Q&A with Indicator Dogs

The Dogs, as the band like to call themselves, are no newbies to the indie rock scene. Originally formed in 1997 in New Zealand by Dan Young and Val Hunting, the band has only recorded two full-length albums over a span of 14 years, an output much lesser than most other bands. But who is to say that they don't produce quality material? Way before the recording of their two full-length records, their unique sound from their early demos and strong live performances had attracted award winning producer Malcolm Welsford's attention; who immediately offered to produce their debut album, "Anschluss". Welsford teamed up with the Dogs again in recording their sophomore album, "In The Face Of Disagreement", at Infrasonic Sound Studios in Los Angeles, and also gave them the added bonus of a new member, Grammy nominated drummer AAron Rossi of Prong, Ministry and John 5 fame. We catch up with the Dogs via e-mail and find out how they are doing so far.

Zetalambmary: Good day Dogs! It has been 14 years since the band was formed, so how does it feel to finally have a sophomore album out?

Aaron Rossi: I'm excited for ID!! The new album rocks!
Dan Young: Good, thanks.
Tomas Henry: Alright, thanks. How are you?
Val Hunting: Worth the wait for us and you guys.

Zetalambmary: The name of the new record sounds like it is about resisting an established order. Can y’all explain the meaning behind it?

Dan Young: When you buy the album, the artwork contains a short message we wrote which is a distinction of the meaning as we see it.
Tomas Henry: For me, this is one of many songs I’ve written words for with difficult political and social views. On the first record it was the advertising industry’s insistence on creating cripples, either physically or mentally in the population. On this one I had all kinds of different thoughts, one of which is the way we are all full of opinions but spend most of our time yelling at the TV or computer rather than turning it off and getting on with the life outside our door as well as changing the world by the actions you show people how to be with each other.
Val Hunting: We all come up against disagreement in our lives whether it be political, social, personal etc. We all have to prove who we are in the face of that. This record would not have happened if we let the “disagreement” win.

Zetalambmary: How did Malcolm Welsford learn about you guys? Do you all think he did a good job on the new record?

Aaron Rossi: Malcolm produced a great rock record for Indicator Dogs. He used to be a drummer, so we got along really well in the studio.
Dan Young: Malcolm saw us play live and offered to produce some early works, which led to him doing our first record. We became close friends and he brought us all to LA for the second one. I think he nailed the production; he has a gift to feel and understand music spatially... and has a great ear.
Tomas Henry: I think this is the best record Malcolm has ever produced for us, he’s our bro and is in the dog family now. He was the biggest supporter of me coming back to the band and never lost faith in what I was capable of doing once he heard the songs in pre-production with the wood chipper (AAron).
Val Hunting: Malcolm saw that early on people didn’t get us and they tried to change us so he got involved. He knew that we were unique and it was best to let us be ourselves and evolve as artists. The music industry used to support artist development back in the day (unfortunately not so much now), and Malcolm understood that we needed that. I think this record speaks for itself in terms of the quality, both in the maturity of the music and also the production. I love our first record, but this is a whole new level.


Indicator Dogs - Zoo Keeper (8th track off "Anschluss")

Zetalambmary: This album smells so much of indie rock that if you guys go any more indie, hardcore indie rock aficionados will have to drill through kilometres of earth just to dig you all up. Why doesn’t Aaron’s industrial background from his Ministry days turn up in the songs of “In The Face Of Disagreement”?

Aaron Rossi: Ministry's music and style is night and day compared to Indicator Dogs. They're a band whose albums consist of mostly electronic elements and heavy vocals, whereas Indicator is a pure rock band with melodic singing. I suppose Indicator could add more electronic elements and samples, but that would just be weird.
Dan Young: Hehe...I'm down with that. (know what I'm sayin'). Personally, if I was on "Who Wants To Be A Millionaire" and I was sitting at 500k and the final million dollar question was: "The band Indicator Dogs can best be described as; a) Heavy Rock; b) Alternative Rock; c) Indie rock; d) Progressive Rock?"... I would pass & walk away with the 500k as I have no idea how we should be classified! As to Aaron and Ministry ... Aaron is an artist and plays for the songs.
Tomas Henry: Yeah, too close to the band to understand how to answer that too dude. I’ve heard it described as validly fitting into so many styles so, ahh! Sorry.
Val Hunting: I agree with Dan and I think our fans are smart enough to listen to a wide array of genres and be able to discover us. This isn’t industrial music so AAron was able to play differently. That style of playing has its place and AAron does it better than anyone, but he was able to bring more drumming variety to our record because it is a different style to Ministry.

Zetalambmary: On the first record, “Anschluss”, you guys had a much rawer sound as compared to the more radio-friendly sound of the second record, “In The Face Of Disagreement”. Do you all think that you have grown mellow?

Aaron Rossi: I think the band matured musically; the second album is proof.
Dan Young: Yes. I blame the fast cars and long lunches. This is definitely us in our best Sunday Threads. Seriously though, if you listen to both you will still hear the interesting time signatures & rhythms, but the second album is presented in a way to draw the listeners in. This album is more resolved, less conceptual.
Tomas Henry: The other thing to remember is there are two different vocalists on the initial release. You can listen to the original record with just my vocals on it and it’s a different experience. I know that sounds like I’m a wanker and it’s almost certainly true, but because most people don’t realise that the record seems somehow too heavy when Christian (who stood in for me while I was in hospital) yelled and scream-sang, and I yelled, screamed and sang along together too. So with our voices combined, it’s a lot of information to try and take in.
Val Hunting: I actually think that the music is heavier on this record, but the vocals are mellower.

Zetalambmary: The term “indie” can be a very difficult term to be used accurately. Certain “indie” rock bands like Death Cab For Cutie and Neon Trees have grown so famous that it is ironic how their fans still consider them “indie rock”. What are your views on this issue?

Aaron Rossi: I'm not familiar with these famous bands. I would think indie bands are bands on an independent record label. I've only heard the term "indie rock band", not "indie metal band", so it probably has to do with their style, not their status. To me, they're just rock bands.
Dan Young: I think it’s fun discovering a band and playing it for your friends. As to my views about success, I'm all for earning a decent living, and less about the fame.
Tomas Henry: Man, I just get up and do what I do and it’s the greatest thing in the world to make people have fun and feel their joy when you sing to them. I don’t think about some other fucker crying about his wealth and fucking houses; I just sing the songs and the company takes all my money.
Val Hunting: With the current state of the industry, aren’t we all “indie” these days? I agree that it’s a difficult term to use accurately. I remember when “indie” rock was [made up of] bands like REM, U2, STP, Nirvana and they all became famous as well from underground activity. I think “indie” is a term that really means, “the-record-label-will-eventually-catch-on-if-enough-people-think-its-cool” and do something about it which makes them more famous. I think this is what has happened to indie bands over the years, they build their fan base independently and then they get support from labels or investors. It has nothing to do with the style of music that is played or how famous they eventually become.


Indicator Dogs - Summer Storm (5th track off "In The Face Of Disagreement")

Zetalambmary: Do you guys strive to be as successful as them someday?

Aaron Rossi: For sure! We wanna be famous like those bands you're talking about.
Dan Young: Wednesday.
Tomas Henry: Refer to answer above.
Val Hunting: If you define success by money, then yes, Wednesday is good.

Zetalambmary: What are some of your all-time favourite records?

Aaron Rossi: Death - Symbolic. Rush - Exit Stage Left. Sublime - 40oz To Freedom. Slayer - Divine Intervention. Yanni - Live At The Acropolis. Maynard Ferguson - Live From San Francisco.
Dan Young: PJ Harvey - Stories From The City, Stories From The Sea. Fugazi – Repeater. Fugazi - End Hits. Refused – The Shape Of Punk To Come: A Chimerical Bombination In 12 Bursts.
Tomas Henry: The Cure - Kiss Me, Kiss Me, Kiss Me. Beethoven’s 6th, 7th and 9th Symphonies. Sinatra’s Christmas record. Bad Brains – Rock For Light. Bad Brains – Quickness.
Val Hunting: (Seriously, how much time do you have!) Fugazi – Repeater. Fugazi – 13 Songs. Kate Bush – The Dreaming. PJ Harvey – Dry. Kate Bush – The Dreaming. Kate Bush – Hounds Of Love. Mastodon – Crack the Skye. Mastodon – Blood Mountain. Vision Of Disorder – From Bliss To Devastation. Vision Of Disorder – Imprint. Skinlab – Bound, Gagged & Blindfolded. Girl Talk – All Day. Kronos Quartet – Phillip Glass String Quartets. Echo & the Bunnymen – Heaven Up Here… and about 50,000 more I didn’t mention.....

Zetalambmary: What about your influences and the musician each one of you admire the most?

Aaron Rossi: Jimi Hendrix.
Dan Young: Abstract painting. Prince.
Tomas Henry: David Turner, gut reaction and contemplation are wonderful places to create from. Handel.
Val Hunting: Dan and Tom influence me as well as the art of creating unique harmonies; the less travelled musical path. Kate Bush.

Zetalambmary: Had the North American tour with Killing Joke still went on as originally planned, what would have been the first thing each one of you would say or do to Jaz Coleman when you all saw him?

Aaron Rossi: Hey Jaz!!
Dan Young: Offer him one of Mama Rossi's cookies.
Tomas Henry: Give him a hug and tell how bad we feel for his band then ask him about some quantum string theory I've been thinking about.
Val Hunting: Tell him he could have Mama Rossi’s cookies but NOT the pumpkin or lemon slice.

Zetalambmary: Have you all ever thought of asking Dan to design a unique recording studio just for Indicator Dogs?

Aaron Rossi: Ya, we'll call it the Indicator Dog Pound.
Dan Young: Haha! I’m pretty sure I slept through Acoustics theory at university... but I know Tom and Val would bounce ideas off me for their Mansions.
Tomas Henry: Yes, and we have already talked at great length about such a thing.
Val Hunting: Of course, he would ace it with German precision.


"In The Face Of Disagreement" was released on 24th May, 2011 through Rocket Science Ventures.

Silverstein Feature: From Broken and Easily Fixed to Rescue with Shane Told

Every now and then you get a band that may not be massively popular like mainstream acts, but still popular enough to garner a huge following of heart-broken teenagers and wistful young adults across the globe. When I first encountered such a band in the form of Silverstein 6 years ago, my fate as a Silverstein diehard was sealed. The band became the essential soundtrack to my teenagehood. Amidst the plethora of punk rock, metalcore and hard rock bands that I was devouring back then, Silverstein was the flawless gem among a pile of uncut gems, the audio diary of a troubled me from a parallel world, and ultimately an entity that I could truly connect with and feel for.

And why wouldn’t any normal teenager feel this way? Afterall, these were just a bunch of ordinary guys from Toronto, Canada. As the start of the second millenium rolled in eleven years ago, the band was conceived, even when most of them had only just gotten out of high school; just like any other band everyday kids who were into punk rock, hardcore and emo would form. Of course, the one big difference was that Silverstein eventually managed to land a record deal with Chicago-based independent powerhouse, Victory Records. Frontman and vocalist Shane Told was reportedly said to have been working at a shop selling printer cartridges prior to receiving a call from Tony Brummel (owner of Victory) himself.



As with all first time signees, Shane was obviously elated to know that Silverstein was actually going somewhere then and no longer just a casual thing he and the rest of the gang did for fun, and look how far they have gone today. With the release of 2003’s critically acclaimed “When Broken Is Easily Fixed”, Silverstein quickly climbed in popularity in comparison to the rest of the Victory roster, selling more than 200, 000 copies in North America alone and earning their hit song “Smashed Into Pieces” a slot on the Victory Records Sampler of that era. Things have sailed smoothly for them since then, with the subsequent release of their landmark and sophomore album “Discovering The Waterfront”, which did even better than their debut and paved the way to a highly successful career ever since. It is also not very often you come across a band that has been in existence for 11 years so far that has the same line-up from 10 years ago. Most bands tend to change at least one or two members within a span of 2 to 3 years, some even the entire line-up a few albums later, but to have all 5 members for a decade?

“We don’t know how other bands work, and we’ve all only been in one band, so for us, you know, we just try to respect each other and we know kinda when to leave each other alone and when to talk about problems that we have, but for the most part, we are all pretty easy-going about things and we just kind of do it. I mean, yeah, it’s been good and we’ve all kind of been on the same level, we’ve all got the same goals. I think with the band, we’ve all agreed musically and where we want to go with things, and that is the best thing,” Shane says.

Halfway through the above response, Josh came into the changing room to retrieve something and jokingly tried to elbow one of his pals in the face, as if trying to show that they were really not that tight as a band. Flashing a cheeky grin after he was done, he exited the changing room. If there’s another thing I love to see in my favourite bands, it would be a sense of humour!



One remembers fondly of the early days when Shane’s screams and growls were still raw and his singing had a weak tone range (c. “Summer’s Stellar Gaze”, “When The Shadows Beam” and “When Broken Is Easily Fixed). The guitars back then just screamed of punk rock and hardcore as well, so it was definitely a real ear-opener for fans when they heard the highly polished metalcore-style single, “Vices”, from the band’s fourth full-length record (and first concept album), 2009’s “A Shipwreck In The Sand”. Never before had Silverstein sounded so heavy and intense. On 2011’s fifth album, “Rescue”, Shane had described its sound to be a crossover of “Discovering The Waterfront” and “A Shipwreck In The Sand”, a melding of the heartfelt ballad approach of the former and the brutal take from the latter; both of which are works of great musical maturity. But what about the lyrics? How much more mature have they become?

Shane pauses to ponder about the question for a brief moment before answering, “Yeah, it’s a good question, I’d say so. For instance, early on in our band’s career, I don’t think there were any sort of songs about politics or songs about, you know, the world and issues with that, and I think that as I have gotten older, those things have become more important to me. I think that’s one thing that’s sort of come out in our music a little bit, it’s making statements about certain sort of political issues in that, so I think definitely, in that sense, it has. Yeah.”

In case any of you reading this still doesn’t know, Silverstein are a bunch of guys who care a lot about animal welfare too. Music isn’t everything in their lives, and they are really zealous in their beliefs, being practising vegetarians/vegans since they were teenagers. They are strong supporters of the animal welfare website, Peta2.com, and according to their interview on that website, they have always found exploiting animals for food, fur and other products just not the right thing to do.

“Well, we are only both vegan [points at Billy Hamilton], and the rest of us are vegetarian, and I think if you asked each one of us, we’d give you a slightly different reason, further reasons [on why they turned vegetarian/vegan]. I’d say for me, I think you can live a healthy lifestyle, if not, a more healthy lifestyle than somebody who eats meat, without having to harm a [sentient] living thing. So that’s personally, for me, why I do it.“


By the way, Shane really fell down at the end of the music video.

Going back to Silverstein’s history, many music fans and critics have labeled Silverstein as one of the main pioneers of post-hardcore. So, had it really been the band’s intention to come up with such a crossover style right from the start?

“It was, absolutely. I think we came from a background where we had a lot of different influences, you know, and we had a lot of different styles of music that were popular in our hometown and it was very all over the place. It was everything from punk rock to hardcore to ska to emo and for us, I think we loved all those kinds of music equally and our whole intention was just to bring them together and fuse them together. I think that’s where we kind of got our sound and it’s great, you know, that worked out like that, so it’s a special thing.”

After hearing that, A Day To Remember just popped into my mind, and I promptly questioned Shane if they were really good friends since they seemed to be playing in a style quite similar to Silverstein’s.

“Yeah, and we know them really well. I guess I don’t know how much of an influence we were on them, but it’s interesting you know, and I think they are a little bit different ‘cos they are tuned down a little more lower and they kind of do a little more of the double-kick, breakdown thing, and we don’t do it as much, so I think we have different sort of takes but I think our influences are kind of the same.”

Having been on their debut label Victory Records for a good 7 years, one might at first think that Silverstein would feel a little regretful for leaving the label that groomed them to become what they are today. But surprise—it turns out that even these affable guys have gotten sick and tired of Tony Brummel’s overly-business approach to the art of recording music. Shane had mentioned in interviews on other websites that he was disillusioned with how Victory Records was run more like a corporation than an independent record label because “they are very driven on what’s gonna sell, how many copies of whatever they’re gonna sell, and a lot of times that held us [Silverstein] back from a lot of the things that we wanted to do.” (as extracted from AMP Magazine)

“No, absolutely no regrets. I mean, we did four albums with them and we had the best of times and there were the worst of times as they say, and you know, we just decided that we had some other options on where to go, like other labels and the business side, and Hopeless [Records] is a much better fit for us as a label,” Shane says with surety.

And about his own record label that was set up to help fellow Canadian bands, Verona Records? Well, Shane still does it on top of Silverstein. “I still do it, yeah,” Shane says. “And Counterparts was the last band on it and they are actually on Victory Records now. And I did some other great releases, and I continue to help out bands that are Canadian and stuff.”



Moving on to the million-dollar question, I asked Shane how he switches between his harsh vocals and clean singing so effortlessly, and how he ensures his voice is well taken care of. I must have been the millionth person to ask him that.

"A lot of people ask me that, and I don’t know, I just do it. I don’t have a lot of training, I haven’t taken all those lessons and stuff, I just kind of do the right thing. It’s something that I enjoy and I enjoy switching it up. It gives our band a lot of dynamics I think, between soft and heavy; and I like it."

“I drink a lot of water and I try to get a lot of sleep. Other than that, there’s no special remedies. It’s like some people say they don’t eat dairy or whatever, that messes them up. It doesn’t affect me, I mean as long as I’m drinking enough water and sleeping enough, I’m pretty good. Oh, if I get sick, that sucks too.”

As with many foreign bands whom are on their virgin visit to the little sunny island of Singapore, Silverstein were pretty excited about seeing some of the famous tourist spots. Bassist Billy Hamilton was so taken with the Merlion that halfway through the gig, he proclaimed that his next tattoo was going to be that of a Merlion, and that “that shit is cool, man.” Silverstein was also supposed to drop by a local radio station by the name of Power 98 for an interview in the morning of their first day in Singapore, but only Paul and Billy managed to turn up in the end as the other three were beat from the long flight the night before and resting up at their hotel room. This was especially understandable for Shane since he had to recuperate his voice from a soldout night at Taipei, Taiwan the day before. Since Shane wasn’t there while the deejays asked them what had they thought of Singapore before they arrived, I decided to pose the same question to him.

“Right, what I think of it? You know, it’s funny ‘cos I have a very good friend that I grew up with who was from Singapore, so he’d go over every summer and he’d always talk about how nice it was, so I always kind of pictured it how it is I guess. But then it’s funny what you hear about in the news, like the kid who spray painted the car and got caned—I’m sure you guys remember that ‘cos it was big news—and you know, you hear about the drug-smuggling and how they put people to death and stuff. So you hear that stuff, and I think you come here and you are a little bit scared that it’s gonna be really like everywhere you go there’s going to be police and stuff, but it’s really not. It’s like a lot more laidback than I thought, so I was thinking it was going to be a little more like uptight, but it’s actually pretty chill.” [ZLM]


- Wraith

Q&A with Satan's Host

Some bands make great music... but just never got to make it big. Satan's Host is one of them, and these peers of Iron Maiden are going back to explore their blackened power metal roots from their early years with the release of their fifth and latest studio effort, "By The Hands Of The Devil". Underground they may still be, but Satan's Host still haven't forgotten how to make darn good NWoBHM-ish music on this latest album!

Zetalambmary: Firstly, allow me to express my congratulations to the band for 34 years of existence thus far! When the band was first formed back in 1977, bands with overtly satanic names like this were still not very common. What prompted you guys to come up with such a name?

Patrick Evil: Originally, I wanted a name that would stand against Black Sabbath or Led Zeppelin and all the other great bands of that time.
Evil Little Hobbit: Patrick Evil came up with the name when he was a teenager. He felt he had to come up with an evil name that was better than Black Sabbath.

Zetalambmary: You all are almost as old as the titanic Iron Maiden. In fact, both Iron Maiden and Satan’s Host seem to share some similar traits musically, such as the high-pitched wails done by the vocalists and the NWoBHM-ish guitar riffs. Yet you all have a lyrical theme that is dark and unconventional for a band that has a heavy/power metal playing style. So between Iron Maiden and Venom, which band would you guys consider to be a bigger influence on the band?

Patrick Evil: I would say that for me, both of these bands had a great fire that I had interest in.
Margar: Venom is a great band and I enjoy their work, especially “Black Metal”, but Iron Maiden has definitely been a bigger influence.
Evil Little Hobbit: For me it’s Iron Maiden. I’ve been an avid fan since I was a kid; both Clive Burr and Nicko McBrain have been huge influences on me. But as far as what Satan’s Host is all about, I’d have to say that both Iron Maiden and Venom have been an influence.

Zetalambmary: America is also home to the famed Kamelot led by suave frontman Roy Khan. Have you all ever considered moving Satan’s Host towards the direction of modern power metal by incorporating keyboards into your music and lyrical themes that deal with humane problems like questioning the purpose of existence and human solitude?

Patrick Evil: No, I would say I have always been a fan of the more extreme forms of music that are aggressive and guitar-cum-vocal driven. I do like keyboards if they are written in a certain way for the mood of the song.
Evil Little Hobbit: We have had keyboards in past albums, Patrick used to use them before, and the thought of bringing them back is always a possibility. I think the themes we have in “By the Hands of the Devil” does have a lot of questioning, but not on the purpose of our existence, but more about where we came from, what’s happening around us, and more about uniting against the lies and enslavement of the human race by governments and religious ideologies.

Zetalambmary: Do you guys think that there is such a thing as a “black metal star”?

Patrick Evil: It all goes into the conception of thought and mortality; it would be in the way you would look at the star. To me, all great people are different kinds of stars in their own way.
Margar: Sure, there are plenty of black metal stars.

The channelers of Satan - Clockwise from top-left: Leviathan Thisiren (Vocals), Patrick Evil (Guitars), Margar (Bass Guitar) and Evil Little Hobbit (Drums)

Zetalambmary: When Jon Nödtveidt of Dissection was still alive, he often criticised that most of the black metal groups that are active in the global metal scene aren’t truly satanic in the very essence of the word itself, but are “mentally passive, easily-guided apathetic flocks of cattle”. Do you all agree with him?

Patrick Evil: I would agree with him. I think that many people just follow like sheep and don’t strive to create their own sounds and beliefs.
Evil Little Hobbit: Yes. But that is just a human trait in any formal organization. The thing with Satanism is to live as an individual.

Zetalambmary: What kind of beliefs does each one of you hold and what kind of messages do you all want to bring across in the music of Satan’s Host?

Patrick Evil: I think as individuals we all have our own belief systems, mine being spiritual and Satanic. There are so many ways to open the mind; I think it is hard just to limit yourself to certain beliefs. I think there are so many avenues of mystery to be explored and applied in what we wish to attain.
Margar: I don't hold any religious beliefs whatsoever. Because of this, I like to leave the messages to the other guys. I care more about making good music than sending a message.
Evil Little Hobbit: The truth is in the unopened mind, seek enlightenment.

Zetalambmary: What are the 5 favourite albums ever for each one of you and which metal musician do you all admire the most?

Patrick Evil: I am not sure I could limit it to 5 albums. I would say “Blizzard of Ozz” by Ozzy Osbourne, “Heaven and Hell” by Black Sabbath, “Led Zeppelin 4” by Led Zeppelin, “Black Metal” by Venom, “Killers” by Iron Maiden, “Master of Disguise” by Savage Grace and many others.
Margar: Right now, it would probably be “Blackwater Park” by Opeth, “Sailing the Seas of Cheese” by Primus, “Horrorshow” by Iced Earth, “Viva Emptiness” by Katatonia and “Fate of Norns” by Amon Amarth. But that list changes about once a week depending on what mood I am in. I would have to say that I admire Mikael Åkerfeldt of Opeth because he is such an unbelievably talented musician and I like how he composes his music.
Evil Little Hobbit: “Powerslave” by Iron Maiden, “Melissa” by Mercyful Fate, “Wish You Were Here” by Pink Floyd, “Sons of Northern Darkness” by Immortal and “Moving Pictures” by Rush. I admire King Diamond the most.

Zetalambmary: Since Harry’s rejoining of Satan’s Host last year, how do the other members feel about his contributions to the band so far?

Patrick Evil: With Harry, the sky is the limit. We can do anything we have ever dreamed of and more. There is so much room to grow and evolve as a band. We have such great chemistry together.
Margar: It has definitely been a welcome change. I am both proud and honoured to have the opportunity to work with such an incredible vocalist.
Evil Little Hobbit: Harry is stellar. He is a great vocalist, a great musician, a great friend and he has done all he can do to contribute.

Zetalambmary: The latest record, “By The Hands Of The Devil”, takes a nostalgic step back in time to Satan’s Host’s original power metal musical style and departs from the death metal musical style of the late ‘90s to 2009. How has fan reception of this new, or rather, old Satan’s Host been so far and how do you guys feel about it?

Patrick Evil: I think so far it has been an amazing reaction to this album. We wanted to go against the norm and invent something that has been lost for a very long time.
Margar: So far the fan reception has been great. It's satisfying to have something that we have worked so hard on be met with such good reviews.

Zetalambmary: Are you guys going to embark on any tours soon?

Patrick Evil: We do really want to go on tour because we live to play live. At the same time, we are loving song-writing and recording because we have so much fire inside of ourselves to create. We will tour and get the music out there to the fans, it is all just a matter of timing and to make sure we do it right!

Zetalambmary: Will you all ever consider coming to Asia to perform?

Patrick Evil: Of course, we know how passionate the fans are over there. All anyone has to do is make us offers and set up shows and Satan’s Host will play anywhere!
Margar: If the opportunity arises, the answer would be “Yes”.
Evil Little Hobbit: We want to hit every corner of the Earth at some point.

Zetalambmary: Before we end off, does any one of you think that Beethoven would probably make a pretty good heavy metal musician if he was still alive today?

Patrick Evil: I think he would make the ultimate metal musician, you can hear it in all of his works. Give him the technology we have and music would explode from him!
Margar: Without a doubt. Since metal has roots embedded so deep into classical music, he would probably be undeniably great.


"By The Hands Of The Devil" was released on 3rd May, 2011 through Moribund Records.

Q&A with Richard Patrick of Filter

Filter, the 30 Seconds To Mars of the alternative metal scene, is one band that piqued the interest of many extreme metallers worldwide during fall last year. Their latest studio album "The Trouble With Angels" had its distribution in Europe secured with famed extreme metal label, Nuclear Blast!

Nonetheless, regardless of whether you are an extreme metaller or not, Filter's music will most probably still warrant at least a listen from most people. It is pretty easy on the ears, and the heartfelt clean singing from our dear interviewee here is what puts the "alternative" into the metal for them. So without further ado, let's have a little chat with Richard!

Zetalambmary: Hello there Richard, pardon us for asking this a tad bit too late, but is there any significance behind the band’s name?

Richard: The band’s name “Filter” came from just the overall functionality of the brain. Everybody’s brain is a filter.

Zetalambmary: You used to play guitar in NIN. After so many years, have you ever regretted leaving NIN and setting up Filter?

Richard: Nope! I quit that band and never looked back. I had a blast when I was in it but I just never felt comfortable in that situation.

Zetalambmary: Do you feel that you have matured in any way with Filter over the years?

Richard: I think everybody matures. I think every band matures. I think it’s healthy to explore. Have you ever thought your writing has changed as a journalist?

Zetalambmary: Have you ever considered dabbling in noise music?

Richard: Yes! I created my children! They take every musical instrument I have and make tons of noise. They are the best and they will kick ass over any other noise band in the world.
That is a challenge, world!

Zetalambmary: So “The Trouble With Angels” is indeed a heavier album than “Anthems For The Damned” as you promised it would be. Is it a sonic representation of your frustration at anything while you were recording the album?

Richard: I had a blast on that record! I can't wait to do a little tour over there in Europe. I hope it leads to greater things.

Zetalambmary: Based on earlier interviews you have done, the lyrical content of the latest album seems quite eclectic. I mean, it ranges from touching on the friction between Galileo and the Church to talking about your intoxicated past. Is there an overarching theme linking these lyrical subjects together?

Richard: You've gotta speak your mind. It needs to come naturally...
I'm actually getting to a point where I want people to take what they want from my lyrics, and for me not to give it all away…

Zetalambmary: News has it that you have been working on new songs for movie soundtracks again. Do you constantly work on movie soundtracks so as to gain more exposure for Filter?

Richard: Yes, I'm actually writing a movie right now. It's so much fun.

Zetalambmary: Ever considered acting in a movie instead of making music for it?

Richard: Acting is fun, I love acting. I'm going to continue to do it all!

Zetalambmary: Do you see yourself working together with fellow Rocket Science Ventures label mate Clown from The Black Dots of Death in the future?

Richard: As long as I'm on the bottom! ;)

Mmhmm.

Zetalambmary: Nearly 9 years have passed since you successfully completed rehab. How were those 9 years without alcohol and drugs? Do you still feel the urge to smoke or drink these days?

Richard: Thanks for noticing! Not until September 28th is it 9 years. I am so fucking done with drugs and alcohol. It is sometimes hard to remember that I was that guy. I love being sober.

Q&A with Cernunnos of Hæresiarchs Of Dis

Even though our interview with Californian one-man black metal project Hæresiarchs Of Dis was done through an e-mail exchange, it still did not prevent us from feeling a cold, grim and evil aura seeping through the computer screen from Cernunnos's interview response. From topics regarding his musical background and influences all the way to his views on music trends, Cernunnos shares with us his insightful views on those issues plus more!

Zetalambmary: You have probably been asked this question many times before already, but what is the significance behind naming your project Hæresiarchs of Dis?

Cernunnos: There is no great significance behind the name Hæresiarchs of Dis. At the time of inception a leading inspiration came from Dante’s Inferno. This led to Dis—as in the city and the name for the demo
CD I released during spring last year—but as time passed I opted for a name that delivered greater depth. In this case, I
decided on Hæresiarchs of Dis: A heretic of the city of Dis. Part of this decision was out of necessity for a name that better suited the complexity and direction I felt the project was heading. Dis had been used many times over by other bands, and the more I thought about it, the more the name Hæresiarchs of Dis rang true. I was adamant about choosing a name that strayed away from the cliché and anything that was an expected standard in metal. It is amusing when I see someone gripe about the name, making comments like it is incomprehensible or unwieldy. A perfect example of how metal is perceived to be “simple” in some eyes.

Zetalambmary: What kind of musical instruments and sound effects (if any) are used in your music?

Cernunnos: The core instruments I use for Hæresiarchs of Dis include two of four electric guitars, one acoustic/ electric guitar, an electric bass, an upright piano, and several software programs that include a variety of instruments and effects. The ambient sounds I create come from a voice recorder or samples which are later manipulated with time effects, modulations, or extreme tone drops.

Zetalambmary: Musically speaking, unlike the more popular forms of black metal such as blackened death or black thrash, ambient black metal does not rely heavily on syncopated rhythms and catchy tunes to attract fans. What do you think is the draw of ambient black metal?

Cernunnos: I do not differentiate between sub-genres, and find it ridiculous that people have a need to do so. To me, they are all part of the same ilk, falling under the larger umbrella of black metal. Although the term black metal has “metal” in it, really it is the mood and subject matter that defines a project of this nature and not always the heavy metal part. It is rather amusing to see how music has unfolded into more and more sub genres. I, however, do not feel Hæresiarchs of Dis is ambient, as many tracks include heavy riffs and constructed song structures. The parts that are not “metal” range in variety, and the ambience that prevails is in the mood of the music, not often the song format. The draw of ambient black metal that you put forth in a question is in the morose emptiness, or lack of familiar musical ground. It is the open uninhibited soundscape of ambient black metal that intrigues many listeners.

Zetalambmary: What kind of lyrical themes does Hæresiarchs of Dis deal with?

Cernunnos: It varies between albums. There are the continuous themes of religion, death, and destruction, but more recently there is the dominant suggestion about Man and his inability to fathom his own true fate. It is through the desecration of the soul that revelation is revealed, and ultimate truth attained.

Zetalambmary: Is there any particular poet you revere?

Cernunnos: Most notable within my releases is inspiration from Dante and Milton. The track “In Remembrance
of He Who Defied God” is my musical interpretation of a particular piece of poignant text from Paradise Lost. I do
not think I revere any poets, although there are numerous literary greats that I hold in high regard.

Zetalambmary: Do you think extreme music as a whole, including black metal, can be considered a bold and experimental extension of classical music (read: Baroque to 20th Century)?

Cernunnos: The idea behind what music is does not change. We’d like to think we are modern and at the forefront of art, but really everything is borrowed from something else. Comfortably we call this inspiration, but music is created by available ideas and methods, where current times dictate what medium this inspiration is conveyed in. Currently the format of metal best conveys a lot of my ideas and emotions, but who is to say I would not be using a full orchestra if this was the 17th century, and who’s to say that Paganini would not be a flamboyant electric guitar player if he had been born in modern times.

Zetalambmary: So are there any classical composers you particularly look up to and draw musical inspiration from?

Cernunnos: There are many. Classical music has always been an inspiration in my endeavours. Wagner and Mozart come to mind off hand as many compositions by them inspired me as a child. There are many others, and I am always expanding my classical library. Offhand I have found influence in Chopin, Janáček, Liszt, Debussy, and Sibelius to name a few.

Zetalambmary: What about the FWoBM musicians?

Cernunnos: Metal for me really struck home in the early 80’s. A powerful influence on me at the time was early thrash bands and others of that ilk, but only a couple of bands of that decade have lingered in my influences as time has gone by, including Mercyful Fate and Celtic Frost. The batch of early black metal bands did not influence me until later, after I had started the project. There are too many black metal bands I enjoy, both current and first wave, to mention. I tend to acquire anything and everything I can get my hands on, whether CDs, vinyl or MP3s, and there is little in this genre that I dislike.

Zetalambmary: In an interview with Metal Underground, you mentioned that Hæresiarchs of Dis does not do live shows because it is “a very personal and reclusive experience”. This trait is reminiscent of bands like Deathspell Omega. Just for curiosity’s sake, however oxymoronic this may sound to you, do bands like you guys actually get into contact with one another?

Cernunnos: I do not have any relations or communications with other bands. This is not intentional in an attempt to maintain some off-limits attitude, rather I have no interest. I do not do black metal to be in a community. I am not interested in performances or relations with others. I have played shows and been in bands in the past, and I am done with it. The whole rock star thing is stupid. This music is not about that, rather it is my personal extreme expression delivered in the semi-tangible form of music. Music is after all another form of art, and it is not uncommon for artists to want to be left alone. This is not to say that the future may not hold collaborations with other musicians, just not something right now I see any point in or would actively look for.

Zetalambmary: If Hæresiarchs of Dis is really such a personal experience, why do you still promote your works through record labels like Moribund Records?

Cernunnos: Interesting question. When I say “personal experience”, I am referring directly to “understanding”. I do not expect anyone to completely understand Hæresiarchs Of Dis the way I do. It is uniquely mine in many ways. I am the sole creator and operator of this project and it needs to remain that way in order for it to still strike a chord inside me. I do not share the music with individuals, but people in general—those I have no relations with—I have always had the intent to spread it regardless of my attitude towards others, getting it to those who appreciate this kind of project. This does not mean I want to be friends with everyone. I do not have a hand in promotion of my material, the label does that, but we are not talking about a huge corporate label, rather a niche field of extreme art.

Zetalambmary: The time gap between your third full-length record, “Denunciatus Cinis” and the new album “In Obsecration of the Seven Darks” is only one year. How much has Hæresiarchs of Dis grown within this period?

Cernunnos: “In Obsecration of the Seven Darks” was composed and recorded during post-production of “Denuntiatus Cinis” last year. In reality, the album was done before “Denuntiatus Cinis” was released, but I wanted to spend some time away from it before entering post-production. To answer your question, I do not think Hæresiarchs Of Dis has grown in any way during this time. In fact, I feel the project has been more or less the same from the original onset many years ago. Production may vary between releases due to changes in equipment or software, but the ideas and concepts and song structures have remained consistent.

Zetalambmary: Do you foresee any radical changes in the musical style of Hæresiarchs of Dis in the future? If not, would you ever consider exploring less cacophonous musical realms while still retaining the messages you want to bring across in your music?

Cernunnos: After the release of “Overture” a couple of years ago, I told Viridis Vir—contributor on my two previous releases—that a future release may be entirely an ambient experience, or a symphony of sorts. I even toyed with the idea of creating a release of piano compositions. Hæresiarchs Of Dis is experimental by nature, and I am never certain what direction it will take, nor do I care to plan it out. It is possible there may be no more albums in the future, or there may be a dozen. I do not know. The guitar is only one instrument I find interest in exploring, but with so many options available to me, I do not see metal being the sole vehicle for conveying this project in the future.

Zetalambmary: Most people think that serious black metal musicians are no-lifers that do nothing but dwell in their misanthropic, waste-filled pits all day long. What else do you do in your spare time when you are not composing any of your hate-filled masterpieces?

Cernunnos: In many ways there are two aspects to my person: one that is angry and misanthropic, and the other just gets by, by doing the daily grind that needs to be done. The music I make very separate from the everyday part of my life. I have family and friends for the most part that do not know about Hæresiarchs Of Dis. This is not to say that I keep it a secret, as in fact, I am openly outspoken about many of the ideals set forth in the music, but rather it is something I choose not to share with everyone. I’d expect many would not understand, and that is fine by me. I have always been an artist, and work in the Information Technology arena by day, contracting design, websites, and illustration periodically. The black metal is an outlet for me, but it is not the only creative outlet I have pursued. Books and art have always been a strong pastime for me as well as film. I do not find many modern works in any of these areas that appeal to me often, so most of my consumption is in the classics. This is very strong with books, as I am passionate about literature. Human creations that have stood the test of time and cultural shifts deserve the most recognition, not the latest topping the New York Times Bestseller list. Maybe this makes me slightly antiquated, but nonetheless it is where I find the most thought-invoking inspiration.

Q&A with Draconis Infernum

From left to right - Xeper/Sonic Depravation, Kount Cider/Aural Misanthropy, Niloc/Blade ov Inhumanity

*Note: I couldn't find any promo shot of them with Serberuz Hammerfrost inside, but I do have a photo of him here if you guys are interested to see it - http://www.facebook.com/photo.php?pid=6219440&id=510082344&ref=fbx_album


The very first local band interview by Zetalambmary is finally up! In this interview, Shadori sat down in front of his computer to talk with Xepher of Draconis Infernum via e-mail so as to learn more about the band.

Here goes:

Zetalambmary: Draconis Infernum is probably the coolest Singaporean metal band name I have come across so far! Why this name?

Xepher: Draconis Infernum which means Infernal Dragon was a recommendation by a friend and I thought it suited us well since we’re all Chinese and the dragon was a good representation of it. On the other hand from the black metal aspect it was relevant and hence we settled for that name.

Zetalambmary: Your style is "strictly old school black metal". What are the bands that influenced and inspired you guys to make similar music?

Xepher: Just to name a few, Bathory during the black metal era, old Darkthrone, old Mayhem, old Venom and of course not forgetting, Slayer, which is of course not black metal, but was one of the bands that inspired us to start writing our own songs.

Zetalambmary: Contrary to popular belief, many metal musicians actually have their roots in classical instruments (e.g. piano, violin, flute). Do you guys?

Xepher: Well, we don’t exactly have classical roots except for Serberuz Hammerfrost, who plays the piano. As for Niloc, his music roots and influences are the blues.

Zetalambmary: What are your thoughts on the infamous misconception that just because certain forms of metal are satanic, all metal is satanic and thus, metal musicians are bad people?

Serberuz: We don't give a fuck!!! It's them who made the mistake, it's them who're not educated enough to realize the importance of looking things through from all angles and perspectives before jumping into conclusions. It's their fault. So why are we the ones expected to clear it all up? And by we, we don't mean just Draconis Infernum but the whole Metal community. Why are we the ones expected to explain things when people who're unrelated to us apparently do not know what's called self-reflection?!

Make no mistake here. Long before Metal ever existed there was Country and Blues. It was the same thing people are saying about us now, what people were saying to them back then. The very term "Underground" came from that era, used by Country and Blues musicians. Not Metal. People just need to find some sort of excuse to feel better about themselves. But guess what? Their existence means NOTHING to us!!

Having said that, Black Metal stands for The Adversary. It will always do for us. The facts have spoken for itself what kind of hypocrisy ALL religions have been (absolutely, without any exceptions at all), and Black Metal stands AGAINST them all!!! Those vermins who think they're "Holier than Thou" can think whatever the fuck they want if self-deceit makes them feel better about themselves. It's none of our business. Better be hated for who we are than to conform and be loved for something we're not. Non Serviam!!!

Zetalambmary: Asian metal seems to be on the rise recently, with bands like ChthoniC and Wormrot being signed on to reputable record labels overseas. What future do you foresee for Asian metal?

Xepher: It’s definitely on the rise with more Asian bands touring Europe, getting signed to reputable labels and getting proper international recognition. There is definitely more to come in just a matter of time. It’s about time more Asian bands get recognized.

At the same time more international bands are coming over to tour Asia which shows that Asia is being recognized by the other side.

Zetalambmary: Do you guys have any plans to strike a record deal with a prominent label overseas? If so, which would be the preferred label? Century Media, Metal Blade, Nuclear Blast, Relapse, Roadrunner, Spinefarm, or Victory?

Xepher: We definitely welcome label support, however it doesn’t matter which label it is as what’s more important is what the label can offer us.

Zetalambmary: You guys are more famous overseas than locally, how do you feel about that?

Xepher: Are we more famous overseas? I’m not too sure about that. However it would be great if more people came to know of our music, but not to the extend that it goes mainstream.

Our music is not for the masses. Many people don’t and will not understand it. It’s only for a certain type of people who embrace a certain type of ideology.

Zetalambmary: As you guys are still indie, the band's expenses mostly come from your own pockets and that sure as hell isn't cheap... Was that why "Death In My Veins" was limited to only 500 copies?

Xepher: 500 was the minimum that we could press and as we weren’t sure if it would be in demand, therefore we agreed on 500. We felt that 500 copies was enough at that time to spread the plague. Currently, all 500 are almost gone.

Zetalambmary: Your second album is titled "Rites Of Desecration & Demise", and is said to be much longer than "Death In My Veins". Is there any other information about it you guys can share with your fans?

Xepher: I cannot say much right now, but yes, it is definitely longer, you’d just have to wait to find out.

Zetalambmary: Here's a fun question, if each of you could choose to date a hot metal chick, who would they be?

Xepher: Mother Mary.
__________________________________________________________________________

There you have it folks, apart from the last question and its reply, I hope all the other questions and answers have deepened your understanding of Draconis Infernum a wee bit more.

While we sit tight for the impending dark onslaught of Draconis Infernum's upcoming second album, do check out our review for their first album "Death In My Veins", and if you like it, buy it to support the band.

Until next time, and we hope to bring you more local band interviews!

P.S.: Foreign band interviews will be great as well, if ever possible.

Slash: Meeting the Rock Legend

The Winning Air Guitar Video: http://www.facebook.com/video/video.php?v=415911892033&oid=114842408563631

The Lucky Dude's Photos of that Fateful Night: http://www.facebook.com/album.php?aid=190746&id=517362033&ref=mf

RazorTV's Video Interview of the 2 Winners (1 Real Guitar, 1 Air Guitar): http://www.razor.tv/site/servlet/segment/main/entertainment/51594.html

So, how many lucky asses actually get to meet that much revered guitar god? Well, here is Srivatsan, a friend of mine from college, and one such lucky ass who got to meet the legendary Slash!



How did you feel when you met Slash?


Shocked! It was like a child meeting a Pokemon or Power Ranger, something they really love but never thought they will ever meet them in person. After that, I was really just very happy, I just kept staring at him while he was signing all those guitars and posters.




So did you manage to ask him what his favourite movie is?


Nope, he was already waiting at the photo-taking area when it was my turn for my photograph with him. Just a handshake, a "Hello Slash!", and a snap. After that, he called the next person to come over. During the photo shoot, I was whispering to him "You're my God man...", that is why my mouth is open in the photo.




Then what did he say? Or... did he even hear it?


Haha, I guess he didn't hear it, 'cos he didn't say anything.




How was Slash in person when you talked to him? Was he friendly, cold, or what?


Hm, there wasn't much of an interaction between him and the people, but he seems to be quite friendly. You know that guy who won the real guitar competition? He told Slash that he was the one who won it, then Slash asked if he was the one who played with the guitar on his back. That guy said "Yeah", and Slash said that was pretty cool. Yup, so I guess he is friendly. I kept quiet 'cos I didn't wanna go tell a guitar god that I got to see him by pretending to play a guitar. Lol.




Hahaha, well, at least you got to meet him.


Yup.




What thoughts were running through your mind when he was signing your guitar?


I was just looking at him autographing. To him, it was just another autograph, but it meant the world to me. After he signed it, he even wrote "2010" below the autograph. Although it was quite a small thing, I was still impressed that he even bothered to date it.




Hahaha okay, I bet 50 years from now, if you ever intend to sell that guitar, it will cost a bomb. So moving on, I know you will feel biased about this, but I will still ask it anyway. How was the Slash concert as a whole?


Hm, I will just say the order of events and then tell you how I felt.


Firstly, we were told to be there by 11:45 AM so that we can get to see Slash and the band doing their sound check at 12:15 PM. I was late, so I took a cab down, but alighted at the wrong area.
It was already around 12:10 PM by then, and I could hear the sound of drums. I thought the sound check had already begun, so I followed the sound and ended up inside the concert area. I saw the stage and all for the first time. Slash wasn't there yet, the workers there were setting up the drums, so that was where the sound came from.


I asked one of the guys where should the VIP pass holders go, and he guided me there. There, I met the LAMC people and the other VIP pass holders, and the real guitar winner as well. We were all told to wait for a while. After that, I heard the sound of a guitar, and the playing was pretty good. I was thinking "Wow, those guitar techs can play quite well", but then the LAMC gal ran back and told us that Slash had already begun his sound check.


Yup, so I went in there to see the sound check, and that was the very first time I saw Slask. Man, that feeling was fucking awesome man. We were told to keep away from the stage, like at least 10m, so we sat down on the grass patch and watched Slash and his band do their sound check. They actually performed 3 songs during the sound check, so I already had an idea of how the concert will probably sound like. The sound check ended at around 2:30 PM, and at 2:45 PM, the LAMC gal said that we were gonna meet him then.


We went to this tent at the back of the stage which had lots of guards outside, and after like 10 minutes of waiting outside, we were told to enter the tent 4 by 4. When it was my group's turn, one of the guards brought us in there. After we got into the tent, I saw Slash at the photo taking area. What happened after that, I told you already. So after getting all our stuff signed, we were given 2 posters each. Yup, that's it for the Meet-and-Greet session.


At 7 PM, the concert started. The first band was called Twenty Two Hundred, some unknown band from Australia whom Slash thought had great potential, which was why he brought them along to Singapore. They were awesome man, seriously.


After that came the main guest, Coheed & Cambria. I hated them. Their vocalist looked like an ass with all that bushy hair, and his voice was like the Dragonforce dude but more gay. Unfortunately, they played a full set that lasted 90 minutes. I was just standing there for time to pass... and oh, I have to say that I was standing in the front row, holding on to the barrier towards the right side of the stage (traditionally, where the lead guitarist always stands).
After, Coheed & Cambria finished, I was relieved and fucking excited. After setting up the stage for like 20 minutes, Slash and his band finally came out.


During the sound check and Meet-and-Greet session, he had tied his hair up and wore a cap. When the concert finally started, I was seeing him for the first time with his signature top hat and leather pants with a black hankie hanging from his back pocket. He was wearing a sleeveless tee. The first song was "Ghost" from his solo album. It was a very energetic song, the riff is pretty fast and cool-sounding. When it was time for his guitar solo, he played the famous "Godfather" theme. It was an extended solo that lasted for like 15 minutes, then right after the solo, he played "Sweet Child O' Mine" and the crowd erupted into cheers. It was the song everyone was waiting for. When the concert was coming to an end, an encore was obviously expected, and Slash and his band played "By The Sword", before ending off with the freaking great performance of "Paradise City". Yup, and the concert ended there. Throughout the concert, Myles Kennedy was speaking into the mike pretty often, something that he admitted he was not used to doing).

Sri's Slash-autographed guitar!!

Wow, that was long. Alright, last question. If Slash is coming back to Singapore next time, and there is another such competition again, will you participate once more?


Haha nope, but I will definitely go for the concert. If I am working by that time, I will pay for the VIP pass (US$500 for the 2010 Slash concert price). After hearing all those new rock bands such as MCR, A7X and Muse live, it was a really great experience to hear something classical. The sound was just totally different from the other bands I heard. It is the classical rock sound. One song I love by Guns N' Roses is "Civil War", 'cos Axl Rose's different voice ranges, combined with the meaningful lyrics and Slash's really stylish licks and riffs really just fit the song so well. When I heard that live, I started tearing. Yup, that is all I have to say about the concert. The experience as a whole was one that I will never forget.


Slash is God.




Ah yes, what exactly did you win by the way?


Haha, they gave me so many things man. The Meet-and-Greet session (S$700), guitar and hard case (S$750), MacBeth shoes (S$100) and free guitar lessons (S$200).

Close-up shot of the million-dollar autograph

So there you have it folks, don't drool over this guy's unbelievable experience now, all you guys have to do is follow in his mock-guitar-shredding awesomeness when there is another such competition available when Slash comes to perform in Singapore again next time!