Talkin‘ bout the Wolf - Johnathan and Christian featuring The Legion of Whom

 

The new track “Talkin‘ bout the Wolf“ by LA musician Johnathan Mooney and Stockholm musician Christian Granquist featuring The Legion of Whom has been released in response to the invasion of Ukraine by Russia.  Johnathan talks about how horrified the world have been watching the unlawful invasion of Ukraine.  He mentions the horrors the world expressed when in 2014 the Crimean Peninsula was a precursor to what is happening today in Ukraine.  Although being a liberal voter Johnathan still remembers the warning issued by Republican Presidential candidate Mitt Romney where Romney said that Russia and Putin posed a huge threat.  With Russia being guilty of previous atrocities and unlawful acts such as infiltrating social media and even an assassination on British soil, the threat seemed to be growing. 

Johnathan wrote a song in response to the Ukraine crisis and was trying to come up with a suitable title.  He looked up Ukranian sayings and  came across the saying “Talking about the Wolf“.  A similar saying to “speak of the devil“. Ukraine was talking and telling people about the “wolf“ showing up and it did.  

When it comes to who was chosen to be involved in this music project Johnathan says  “This is a question that makes me smile, as one of the original ideas was calling the group “Legion of WHOM?, as in there’s such epic talent here, I struggle everyday with imposter syndrome that I truly think we’re not worthy to be on the same level“.   This humble observation by Johnathan doesn’t take into account the fact that many of the people that are in The Legion of Whom are musicians he has worked with or known for many years.  The Legion of Whom consists of  musicians like Claus Larsen from Leæther Strip and Martin Bowes from Attrition, who Johnathan has worked with on several things over the years.  Athan Maroulis of NOIR and Jeff Diehm from The Last Dance have been friends of Johnathan for over twenty years.  Having played for well known NYC Goth band  The New Creatures also leveraged a bit of recognition.  “As Johnathan Christian received a bit of a brighter spotlight it opened a whole new pool of fellow musicians in our little community O’Doom.“   Johnathan did some piano work for Black Angel.  The Glass House Museum’s Lee Meadows, one of the people who established World Goth Day, did some great remix work with. Johnathan.  As the project progressed not a single person said they weren’t interested in participating. “Everyone involved and those who couldn’t make it work all said “you’ve got something really special here“.

As with any project of this nature Johnathan had some challenges “I absolutely can’t stand “Do They Know Its Christmas“ but let me tell you I have a whole world of admiriation for Sir Bob for what he put together.“  There were times when Johnathan wanted to walk away from the project but his tenacity and the encouragement of even those unable to participate carried him through.  Johnathan explains that on the day of the release of the track he “lost it and just started bawling“.  Emotionally exhausted he decided he needed a mental health break.  A Legion of Whom member has already asked if he will be doing anything for the controversial overturn of Roe vs Wade.  Johnathan wants to sleep for a bit but he has already started writing.  

When it came to the choice of recipients for the money raised by the single Johnathan explained that he spent a lot of time researching the various groups assisting Ukraine but one kept coming up as being particularly helpful.  The “Come Back Alive Foundation“ was established in the first days of 2014 in response to aggression by the Russian army.  Initially the group was assisting with the supply of  bullet proof vests, Walkie-Talkies, binoculars and other military articles.  For eight years the “Come Back Alive Foundation“ has sent equipment to the frontline, trained soldiers and invented its own products, like the Bronya Artillery Program and Anti-sniper Surveillance Systems. Today they are struggling to meet the ever growing needs of the Ukraine army.

Being a dark and gloomy rock band, with a hint of post punk and goth, the original band logo, which is referred to as the “death martini“ is a throwback to the bands roots.  Johnathan’s father was a great piano player and he himself got his start playing Jazz piano while Christian was doing some outstanding electronic bossa nova music when they met.     Talented artist Vlad McNeally took the martini swilling logo and Johnathan says “transformed it into a powerful image“

With much of their music being inspired by global events Johnathan and Christian’s first album had a song called “Fallen“, inspired by the Syrian governments chemical barrel bombs dropped on their own people.  For “Talkin‘ Bout The Wolf“, Johnathan used the scenes and visions of the unfolding events in Ukraine.  “When I write a song, I have the entire story in my head like a script or a narrative, but I don’t possess the skills to transform the story into words.“  That’s where Christian comes in.  Christian conveys the ideas Johnathan cannot.  

When asked if he would like to perform in the Ukraine Johnathan seems quite resolved. 

“I can’t begin to say ab-so-fucking-lutely. I’ve been crushing hard on the Dakh Daughters, in fact, the last choir was added at the last minute in the hopes I could have one of the members say something. To visit, to play, to work with fellow musicians…Right now we’re in a whole of shit. And I know we’re all concerned with so many things, but as things keep going, let’s keep thinking about Ukraine, because the Wolf is at all of our doors.“

On that note Slava Ukrayini!

The Legion of Whom

Matt Vowles: Black Angel (guitar)

Lee Meadows: The Glass House Museum (bass)

Athan Maroulis : NOIR

Steven Archer: Ego Likeness/Stoneburner

Claus Larsen: Leæther Strip

Martin Bowes: Attrition

Alla Miroshichenko: Attrition/Alia Synesthesia (cello)

Jeff Diehm: The Last Dance

Ania Tarnowska: I Ya Toyah

Links

Support and buy here : https://johnathan.bandcamp.com/album/talkin-bout-the-wolf-ft-the-legion-of-whom

YouTube : https://youtu.be/6pSAFnYiKUU

She 1 . Him 2

Cleveland based duo She 1 . Him 2 created their name, according to band member Evan Nave formerly of Lestat /PKS, to represent a mathematical equation.  She, being other duo member Cassie Bishop of Shymoon and He, Evan, 1 and 2.  The EP they are working on will be titled  “Equals Them“, answering the posed mathematical problem of their band name.  Nave says “I also like to think that you could say the name as a sentence as well, as in She won, Him too!“

After an exhausting second split with Lestat, that left Nave burnt out, he eventually got the itch to start writing music again.  Not wanting to do anything he had already done Nave decided to explore new wave, a tribute to his eighties childhood and what he describes as his “former geek self“.

Having already decided to create music out of his comfort zone, while Djing at the Chamber in Cleveland, he decided to team up with someone who was also new to electronic music.  Nave had known Bishop for awhile and approached her to participate in a collaboration which according to Nave “Luckily for me , she said yes and here we are.“

Bishop describes the main themes of She 1 . Him 2‘s music as “whatever emotion I am feeling at the moment I manifest it into lyrics on the fly“.  Bishop explains that whatever she is feeling the most passionate or inspired by is what she writes about.   Her creative process involves stopping wherever she is and writing when inspiration hits.  Bishop explains “There are times I schedule to work on music, which may or may not work out depending on how I am feeling in the moment.“

Finding inspiration in electronic acts like Sir Sly and Big Data, Nave feels that the resurgence of 80s bands touring and releasing new material has also been tantamount to the music they are creating.  Nave admits to a similar creative process to Bishop saying that at times he sets up for creating a song but he can’t necessarily switch into creative mode.  Nave mostly writes the music and Bishop then adds the lyrics and melody.  They look forward to also trying to have Bishop write the lyrics and melody and then have Nave add the music.  

Nave is involved in the aesthetics for the band.  For the first two singles, “Split The Line“ and “Spoken Words To Light“ Nave had the idea of creating  abstract representations of himself and Bishop.  It was his first attempt at painting and he was really happy with how the image turned out.  He also made choices about whether to go with words or logos or let the art speak for itself.  His decision for this project was to let the art do the talking.  For “Fame“ and the upcoming single “Stuck Inside“ the band employed the skills of photographer Ryan to capture an evocative image of a wall with dripping paint and a mix of red and blue lights.

In terms of live performances Bishop has a love hate relationship.  She enjoys it when she is on the stage and performing but has accompanying stress.  For Bishop live performances are successful when she is able to express her music and connect with the audience.  Nave says “If I could live on the stage I would.“ The instant gratification of people connecting to his music is everything to Nave.

She 1 . Him 2 would like to see their music in the media being used in movies and games.  They also have the new single “Stuck Inside“ due for release.  They are then going into writing mode with the hope that their EP “Equals Them“ will be released soon.  

Nave describes their music as “fun, danceable and a nice marriage between the New Wave movement of the 80s and some of the more recent EBM dance stuff“. The band encourages everyone new to the genre to just give their music a chance and have a listen.  

Links 

Facebook : https://www.facebook.com/She1Him2/

BandCamp : https://she1him2.bandcamp.com/

She 1 . Him 2 - Fame

 According to Evan Nave of the band She 1 . Him 2, when asked about the bands recent release of David Bowie’s “Fame“, there is a very personal reason for the choice .

“As a kid, my mother and I would dance to that track every night. My mom was a huge David Bowie fan, and especially the Ziggy stuff. Her was her hall pass (laughs). I’ve heard covers of the track before, and I always wanted to take a stab at it. I tried so hard to find an electronic sound to make up for the wonderful guitars on that track, but it wasn’t happening.  One night, I got up the guts to ask Steven Seibold (Hate Dept./Pigface), who is a dear friend, if he wouldn’t mind tracking guitars for it. I jumped out of my chair when he agreed to and I knew we were onto something. He did a fantastic job and really made it more special than I even I imagined.“

 

A fitting tribute to and excellent reworking of the Bowie classic, She 1 . Him 2 have managed to put a fresh electronic spin on the song.  The vocals by both band members Nave and Bishop have an almost mischievously ominous air, accompanied by enhanced synthesizers and the excellent guitar work of Steven Siebold.  With extremely positive responses to the release She 1 . Him 2‘s quirky and enjoyable rework of Bowie‘s Fame is well worth a listen.  

Links :

Bandcamp : https://she1him2.bandcamp.com/track/she-1-him-2-fame-feat-steven-siebold

The Royal Ritual

 

Inspired during a roadtrip from California to New Hampshire,  just before moving back to the UK, musician David Lawrie decided on the name The Royal Ritual for the release of his album Martyrs.  Realizing  that his birth name was more associated with his background in production and sound design Lawrie wanted a memorable name but one that would pose questions.   “I was thinking about my attitude towards (or, rather, against) the idea of a monarchy and the notion of inherited power as some kind of ritualistic rite.“  From these musings the name The Royal Ritual was created.

With classical training in music theory and piano, Lawrie believes he has had a compulsion to play and write music since he was a child.  While at Leeds College of Music (now Leeds Conservatoire) Lawrie used location recordings and found sounds in the albums he released.  This was a natural segue to sound design and audio post production for film for Lawrie although at the time the link was not immediately obvious.

Lawrie participated in a skill swap with director David Diley, whereby Diley helped Lawrie make a music video for his song “Over, Under“, released under David Lawrie and Lawrie did sound design for Diley’s film “Of Shark and Man“. The ensuing success at the festival circuit of the Diley film resulted in Lawrie securing many commissions in both audio post production and music production.  Lawrie recognized a synergy between the two.  Sound design became a major part of musical production for Lawrie which he explains  by saying that  “ I am a big proponent of the concept album, and for me the sonic “palette“ is just as, if not more important then the lyrical themes.“

Citing “music as a process“ as the reoccurring theme in his music Lawrie particularly loves modern, minimalistic music.  He acknowledges the difficulty in defining minimalistic music but he thinks “that the process of it is important.“  Lawrie enjoys the challenge of playing with cyclical rhythms and ostinatos, translating them into a modern song.  “Finding the elusive balance between creating something that feels really unique, whilst also being able to communicate a message to the audience“ is what excites Lawrie.  He questions the effectiveness of music that is created only for an exclusive audience believing that music is a language and it should be something that the general listener can understand. 

Having had the experience of both MTV and MTV2 in its glory days Lawrie found himself attracted to darker music, films and artwork which led to his interest in Industrial music.  While others in his high school listened to groups like Nirvana and Basement Jaxx, Lawrie prefers the sound of Tool or Aphex Twin.  The visuals in the music videos of these groups played an important part in his attraction to their music. 

Under the moniker HARUKO Lawrie is also very involved in visual arts.  He does all the visual work for his music under HARUKO.  “It feels really good to be able to marry my musical concepts with my visual ideas.“ says Lawrie.  He does on occasion enlist the assistance of a small team of professionals, with whom he has long standing relationships to assist with his work, providing what Lawrie calls a “dream scenario“.

His starting point when creating his own music is his “palette“ of a collection of works.  Lawrie always chooses a core sound before writing anything.  He selects a general lyrical theme which impacts the sounds he puts on the palette.  Believing in the idea of a concept album Lawrie doesn’t have a set process for writing individual songs preferring to treat each song as something more then a standalone entity.  When doing commissioned work Lawrie says that the project dictates any direction in which he goes.  He says “my job is to reinforce the directors vision.“  He also ensures that anyone that commissions him is familiar with his style.  

Despite enjoying live performances while he is actually doing them, Lawrie has shied away from them as they have a tendency to make him a little nervous.  Stepping out of his comfort zone he is currently designing a live show for The Royal Ritual.  He sees live performing as “a key part of the forward momentum“ for The Royal Ritual.

With the initial response to The Royal Ritual being overwhelming positive Lawrie has found the project is now requiring more and more attention.  While currently still balancing it with commission work Lawrie has his sights  on The Royal Ritual becoming his main focus.  He has already begun working on his next album, one that will deal with the theme of loss.  “I will be revisiting, disassembling and reconstructing some old pieces of music “Lawrie explains.  He will be drawing from past times of personal loss as well as writing new music that encompass and explore more recent losses experienced by Lawrie. 

Lawrie believes the music of The Royal Ritual isn’t really relevant to one exclusive group but instead a wide group of people.  He is fostering a community of fans of his work not just through his social media but also through what has become a growing and vibrant Facebook group called The Royal Ritualists.  The Facebook group encourages listeners interaction with regular polls and a chance to express opinions and ideas.  New listeners can enjoy The Royal Ritual‘s music and become part of a community where they can be heard and appreciated.  

Links

The Royal Ritual has a wonderful offer of Hand-Typed, Signed and Stamped Lyric sets 

https://theroyalritual.bandcamp.com/merch/martyrs-hand-typed-signed-and-stamped-lyric-set

Facebook : https://www.facebook.com/theroyalritualmusic/

YouTube : https://youtube.com/c/TheRoyalRitualMusic

Spotify : https://open.spotify.com/artist/46tCy5ZnBCSi6RhnlyQiSI?si=6JLVm20WQv6KdAA0PadoRg

The Royal Ritual - Martyrs

 

“My  time in the USA (over a decade) really opened my eyes to a lot of things about organised religion and its influence over ordinarily good people to do undoubtedly wicked things. This intensified after the results of the 2016 election, and I really felt the need to express my thoughts and feelings about it. My hope is that people who are believers are not directly offended by this album. My attack is not on belief and faith itself, but rather the doctrines and influence of institutionalised and organised religion. Questions I hope believers ask themselves include “are my beliefs making me more or less tolerant?” “Are my decisions based on fear of punishment, or a desire to do good by others?” “Am I doing things because the traditions in which I grew up, or because I am making my own decisions?”

Martyrs by The Royal Ritual begins with the track  “Terrorforming“  where a solitary bird heralds the awakening of a layered soundscape amplified by sinister bells and culminating in a deluge.  “Pews in a Pandemic“ with the provocative lyrics “get down on your knees“ is filled with vocals that are both scintillating and threatening across a complexed stratified soundscape.  The Title track of the album “Martyrs“ is  heavy with rhythmic industrial sounds and dark, snarling lyrics, interrupted at times by sinister whispered vocals.  “(Nothing) on the Other Side“ is a  distorted and aggressive adventure punctuated by an Industrial beat of primal drums and a haunting aftertaste. “Life, After“  has almost gothic vocals with a narrators tone that ebbs and flows punctuating his message in a disturbing but entrancing way .“Empires“ presents as a  hypnotic lulling soundscape which is then crowded by menacing growling distortions having a disturbing and roiling effect on the listener as the lyrics unsettle and threaten.“Model Army“ has a dark almost retro sound accented by undulating lyrics that tug and drag at the listener.  The evocative lyric “I’m just taking orders and not taking lives“, is punctuated by a building cacophony of alarming and cautionary sounds.  “Illiterate Messenger“ with its menacing whispered lyrics buries the listener into a confused and perverse ambient environment occasionally lifting them with an ethereal voice.  “Finally Free“is a beautiful and haunting track with an almost lullaby like atmosphere

The Royal Ritual said of this last track on the “After having many conversations with my dear friends who consider themselves religious, a lot of times they come to the realisation that, generally speaking, they hold their beliefs in spite of the negative doctrines, rather than because of them. These conversations formed the lyrics in the middle of the song “Finally Free.”

Overall this is an epic album taking the listener on a haunting, provocative journey through a dark and at times daunting landscape before leading he listener to a glimmer of. enlightenment.  

Links :

The Royal Ritual has a wonderful offer of Hand-Typed, Signed and Stamped Lyric sets 

https://theroyalritual.bandcamp.com/merch/martyrs-hand-typed-signed-and-stamped-lyric-set

Facebook : https://www.facebook.com/theroyalritualmusic/

Spotify : https://open.spotify.com/artist/46tCy5ZnBCSi6RhnlyQiSI?si=eq66EUlsSY2KnrnWRN-K1A

YouTube : https://youtube.com/c/TheRoyalRitualMusic   

Dual Analog

“I have my impatience to thank for my music career” according to Chip Roberts member of the band Dual Analog.  Into music from a young age due to films like Detroit Rock City and Wayne’s World, and what Roberts describes as a “ healthy heaping of 80s slasher flicks” he sung in a choir and wanted to form a band so girls would like him.  Deciding to play guitar and getting tired of waiting for his friends to take up an instrument, and after some unsuccessful dealings with flaky singers Roberts decided to not only play guitar but also sing.  Roberts met fellow Dual Analog band member Kurtis Skinner at school.  They grew up together and attended school together from elementary school all the way to college.  In the seventh grade the duo formed a band, had a falling out in high school and eventually got together in college to form Axis of Symmetry, a melodic Death Metal band.  

When they had finished school the duo moved to Seattle and created Perfect Zero a more refined band still playing melodic Death Metal.  After putting out an EP, Roberts and Skinner decided to leave Perfect Zero and write music as a duo that was more keyboard based.  This marked the formation of Dual Analog.  The band name was chosen according to Roberts because “It was simple, easy to remember, could be abbreviated, had an 80s nostalgia flair, and was a video game reference via the dual analog joysticks in the PlayStation controller”.   Also serving as a source of inspiration for the bands name was a recent purchase by Skinner of a Behringer Deepmind as he began a foray into analog synthesis.

Dual Analog explores themes such as feelings of inadequacy, lack of belonging and self doubt while still at times acknowledging  themes of hopefulness through their music.  “If something is absolutely ripping me apart I put it to music and suddenly the pain isn’t there anymore” Roberts explains.  

When describing their music the duo use a term they coined themselves, Turbowave.  Dual Analog’s music is heavy with keyboards, synthesizers and drum machines which makes their music seem like synth wave however they add a unique addition of traditional metal guitars.  Roberts describes their music as “its new wave, but turbo charged with heavy guitars and elements of industrial and world music.”  With both new wave inspired  and hard rock, heavy metal elements their music is “wave” and “turbo’ because its turbo charged.

Being a Buddhist and having an interest in Asian culture, art and architecture as a field of study Roberts says that these influences and interests bleed into Dual Analog’s music but also its aesthetic.  For the bands newest album Roberts did a mock up of the album artwork involving a man looking up at a statue of Guanyin, the Goddess of Mercy and the embodiment of compassion, encircled in a yellow halo.  Although the artist wasn’t able to completely create what Roberts had envisioned , his input resulted in an album cover he likes so much he explains “ I’d love to get it blown up and hang it on my wall”.

The creative process for the band typically starts with an idea that one of them has.  Skinner usually brings a bunch of parts that the duo work together on to structure a song.  Sometimes Skinner will just arrive with a complete song that the duo then edit or rearrange.  Flow and pacing is a big part of the process for Roberts as well as a good groove and chorus.  When the duo have an arrangement they are happy with, Skinner will send stems which consist of bass, drums, keyboards and sound design elements.  Roberts then adds his own drums, and guitars with the addition of the guitars usually being last.  The guitar is a utilitarian addition to composed pieces serving as a texture or to fill sonic space that the synths are not in.  Robert’s songwriting technique is slightly different from Skinners.  “I’ll have a song written from beginning to end” Roberts says.  The duo then combine Roberts guitars and drums with Skinner’s keyboard before Roberts adds the vocals.  Not until the song is structurally satisfying do they actually add the vocals. 

According to Roberts playing to a live audience is “even better then a chocolate bar or an orgasm”. A self confessed class clown growing up Roberts loves the stage where all eyes are upon him.  The band enjoys hearing the power of the live drums, twin guitars, vocals and harmonies as the tracks fire off when performing live.  In the early days of the band Dual Analog relished having fun and playing for people.  Now as they have become more popular they often see people in the crowd singing along with songs that they wrote which is a cathartic experience.  One particular live experience saw Skinner just play one note on a keyboard for a sound check which set the whole crowd screaming in excitement and anticipation. 

The future for Dual Analog involves an expansion of their sonic palette.  The band would like to play “some of our more goths, dancey and even old school hip hop/breakdance flailed tracks” according to Roberts.  They hope to expand the clubs in Seattle they play at as well as perform in Portland.  They have had interest from San Antonio, Salt Lake City, Denver and Vegas.  The band also welcomes fashion and makeup endorsements.  

For anyone not familiar with the music of Dual Analog the band says “if you enjoy the aggression and impact of heavy metal, but also like the pop and danceabilty of 80s music, you’ll like what we are doing.”

Links :

Facebook: https://www.facebook.com/dualanalogband/

Bandcamp : https://dualanalogofficial.bandcamp.com/

Dual Analog Lust, Worship and Desire

 

“I’m a bit of a late bloomer; didn’t have a serious girlfriend until I was 26 years old.  I was overweight growing up and women really weren’t interested in.  Growing up for years without any attention from females, I got pretty comfortable with the fact that it would never happen for me.  Then, one day, when I least expected it, I totally got made out with by a woman I’d only met once before.  For the first time, someone was into me.  This really shattered my whole self-image, idea of who I was, and the entire world that I had built around me up until that point.  That’s what inspired the concept behind the album, learning that you are worthy of love and affection and journeying to try and achieve it.  It’s a story of self-actualization, of enlightenment.”  Is how Chip Roberts, from the band Dual Analog, explains the inspiration for the bands new album Lust, Worship and Desire.

The Turbowave band’s new album takes the listener on a journey of what is essentially enlightenment with  a realization that living in the present, with an appreciation that things are fleeting, leads to a more fulfilling existence.  

The first track “Among the Living” has an adventurous soundscape, with a hint of Asian influence and melodic vocals.  With sonic combinations and a fast tempo “100 Disciples” is rousing and anthemic.  “Dynasties’ transports the listener back to the 80s with a science fiction spin and chant-like vocals.  With a lively tempo that breaks into a rich layered sound “Golden Temple” is intermingled with beseeching vocals.  “Portal of Jade’ has a fusion of Asian music and synthwave reminiscent of the past.  ‘Pantheon” combines fast tempo and a heavy layered guitar evocative of a computer game soundscape from the 80s. With a heavy and fast guitar “Into The Unknown” takes the listener on a fulfilling and resonant sound journey.  The title track of the album doesn’t disappoint with “Lust, Worship and Desire” providing the listener with a stratified soundscape populated with a myriad of delights.  “Go Alone” has more of a heavy metal slant with a hypnotic beat.  The last track on the album “Emptiness Now” has distorted industrial sounds with somniferous harmonizing vocals.  

The album is a retro dreamscape journey with a fascinating dark twist and a hint of Asia.   

Links:

Bandcamp : https://dualanalogofficial.bandcamp.com/

YouTube : https://youtu.be/GkPq5VtIdqc. 

Distance H- Bitch 16

 

A project by French music producer Manu H, Distance H is producing a shadowy, melancholic EP, featuring  various female vocalist.  The forthcoming EP Intimacy begins with the debut song “Bitch 16“,  a nostalgic dark wave track.  Titled to represent a harsh juxtaposition to the notion of Sweet 16, with the sweetness and carefreeness that invokes, “Bitch 16“ is an exploration of brutality, disgust and obsession.  With evocative intense and at times soaring vocals by Ophelia from Saigon Blue Rain, “Bitch 16“ immerses the listener into an ominous soundscape in which the transition from childhood to adulthood is represented by dark, menacing music and solicitous and at times pleading vocals.  If this title track is indicative of the rest of the EP, Intimacy in its entirety is something to look forward to.  

Links 

YouTube : https://youtu.be/zjqQYgWyp4o

Facebook : https://www.facebook.com/DistanceH/ 

Lia Hide The Missing Fourth Guest

Borrowing its title from the opening line of Plato’s “Timeaus”dialogue, where Timeaus gives a slightly obscure excuse for an unnamed fourth guest who is inexplicably absent, Lia Hide’s new album, The Missing Fourth Guest, magnificently explores some very universal and modern emotional struggles.

“I think the world would be a better place if we were all educated on the writings and ideas of Plato’s Academy”according to Hide.   Using the ideas explored in Plato’s dialogues Hide “hopes that listeners will do some research and understand and use the ideas for themselves.”  

Delving into themes that are topical and far reaching such as Covid 19, lockdowns and prolonged enforced isolations, human mortality and the place of humans in the universe The Missing Fourth Guest is a fascinating musical journey.

The first track on the album, “Birthday”,  lulls the listener with its poetic lyrics and doleful, mesmerizing sound.   “Uterus Will” is a more structured track which features entrancing trumpets by Stelios Chatzikaleas.  “Niobe”has jazz fragments and engaging lyrics.  “Row, Row, Row” with a childlike dark sound is at the same time beautiful and menacing.  “Proposal” sees Hide use an ethereal and haunting voice that seems in juxtaposition to the repetitive, industrial hypnotic sounds in the layered music.  “Cloud” has a delightful glitchiness to it that erupts into an alluring distorted cacophony .  “Dinner” has smooth and entrancing vocals gliding across a gnarled and distorted sound scape.  “Wynnona” captivates the listening with melodic music and beguiling almost staccato lyrics.  

Overall The Missing Fourth Guest is an intelligent and satisfying musical adventure well worth the journey.  

Links : 

YouTube:  https://youtu.be/SnW057t3RGw

Spotify : https://open.spotify.com/artist/4zWPD7xHkdp4s6mO39wqdk?si=1h-2vguNTyCG4cFomG78Rg 

Lia Hide

 

Greek dark avant-garde progressive musician Lia Hide has a long spanning collaborative background in electronica which she feels in some ways was a good thing and some ways was not.  From 2005 – 2012 Hide kept busy contributing to more then a dozen compilations and creating six full length albums.  Although she acknowledges that it was a wonderful experience she also felt as though she may have lost herself a little in the process.  The popularity of Electronica at the time saw Hide invited to MTV galas and glittering soirées populated by the rich and famous.  She says however that despite that she kept “feeling smaller and smaller” which resulted in her using her voice less and writing lyrics she didn’t really feel were important.  

Classical music and voice training as well as years of teaching has meant that Hide’s already enduring, strong and loud voice allows her to sing anything she wants to.  Although she acknowledges that her classical training, which she sought to enhance her knowledge and skills in music, has helped to shape her as a musician she is also a perfectionist and this has resulted in her being a polished and accomplished artist. 

Although she seems like a social and fun person she credits her traumas, including a rough childhood, bad relationships, people that put her down and inner loneliness as themes that she has felt compelled to explore in her music. She often felt like no-one truly understood her.  These themes fed her first two albums.  When the economic crisis hit Greece, her home country, she like many Greek people started to feel a lack of hope for the future.  Her music proceeded to deal with more social issues like injustice, minorities and crimes and punishment.  Hides more recent music has begun to explore universal themes such as our place in the cosmos.  

“ Its like I went from my private microcosms to being a useful citizen of the world, and now I discuss global and universal themes” Hide explains.

The creative influences of films and books have had a huge impact on Hind as a musician. “I cannot think of living in a world without film or literature” Hide admits.  She says that she loves the art of storytelling which she employs in all her music writing and cites such films and literature as Matrix, Bram Stoker’s Dracula, Inception, Gone with the Wind, Monty Python as well as the works of poet Sylvia Plath and Dickens Great Expectation as being just some of the literary works and films that have helped shape her as an artist and musician.

In 2013 Hide formed a trio with musicians George Rados on drums and Ali’Base on bass with Hide on piano and vocals.  Hide’s talents are not just in the creation of music.  She serves as the graphic designer for her album covers, editor of the press pictures, creator of videos of her shows as well as  music videos for her music.  Those she doesn’t create herself she still directs.  Her and her co-musicians Aki’Base and George Rados work together to curate the bands image.  

When Hide is inspired she is usually hit with an idea, an almost complete song, which she records as quickly as she can in a rough form on her computer or phone.  “I either grab a hold of that or it’s gone forever” she points out.

When performing live unless a large venue has perfectly aligned sound and lights, with zero tech problems Hide prefers smaller, more intimate venues.  Although she loves to perform for an audience Hide still has anxiety that can at times make live performances feel a little overwhelming.  

“Performing is a very giving procedure on my part” admits Hide though this is because she gives everything to her performances and describes performing in front of a live audience as feeling like

 “ inviting all the audience into our living room for dinner so everything has to be just right.” 

If you like the music of Kate Bush, Depeche Mode, Tori Amos, Bauhaus, Son Lux or Radiohead, Hide says you “will feel mostly safe” with her music.  Although at times demanding and a little dark, the music may also be emotional and personal but ultimately Hide’s music will feel liberating and healing. If listening to her music for the first time Hind recommends you listen to a song twice and take your time.  

“I am most confident we are worth your time and interest” Hide explains.

Links

Website : https://www.liahide.com/

AHFHAOTA by Nahja Mora

 “It’s a horror show“ is how Josef Saint from the Baltimore based band Nahja Mora describes their new album AHFHAOTA.  A dark ride exploring some very personal subjects the album is meant to be a warning to the listener.  With a dissonant and off-kilter feel the album is a gloomy descent. 

 The lyrics on the album are ad-libbed except for the track “One Day” which was based on a poem written by Saint when he was a teenager and “Give Way To Shadow” which is another version of a song from As Death. 

“ONE DAY” feels like embarking on a twisted journey with confusion setting in as the song progresses.  “Give Way To Shadow” (Reprise)  drags the listener into what sounds like a demented dystopic carnival with a rhythmic, skewed sound.  “the scene is set” confronts the listener with disturbing and pleading intonations, further heralding the dark ride they have started on.  With threatening voices and a paranoid beat “Ash Grey World” pulls the listener further into a dark sort of madness.  “Scatter” is filled with gnarled, hellish sounds that have an unsettling effect.  “down” accosts the listener with a repetitive industrial sound and a distorted soundscape.  With a dramatic symphonic rise  “The Bleeding” hurries the listener to a still darker place.  “Summary Vile” teases and taunts the listener with a buzzing distortion that feels like an accompaniment to madness.  A dizzying and disorientating soundscape greets the listener in “windchime”.  “to the dawn a Knife” uses an industrial clanging that feels like a polluted heart beat to take the listener to a deeper place of despair.  Nightmarish voices and a disturbingly askew and taunting sound accompanies the listener in “Cairo Aflame”. Finally  “in the Field”  gives a moment of nature and lucidity before plunging the listener still further into a bleak and gloomy place. 

Though AHFHAOTA explores a breakdown of self,  Saint suggests that “The point is we have to take care of one another”.  

Links: 

Youtube : (102) Nahja Mora - Ash World Grey - YouTube

Webpage: Nahja Mora 

Nahja Mora

“Unpredictable” is how Josef Saint from Nahja Mora, describes his creative process when writing new music.  With no hard and fast rule Saint suggests that his music is conceived by experimentation and just sitting down and writing.  

Baltimore based band Nahja Mora finds inspiration in the things that people do to one another.  They like to explore the ways in which people communicate what they have done to others and delve into their reasoning for such acts towards another.  Language is a core conceptual obligation for the band and Saint acknowledges that “there is a War of Language all around us in all things”. 

Saint describes himself as having created music since he was born and in fact enhanced his understanding of music in college by choosing subjects that supported his musical wants.  His wide and varied understanding of music and the arts has lent itself to Nahja Mora resulting in the bands output being a more multi-media experience.  

Although he doesn’t believe that his educational background has been tantamount to the creation of his musical voice he does acknowledge the importance of his lifelong habit of keeping journals.  Saint’s journals contain music on staves, illustrations, poetry and rants.  He uses his journals for some ideas but his preferred method is just a conscious stream of his feelings put on tape.  

Saint is also the force behind the creation of artwork and the aesthetic of Nahja Mora.  The only exception to this is the band’s album Trees See More which has a painting by Hemlock Wargrave on the CD face and an illustration on the cover done by S. Stadelmyer.

Nahja Mora’s live performances are an opportunity for the band to give the audience a cathartic experience, provide a distraction or grant them a joyful interlude.  The feedback and energy that the audience provides to a band is “real” according to Saint.  The more engaging the audience the more the band wants to interact, a feeling that Nahja Mora describes as addictive.

With a serious interest in saving the world from itself Nahja Mora are looking forward to touring globally in places like Australia, Japan, North America, Europe and Central and South America.  Saint describes Nahja Mora’s music as not stagnant but the honest “soundtrack for a splintered consciousness” and as such suggests that a newcomer to their music should approach it with that in mind.  

Links : 

Website : http://www.nahjamora.com/     

Facebook : https://www.facebook.com/nahjamora/

Bandcamp : https://nahjamora.bandcamp.com/music/ 

Instagram : https://www.instagram.com/nahjamora/  

“Bloom” by CARV.R

 

Representing a celebration of progress for musician Cristian Carver of CARV.R the instrumental track  “Bloom” is indicative of his successful foray into production.  Fraught with possibilities “Bloom” immerses the listener into an atmospheric soundscape representing a fast paced night city emblazoned with neon.  The track was created to inspire thoughts of “a sonic environment that would capture someone walking into a “Night City” for the first time” according to Carver. 

An odyssey into a darker genre with enthralling combinations of synths “Bloom” takes the listener on a melodic expedition traversing a surreal electronic night city, drawing the listener deeper into a gritty neon maelstrom.  There is a sanguine air to the track that delivers the listener to a place of growth and things to be learned in this symphonic journey.  “Bloom” is a wondrous, euphonious trip well worth taking.

Links

YouTube:   https://youtu.be/1GtKnqaDlB4

LinkTree: https://linktr.ee/CARV.R  

https://youtu.be/1GtKnqaDlB4 

The Return of Perfect Dark

 

1.What is the significance of your name Perfect Dark?

My original idea in 1998 when stepping into DJ scene was to be mysterious by way of being cloaked behind a facial shroud of some sort. A similar style like Scorpion or Sub-Zero in Mortal Kombat. Not as fancy, but a black hoodie over my head and a black bandana covering most of my face like a western bandit. Then I finished off the ensemble with a big ol’ baggy pair of black UFO pants with half inch stud spikes running down the length of the hanging strips of fabric. 

 No one knew who I was. I was completely a mystery DJ that emerged out of nowhere. Of course, I needed a name to go with the look, so without much critical thinking I chose the name “Perfect Dark”. (No relation to the video game that followed a couple years after) It felt like a good name to match the look I was going for. The entire gimmick was successful for that time period. Although I must say that I would sweat extensively when I would DJ events in that get-up. I didn’t think of the effects of that at the time I conceived the idea but ultimately I pushed through it.

Eventually by early 1999 I dropped the goofy costume and just dressed as me the moment I discovered and started to produce Hardcore/Gabber music. This is a bit backwards as there are many in this genre that perform and promote themselves cloaked in mystery with masks and other costumes.

2. What are your inspirations when creating your music?

While I represent the genre of Hardcore/Gabber, I try and set my mind in a Hardcore Metal mentality. Almost all electronic music has these important included elements: intros, builds, drops, and outros. When I start thinking about the build and the drop, I think to myself “How can I get people to feel the tension leading to the drop and then unleash their internal rage on the dancefloor when the drop hits?” just like a breakdown in Hardcore Metal. The bands Sheer Terror and Blood for Blood have perfected this, and I always get inspired by the way they do it. Sometimes the musical punch to the face comes out of nowhere, and sometimes you can see it coming from a mile away and are ready for it. Either way, you know it’s going to drop heavy and hard and will intensely affect your mental state of mind for that moment. I encourage anyone who wants to experience that feeling to look up Sheer Terror’s song “Broken” and Blood for Blood’s song “Ain’t Like You” to get a good idea where my Hardcore Metal inspirations breed from. Make sure you turn the volume up loud.

Another inspiration would be the Hardcore/Gabber production team “Neophyte” from Rotterdam Holland. They are one of the founding pioneers of the genre. I am not sure how many people know this, but the origins of this sound came from the Netherlands. I find that most of the lead synth patterns I create are through inspiration from them. They tend to produce more bouncy triplet signature style patterns that have this ‘follow the bouncing ball’ type rhythm to them and that’s a pattern style I fell in love with immediately the first time I ever heard their track “Skullfuck” (also producer credited as “Masters of Ceremony”). YouTube that song and your jaw will hit the floor.

3. What would you say are the main themes of your music and why are they themes you enjoy exploring?

My everyday life’s personality is colorful, positive, and vibrant on the outside while internally I am filled with hate and anger. Making this music allows me to express my internal rage through themes of ‘fuck the upper-class society’ and other dark aggressive themes that I feel strongly about. Even if the topic itself doesn’t have any obvious content in a lyrical sense, the music overall emanates it.

I also am a fan of spooky sounds, which gives off a scary horror theme at times. My former publicist Tracy from FiXT/Tag Publicity and her husband Tom were convinced that I should produce music for Horror movies.

My enjoyment from the above mentioned is due to these theme’s giving me an outlet to express my aggression that would probably come out in my everyday life otherwise. Let’s face it the world has and continues to turn into a big pile of smelly snowflake garbage and in the words of Slipknot; “People = Shit”. I would probably either get arrested or get beat up on a weekly basis if I ran with my thoughts openly in everyday life, so regardless of the content of my music, the feeling of it comes from my distaste in how our world and society is.

4. How would you explain Hardcore/Gabber music to a novice?

EDM with angry attitude… (and sometimes mosh pits (depending on where you are in the world)).

OK, I was going to leave it simply as that, but since I have this soapbox to squawk on, when I say EDM with mosh pits, I do not want to support this perception that a build into a drop for any kind of EDM deserves a most pit. I have seen time and time again these mainstream EDM producers performing at big festivals that feed this illusion to the crowd that if they all separate into two halves in order to smash together into a big ‘wall of death’ that it will be well worth the wait once the drop hits, only to end up being a limp dick Progressive House “Diplo” style drop that would be more suited for doing a pogo dance. The crowd all runs back into the middle only to stand there not knowing what to do with themselves looking confused and awkward. 

Here is a tip from me; If you are going to make EDM with the intent of making people beat the hell out of each other at the drop, then do your research in the genres that support this activity, and THEN incorporate those inspirations into your EDM tracks. A 120 BPM Progressive House drop aint’ gonna ‘cut it kid’.

5. What is your creative process when you write new music?

Every song I make must start and finish before I start making another one. If I overlap projects by working on multiple songs at the same time, I will shut down creatively. So, to save myself from that, I don’t start anything new in the middle of a song I am currently working on. There are times however when I have been asked to do a remix for another artist, and there is a deadline for it where I know that if I wait too long, I will miss that deadline. In situations where that occurs, I will halt the current production all together and not even consider going back to it until the last-minute project is complete. 

As far as coming up with ideas for melodies and sounds, most of my ideas for lead patterns come to me in the morning where I am half awake and half asleep. Of course, by the time I am fully awake some time after I risk forgetting what popped into my head, so I take advantage of the moment when I have a melody in my mind and grab my iPhone and ‘hum’ the pattern in my voice notes. 90% of the time it’s a bit off key and pitchy because I am still half asleep, but I can get enough of a recording to work it out when it’s time to listen through for ideas.

I will say that most of the time, many of those recordings just sit there and collect digital dust. This is because as I feel the momentum of a song in progress, sometimes new ideas just pop into my head at that very moment and I run with it. Or sometimes an idea I took from my voice notes gets so heavily edited and revised as I am arranging it that it doesn’t even sound like my original early morning recording. 

As far as my overall creative process with how I want my music to sound, it must be heavy, aggressive, and angry, but danceable. I tend to stick to the 185 BPM range because not only does it allow for great drops and breakdowns, but 185 is a tempo where people can comfortably move and express their musical abilities and not gas themselves out to quick.

6. What positive effects did your hiatus from music have for you?

I wish I had some positive attributes to share, but when I left the Hardcore/Gabber scene, it’s been so long that, I really don’t remember what was going though my mind at the time. I do know that I always stuck with a personal rule I created that if I lost the feeling, or the creativity, if I started to get lazy in my productions, then that would be a sign to call it quits, or at least give it a rest for a while. 

During the time I took off between then and now, I jumped on the Dubstep hype train under a different name “Drop Goblin” and had some success with that. But even then, I wasn’t happy with the music I was creating. While the Drop Goblin brand was fairly successful overall, the music I was making was just to capitalize on the Dubstep sound that was blowing up at the time. I sold out cause I had nothing better to do with my time back then.

So anyway, to clearly answer your question, there weren’t really any positive effects that happened after retiring from Hardcore/Gabber, other than knowing someday I would eventually return when I felt it was best for me. I feel much better, and it feels like it’s the right time to be back so I would reckon, if anything, that is a positive effect result after a long boring hiatus.

7. What inspired you to come back and create “Still Standing” and in what ways is it the same or different to music you have created in the past?

I felt coming that back was the right thing to do when my heart told me it was the right thing to do. I must be honest, for about four or five years now I have hinted online and to my peers about making a return, and was going to start the process immediately, but then life and adulting got in the way. I also felt like I was forcing myself. I started to feel like I was the ‘Boy Who Cried Wolf’ who was hyping up this proclamation of returning and then dead silence soon after, and then repeating the same proclamation a year later with the same dead-end result. But, in early 2021 I felt it was truly the right time. So, I shut my babbling mouth and didn’t say a word to anyone other than a couple people that knew I was being serious about my return and started to produce a couple tracks. 

Interestingly “Still Standing” is the 4th or 5th song I have produced since coming back out of retirement but it’s the first original song that has been publicly released. The few songs I produced before that are still in queue for release dates, but it was “Still Standing” that was the most important to release first. No other original production of mine was going to be released before “Still Standing”. It’s been almost a half a year waiting for this song to be available publicly since I produced it.

What makes this song so important to me is that 20 years ago, in 2002, my first EP was released titled “Here I Stand”, so it was almost poetic for me to create a sequel to the title track and release it in 2022. What makes it even more special to me is that it was released by the same record label that released “Here I Stand” (Used to be called ADAM Recordings, and now is known as GEE thAng Music) owned by USA Hardcore/Gabber pioneer Rob GEE, and even the photo of me on the album cover was taken at the exact same spot as the 2002 album cover and designed by the same graphic designer who did all the effects on it. Let that sink in for a moment; 20 years have passed and all the logistical pieces that were involved back then for “Here I Stand” got carried over to the 2022 release of “Still Standing” that’s available today.

Regarding how the music is the same or different from the past, my mentality hasn’t changed. I still produce each song with an aggressive doom and gloom frame of mind, but what has absolutely changed is my production style and use of modern technology. I was all about hardware back then recording into software, but now, other than guitar parts and vocals, I can achieve everything else with just software-based applications. Even guitar parts don’t necessarily even have to be recorded with a real guitar anymore if I chose to take the route. On one hand things have become quite convenient with a smaller production space footprint, but on the other hand the disconnect from tactile hands-on hardware is quite sad.

I will say that kick drum engineering and how things sound back then versus now is leaps and bounds improved. Listen to any kicks from my “Here I Stand” EP, or any Hardcore/Gabber song from the late 90’s to a little past the mid 2000’s and compare it to the Hardcore/Gabber kicks of today and you will immediately know what I mean. I love making kicks now. So much fun.

8. Do you enjoy live performances and if so what’s your style and makes them so enjoyable?

I feed of the crowd in my own little way. Sounds cliché, doesn’t it? Everyone feeds of a crowd somehow. The thing with me is I show that energy very subtly which kind of gives me a signature stage presence. One could argue that I might even look bored at times. I am just not one to jump around and unnecessarily twist knobs or flick buttons just for the sake of appearing like I am doing something when I really don’t have to. I mean shit, my tracks along with any other producers’ songs I support are already mixed and mastered so what else is there to adjust in real time other than the transition process from one track to the next? I just can’t fake it, it’s not my style. I know many other DJ’s do that which is fine, that’s their shtick and I will respect that. If you are going to see any energetic movements out of me, I will be when I need to. I strike when the moment feels right. A perfectly timed fist pump pattern on the first kick drum sequences from the drop are sometimes all you need to make the crowd go bonkers.

I would like to think of my performance style is that of either the bass player or rhythm guitarist from the band AC/DC. Hang back while the rest of the band does their thing, and then step forward front stage only when necessary to give the crowd a bit of a sweetener.

Ultimately the crowd is what brings you out to the show. If there is no crowd or artist support, then there is no need for an artist to be there. I feel blessed over the years to provide Hardcore/Gabber and even Dubstep as “Drop Goblin” which has been enjoyed by people other than my own ears all these years. So, it’s the people that come out who make my time spent producing music and playing out worth it and enjoyable to me.

9. In what direction do you see your music heading and what are some of your hopes for the future?

I feel that I have a whole new world of possibilities at my fingertips at this point, and I am overjoyed that I have the support of my peers that are still around in the present day who have and will allow me to get my music out there to the new generation of Hardcore/gabber fans and help me still be able to feel relevant. I have a whole list of track titles saved in my iPhone that need music wrapped around them so the only direction I can go at this point is forward. I have committed to coming out of retirement and I intended to stay active for as long as my ears still work. 

I hope in the future that these new event companies and promoters will take notice of my activity and start considering me for larger events when I have earned my status to be there. I realize the structure is a lot different now than it used to be, and I know I must put in a lot more work to be heard and I am willing to and currently doing that in the most ethical ways possible. But, if it doesn’t work out the way I hoped in the end, I will have no regrets because I would never have known unless I tried. 

10. What would you say about your music to inspire new listeners?

I would say that if you are into EDM music, and are starting to get bored of the same ol’ four to the floor radio friendly festival mainstream sounds, and even if you LOVE that shit, come on over for just a moment to the dark side of the EDM world where we don’t give a rats ass about your insecurities, your politics (unless your racist), your fashion, who you do or don’t associate with, your body type, your gender identity, or anything else for that matter because over and above all that, the term “Gabber”  is the Dutch slang term for “Friend” and in this world of crazy kick drums, and mosh pits, and the occasional black eye, when you say the phrase ‘Gabbers for life’ you are saying ‘Friend for life’. 

With love and full of hate, your “Gabber”,

Perfect Dark

OVDETH’s Mortal Burden

“Closest to what we musically are and what OVDETH is all about” is how the Death Metal band describes their latest album, Mortal Burden.  

The first track on the album is “March of the Blind” which begins with enthralling guitar melodies before the song soars accompanied by intense drumming and snarling, ferocious vocals.  The choppy groove and intense music finally builds to an unrelenting crescendo.  

A hypnotic, somnific opening to “The Ancestor” erupts into manic rapid drumbeats and a tortured, menacing, grunting growl of vocals.  This is on occasion alleviated with an unexpected dissonant harmonious voice.  A serenade by a beautiful guitar riff that is overcome by the delirious and aggressive drumbeat, takes the listener to the end of the song.    

“Perished” starts with a thrashing beat and combative, intrusive growls before falling into more melodic mesmerizing vocals.  It’s a powerful song with at times an almost alluring and peaceful ambience. 

With an atmospheric slow tempo build up “Saturn Devoured” devolves into a chaotic unstable music scape with a delicate surprise interlude. An acoustic guitar playing enchanting melodies accompanies slicing, slow growling vocals.  Background purer vocals harmoniously escort the growing crescendo of music.  The final surprise in this musical journey is an exquisite piano ending to the song that graciously lulls the listener. 

This Death Metal album is full of surprising nuances and even if you are new to the genre well worth a listen.

Spotify: Spotify – Mortal Burden

Bandcamp: Music | OVDETH

Apple Music: Apple Music

Deezer: March of the Blind - OvDeth - Deezer

Tidal: Mortal Burden / OvDeth – TIDAL

Check the lyric video to opening track "March of the Blind":(93) OvDeth - March of the Blind (Lyric video) - YouTube

Facebook (10) OVDETH | Facebook

Death Metal band OVDETH

OVDETH’s origin story begins in mid-2016 with a group of men with a passion for Death Metal.  The group felt compelled to play Death Metal, understand the intricacies of this sub-genre and then write their own music.  OVDETH came together as relative strangers and essentially started as a cover band.  They chose to play a challenging and fun Death Metal playlist for which they borrowed songs from bands like Carcass, Bloodbath and Amon Amarth.  After a few gigs the band decided that this was what they wanted to do.  

The Helsinki based group acknowledge that the Finnish Death Metal scene has impacted the direction that their band has taken.  The rich environment of Death Metal that surrounded them in Finland further inspired them.  OVDETH also found that early 90’s and 2000 Death Metal bands as well as more recent Death Metal bands resonated with them. 

The band name OVDETH means “All from Death” or “All about Death” Choosing a unique name they wanted the band name to reflect the fact that their music tells stories about death.  OVDETH also prefers their name to be capitalized further expressing the bands power.  Death is more then an influence on OVDETH’s name.  The band look at death as an end but with something more present. The band believes that the death of something brings immediacy, movement and a lot of emotion.  The powerful concept of death provides a great resource for OVDETH to create “striking and engaging art in music.”

Death Metal is a demanding genre for those who create and play it.  OVDETH describe Death Metal as attempting to “put a supernova in a box.”  Since its solid roots beginnings in the 90s Death Metal has evolved.  As a non-mainstream genre Death Metal has been allowed to grow without the parameters of moneymaking and business that constrain mainstream music, allowing a certain creative autonomy.  Due to this Death Metal bands have been able to explore nuances and trends encouraging new listeners as it evolves.

OVDETH believes that every Death Metal band “carries a piece of history” and that Death Metal musicians “should not forget the path they have walked”, however it shouldn’t blind them from progressing. 

With a creative style that acknowledges the work of the individual band members as well as the group, the creative process for OVDETH usually begins with band member Matti and sometimes Kai making a composition and the band then arranges the songs.  On occasion their song writing sessions take them to a rented cottage near a lake.  This fosters an alchemic moment of creation in nature.  

When asked what OVDETH would say to anyone new to or daunted by Death Metal they acknowledge that “anything new, uncomfortable or unknown can be scary.”  The band also suggests that perhaps Death Metal isn’t something to listen to all day and all the time but it certainly suits particular days and events.  OVDETH recommends people “give it a try; go and see a gig!” Death Metal is something to discover and explore at your own pace.

Bandcamp: Music | OVDETH

Facebook (10) OVDETH | Facebook

OVDETH

Atte (bass)

Esa (guitars)

Matti (guitars)

Kai (vocals)

Timo (drums)