Steve Fallows managed to grab a few words with Ash Scott and Dave Archer from Abhorrent Decimation to ask about the new album, the new deal with Prosthetic Records and what this means for the future of the band.
When Life Of Agony played in the UK recently, Steve Fallows caught up with guitarist Joey Z to ask him about their new record, their comeback and on being outsiders despite having connections to many different scenes.
We caught up with the young artist and decided to inquire about the projects’ current direction and its possible link with the “synthwave-frenzy” he has, in spite of himself, been caught up in.
“The reception for the album has been really good so far, it feels like we’ve got a bit of a buzz, a lot of interest.” We chat to Martin Teff from Vessels
Guido Segers caught up with Caribbean metal band LYNCHPiN, to chat about playing metal in Trinidad and Tobago, but also the hardships of going abroad and the lack of words to describe their Wacken experience.
Adam, Dave, and Tommy of Twelve Boar rather kindly obliged to explain further life in a band in the 21st century, thoughts on whether there is a future for rock music, top tips for quenching thirsts, and, of course, the making of their latest offering ‘No Forgiveness’.
We managed to catch up with the members of Low Estate, a supergroup made up of Brendan Tobin (Red Sparowes, Made Out of Babies), Jimmy Hubbard, Geoff Garlock (This is Year One), and Chris Todd (Sannhet).
“A song like ‘Fuck off back to Eton’ can be seen as flippant and knee-jerk, but it comes from a serious place – sometimes I’m adding the politics to the personal experience sometimes vice versa. I really haven’t been putting pen to paper very long, but I’ve been ranting all my life so it comes naturally – hahaha!”
“Mankind is a rope tied between beast and superman – a rope over an abyss” – a thin, razor-sharp rope upon which Laibach proudly waltzes.
We’re pretentious in our output in terms of, “Let’s get a choir and let’s do this and let’s do all this kind of over the top shit,” but we’re normal people at the end of the day, we’ve all grown up in the suburbs and we all have those roots and we want to do big things and awesome amazing things because we love those kind of things and we want to give everything that we can to this music, but that doesn’t shelter us or segregate us from our audience or people who want to connect with us, we want that to happen because that gives such a richer experience for everybody involved.
We caught up with Matt Weed of Rosetta recently as the band embarks on a US tour to support their latest album Utopioid. The album is amazing and well worth purchasing! But we don’t stop there. We talk about how the band writes, records, and what it’s like being fully independent of a label.
A documentary film about metal in the Indian sub-continent and its various nations, therefore, seemed like a great idea to Roy Dipankar, who is currently crowdfunding to make this happen. Guido Segers finds out more.
Over the last couple of years RidingEasy Records have been releasing a series of compilations of obscure proto-metal and psych from the 60s and 70s under the moniker The Brown Acid. They have been consistently excellent with some serious lost gems on there, so we thought it was about time we caught up with their acid dealer; Lance from Permanent Records.
Harry Holmes caught up with Cattle Decapitation’s Josh Elmore and discovered how he survives on tour, practises in front of his dogs, and that his mum keeps an eye on his social media.
“I want as many kids as possible to feel better, you know? If we get to the point where more kids aren’t listening to it there’s no point anymore.” – Sam Birkett chats to Itoldyouiwouldeatyou
Callum Ritchie chats new album & touring life with Danny Bengston from Together Pangea.
(((O))) FEATURED INTERVIEW
I’ve had some real problems in my lifetime dealing and living with mental health issues. I’ve not really felt comfortable talking about it until more recently. I feel like it’s important to talk about these things because people consider them ‘awkward’ topics. I used writing music as a means to channel it and I felt a lot better for writing music and going to shows and being able to put my time and energy into something I loved so much really helped me.