To date, we have conducted 1264 interviews. If your band is available for an interview, feel free to contact us and we'll see what we can do. Here are our latest:
Erik Rutan played with Morbid Angel during the height of popularity on the “Domination” album and previously played with Ripping Corpse. He left Morbid Angel in 1996 and formed what people were calling a death metal super group, Hate Eternal, with Suffocation’s Doug Cerrito, Alex Webster and the drummer who would go on to win the world’s fastest drum contest, Tim Yeung. Since then his lineup has changed and he has welcomed some of the best drummers in death metal like Kevin Talley, Derek Roddy and most recently Hannes Grossman.
Coming out of Morbid Angel, Hate Eternal’s sound has always seemed a bit like his older band. The Morbid Angel comparison is much less defined on the band’s sixth album, “Infernus.” The tempos are more varied and the music is more straight forward with fewer solos and harmonies. It still retains the infernal sound that defines the band, though.
Nearing the end of a tour supporting “Infernus,” Hate Eternal came to Austin, Texas with a tour package that included Rivers of Nihil, Beyond Creation and Misery Index. Bassist/backing vocalist J.J. Hrubovcak spoke to me concerning the album and tour, with the full transcript available below.
Hrubovcak flew back and forth between Rutan’s Mana Studios in Florida and his home base of New Jersey and was instrumental in helping write the album. J.J., whose been in the band since 2008, contributed music and wrote the lyrics to two songs. He gave me the lowdown on completing the album and how he feels about the overall package.
The Black Moriah were fortunate enough to live near (Dallas/Forth Worth) one of the greatest black metal bands to ever grace the States, Absu. The group is heavily influenced by Absu. The group is no sideline fan of Absu, though, their guitarist Zawicizuz played with Absu on their self-titled comeback albums, one of the highlights of 2009.
While there are similarities to Absu in their music, especially on the title track of “Casket Prospects,” The Black Moriah is by no means a clone. They have their own sound and their own shtick. Samples and tremolo riffs create atmosphere, while drummer The Mad Arab plays a variety of tempos. They’ve brought Westerns into black metal’s narrow fold. When they take the stage, the group dresses like bandits from the old West.
Three years have passed since the release of “Casket Prospects,” and the group is ready to get back in the saddle again. They have a new full-length and tours in the works. Last month, the band played Phil Anselmo’s Housecore Horror Film Festival, where they played the pre-fest party at Korova with other Texas heavy-hitters like Aggravator and Protest, plus Sweden-infused Black Breath. Drummer/lyricist The Mad Arab recollected on “Casket Prospects,” and gave us a glimpse into dusty, corpse-ridden material that is on the way.
Along with groups such as Acheron and Deicide, Incantation summoned the Devil into death metal. Tremolo riffs, doomy passages, blasting drums, harmonic squeals and guttural vocals animated infernal tales of heresy and hell on essential early nineties death metal releases “Onward to Golgotha” (1992) and “Mortal Throne of Nazarene” (1994). These early releases also helped spearhead Relapse Records. Craig Pillard produced earth-churning lows in the creation of the most vile lyrics on these albums as well as “Upon the Throne of Apocalypse” (1995) as well as the “Forsaken Mourning of Angelic Anguish” (1997) EP.
The Chasm’s Daniel Corchado moved from Mexico to be in the band and brought a higher register to the band’s vocal department on their next recording “Diabolical Conquest” (1998). From there the group experienced instability in singers. A parade of vocalists marched through including Duane Morris, Tom Stevens, Mike Saez and Vincent Crowley. Many of these singers were sessions members who were filling in while John McEntee learned the position (while also playing guitar). Once McEntee was comfortable in his new role, the band also brought in Sonny Lombardozzi on lead guitar.
The last eleven years the group has experienced a stable lineup and has released more dark delightful material in such albums as “Primordial Domination” (2006), “Vanquish in Vengeance (2012) and most recently “Dirges of Elysium” (2014). The group is currently working on a new album and played a monumental show with Autopsy in Chicago. On the third day of Phil Anselmo’s Housecore Horror Film Festival, Incantation prepared to once again to spill the blood with Autopsy.
Members John McEntee (guitar/vocals), Sonny Lombardozzi (lead guitar), Kyle Severn (He’s got a mustache-drums) and Chuck Sherwood (bass) laughed as they recalled band history, including playing one show with two vocalists, and gave the lowdown on new material.
Chaotic. Spastic. Destructive. All these adjectives describe Agoraphobic Nosebleed’s brand of unkind grind. The group along with Pig Destroyer, who shares members, are one of Relapse Record’s flagship grindcore bands. Since 1994, the band has released a epic list of recordings through split 7-inches, label comps and four full-length albums. The Massachusetts-based group is known for blasting out minute-or-less-length tracks, many at five seconds or less. This means a long list of tracks on each album including 100 tracks on “Altered States of America” (2003). The group’s last full-length “Agorapocalypse” (2009) contained songs a bit more substantial in length, although the album is still gonzo in many ways.
Agoraphobic Nosebleed is also known for using multiple singers, including current screamers Kat Katz and Richard Johnson, who trade back and forth lung-piercing wails. The group also paved the way for grindcore bands to use drum machines. Before only their second ever full live performance at Housecore Horror Film Festival 3, singer/lyricist Richard Johnson joined me for a chat about the band’s brief tracks, use of drum machines, influences and the group’s future plans.
Corrosion of Conformity is one band that could never be found guilty of releasing the same album over and over again. One reason for that is the group has experienced many lineup changes. With each lineup change comes a different sound. Their career can be broken down into periods—each period with a succinct sound. Mike Dean (bass/vocals), Woody Weatherman (guitar) and Reed Mullin (drums) have been the core members of C.O.C. since their hardcore punk rock inception in the early eighties, although all three members have left the band and returned sometime throughout the band’s history.
Starting as a hardcore punk band, C.O.C. released two LPs, “Eye for an Eye” (1984) and “Animosity” (1985) and the “Technocracy” EP (1986). Each record featured a different singer such as Eric Eycke (“Eye For An Eye”), Mike Dean (“Animosity”) and Simon Bob Sinister (“Technocracy.”) They brought in Karl Agell to man the mic on their next recording “Blind” (1991). This album showed a transition from punk to metal and also introduced the singer of their next four albums, Pepper Keenan.
On “Blind,” Keenan sang on the track “Vote with a Bullet,” and was the sole singer on the following albums, “Deliverance” (1994), “Wiseblood” (1996), “America’s Volume Dealer” (2000) and “In the Arms of God” (2005), which saw a greater reliance on heavy blues and southern rock. The band also received its greatest commercial achievement with the “Deliverance” album. After being on hiatus for a few years, the group returned in 2012 with their self-titled effort. This album marked the return of three-piece lineup that comprised the punk-addled “Animosity” record—Dean, Mullin and Weatherman. In addition to the self-titled effort, the three created another full-length “IX” (2014) and the “Megalodon” EP (2012). Although these albums were punky, they still retain much of the groove of the Keenan years.
Back in the spring, Mullin got with Karl Agell to tour as the “Blind” package, which the group performed the said album. Even more recently, Pepper Keenan rejoined Mullin, Weatherman and Dean for tours such as their U.S. jaunt with old buddies, Clutch. Now, the group has a contract with Nuclear Blast records to record another album with Keenan. Before starting another tour with a killer stoner rock package that includes Saviors, Mothership and Brant Bjork and the Low Desert Punk Band, the band stopped off in San Antonio, Texas to play Phil Anselmo’s Housecore Horror Film Festival. Woody Weatherman and Reed Mullin were kind enough to lend a few minutes of their busy schedule to talk about C.O.C.’s history, current tours and what the future holds.
Along with Kirk Hammett, Tom Hunting is a founding member of Exodus. He also originally did vocals for the band. While Kirk Hammett left Exodus to play in Metallica, Hunting went on to play drums on Exodus’ first three albums: “Bonded By Blood” (1985), “Pleasures of the Flesh” (1987) and “Fabulous Disaster” (1989). Hunting has appeared on seven of Exodus’ ten albums including their most recent opus “Blood In Blood Out.” Ex-White Zombie, Testament drummer John Tempesta and current Slayer skin basher Paul Bostaph stepped in during Hunting’s absence.
In the time Hunting’s been in the band, Exodus toured America with Venom and Slayer in 1985 during their “Bonded By Blood” days as part of the Combat Records Tour, which released the VHS gem Combat Tour Live: The Ultimate Revenge." More recently, Hunting joined unholy forces with Slayer again on a thrasher’s dream package of Slayer, Exodus and Suicidal Tendencies. While commanding heads to bang across America with King Diamond, the group stopped in San Antonio, Texas to play Phil Anselmo’s third annual Housecore Horror Film Festival. We caught up with Hunting to discuss these tours, “Blood In Blood Out,” as well as personal influences, drumming styles and how everybody is doing the “Toxic Waltz.”
Newly signed to Black Bow Records (the label from Jon Davis of Conan), Belfast doom outfit Conan is being re-introduced to the metal world with a series of re-issues before a new album drops next year.
Tomorrow we'll be streaming the full re-issue of debut album "Flooding The Weir," but before those sludgy low and slow tunes come your way we also checked in with guitarist David Majury to discuss past releases and upcoming material.
Slomatics aims to reduce riffs to a primal state of heaviness, to produce music that implodes under its own weight but still creates a joyous and euphoric state of wellbeing which can only be obtained with a slew of vintage amplifiers, fuzz pedals, analog synths and an alarming array of percussion instruments. Find out all about the past and future of Slomatics through our interview below.
"Bridging the gap"....these words aren't usually associated with your typical straight up metal act. However, when it comes to genre defying acts like Northern Virginia's Shumaun those words ring true. With a style that lies between Rush, Symphony X and Tears for Fears - and all points in between - composer/guitarist/vocalist Farhad Hossain is out to win the hearts of pure music fans.
On November 13th, Shumaun issues a self-titled and self-funded release and one that hopes to grasp the attention of more than those just rooted in the metal scene. The band seeks to capture a whole new audience that simply loves good music and good song writing, bringing it back to intelligent hooks, fundamental principles and above all sophisticated musicianship.
Glen Tipton and K.K. Downing, Jeff Hanneman and Kerry King, Adrian Smith and Dave Murray, Kirk Hammett and James Hetfield are all considered legendary twin-axe assassins. Michael Denner and Hank Shermann certainly deserve to be part of this conversation. The two are responsible for creating absolute magic on classic early Mercyful Fate records “Melissa” and “Don’t Break The Oath” (and Shermann on every MF recording).
From balls-to-the-wall heavy riffs like the devilishly delightful post chorus dirge on “Come To The Sabbath” or the infernal trot on “Black Funeral” to dark spiritual levitation of notes that lead into the black heart of “Desecration of Souls,” their guitar play is technical, memorable, melodic and chilling, often further enhancing King Diamond’s ghostly wails.
While Denner left Mercyful Fate in 1996, he appeared with the band in 2009, Shermann and Denner reunited in the early 2000s to form Force of Evil with other King Diamond/MF alumnus Bjarne Holm and Hal Patino. Now, nearly a decade after releasing the last Force of Evil album the duo is at it again, this time using their namesake. Mercyful Fate has largely been inactive for a decade and a half, so for many this newly assembled band provides a needed fix of Mercyful Fate. While there are certain differences between this group and MF, the two guitarists have a writing style that just can’t get away from Mercyful Fate comparisons. If you like the guitar play in Mercyful Fate, there is a good chance you’ll enjoy Denner/Shermann.
“Satan’s Tomb,” the debut EP from the dynamic duo was released by Metal Blade on October 2nd. Composer Hank Shermann spoke with Metalunderground.com about the making of said album, assembling the players, and of course what’s going on in the Mercyful Fate camp.
U.K. metal outfit Exquisite Ending is all about the misanthropy, as I learned when interviewing vocalist / guitarist Cardinal Andra-Inanyus. This very well may be the first time an interviewee told me to kill myself - thanks for helping me knock that off my bucket list guys!
If you can get past the band's active disdain for you and everything you stand for, there's some killer black metal to be found here, with the latest release in the ongoing "Rite of Misanthropism" saga set to drop on Friday (with pre-orders available here).
You can now find out more than you ever wanted to know about hating the vile plague that is mankind through our interview with Exquisite Ending below.
Three years following the excellent melodic death/thrash album "Punishment Unfolds" (reviewed here), Cypriot metal band Blynd is finally returning with follow-up "Liber Sum," due out next month through Pitch Black Records.
Based around a theme of the legends, history, and personalities from the band's home country, "Liber Sum" sees a shift in sound, but with enough of the core style there that fans won't feel lost. As Blynd puts it, "expect good metal!"
To find out more about the band and this upcoming release, check out our interview below with drummer Alex, guitarist George, and bassist/vocalist Andreas.
With The Dead consists of ex-members from two of the most recognizable and respected doom acts in the UK—Cathedral and Electric Wizard. Fans of both bands will delight in the group’s self-titled debut, which comes out tomorrow via singer Lee Dorrian’s record label, Rise Above Records. The album thrives on hypnotic down-tempo rhythms, raw guitar tones, bombastic drums and bone-chilling atmosphere, the kind heard on Electric Wizard albums—which makes sense because this is the former rhythm section of Electric Wizard. It also contains the voice of Cathedral—Lee Dorrian, whose deliberate vocal rhythms, shrieks and desperate cries add another dimension of psychosis. Imagine six songs of slow churning terror!
With the dawning of their debut album, Dorrian talked to me on the phone about his entrance into the band, something he wasn’t on board with in the beginning. He also details recording the album and dives deep into his nihilistic lyrical themes. Read further for more details about one of the great super groups in the realm of doom metal.
Last year I spoke with Phi Anselmo in a two-part interview concerning his Housecore Horror Film Festival Housecore Horror Film Festival. He was set to play a reunion show with Superjoint Ritual (now known as Superjoint). Other than the tragic death of his partner and HHFF founder Corey Mitchell at the festival ending, the festival went down without a hitch. Superjoint put on a crushing performance as did the dozens of other bands that played the fest.
A year later, Superjoint is back together on tour opening for Danzig on the Blackest of the Black tour. I caught up with Anselmo at the band’s stop in Austin during only the second date of the tour. Besides talking about the third installment of HHFF that takes place in November in San Antonio and the current tour, we get into some of his other projects including The Illegals, which has a new guitar player. Also, we discuss the band the internet is abuzz with, Scour, a collaboration he has with members of Pig Destroyer and Cattle Decapitation.
Last month, British doom metal legends My Dying Bride released their twelfth studio album, "Feel The Misery," (reviewed here) and this year also sees the band celebrating their twenty fifth year as a band. To get a clearer idea of where the band stand on these matters and indeed their state today, guitarist Andrew Craighan was kind enough to sit down and answer some questions.
Diamond Oz: First of all, thank you very much for taking the time to answer these questions. I suppose the bestplace to start would be with your forthcoming new album, “Feel the Misery.” Having witnessed your set at this year’s edition of Graspop Metal Meeting, I have to say the title perfectly sums up a live performance from yourselves. Was this where the record’s name came from?
Andrew Craighan: Not entirely, but I can see why you might say that. Also that particular Graspop show was special, they don’t always go like that. Our shows do have a certain angst attached to them sometimes. But the title comes from a sense of despair that we are all genuinely doomed. Feel The Misery is a sort of tongue in cheek dig at established religions…well the fighting ones anyway. You can’t preach love and peace while using and RPG, for example, but you can deliver misery with it. We avoid overly political lyrics and art, but this is more or less where we stand on this and without giving away all the cover’s secrets is what it basically represents.
Diamond Oz: The title as a mission statement is a very successful one. “A Cold New Curse,” for example, left me with my head in my hands and my hyperactive dog lay down with a forlorn expression throughout the album. Do you feel this is your most miserable album to date?
Andrew Craighan: No, I think “A Map Of All Our Failures” was that. This is by no means a sunshine beach party classic, but as for out and out misery paradoxically, no. It has more to offer – stronger more direct songs, more hints of death doom through fog cloaked slithering ambience. It’s a more colourful record even if they are mostly hints of colour that’s actually bleakness.
Late last month we discovered the up and coming Finnish death metal outfit Morbid Vomit - a band originally created to have an absurd name and a lo-fi sound that quickly evolved into something much more ambitious.
After getting scooped up by Spinefarm Records founder Riku Pääkkönen's new label Ranka Kustannus, the band is now about to release debut full-length "Doctrine of Violence" (with music from the album and previous releases available below).
While we took a look at the band in our latest edition of Unearthing the Metal Underground, we also got in touch with vocalist Ryöti and guitarist Löndgren for a deeper look at what went into the band's creation and upcoming album "Doctrine of Violence."
A collision of gloomy atmospheres and thundering blast beats, Moonreich's latest album "Pillars Of Detest" was just released via LADLO Productions.
Amid lineup changes that essentially left mainman Weddir on his own, the road leading to the creation and release of "Pillars of Detest" was a rocky one, but the rest was well worth the trouble (as you can hear from our premiere of the track "World Shroud"). Another song is also available below, and if you dig what you hear, the album is available for ordering over here.
After launching the aforementioned advance track, we got in touch with vocalist/guitarist Weddir to discuss different interpretations of the lyrics and imagery as well as a scene oversatured by bands doing the same things over and over. Read on for the full interview.
A new entry on the Norwegian metal scene, the intriguing duo Anfinnsaas will release a self-titled debut album in just over two weeks.
Members Knut Finsaas and Geir Anfinn Halland Johansen had previously checked in to give us a recent Pit Story from a Mayhem show, and now we've convinced the twosome to divulge more details on the coming album, including how the band originally came together, getting hooked up with AutumnSongs Records, and recording in a WWII bunker filled with lava lamps and prog rock posters.
Pentagram could be viewed as Black Sabbath’s next of kin. The band formed in 1971 just two years after the birth of Sabbath. Sure, bands like Trouble and Saint Vitus made their mark on the doom scene, but Pentagram came first. Perhaps these other bands are considered fathers of the doom genre along with Pentagram because the doom scene didn’t really take off until the ‘80s. It was the mid-eighties when Pentagram released its self-titled debut. Two years later the band released another classic full-length recording “Day of Reckoning.”
In 2012 the documentary “Last Days Here” chronicled the band's ups and downs and put the group in the public light like never before. And now, 44 years after their formation, the band has released its ninth studio full-length “Curious Volume.” Said album revisits the doomy sound the band is known for but with a greater emphasis on hard rock. Longtime guitarist Victor Griffin spoke with me on the phone about the making of this album, the band’s influence on the doom scene, the impact of “Last Days Here” and many more topics.
This day and age is perhaps the most difficult for a young band to "make it," but with a well received EP out for over a year and their reputation and skill earning them a slot at Britain's fastest growing metal festival, Bloodstock Open Air, Bristol based progressive metal band Endeavour appear to be well on their way to becoming one of the bigger names in the British metal scene. I sat down for a chat with the band last night to discuss their Bloodstock appearance, plans for the future and how the hell grunge and prog can be fused so well.
Diamond Oz: I guess the first thing to bring up would be your recent performance at Bloodstock. How were you able to secure a slot at one of Britain's most popular festival?
Iain Davies (Guitar/Vocals): We entered the Metal 2 The Masses competition in Bristol. We had previously tried this in 2013 but we didn't have much of a fan base in Bristol then. 2 years on we've managed to gain a few fans who supported us through the competition.
Chris Hawkins (Vocals): Thanks to our awesome fans, we found ourself in the final. Our buds in Mortishead got the New Blood stage slot but we were very kindly offered the slot at the Jagermeister stage.
Diamond Oz: So was that kind of a runner up prize?
Chris: I don't know if it was an official 'runner up' slot but judge Rob Bannister is obviously a cool dude because he put us forward for the slot.
It should come as no surprise that Lychgate's "An Antidote For The Glass Pill" (reviewed here) offers a claustrophobic, disturbing experience considering the album's themes are based around prisons - both physical and of the mind.
The U.K. metal band's new album drops through Blood Music on August 18, with a digital version already available on a name-your-price basis via Bandcamp here.
Wanting to find out how Lychgate produced such an authentic and moody pipe organ sound across the album, we got in touch with the band for a new in-depth interview available below. Read on to find out about the band's new custom guitar, how Lychgate's sound translates to the live experience, and more.
For years, Tad Morose has been a mainstay on the Swedish metal scene, revered for the band's stellar combination of power riffs enveloped in progressive overtones. Albums like "A Mended Rhyme" (1997), "Leaving the Past Behind" (1993) and "Modus Vivendi" (2003) are only some of the critically acclaimed masterworks.
Over the years, the band has brought forth some of metal's strongest vocalists with Kristian Andrén (ex-Bloodbound/ex-Wuthering Heights) from 1993-1995 and Urban Breed (Serious Black/Project Arcadia) from 1995-2005 leading the way. From 2004 until 2013, the band activities were minimal and then with the addition of Ronny Hemlin (Inmoria/ex-Steel Attack) the band re-emerged from its slumber with a more stripped down metallic riff assault on 2013's "Revenant" (see review here).
Now less than two years later - and along that same path - the band presents its newest studio offering "St. Demonius" (available August 28th via Despotz Records). Metal Underground.com caught up with guitarist/songwriter Christer "Krunt" Andersson to talk about the new album and the meaning behind its ominous name.
Earlier this month we broke the news about Arizona outfit A Fall To Break hitting the road with Kobra And The Lotus for a string of U.S. shows.
With the trek still going strong (remaining tour date info and upcoming live activity can be found at the A Fall To Break Facebook profile), we also got in touch with the band to find out more about the tour, the progress of work on upcoming material, and the best way to drink ColdCock whiskey!
A Fall To Break is touring in support of latest album "Disaster, Destruction And After" (available at Bandcamp here). Before catching the band's latest live show, be sure to read our new interview with the group below.
Magister Templi hails from the cold, northern confines of Norway where black metal thrives. Although the band includes two members of the black metal group Svarttjern and the band delves in the occult, they are not a black metal band. The five piece plays grandiose heavy metal in the tradition of such greats as King Diamond and Rainbow. Magister Templi’s lyrics could be transposed into black metal songs, though.
The band writes about Western occultism, specifically Aleister Crowley. Their most recent album “Into Duat,” (reviewed here) available September 18th, is based on Egyptian Mythology—a critical part of Western occultism. Their penchant for the occult is analyzed in the following interview with Magister Templi members Abraxus d’Ruckus and Baphomet.
Metal Blade Recording artist Goatwhore has stayed busy over the past year. The group toured almost non-stop. Last summer they sweated out among some of today’s top death metal acts on Summer Slaughter. In the fall Goatwhore joined Glenn Danzig for a few dates with Samhain. In the winter the band traveled to the other side of the Earth when they went to Australia. Most recently the band headlined a tour with Black Breath, Ringworm and Theories. Now the band is gearing up for another string of dates on the road including Gwar B-Q
Much of Goatwhore’s tours were without longtime member, bassist James Harvey. Trans Am (ex-Hod, War Master) has filled in for James. I caught up with Ben Falgoust to see what the future holds in store for Harvey and TA. The gauntlet-clad front man also shared his thoughts on this past tours and expressed excitement regarding the upcoming tour.
Dead Horse’s musical style, imagery and sense of humor has led to their being one of the most popular bands in Texas’ heavy music scene. The group crosses over death metal with thrash, punk and even a hint of country. Also, as you’ll find in the following interview, their sense of humor has left a mark on the scene. The title of their first full length, released in 1989, relates a band that doesn’t take itself so seriously, “Horsecore: An Unrelated Story That’s Time Consuming.” In 1991 the band followed this recording up with “Peaceful Death and Pretty Flowers.” They released the “Boil(ing) EP in 1996 and then disbanded a year later.
During their hiatus, Relapse Records ensured Dead Horse’s music would still find listeners when they reissued their LPs in 1999, but the band would not play a show again until 2011. However, fans of the band could look elsewhere to hear its members when guitarists Greg Martin, Scott Sevall and drummer Ronnie Guyote joined Kurt Brecht of D.R.I. in forming the band Pasadena Napalm Division. In 2011, Michael Argo joined the band, which was the first time the band used a lead singer since Michael Haaga left the group around 1993. Since then the group has released the “Loaded Gun” EP and “Making A Dead Horse Live!” DVD.
Although the band doesn’t skateboard, they are heavily influenced by the music of skater bands, so to have their own skateboard was something special for the band. On the night of their skate deck release party, I caught up with Greg Martin, Scott Sevall and Allen Price to talk about the band’s resurgence, some of the shows they’ve played and music they’ve created the past couple of years, much of which is done in tone-and-cheek humor.