Witchrist Interview

After over a year of trying to nail this down, I can finally present to you the following in-depth interview with Shawn/Abomination and Alex/Occultorture "Bad News Brown" on the subject of all things WITCHRIST!

1) The latest Witchrist album 'The Grand Tormentor' has been heavily influenced by the eastern myth known as The Ramayana or Ramakien. Can you please give us a break down of how you have represented this story in the music and Lyrics of the album? For example what songs represent what parts of the Ramayana and how?

The majority of the tracks on the album relate to the ancient tale and also the murals contained at Wat Phra Kaew. Once again this is Witchrist's interpretation of the epic and the lyrics have been released with the album for this purpose.

Examples of murals contained at Wat Phra Kaew

2) On both 'The Grand Tormentor' and your previous album 'Beheaded Ouroboros ' a dark Hindu theme has featured in the art work, lyrics and even Sanskrit translations of the lyrics. Why have you chosen this theme? Is it something that Witchrist will continue with?

Having members of Asian hertiage does play some part in this decision, yes this will continue.

3) I'm aware that you have been working on new material. Could you please give some indications of what lyrical and musical directions this is headed in? Perhaps some titles if they exist yet? I'm interested to find out what other parts of eastern mythology you might be covering.

New material is currently being completed for the Antediluvian split 7" and perhaps another EP. The lyrical concepts are of a similar direction as the song "The Grand Tormentor" - ie. centred around a number of deities and their infliction of doom upon mankind. We will explore sources in the Puranas and certain sects of Buddhism to compile our most sinister material to date. No titles can be revealed as of yet as we are awaiting the finalisation of the material. 

Note: While no description of the new music was given in this answer, I was given the privilege of hearing an untitled work in progress 6 minute track. What I can tell you is that it sounded like a more developed and epic version of the music music on 'The Grand Tormentor'. If this track is anything to go by, future Witchrist will top the current material and be something to get excited about.

4) Despite the eastern themes, the music of Witchrist is generally rooted in western death metal using traditional instruments. Although it was briefly touched on with the intro of "Adoration Of Black Messiah" on the 'Headless Oroborus' album, Have you considered utitlising eastern instruments, rhythms and or/melodies in the music of Witchrist? If not why? If so how and when will we hear it?

That is our way of presenting Witchrist, we use our own weapons and what we have ingrained in us. I listen to a select amount of Indian music and there is a depth to it which goes beyond simply playing an instrument and scale, you could describe this as Occult. Attempting to add these melodies to metal can result in mediocrity if not done correctly or without proper thought. We will use segments of Eastern music sparingly and with relation to that which is contained in the song. 

5) One last question on the eastern occult theme. Obviously you have spent time researching the darker side of side of eastern religions. Have you at any time been a practitioner of any of these? for inspiration or otherwise? If so please elaborate.

I was raised in a traditional Hindu household, however as I grew older I was on a different path and stepped away from the more mainstream thought of Hinduism. Though the theory is a strong base for Witchrist I believe the traditional practices are best left to certain groups who follow the religion as a cultural aspect of society. The music of Witchrist will always be our ritual of darkness.

6) Witchrist is part of a group of bands self labeled as ‘Doom cult’. It currently only involves yourselves and Diocletian, but has included Vassafor and Sinistrous Diabolus. How did the 'Doom Cult' concept come about and why? What defines a ‘Doom Cult’ band? Are there likely to be any new edition to it’s fold in the future? If so who/what?

If you listen to Diocletian and Witchrist you have a glimpse at what Doom Cult is. We don't take applications.

7) That leads into a technical question about the 'Doom Cult' sound. Through frequenting the same rehearsal studio that both Witchrist and Diocletian use, I've noticed that between both bands you have a sizable collection of old NZ made 'Holden' amps. Why is that you have chosen to use these? What is it that they do that other Amplifiers don't? Are there any specific models of 'Holden' that you use? Why? Is there any other musical equipment (strings, speakers, pedals, guitars, drums etc) that is important to your sound? If so what and why?

The death tone achieved through these Holden valves are key factors in our choice, it is characteristic of Witchrist's sound. Both me and Occultorture have been using Holden in rehearsal for a long time, they are indestructible and noisy. Ultimately, the attitude dictates the direction of which the equipment is used.

8) Your recent video for 'Wasteland of Thataka' shows the band performing with images of skulls, smoke and a mysterious masked figure. After some brief research I have learned that 'Thataka' (Tatakā or Taraka (ताड़का) or Tadaka) is a 'Crow Demoness' in the Ramayana. She was cursed the loss of her beautiful physique and transformed hideous demonic creatures with a cruel, cannibalistic nature (Rakshasas). Thataka then inhabited a forest near the river Ganges that became known as the 'Forest of Thataka'. There she terrorized the people, devouring anyone who dared to set foot in that forest. After reading the lyrics to the song, my assumption is that the video symbolises 'Thataka' as the masked figure, her reign in the forest or 'wasteland' being depicted in the smoke and darkness, with the skull representing her many victims. How close am I?

Though the concept of the track may have a foundation with the Tataka demoness, the video and music should transcend thought. Therefore, the exact meaning behind the video is not easily described in words and it is best for the audience to interpret it on their own accord like you have done.

9) Witchrist and Doom Cult seem to have become quite a self sufficient working machine. Alex does all your artwork (Read a short interview with him on this subject at the end of this article), Cam does all the mixing, mastering and I believe soon the engineering of your recordings, Brendan directed your video and (as I understand) does all the managerial stuff and you run your own distro label 'Goat Gear' where among other things, your releases are available in NZ. Is there anything I've missed out? Was this something that was intended or has it come about naturally over time? What else would you take control of if you had the opportunity? Why?

Yes you could say we are organized chaos. As for expansion... Why not? This is only the beginning. 

As you have mentioned we all contribute certain characteristics to the Cult, I still believe it is essential to place the individual aside for the bigger picture, greater purpose. in the case of Doom Cult our intentions are to invest in what we truly believe is worthy of our time and energy. 

10) Witchrist have an interesting stage aesthetic consisting of minimal lighting, smoke, covered faces and hoods. What mood or feeling are you intending to evoke with this? What was the original inspiration of the the hoods? Is their anything that you'd like to add to your stage presentation that you haven't yet, or would if their were no parameters restricting you? If so what?

We embody the spirit of our music, its a permanent mindset and our intensity does not waiver in anything we do. We do not NEED to have particular clothing in order to do this.. if we discover the hoods are unsuitable we will discard them.... The music should be the ultimate component of the RITUAL. Though at the same time bands with weak stage presence only degregate themselves., perhaps this means they should not be creating that type of music.

11) Thanks Shawn for an enlightening interview into the world of Witchrist. Is there anything else you'd like to say in closing? Perhaps a plug for 'Goat Gear' if you want?

Beware...

Doom Cult /// www.doomcult.net

Goat Gear /// www.goatgear.net

Osmose Productions /// www.osmoseproductions.com/

I chose to ask Alex/Occultorture "Bad News Brown" the following questions so as to get a first hand insight into Witchrist cover art, but also to explore his art as a whole.  Continue reading...

1) Could you please give us a brief rundown on how you started out as an artist, leading up to becoming the well known underground metal cover artist you are now? What were some of your key influences that lead to you developing the unique style you have now?

I've been drawing since I can remember, but never studied art formally. Only after studying graphic design did I realize that a 9-5 job wasn't for me. I followed my own path and somehow arrived where I am now.

Influences are infinite, but the seed for it all was seeing stippling for the first time (probably on a Metallica or Napalm Death record) and thinking it was such a painstakingly detailed technique, more extreme than simple hatching. I had to learn how to do it. Other than this I don't think much about having a particular style.

2) Obviously being a member of Witchrist, the band gets to be in the privileged position of having lots of highly detailed, quality internal and external album art. What research have you done into the eastern and hindu imagery that adorns Witchrist album covers? How long did it take you to complete all of the art work for “The Grand Tormentor” and particularly “Beheaded Ouroboros”? What techniques and tools do you use in your art?

Each album would've taken somewhere between 6 and 12 months each whilst also working on commissions. I read several important 'eastern' texts in research for the art but really only really took base concepts to make my/our own. Traditional depictions were perverted and combined with other ideas related or otherwise. As mentioned above stippling is the main technique, although more line work and black ink washes have come into play as of late. 

3) You recently traveled to the US to take part in an art exhibition “Invocation I”. Which along with your self featured the work of AntiChrist Kramer and a number of other Metal cover artists. How did it come about? Tell us about how it went and what the highlights were. What did you gain from it?

Invocation was my first exhibition as well as my first time visiting the States so it was an all round amazing experience. Eternal gratitude to Rick/DB Think Tank. It was a great insight in Hollywood and connectivity of it all. I met a lot of great people, saw a lot of great art and ate a lot of great food, but it was still just a taste. I'll be back.

4) What are your favorite pieces of your own artwork? Ultimately where would you like to go with your art long term? 

I aim to work on bigger and more diverse projects in terms of size, audience and medium. It doesn't matter if it involves metal or even music at all, as long as I'm able to create. And as for favourites it's hard to say but the Mitochondrion art is up there as well as The Grand Tormentor. I see every new drawing as a step forward mind you and 2013 will hold the biggest steps yet.

5) What should people do if they would like to get you to do art work for them? Any last comments?

Don't go looking for snakes, you might find them;

alexander.brownn@gmail.com

http://www.badnewsbrown.blogspot.co.nz/

www.facebook.com/bnb888

Alex has these available for sale.  Email him if interested.

2012 New Zealand Roundup - BulletBelt, Nullifier, Blood of the Moon, Bölzer and Forsaken Age

Following are New Zealand Metal releases from 2012 that have left a mark on me. For one reason or another I haven’t had the opportunity to write proper reviews for during the year, so here are brief notes and reasons for you to get excited about them. I will do another 2012 roundup for international releases in the early days of 2013, but as local releases get priority around here you get this on new years eve!

BulletBelt - Down In The Cold Of The Grave

I’d describe the music of ‘BulletBelt’ as ‘Stadium Black Metal’ with the attitude of Motorhead, or as being the opposite of what Dark Throne stated black metal should and should not be in the early 90s i.e. BulletBelt are a fun live black metal band that you can jump around and have good time to. 

BulletBelt have gone all out with ‘Down in the Cold of the Grave’! The production is clean, powerful and punchy. The songs all kick ass both in their writing and performance. And of course you can’t go past the incredible cover art by the highly talented Nick Keller. In other words it’s a solid kiwi metal release that you have no excuse not to own.

If I were to give some constructive criticism on what I though could strengthen the album even more, it would be to suggest that the rest of the back consider providing backing vocals to accent or reinforce choruses such as in the title track and the cover of 80s kiwi anthem ‘Mistaken Identity’ by ‘No Tag’. 

‘Down in the Cold of the Grave’ really deserves a much more in depth review than what I’m giving it here, but I’ll make up for that soon with a detailed interview with the band. 

‘Down in the Cold of the Grave’ can be obtained directly from BulletBelt’s own label ‘Headless Horseman’ 

Nullifier - Silent Destruction

Nullifier have been around the traps in Auckland for a while playing their well executed style of technical Death Thrash. ‘Silent Destruction’ is their no frills raw debut recording. It captures the band how they are and lets their music shines through. The songs ‘Species to be Regretted’ and ‘Desire And Torment’ stand out to me particularly because of their interesting melodies and unique sounding choruses. The are a direction which I hope Nullifier continues to head in. My only gripe about this recording is that the production sounds quite rough and rushed which is something I actually normally like. For a technical thrash band like Nullifier though they would benefit from a clearer production that would allow all of the flourishes to shine through. Still this is a solid debut!  

‘Silent Destruction’ is available through Headless Horseman.

Blood of the Moon - MMXII demo

Black Metal intense as balls being crushed in a high speed concrete mixer. MMXII contains three tracks, an instrumental ‘Intro’, ‘Conquered and Forgotten’ and ‘Desecrate Upon Thee’. All are fused together to create the illusion of them being one piece of continuous music. The pro-production from Jason Hislop give the release rounded clear but raw sound with one of the best bass tones and powerful drums. Well worth obtaining! I think this is completely sold out, but you can try your luck by contacting the band directly HERE

Bölzer - Roman Acupuncture - demo

Cassette version of 'Roman Acupuncture'

Bölzer are the honourary New Zealanders here. They are the new Swiss band of ex-pat New Zealander Okoi Jones (or ‘KzR’ as he’s known here), who was the former mainman of anti-Christchurch band ‘Aphelon’(of which also spawned Diocletian and Witchrist drummer Cam Sinclair). The 3 ‘Roman Acupuncture’ has already gained the band a decent amount of international underground exposure. Listening to the demo it’s not hard to see why. Bölzer have created their own original form of Black Frost Death Metal! With only two members (KzR on Gat and Vox and HzR on drums) the Bölzer sound features some of the most unique and dark rhythms and chord tones I’ve heard in metal to date. What’s even more exciting is that since this recording has been released they have put out this incredible new advanced track from an upcoming EP:

Go to the bands facebook page to keep up to date with them.

Headless Horseman still has CD and Cassette copies of ‘Roman Acupuncture’ for sale but get in now: https://www.facebook.com/HeadlessHorsemannz

Forsaken Age - Back from Extinction

Forsaken Age are one of a growing number of bands appearing around New Zealand that play old school 80s style Heavy Metal. ‘Back from Extinction’ their debut, is nothing short of a rocking and fun listen full of anthemic homages to the gods of Heavy Metal. My preference is to see them in the live environment with a few brews under my belt as they play alongside scene mates Stormforge, Hedonic and Stone Monarch. ‘Back from Extinction’ is the ideal souvenir to take from a Forsaken Age show. But you still need to be there.

Contact he band here for copies.

Note: There have also been 2012 releases from Open Tomb, Meth Drinker, Anno Domini Mortus and Razorwyre. I will be featuring reviews of these along with interviews with said bands in early 2013.

ALSO COMING IN 2013 - 'SUBCIDE ZINE #4'

Double "Doom Cult" reviews: Witchrist and Diocletian

Witchrist - The Grand Tormentor (Osmose Productions)

Unlike previous ‘Doom Cult’ releases, ‘The Grand Tormentor’, which is the first Witchrist release on Osmose Productions, has an instantaneous appeal. I found myself nodding my head to it from the first listen on my car stereo. In the past I’ve found them (recordings from the Doom Cult) to be slow growers. Where the previous Witchrist album ‘Beheaded Ouroboros’ was more a barrage of unrelenting war chaos, ‘The Grand Tormentor’ is like of a dirty ‘Immolation’, an ‘Incantation’ that’s been living rough for a few weeks without Clean clothes or a shower, or maybe even a ‘Disma’ that’s staggered out of the Megalith covered in coal dust and the rolled in a rotting goat carcass and then in dust before showing up at home and been told piss off outside until it’s squirted down with a high powered hose.

From start to finish the album flows nicely. The opening tune ''Into the Arms of Yama' is a nine minute building doom epic which eventually (around minute 6) breaks into death metal aggression. This simplistic yet brutal Neanderthal assault continues in song number 2, the  title tune, and again in ‘Meditation for Sacrifice’ which then progresses down into doom dirge. This is followed by ‘Wasteland of Thataka’ which at 1:36 is the shortest blast of hatred on the release. That hatred is blasted again in an extended barrage on 'Exile'. ‘The Tomb’ opens with a taste of ‘Autopsy’ and early ‘Pungent Stench’ styled slow dirge riffs with hammer on hammer off tails which progresses into an intense up-tempo rhythm that continues into ‘Tandava’, then to the catchy fist pumper that is ‘Cast into Fire’. Album closer ‘Funeral Lotus’ wraps things up in much the same way it started with an epic nine minute doom number.

Special comment must be given to the drum sound. Rather than the modern death metal triggered drum sound which to my ears sounds like a cross between a Geiger counter and someone farting loudly on a plastic chair, you can actually feel the low rumble of the kick drums more than you can hear them (although you can still clearly hear them), Which in my view is how they are supposed to be. Additionally the vocals sit in the music as more of an accompanying instrumental texture rather than dominating growls, this compliments the album nicely.

This sits up with “Kill this Fucking World” by Skuldom and “Opus One” by Sinistrous Diabolus as a kvlt classic NZ underground metal release. If you don’t have it yet get it now you Kvnts!

Diocletian - Annihilation Rituals (Osmose Productions)

‘Annihilation Rituals’, The first Diocletian release on Osmose productions, is a compilation album featuring the almost* complete chronological discography of every release prior to the ‘Doom Cult’ album. This includes ‘Demo I’, the ‘Decimator’ mini album, the ‘Chaos Rising’ side of the split LP with ‘Denouncement Pyre’ and the ‘Sect of Swords’ 7” ep. I have most of these releases already, but it really is good and enlightening to be able to listen to all of this in one sitting. It’s also timely as it captures every release featuring the vocals and lead guitar of Logan Muir up until he departed from the band the first time around and sets the scene for his recent returned on bass and lead vocals.

Although this isn’t new music I’d have to say that it’s my favourite Diocletian release, as there are some really powerful and varied songs featured. Particularly on the opening tracks from the first demo, the only thing I previously didn’t own by the band, which shows why Diocletian were hot property in the underground Metal scene when it came out in 2005. I’d go as far as saying that although some of the official studio recordings of the demo tracks featured later on ‘Annihilation Rituals’ are strong, that these early versions stand out as being superior in their raw chaotic forms. In saying that though, I do have a soft spot for the extended Outro on the “Chaos Rising” Version of “Doom Cult”. In a chat conversation I had with Atrociter/B. Southwell (Guitar) some time ago he mentioned that among other things they were looking back at ‘Demo I’ as a guide for the direction they wanted future material to be like. I wonder what this will mean? 

Next to the demo tracks, two other titles stand out for me. These are “Master/Enslaver” from Decimator and “Gesundrian” from the Denouncement Pyre split. There are a couple of reasons for this. The first being that unlike other Diocletian material they are based around effective, simplistic, intense tension building melodies (If “melody” is the right word to use) and the second being that this is a musical concept that they don’t seem to have revisited in later material. I do note that both tunes get a second rendition on the upcoming/imminent Weregoat split which will be interesting to check out. 

As with ‘Witchrist - The Grand Tormentor’ , the mastering on ‘Annihilation Rituals’ by Cam S (Skin pounder for both Diocletian and Witchrist) brings a consistency and brings the best out of everything.

Also a special note must also be made of the excellent job Logan Muir has done as graphic artist on the layout of this release, as he also did for the recent vinyl releases of the ‘War Of All Against All’ album. 

This is an essential release for anyone yet to check out Diocletian, is wanting to plug gaps in their collection, or who just wants to listen to it’s entire content without having to get up and change records every few minutes. Get now Kvnts!

*The cover of “All that Remains” Bolt Thrower from “Decimator” is not included here.

Sabbatic Goat - Interview

Earlier in the year I reviewed the Sabbatic Goat self titled promo CD (Click here to read). As they were completely new to me I thought it would be worth firing off a few interview questions to Sabbatic Goat main man Nathan Barrow.  Following are his answers. 

1 - Unlike most of us crusty old bastards playing decent underground Metal in New Zealand, you guys are all quite youthful and about half our age. Exactly why is it that you are playing the quality underground raw Metal that Sabbatic Goat play and not Korn and Limp Biscuit covers/rip offs?

A. We have no interest in weak music such as bands like that. It offers no contribution to true metal what so ever. It dissapoints me to see how those sort's of bands are what most 'Metalheads' of todays scenes consider to be real metal.

2 -You recently sent me the lyrics for your song ‘Anemic Swine’. What exactly is that song about? What exactly is your inspiration for these lyrics? Are they reflective of your views of the world and society in general? Why/why not?

A. The song is a fictional idea of an apocalyptic extra-terrestrial event in which the human race and our planet is destroyed. I like to believe that there is some form of being or force unknown to us that would prove us weak and powerless compared to our idea that we are the superior race.

3 - You are currently working on a proper studio recording to follow up your self titled promo/rehearsal CD. Could you tell us about this? i.e. what will it be released as? what will it be called? What songs will be on it? When and how will it be available? What are your personal views on the s/t promo CD?

A. We are still in the process of writing at this time. We are possibly going through more line-up changes so no plans have been made yet for recording. It will feature Anemic Swine from the promo, plus another 3-4 new songs and will be released as a demo tape. As for the promo, i dont regret releasing it, but it was extremly rushed and more though, effort and time could have been put into it. But it has still done ok for what it is and helped spread our name.

Self titled promo CD

4 - I recently witnessed you play an awesome live set at the Rites of Abomination show in Auckland. What were your thoughts about your set that night and of the show in general?

A. I thouroughly enjoyed all the other bands at Rites. It was a memorable experiance for me and as a band we took alot from it. As far as our set goes i wasn't entierly satisfied. It was our first show in Auckland and i felt we were rather unprepared for it and my own personal performance i was unhappy with. But we recieved a positive responce so we can't have been as bad as i thought.

Sabbatic Goat playing Rites of Abomination

5 - Has the international exposure of other New Zealand bands such as Diocletian, Witchrist, Heresiarch etc inspired your approach to music? If so how?
Those bands definatly have an effect on us. I have been in contact with a few members from these bands and recieved plently of support and advice from them. Seeing Diocletian and Witchrist at ROA was definatly an inspiration to further ourselves as a band and to stick to what we are doing in hope of one day reaching the same level of international attention as them.

6 - What is your long term vision for Sabbatic Goat? How do you intend to get there?

Sabbatic Goat is mostly a project of mine so im always changing my mind on what i want to do with the band and where i want to take it. So only time will tell. For now all im focused on is achieving a solid line-up and releasing our demo.

7 - Any last words?

Keep your eyes and ears open. We have more to come.

N.B
Sabbatic Goat

Contact Sabbatic Goat Here

Nathan Barrow