And the great thing is that IT WORKS. That particular reviewer just didn’t care for it…I think there’s another at least semi-negative review out there, but it’s behind a paywall so even I haven’t seen it. Plus, how could I have passed up the opportunity to put “ASS WIPE DOOM” and “TOTAL MEDIOCRITY” down the sleeves of a shirt? Everybody else who has commented on the music seems to get it, because they say things like “this hurt my ears and I loved it” and “listening to this album was like getting beaten up in an alley” and that’s what we’re going for.

DB: It's an amazing stroke of luck, because I think that person was just browsing bandcamp looking for things to write about. Seems like in this day, just having someone listen to your music and writing about it is a really hard thing to do, but to get something gold like “ASS WIPE DOOM”!? You can’t pay for that kind of inspiration.

SVR: Given what has been released thusfar, do you have favorite RRAAO tracks, or ones that stick out in your mind as particular accomplishments?

AS: I really love how “Eroding Immunity” off of Toppling… came out.  Sarah Allen Reed delivered an epic vocal, and DB made the whole track sound like you’re sinking in a silo full of drywall screws. It’s disorienting and compelling. Doing our first cover, “You Suffer,” was also awesome because that was the first and only song I’d considered covering as RRAAO just because of how absurd it would be. We did a mind meld thing where we both suggested it to the other at the same moment, and the result is a sprawling 10-second epic.

Toppling the Rotten Pillar by Revered and Reviled Above All Others

DB: To say something different I’ll pick “A Spoiled Orchard.” That song starts like a bomb going off. Just tries to pummel you right away. I’m also fairly proud of my lyrics on that one. A couple of lines just came to me as a vision. Good job, me.

SVR: Cyttorak are obviously excellent split-mates, but if you could put out a split release with any band(s) or artist(s) in the History of Ever, who would you choose?

AS: Cyttorak are indeed an excellent split-mate, and we’re glad to ride their wake into greatness! I’d love to do a three-way split with a pure PV band first, then us in the middle, and then a pure crushing doom band (WP/RRAAO/PM hint hint). A band like WVRM, Hellish Form, or Holy Death would be cool to work with.

DB: You did a great job of putting the two bands together, Ian! It really does fit perfectly. In the history of ever? Probably SPAZZ. They are one of my favorite bands ever, so that would rule. Pessimiser/Theologian records used to do 7” compilations called Cry Now, Cry Later, it would be just absolutely incredible to time travel our way back on to one of those. As for current bands there are tons! Too many to list so I won't.

SVR: Thanks for taking the time to stop by the Village. I'll leave the last word to you--anything you care to add?

AS: Thank you for putting this split together, and for giving RRAAO your time and energy to listen to and review. Thanks to Misha Mono for the killer RRAAO logo, Tommy Wilson for the artwork on Toppling…, Sarah Allen Reed, Bigg Sluggathor and Diabolical Conquest for the tape release, and everybody who bought a shirt or tape or listened to our stuff. We genuinely appreciate you. RRAAO has much more in store for 2021 and beyond. Oh, and thanks especially to that one shitty review that gave us the ASS WIPE DOOM shirts (TY Forest Passage Printing)!

DB: Yes, thanks! We love you all

Revered and Reviled Above All Others can be found:
Bandcamp

Interview with Michael Munday of FROZEN SOUL

Mon, 18 Jan 2021 17:32:12 GMT

Check out The Voiceless Apparition's review of Crypt of Ice here! - Ed.

Interview conducted by: The Voiceless Apparition

2021 is about to get a whole lot more frozen. There are many new bands in the death metal genre garnering plenty of praise of praise, and rightfully so, but I can't think of another band recieving as much critical praise as Frozen Soul...also rightfully so! Death metal isn't typically known for its frosty and frozen atmosphere and lyrical themes, but that's what Frozen Soul are here to do. Last year these masters of the cold signed with Century Media Records, something I was ecstatic about. It's amazing to see a band get signed to a major label so quickly in their career, having only existed for two years now and only releasing one demo through the ever fantastic Maggot Stomp.

2021 is going to be the year for Frozen Soul to take over the underground extreme metal scene. I was extremely lucky to have been given the opportunity to interview guitarist Michael Munday. We talked signing with Century Media Records, how hardcore influences their songwriting, death metal, and much more. Enjoy!

Voiceless Apparition: First off: congratulations on signing with Century Media! How do you feel signing with them has affected the band?

Michael Munday: Thank you so much! Its definitely kicked us into the next gear! Getting to work with them is an honor, and we don’t want to disappoint, so it gives us that extra drive to make sure everything we do is as cold and badass as it can possibly be.

VA: After signing with one of the biggest labels in metal, do you feel like your DIY ethos remains intact?

MM: Definitely. Its so ingrained into our brains after doing things DIY for so long that it’ll never go away.

VA: I wanted to ask about your former label Maggot Stomp. How do you look back at your time with them?

MM: It was great getting to work with Scott because he’s a real ass dude, and that's very hard to come by in the world these days.

VA: Forgive me if this is a cliche question, but what are some of your favorite Maggot Stomp artists/albums?

MM: I’m a big fan of Mass Extinction by Gutless, Echoes of Terror by Disembowel, Forms of Unreasoning Fear by Mortal Wound, Piles of Festering Decomposition by 200 Stab Wounds, and Defleshed by Reptiles by Stabbed.

VA: Frozen Soul are a band that gets tagged with the term "caveman death metal." What are your thoughts on the term and do you identify with that phrase?

MM: Oh definitely, its still primitive as fuck caveman shit. The term itself has gotten a bit played out but we still think its funny. We have a sign on our jamroom door that says “CAUTION: CAVEMAN RIFFS AHEAD."

VA: Your debut album Crypt of Ice was released on January 8th. How do you feel the band have progressed since releasing your stellar and critically-acclaimed demo Encased in Ice back in 2019?

MM: We really put focus on having more hooks and catchy parts in the new material, but also having heavier setups and breakdowns. We just wanted to find new ways to build tension and then release that tension in these new songs.

VA: The production on Crypt of Ice is magnificent. It's a very cold, roomy, and reverb-drenched mix, giving the songs so much atmosphere. How important is production to you and how long did you scrutinize each detail?

MM: Thanks man! We’re very proud of how the sound turned out. The production is just as important as the music itself. We’re trying to establish an atmosphere and the way the mix sounds plays a huge role in that. If it’s overproduced its gonna sound like shit and wont properly capture the vibe we’re trying to create. We spent at least a good month or more going over a bunch of little details.

VA: What was the biggest challenge with writing and recording this album?

MM: The biggest challenge for writing was finding balance for everything else in our lives around it. I was working full time in a city 30 minutes away from where we live. The other members had school, relationships, and other real life bullshit on top of work and the band, so it was a real challenge trying to balance it all. Any free time we had was spent writing and it was honestly very draining at times. The virus actually started making its waves in the US when we were in the studio, and it wasn’t exactly a morale booster haha. Needless to say, the album still came out incredible. We’re very happy and proud of it!

VA: Frozen Soul are very much an old-school death metal band, with many people calling you "the Bolt Thrower of the U.S.". How do you manage to give respect to the classic bands, but all the while no coming off as a rip-off or clone? To me you're a very original band playing an already beloved style of music.

MM: We do our best to stay true to the roots. The bands from the late 80’s/early 90’s established some very awesome and unique styles/formulas to go off of. It’s about trying to find ways to do the same things differently, and that's where creativity really comes in.

VA: There's no denying that 2020 was a year of many struggles, unrest, and the global pandemic. How has this affected you as a band and as individuals?

MM: All of a sudden our lives were brought to a grinding halt. Going from working full time and touring/playing shows, to being quarantined and unemployed within a matter of days was hard to adjust to at first. It definitely impacted our mental health, but we’ve found new ways to move forward with the band and that has been a HUGE help.

VA: Now to switch gears again. I'd like to nerd out about death metal with you. When were you bitten by the death metal bug and what were your initial impressions?

MM: When I was 18/19 years old, i was really into thrash metal and had seen people online talking about Cannibal Corpse and Death. I checked out the first few albums from both bands and they sounded like a faster, heavier version of thrash (which is what I was on the search for) so I was hooked right away. It’s been quite the journey down the rabbit hole since then, haha.

VA: What are the most influential death metal bands to you?

MM: Bolt Thrower, Death, Cannibal Corpse, Obituary, Grave, Sentenced, and Mortician.

VA: The death metal scene is thriving right now. I feel like we're in a renaissance of sorts. What are your thoughts on the current scene and what do you think the future holds for death metal?

MM: The current scene is filled with so many badass and crushing bands, it's thriving! Death metal is getting bigger than ever and the bands that are carrying the torch right now are all hardworking, driven bands like Blood Incantation, Necrot, Gatecreeper, Skeletal Remains, Undeath, and Undergang with some awesome and unique visions that bring some great diversity to the table. And of course you’ve got the veterans like Cannibal Corpse, Asphyx, Suffocation, and Autopsy still releasing killer albums. I couldn’t be more stoked to see how it grows from here on out!

VA: So lets talk about the underground music scene in Texas. To me it seems like a REAL music scene. You have bands like yourselves, Creeping Death, Power Trip, Malignant Altar, and Oceans of Slumber, just to name a few. Would you agree that there's a sense of community and support for each other?

MM: Absolutely. It goes beyond music even. There’s just a certain camaraderie between Texans that we all just have with each other.

VA: Any upcoming Texas bands that you'd like to shout-out?

MM: Kombat, Fists of Fury, Steel Bearing Hand, Cleric, Skeleton, Wyrm Chasm, P.L.F., Cemetarian, Flesh Rot, Forbode, Executioner, and Mortuary Descent.

VA: You guys come from the hardcore scene, and it translates into Frozen Soul's music. You have some of the most ignorant, neanderthal riffs in all of death metal. Do you take your hardcore influences and incorporate them into your sound or do you feel you keep it fairly separate

MM: The hardcore influence is definitely there in the music, but it’s more in how the songs are structured vs the riffs themselves.

VA: And finally, what does the future hold for Frozen Soul?

MM: As of right now we’re currently writing for LP #2 and working on more video content in lieu of touring. Once touring comes back, we will be all over the world!!!

VA: Any last words to all of the wonderful supporters out there?

MM: Thank you to everyone for the amazing response to Crypt of Ice! We love y'all and we can’t wait to play these songs live for you!!!

Frozen Soul - Crypt of Ice was released Jan. 8th, 2021 from Century Media

Frozen Soul can be found:
Bandcamp
Facebook

Interview with Trevor William Church of HAUNT / HYSTERIA / BEASTMAKER / CHURCH RECORDINGS

Fri, 08 Jan 2021 15:43:50 GMT

Written by: The Voiceless Apparition

If there's one positive thing I can say about the internet, it is how easy it is to discover new music. In late 2019 I discovered Haunt through theShadow Kingdom Records YouTube page, the video was for the song "Mind Freeze." I was instantly blown away. Immediately afterwards I went to Bandcamp and pre-ordered the CD. The rest is history.

That's why the internet can be beneficial when it comes to music. The fact that you can discover a band, fall in love, and instantly order their merch. We are always discovering new music, but sometimes it's hard to swim through all of the bullshit and find an artist that connects with you. Haunt have become one of those bands for me. I really respect the level of passion, determination, ambition and drive that Trevor William Church possesses--not to mention his exceptional songwriting capabilities. I was lucky enough to conduct an interview with Haunt's mastermind on New Years Eve of 2020 and it is as follows:

Triumph by Haunt

Voiceless Apparition: So first I wanted to discuss your relationship with heavy metal. When did your initial love for the genre begin?

Trevor William Church: I got my first heavy metal albums in 1987. I was really into Metallica. They had been in some skateboard magazines and at that time I was obsessed with skateboarding. After that I kind of just found out about other bands.

VA: Bit of a loaded question, but what does heavy metal means to you?

TWC: Heavy Metal has always had a certain underground vibe that I’ve always found in the skateboarding community as a kid. Way before skateparks were built in every town. It has a rebellious nature to it but also can have a lot of depth.

VA: You're known for being a major supporter of the underground scene, always spotlighting new and up-and-coming bands. That's something that I admire greatly. How important is it to support these bands, especially during times like these?

TWC: I feel like the new generation of kids are missing out on a lot of things. I found myself by going out to shows and expressing myself in the underground culture. It’s so mainstream these days and a lot of the music is just stale especially the new generation of rap music. It’s really important to spread the word of new bands so they can survive and influence younger crowds. It’s basically the circle of life for music. We are kind of losing the battle but at the same time music is alive and well. Streaming has made things a lot less fun. Being a kid and going to the record shop and just grabbing an album blindly is dead. So, I think it’s crucial to keep that “mixtape” experience happen through social media and get small bands some exposure so they can continue.

VA: Where do you find the time and inspiration to continue to continue to keep creating such an influx of stellar material?

TWC: I just really love the creative process of writing songs. It gives me a real high to complete songs. Like I climbed a mountain or something. Or if we go back to my youth doing a 360 flip down some stairs. I have guitars all over my home and since I mainly focus on my own music and not learning others I just constantly create.

Night Closing In by Hysteria

VA: So what's currently going on with your label, Church Recordings?

TWC: I’m wrapping up my next album Beautiful Distraction, which is the strangest album I’ve ever done because I let the fans go through my throw away songs on Facebook live and with the help of the fans, four songs were picked that way. It was challenging because generally I focus on new material for albums. I wrote only two new songs for it and then I felt like that songs released on the split 7” albums needed more ears since they are sold out and a lot of people can’t spin it on their record player. Also, I drummed on a couple albums, produced, engineered and mixed Oath’s Computer Warrior and Saber’s Without Warning. As far as 2021 goes I’ll be mainly focusing on Haunt and Hysteria.

VA: Now to switch gears. The lyrics for Haunt are quite personal, with a mystical-edge to them as well. Have you ever written a song that was so close to you that you never released it due to it being too personal?

TWC: I think I’ve basically put my heart on my sleeve and have given everyone who I am as a person. I have a no song left behind policy as well so even if it’s something I may not be totally in love with I still release it. People have such different tastes.

VA: In the nearly 3-and-a-half years of existence, Haunt have created a massive buzz. This band has really had a major impact on people, including myself. What do you attribute to this success? (Besides the fact that you are a stellar songwriter.)

TWC: I think Beastmaker really helped get things moving. I had some eyes and ears on what I was already doing but I think Haunt just kind of has its own thing and the song "Luminous Eyes" just spoke to a lot of people. Also, I teamed up with Tim from Shadow Kingdom Records and he really pushed the project and we used to speak on the phone for hours about what we can do better on the next album. There is always the progressive side of my brain. I’m constantly searching for progress. Either in my playing. My vocals. My song structure style. It’s an evolution. Also the DIY recordings which I think with Beautiful Distraction I’ve hit my peak on production.

Luminous Eyes by Haunt

VA: What is one goal that you have as a musician?

TWC: To stay true to my heart. I have to focus on what it is I’m trying to get across and not worry about genre specifics and continue my musical growth and experiences.

VA: As you mentioned above, you are currently working on the next Haunt album entitled Beautiful Distraction. Any updates and a possible release date?

TWC: Album is done and will be released February 5th.

VA: I'd also like to discuss the writing process this time around. As you've said, the album has two new songs and six re-recorded/rearranged songs. Why take this route this time around?

TWC: Haha I kind of answered these already. These aren’t re-recorded songs though. They are all new songs to the world. They were songs I had but wasn’t feeling were strong and the fans helped sort through it on Facebook live and that’s pretty much the premise of this one. I probably won’t do anything like this again because for me I’m fixated on new music all the time. Going back in time is hard.

VA: What's next for Haunt after Beautiful Distraction is released?

TWC: I’m already upgrading my studio. I do this with every release. Since everything is DIY every album I do I make sure to invest in better gear. Recording equipment is very expensive so it’s evolving. I’ve got a lot of new songs that need to get finished. So i think by fall I’ll have the next album completed.

VA: What are your biggest hopes for in 2021?

TWC: I hope that all of our problems in 2020 get solved and everyone can get back to life as it was before.

EP. 3 & EP. 4 by Beastmaker

VA: For the readers out there, could you talk about some of the other projects you are currently a part of?

TWC: Hysteria is gonna be on display for 2021, we are working on the next album. Our plans got sidelined in 2020 because we had plans to tour our debut album and that got smacked down. Jake Nunn, and Mike Smith of Hellfire are in the project. Jake is the songwriter and I’m basically the engineer, producer, and bass player. John Tucker, who was in Haunt, recently left the band to focus on other things played guitar on the debut but I’m not sure of the plans for album #2. Either way I’m excited to get that done. The riffs are insane. Also, I’m gonna continue drumming in Oath.

VA: What is your proudest moment as a person, and a musician?

TWC: When my son Rex was born it really brought me to life. I’m so proud to be a Dad. Musically I’m just stoked to be a speck on the map. To be able to do this day in and day out is a huge blessing and I never lose track of that. I have amazing fans and a great support system.

VA: Where should the readers go to support your art by buying physical media?

TWC: Hauntthenation.bandcamp.com is the main one, but follow hauntthenation on Instagram. I post all kinds of news of my other projects on there.

VA: What's next for you?

TWC: Write more songs. Get better on all the instruments I try to play. Just get better in general at all life’s complexities.

VA: Any last words for all of the faithful readers out there?

TWC: Thanks to all the fans and to all my friends and family for your continued support. Support the underground music scene.

Thanks again to Trevor William Church for taking the time to chat! If you aren't familiar with his work, Vioeless Apparition highly recommends Haunt's Jan. 2020 album Mind Freeze--in fact, it was his album of the year for 2020.

Haunt can be found:
Bandcamp
Facebook
Instagram

Interview with HOLY DEATH TRIO

Mon, 23 Nov 2020 16:39:55 GMT

As the days grow shorter and year-end-list season approaches, we slumbering scribes are slowing down when it comes to writin' reviews. That said, we've still got some interviews left in the tank.

To that end, Texas' very own Holy Death Trio--a riff-centric outfit purporting to illustrate a certain "Jimi Hendrix played with Black Sabbath" quality--were courteous enough to brave our interrogation chamber. These guys put out a single entitled "Bad Vibrations" a few weeks back, and this Friday will see the release of "Black Wave," yet another bangin' track. If you're in the mood for a hard rockin' good time, look no further than Holy Death Trio. Without further ado:

SVR: Thanks for taking the time to chat! Firstly, how are you all doing in the midst of the current situation?

HDT: We’re making the best of it. All of us have been lucky enough to hold a job and because we’re not going out as much anymore, we can invest the “going out” funds back into the band .

SVR: As a direct followup: your bio mentions a commitment to a heathy and fit lifestyle so that you're able to give your all when you're on the road. Given that hitting the road is a scarcity these days, how goes the healthy habits and fitness? The gym closures in my neck of the woods have certainly knocked my regime down a few rungs.

HDT: At first it was rough to even stay motivated but once the gyms started to open back up we all started training again either at home or with 10th Planet Jiu Jitsu Austin or F45.

SVR: "Bad Vibrations" feels distinct due to a bombastic high-energy approach, but still has that almighty Black Sabbath tinge. Are there any other specific artists that you draw influence from, both in relation to this track and your work at large?

HDT: We all have a lot of different influences from bands like Sabbath, Hendrix, Deep Purple, Motorhead, Uncle Acid, Great Electric Quest...there are so many great bands and artist to draw influence from. Not to mention all the local Austin, T.X. bands that really set the bar for live shows.

Bad Vibrations by Holy Death Trio

SVR: In contrast to the hard rockin' momentum on "Bad Vibrations," 2019's "Witchdoctor" features a significantly doomier tone, with harrowing vocals and a plodding tempo. As time goes on, are you finding yourselves moving away from the doomy elements, or will both sides of the stoner coin be featured in your forthcoming debut?

HDT: We like the doomier stuff a lot but we don’t want to be like every other stoner rock/doom band out there and just have the same sound. If we’re not innovating then we’re failing as a band.  We also don’t want to limit ourselves to small underground club shows. We can see ourselves playing arenas with bands like Wolfmother or Gretta Van Fleet… and drawing from the last answer we have so many influences that its hard to "stick to a specific genre." You will hear both sides of the coin for sure. Along with a 3rd...or...even 4th side. Having a few songs in a few genres helps us get on different shows. It also allows us to have a wider fan base as well. Some people might gravitate more towards songs like bad vibes, while others might gravitate toward a heavy blues song so its nice to be able to mix it up a bit.

SVR: Does rock always start with the riff, or do you typically approach songwriting from a more fluid perspective?

HDT: Most of the time it starts with the riff but sometimes it starts with one lyric like “I’ve got nothing left to lose” and then writing the rest around that line.

SVR:  Long-term influences and inspirations aside, what bands (or albums) have served as the soundtrack of 2020?

HDT: GREENLUNG's latest album is absolute gold, but Monolord, PRAYERS, Blues Pills and King Buffalo were played a lot during 2020.

SVR: Texas in general is a hotbed of heavy music, and Austin in particular seems to be boiling over with high-quality bands. Besides yourselves, obviously, what are some other bands in your area that we should check out?

HDT: Dayeater is amazing. Their guitar player has one hand and he rips! (Check him out here! - Ed.) Amplified Heat, Billy King and The Bad Bad Bad, Greenbeard, Rickshaw Billy's Burger Patrol, Naga Brujo, The Deadcoats. Also Jason Kane and The Jive is probably the best singer in Texas.

Witchdoctor by Holy Death Trio

SVR: You've got a pretty nice series of merch designs, with a distinct focus on color that sets you apart from the standard white-logo-on-black-tee formula. There's also a focus on baseball tees, aka the superior torso apparel. In your eyes, how important is merch to a band's unique identity?

HDT: A band's brand should be #1.  You can suck but still be successful with a good brand, but if you have both the talent and the brand then you are just set for success.  Merchandise is also a great way to make $$$ to further invest in the band. I remember seeing bands like Black Magic Flower Power, Mothership, Great Electric Quest and their merch variety and art was awesome. Having a solid merch line is a solid business step for a band.

SVR: What can you tell us about the conceptual nature of your full length? Is there an overarching storyline, or is the "concept" ground more in a general vibe and listening experience?

HDT: The goal is for the overall experience of the album to take you on a heavy Rock-N-Roll ride though all the emotions.  It has been produced in a way to make our sound punch you in the chest and give you goosebumps.  It will all flow together and feel like a wild heavy psychedelic ride. Lemmy would be proud.

SVR: We'll leave the last word with you! Is there anything else you'd like to add?

HDT: Shout out to all our fans, friends, and family. Big thanks to Charles Godfrey of Scary American Studios

Holy Death Trio can be found:
Website
Facebook
Instagram
Bandcamp

Interview with DUST PROPHET

Sat, 14 Nov 2020 13:46:47 GMT

This coming Friday, Nov. 20th, two bands from New Hampshire--Dust Prophet and Conduit--will kick off Sleeping Village Record's series of 2-track splits. Side A, Dust Prophet's bangin' new single "Down Below," is currently available for yer listening pleasure over at Alternative Control, who were kind enough to run a track premiere. If you haven't already nabbed this thing, you can find the pre-order here. On Friday, this split will become available for the low, low price of...Name Your Own Price.

In anticipation of the eminent release, we asked Dust Prophet some questions about the track, the pandemic, and life in a band in general. All four members--Otto, Vincenza, Sarah, and Marc--were kind enough to hit us with some in-depth answers. Big thanks to the whole crew, and, without further ado: enjoy!

SVR: Right out of the gate, how are you all doing during these (increasingly) unprecedented times?

Otto: Doing ok. As much as it sucks that we had to cancel all our gigs and whatnot I try to always be thankful that my family and loved ones are healthy and safe. There’s so many issues going on in the world right now that whatever inconveniences we’ve encountered as a band is trivial compared to the impact COVID has had on other people’s lives.

Vincenza: Gotta keep moving with the motions and try to enjoy the ride. I’m looking forward to the musical gems that will be produced during these times. The increased opportunity to reminisce, imagine and reflect I feel will birth unimaginable sounds. The nature of music is like water, it fills its container. You can hear periods of time by listening to its musicians.

SVR: For the Village People: describe Dust Prophet! Although you bear the stoner rock banner, you seem to bridge a variety of genres, and I'm always interested to hear how bands identify themselves.

Otto: We certainly wear the “stoner rock” label on our sleeves but we’ve always had an element of progressive rock as an influence. Prog-rock and psychedelic rock are influences that are very prominent in our music. We don’t make a concerted effort to fit these styles into our songwriting, but rather it just happens naturally. It’s a combination of all the different influences each of us individually has, and brings to the table.

SVR: Thank you for agreeing to be part of this project! On that note, what can you tell us about "Down Below?" Is there anything particularly interesting about this track from your perspective--the songwriting process, the lyrical content, or so on?

Sarah: I really love this song because it was such a collaboration between us all. It was originally at least two other songs that we merged together. I had the opening bass riff kicking around for years and Otto had the off-time riff that we had worked into a whole song, but it wasn’t until Marc joined the band that the whole thing came together as one piece of work. Then recently, when Vincenza joined the band, she added her own feel to it, with the lyrics and vocal lines. I’m really excited about what we’ve created.

Vincenza: When I first heard this song I was so pumped to lay vocals on it. The eerie bass, the drums that keep you on your toes and the edgy guitar that gives it some good honest grit. This is the first Dust Prophet song that I completed vocals to and it has subsequently launched a creative wave that is prime for surfing.

SVR: When compared to your past work, "Down Below" feels more epic, for lack of a better word, in narrative scope. Is this a direction Dust Prophet will continue moving?

Sarah: Well we are writing tons of new material right now. There’s definitely been a surge in creativity since Vincenza joined, and we’ll have to see where it takes us. We never set out to go in any specific direction, we just let things happen organically and it’s been fun getting to know Vin’s vocal style and gelling into a cohesive unit.

SVR: Who are your primary influences from a sonic perspective?

Marc: In Dust Prophet I draw influence from bands like Helmet, Queens of the Stone Age, The Apex Theory, Tool, Led Zepplin, Rush, The Police, Sigur Ros, Old Man Gloom, Soundgarden and early Pearl Jam.

Otto: I have many of the same sonic influences as Marc. I’d like to add industrial metal bands like Ministry and KMFDM, two of my all-time favorite bands.

SVR: And, as a follow up: who (or what) inspires you from a thematic perspective?

Vincenza: I feel there is a lot of thematic inspiration to be drawn from New Hampshire’s forests. During these unprecedented times I have found myself exploring miles of nature preserve. Granite encompassed caves, subtle streams, striking birds, edgy pine and scattered birch. All of these colors, smells and textures have impacted my creativity significantly. It’s beautiful and inviting but also serious.

SVR: A common factor of the Dust Prophet singles we've heard thus far seems to be a deliberate focus on hooks. In your estimation, are catchy choruses and earwormy refrains becoming a tad overlooked in heavy music?

Marc: We’ve received positive feedback about this attribute of Dust Prophet and I would say that it’s a mixed bag of both unconscious and deliberate actions that we utilize in the song writing process. We tend to develop the vocals after the music has been laid out for a bulk of the tunes we have, but our chemistry kind of allows for the time and space of those hooks to come to fruition. It’s refreshing to hear this in heavy music as there is a lot of scream or barking styles where the hook isn’t so dominant likely due to the vocal tonality. It’s absolutely not a bad thing, it’s just an alternative reflection of that emotion, but not everyone can sip that brand of tea, so to speak.

SVR: Walk us through your songwriting process! Does every new track begin the same way, or is the process a little more fluid?

Sarah: We write in a lot of different ways. Sometimes Otto or I have an almost complete song and bring it to the group, sometimes he or I have riffs we build a song around. Sometimes Marc brings riffs, which is great. We are working on some stuff Vincenza brought right now, so we are writing songs around her vocals. Which is cool, because we usually write the music first. Lately we’ve been just jamming and writing spontaneously at practice as well.

SVR: What does the heavy music scene look like in your neck of the woods? Is Boston the primary area of influence, or do you find yourselves a part of a larger New England community?

Marc: Over the last couple of years Dust Prophet has loved playing with bands from around the larger New England area and we definitely see lots of parallels as they are similarly influenced by stoner, grunge, punk, and metal artists that we listen to. Sometimes the gigs we play can be pretty variable but we connect with fellow bands on similar music or life takes. Bands around New England are definitely working hard to be heard and relatable.

SVR: Musicians are obviously facing untold hurdles due to the pandemic. Have you found any new opportunities during this time via events like Bandcamp Days or your own engagement with the community, or have the past months served to stall your momentum as a band? (This, of course, is all a wayward way to ask if there's a larger project in the works that we can look forward to?)

Marc: Momentum of the band took a nosedive in the early half of the year with work schedules and mandates being all wonky, but collecting ourselves and meeting Vin has put us into the mindframe of moving forward and focusing on the tangible process of recording material . We hope to have material to share in the not too distant future, and will explore the remote concert idea.

Otto: The lockdown and quarantine procedure certainly halted any forward momentum we had. It derailed everything we had in place. We were supposed to play the New England Metal & Doom Festival, the Daughters of Darkness Fest (in Salem, MA), the Maryland Doom Festival...plus a dozen or so other gigs. It also halted all of our progress with recording for a period of time. But we’ve been working hard to get everything back on track and at the very least move forward with recording. We’re making up for delayed time.

SVR: Thanks for taking the time to stop by our humble Village. I'll leave the last word to you--anything you care to add?

Vincenza: Stay safe, stay healthy, and keep on cruising!

Dust Prophet can be found:
Bandcamp
Facebook
Instagram
YouTube
Twitter

Dust Prophet / Conduit - Split will be released digitally and available for NYOP on November 20th, with a pre-order currently available for $1. All proceeds from this project will be split evenly between the bands and the label, with any of the Sleeping Village’s cut going to fund a physical release including this and forthcoming 2-track splits.

CARAVAN OF DOOM (Vol. 1) Artist Spotlight: Interview with earthdiver

Thu, 01 Oct 2020 18:28:11 GMT

If ye haven't heard, we slumbering scribes are putting out a compilation album on Oct. 2nd! Sleeping Village Caravan Of Doom (Vol. 1) is an exhibition of like-minded tracks that balance sludgy heft with an earthy stoner atmosphere. These are songs that would feel at home in the midst of a bog or mire, and we’ve brought them together, drenched in murk and algae, for your gloomy enjoyment. Pre-order here for the measly price of $1! That, dear reader, is a bargain.

In anticipation of the (increasingly eminent) release of Sleeping Village Record's inaugural compilation--a swampy collection of 10 previously released underground stoner doom tracks--we highfalutin peasants have invited the featured artists to our murky interrogation chamber for a chat. Number four on our list--and the tracklist!--is Denver's own earthdiver, who we previously interviewed! The following is republication of that prior chat, with a few extra questions added to the top to keep things fresh and relevant.

earthdiver's fantastic debut, Lord of the Cosmos came out earlier this year. If you like what you hear, instrumental track "Blood Moon" will be making a well-deserved appearance on the Caravan of Doom. Without further ado, I give you earthdiver!

Sleeping Village: Firstly, how has the pandemic altered the life, times, and career of earthdiver? Hope you're all doing well.

earthdiver: The pandemic has altered things quite a bit. I live in a home with people who are immunocompromised, so there has been no practice or rehearsal for a very long time. I guess you could call it a "forced hiatus." That said, a lot of writing, of riffs and otherwise, has been going on and I've had time to develop my side project Buffalo Tombs during this break, so not all is lost. I'm literally swimming in riffs. It's probably going to be somewhat difficult to break everything down and fully decide what direction they will go. We'll see.

SV: Thanks so much for the opportunity to have "Blood Moon" appear on our first compilation! Is there any particular story behind the creation of this (frankly underrated) track?

e: We're stoked to have a track on the comp. Sleeping Village was one of the first to really pick up on us a band and help spread the gospel of earthdiver. We truly appreciate all you guys have done for us. As for the "Blood Moon"... that one was a bit of a struggle looking back. It was born out of a rehearsal jam and was the first truly collaborative song we wrote. Everything else up to that point had been someone bringing in a riff or a song sketch and hashing it out. "Blood Moon" was pure inspiration travelling between the three of us. The earliest versions of it were 10-15 minutes long. In fact, we may have played a long version of it at our first show and decided to start cutting it down to give it a little more movement. It was also a perfect opportunity for a break in the set as there are no vocals and it starts off with a nice even pace. It was a resting point in the set. I recall it taking FOREVER to get right though. There were moments when I thought we might trash it. We really went back and forth on it for quite a long time. I always believed in it, just judging from how moved I was by the early recordings. I had to really sell it to the other boys and prove that the crowd dug it. It ended up being a setlist favorite once we finally nailed it down.

SV: We Villagers have been quite impressed with the success of Lord of the Cosmos within the underground stoner/doom community--not to say that we doubted your abilities, of course, but you seem to have made a splash with your debut effort that many bands don't accomplish within such a short time frame. Is there a particular factor you attribute this success to, or are you just, y'know, kick-ass by default?

e: Obviously, we just naturally kick ass, so that helps a lot, but it was a ton of work spreading the word and setting everything up for the album release. We really worked our asses off writing and tightening up the songs not only in rehearsal, but honing them live as well. I've found that what you think works in a garage might not 100% go over with an audience. The first time we played things live, it was always an experiment. I think the only songs that didn't change were "Leave Something Witchy," which I had been sitting on for a couple of years, and "Apparatus de Cultus," which I wrote fully formed and just like it is on the record in about 10 minutes. Other than the strength of the material, and the artwork being a HUGE selling point, we worked the fuck out of Instagram. Liking posts, making friends, sending out early copies of the album, and just posting regularly. We built our reputation live, but spread the word almost wholly on Instagram.

SV: From an outsider's perspective,Forbidden Place seems to have their finger on the pulse. What's it been like working with them?

e: Forbidden Place has been amazing to work with. Tony and Cale know their shit and keep their ears and eyes open for great music that might otherwise get overlooked. They hit us up very early on and showed interest in putting out our full length not long after we released the Leave Something Witchy EP. After finally finishing the album and meeting Tony, we were totally sold on working with them. I mean, it couldn't hurt to be labelmates with Mephisofeles, Burn Ritual, Space Coke, and all the rest, but what really sold me was the wide range of music they work with. They aren't a doom label, but they do doom. They aren't a noise rock label, but they do that too. If it's good, unique, and they think people need to hear it... they'll put it out. Their reputation is growing just by the sheer number of bands they are bringing into the fold. Everyone needs to go take a peek at their website and just see what they have. There is not a single release that isn't good. Forbidden Place is definitely a label to watch for 2021.

SV: Beyond "Blood Moon," one track that has proven to be a grower is closer "The Crusader," a track to which the term "epic" genuinely applies. Do you forsee earthdiver tackling more of these long-form narrative tracks on your next effort?

e: I love epic songs. Songs that tell a story not only with the lyrical content, but also with the music, which I think "Crusader" does. It was a lot like "Blood Moon" in that it was born out of a jam and was truly collaborative. In fact, the first 3 and half minutes of that song are exactly the same as the first time we jammed it in the garage. Nothing changed at all in that section. Everything else was a fucking struggle. I've been writing songs and playing in bands since I was 14 (almost 25 years now) and "Crusader" was the longest writing process ever. I mean we worked on just the outline of it for months. To be 100% honest we played it for the first time as a whole the week before we recorded it. No one was really secure about it until after we got it down on tape, and even then, the other boys were worried that it was too long. At 11 minutes... in the doom world... it might as well be a radio single. I think I'm most proud of that one though all around. I put everything I had into it and I think the payoff was what I needed. As a side note, it's actually about a direct ancestor of mine that fought in the first crusade and ended up dying in Jerusalem. It was an attempt, on my part, to work through the fact that my ancestor likely shed innocent blood in the name of religion. The line "may his bones be ground to dust...and may the hardness of his spirit weigh him down forever" was from a curse that the Jews of the time cast on the Crusaders. May the curse finally end.

I probably won't be able to get the boys to go for another 11 minute plus track again... unless it just happens and I sell it to them. As for me... I'm not done with them. There is a 10 plus minute instrumental on the upcoming Buffalo Tombs EP.

Lord of the Cosmos by earthdiver

(The remainder of the interview was originally published July 2019)

SV: Describe earthdiver!

e: The short answer: We’re a 3-piece stoner/doom band from the high desert of Denver, Colorado.

That said, I always hate to use genre tags for anything more than a basic description because I believe it’s super limiting and pigeonholes us into one set thing, and I refuse to let that be who we are, because we simply are not just one set thing. The three of us bring a lifetime of different experiences and influences to the table in an attempt to create something truly different and unique; something that, in the end, should be able to stand alone and speak for itself. Yeah, it’s heavy. Yeah, it’s doomy at times. Yeah, some of it has that stoner vibe… but… it’s a lot more than that too, which is a fact that will be a little easier to convey once people can hear more than just the 3 song EP we currently have out.

SV: One of the most intriguing elements of your sound--and the bombastic "Warrior's Plight" in particular--is that loose n' groovy bass. Are you influenced by any particular bands in regards to your liberal use of bass...or is this an earthdiver original?

e: Matt, our bass player, says that some of that comes simply from a big ego and a little bit of insecurity, as if he needs to be heard to justify his existence on the plane where the music lives. There is that, but bass is also somewhat underrated in the genre(s) we generally get listed with. In most cases it simply holds down the low end and makes the guitars seem fatter and heavier. There is definitely an element of that with us, for example, listen to “Genesis/Lament of the Elder Gods” particularly the latter half of the song. You’ll hear the guitar and the bass syncing up to create that big heavy doomy feel, so, we definitely have that on lock… but Matt is an incredible bassist and we give him free reign to run that frequency. I play the big chords and he makes the bass dance around them. I think it gives our music a little more forward momentum than a lot of other examples of the genre(s) we might fall into. Obviously, we’re not the first to create that sort of feel, but it’s not really something we set out to do either; it’s all very organic.

SV: From what I gather, you guys have been playing a decent number of shows lately. Has playing live affected your band as a cohesive whole? In a similar vein, what are your favorite aspects of playing live?

e: We’ve definitely been playing a lot. Part of that is by design. I don’t think a band can be great just by hitting the practice space. Sure, you can nail the songs in the garage, but being on stage in front of people, whether it is a dive bar or a theater, comes with its own unique challenges that have to be overcome. We’ve been playing almost everything that comes our way in an attempt to be the tightest live band we can be. We want to be consistent and play the best music possible whether we’re playing on the floor at Bar Bar with nothing but the most basic of PAs, or up on the stage at a place like Hi-Dive with mic’d instruments and monitors. Think about the bands of the past, most of them had regular gigs that pushed them to the limit and honed their playing, their songwriting, and their overall stage show. What we’ve been doing is our version of that, or at least as close as we can get with day jobs. It’s very deliberate… and if you talk to people who have seen us live, particularly lately, I’d think they’d say it’s paying off. In fact, just the other night the bartender at Hi-Dive said we sounded “tour tight,” like a band that had been playing in front of people for a few weeks straight. That was a HUGE compliment for us, as that’s exactly what we strive for.

Playing live is the payoff to all the hard work writing the songs, perfecting them, and bringing them to life, you know? I can’t imagine not having that release. It’s like a drug really. There is the anticipation as you load in and wait for your turn to hit the stage, the buildup as you setup and sound check, the climax as you play your songs, and the long comedown afterwards. In every stage there is a feeling that runs through you that can’t be replicated with drugs, legal or otherwise. I personally have always wanted to play music in front of people, so every time that I do it’s a fulfilling of that desire I had the very first time I picked up a guitar and made a sound. It never gets old.

SV: What are some bands you've shared a lineup with that the Sleeping Village People should be checking out?

e: Oh god, yes! We’ve been lucky enough to share the stage with a lot of really great bands in such a short time as a band. I mean, we had the pleasure of opening for Year of the Cobra recently, which was amazing, and who everyone should be checking out if they haven’t heard them already. But, I would also recommend Sun of Grey from Colorado Springs, who do Denver Doom right, and who we’ve been lucky enough to share a bill with several times. Green Druid is another. Also DRUNE. Denver has no shortage of amazing metal bands, some we’ve shared a stage with… others we will eventually.

Lord of the Cosmos by earthdiver

SV: How would you characterize the Denver metal scene?

e: Extremely rich and varied. There is something for everyone. I don’t know if it’s the access to legal weed or what… but the stoner doom scene in Colorado, and around Denver in particular, is huge. As the genre as whole continues to grow I think you’re going to see a lot of these bands get really big. I mean it already kind of is in some ways, but I think Denver is going to be a true hub of heavy music in the not-so-distant future.

SV: A particularly refreshing aspect of earthdiver is how unique and original your sound is, especially in a sea of bands that, frankly, sound the same. Do you ever find yourselves deliberately altering your songwriting so as to not sound like another band under the stoner rock/doom umbrella?

e: We are what we are and that’s all we’ve ever tried to be. I mean, obviously we have our influences and all those bands that shaped us over the years, but we have never really intentionally drawn on them in our writing, or really ever found ourselves deliberately changing something because it sounds too much like something else. From the beginning everything has been very organic and has fallen into place on its own. We really only write to please ourselves and to push ourselves to do better things. One thing we have focused on, though, is to not be so “samey,” as we call it. Without naming names or intentionally trashing anyone, there are a lot of bands out there that could have put out one album and called it quits because everything else in their catalog sounds exactly the same, i.e., same tempo, same structure, etc. We work really hard to NOT do that. We incorporate doom, groove, psychedelia, rock, thrash, and more so that we aren’t so one-dimensional. We strive to make our records and live performances varied and attention grabbing. We don’t want anyone getting bored or being able to predict where we’re going next. We want you to be on your toes!

SV: Given that you're such a new band, your social media presence is pretty damn impressive. Any advice for bands who are hesitant to dive headfirst into the world of social media?

e: Just do it. Make it a routine or a habit. Decide ahead of time when and what you want to post. Post often, at least once a day. People these days have a very short attention span. If there is any kind of real lapse, they’ll forget about you. It’s a lot of work, but if you want to be seen or heard, it’s definitely an important aspect of getting the exposure you need as a band to grow.

SV: Thanks for taking the time to stop by our humble Village. I'll leave the last word to you--anything you care to add?

Our meteoric rise was foretold in the prophecies of the elder gods. Keep your eyes open, as things with earthdiver are moving very, very fast. We’re no fly-by-night doom band. We’re very serious about what we do, and about being the best at it. We’re definitely it for the long haul and we will either boom or… boom… because there is no other option. As I said, it has been foretold.

Thanks for the time and platform to tell folks about our band and what we do. It means a lot!

Proceeds from this project will be split evenly between the bands and the label, with any of the Sleeping Village’s cut going to fund further compilations (or a possible physical release.) Pre-order here for $1! That, methinks, is a damn good price for an hour and a half of high-quality doom.

earthdiver can be found:
Bandcamp
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