CVLT Nation interviews Sindre from Obliteration
Hi guys. First of all, thanks for finding the time to do this interview, it is very much appreciated! So, would you like to introduce the band?
The band consists of Kristian Valbo on drums, Arild M Torp on guitars, Didrik Telle on bass and me(Sindre Solem) on vocals and live guitars. Christoffer Bråthen from Condor/Mions Hill/Flight is joining us on bass at some selected shows also.. We play some sort of cold death metal, ish.
It has been almost four years since your previous album Nekropsalms. What have you been doing up until the release of the Goat Skull Crown EP and your latest full-length Black Death Horizon?
We all have been involved in other bands and projects, Kristian is the new Aura Noir drummer, so he has been touring a lot with them, Arild and I have done a lot with Nekromantheon, released our “Rise, Vulcan Spectre” and played a lot live, and Didrik has been a part of Altaar. But we did never “shut down” Obliteration, we wrote music, played some live shows and rehearsed for those 4 years, but inspiration and the energy weren’t always on top.. Everything goes in circles, thats why its taken so long, but it has been for the best. The fire burns stronger than ever now.
Musicians sampling horror films isn’t uncommon, with most metal artists identifying the horror genre as playing a significant role in their lyrics or general style. The bonds between horror and metal are ancient; prompting one to wonder why it wasn’t until recently that an event merging these close cousins of expression was implemented. Phil Anselmo, perhaps best known as front man for ‘Pantera’ or ‘DOWN’, collaborated with Corey Mitchell to create the first annual Housecore Horror Film Festival, a 4-day celebration of the horror/metal community. Classic Austin venues Emo’s and Antone’s hosted the bulk of the event, but the first day occurred at Dirty Dog Bar, not far downtown. As the festival kicked off, unsure guests dressed in black could be seen wandering around, looking bored more than anything else, yet by the festival’s final day, a sea of black leather, obscure horror and band shirts, vests and studs surrounded every venue, leaving no doubt in one’s mind that this was one of the most important events of the year for both horror and metal fans alike.
By Marina Galperina
Last week, artist Petr Pavlensky nailed himself to the ground near Kremlin in the Red Square, “by the balls” — technically, the scrotum — and it echoed dramatically in the press.
Though he was initially detained and released without charges, he is now facing a vague “hooliganism” charge and up to five years in jail. I spoke to the artist at length this weekend, over the phone in Russian — about the recent developments in case, about Pussy Riot, about art, forms of resistance and the Russian society’s passive fixations, about physical pain, jail and other phobias.
He says he’s not a performance artist, but an actionist — if you must classify him. He has no political alliances. Ideologically, he’s an Anarchist. This is our interview. Stay tuned.
Has international press attention directly impacted the investigation and resulted in charges now suddenly being filed against you?
To charge me with anything, plaintiffs had to be located. I learned through a link to a forum that a group called “The Society of Resistance Against Russophobia” (or something like that) filed a complaint. How will this unravel? I understand what context I am in, politically; I account for my actions. To me, the consequences – the authority’s reaction, its displeasure – may express itself in several forms. I’m in a dialogue with the authority.
Interview via Jenkemmag.com
Back in 1991, former Big Brother Magazine writer Earl Parker interviewed the most disgusting rock n roll musician of all time, GG Allin. Seventeen year old Earl ran a little skateboard zine called Polyurethane Monthly out of Kansas City, and wrote back and forth with GG who was serving time in prison for assault. The interview was included in an issue of his zine, but with a super limited original print run and being stuck in Missouri, there are only a handful of people that ever got to read it. So here it is, dug out now a damn 20 years later, and available to the world wide web. We present to you the nearly unseen interview with GG Allin, “the most spectacular degenerate in rock & roll history” live from Adrian Correctional Facility:
How old are you?
It is not how old you are, but the convictions you carry.
Why are you in jail?
Felonious assault with a dangerous weapon…but what it all comes down to is the fact who I am. Our lame, boring, stagnating robot society fears the rock n’ roll mission of my wars and my realities. The war in the middle east is nothing compared to the war in my head.
Cemetery‘s cassette demo in 2011 was a welcome and gloomy surprise from Chicago that I first wrote about for CVLT Nation in March, 2012. Although the band have produced at least an LP’s worth of material – and are planning to release it soon, as they detail below – since the demo, and have played out on the East Coast and elsewhere, it’s hard to find info on the mysterious group. As one of the better-sounding bands that are part of the new revivalist deathrock and goth-punk movement that includes bands like Lost Tribe, The Spectres, Deathcharge, Arctic Flowers, Crimson Scarlet, Belgrado, and others, the creepy, Christian Death-sounding quartet have slowly been amassing followers due to word of mouth praise and dubbed circulation of their cassette.
I interviewed singer Danny and guitarist Desmond below to find out what bands have inspired them and what they’re currently working on.
PostApoc, by Liz Worth.
Now or Never Publishing, 184 pages.
The underlying anxiety of disaster fiction always stems from the question, how would we survive if the engine of industrialized civilization were to irreparably break down? Toronto-based author Liz Worth’s debut novel PostApoc has at its core the nihilistic observation that, if there really were nothing left, then there would no longer be any reason to survive. As such, it’s appropriate that the story begins with an ending – albeit a complicated one – in which protagonist Ang undertakes a suicide pact with her inner circle of friends, then finds herself the sole survivor. In a world that increasingly resembles painter Hieronymus Bosch’s surreal vision of hell in The Garden of Earthly Delights, Ang finds that escapism is a healthy means of coping with the slow, nightmarish collapse of not only the world but of reality itself.
Usnea Interviews Bell Witch
What bands (if any) do you think influence your style?
Adrian – Neurosis, Mournful Congregation, Thergothon, Black Sabbath, and the mighty Usnea.
Dylan – Skepticism, Worship, Michael Hedges, Rachel’s, Mournful Congregation and Usnea.
Your music has a spiritual/transcendental element to it. What are your thoughts on spirituality or religion?
Adrian – I was raised in a very strict catholic religious family, which I do not practice, but do respect them for their beliefs. When I play, I feel that music is my religion, or a self ritual practice. Let me just say when we die, we will not go to heaven. Maybe another world, universe, or just die. Who knows.
Dylan – As a child under supervision of various relatives, there were a few times I attended Sunday Mass. Everyone else in the room got bread and wine. I sat in the back, alone and hungry, waiting to feast on their souls…
Bell Witch Interviews Usnea
Top five best doom albums of all time:
Justin: Yob “The Unreal Never Lived”, Asunder “A Clarion Call”, Laudanum “The Coronation”, Electric Wizard “Dopethrone”, Burning Witch “Crippled Lucifer”
Johnny: The Melvins “Bullhead”, Noothgrush “Erode the Person”, Ocean Chief “Ocean Chief”, Electric Wizard “Come My Fanatics”, Neurosis “Through Silver in Blood”
Top five best funeral doom albums of all time:
Justin: Well I already said Asunder up above, so 5 more funeral bands… Worship “Last Tape Before Doomsday”, Mournful Congregation “The Monad of Creation”, Skepticism “Lead and Aether”, Aldebaran “Dwellers in Twilight”, Evoken “Atra Mors”
Joel: Black Sabbath “Black Sabbath”, Corrupted “Paso Inferior”, Aldebaran “Dwellers In Twilight”, Worship “Last Tape Before Doomsday”, dISEMBOWLMENT ” Transcendence into the Peripheral”
“For even as love crowns you, so shall she crucify you. Even as she is for your growth, so is she for your pruning. Even as she ascends to your height and caresses your tenderest branches that quiver in the sun, so shall she descend to your roots and shake them in their clinging to the earth.”
So reads the slightly-altered quote from Khalil Gibran that adorns the inside of Crown of Cerberus’ With Arms Extended To The Heavens
M. Chami is the man behind ambient electronic project Crown of Cerberus. It’s a project that’s a step away from the harsh noise and power electronics scene that he’s also involved in with names like Koufar and Disgust. Fascinated by themes of femininity and female strength, Crown of Cerberus has taken on its own life form, both sonically and thematically. Having moved from Chicago to Oakland and released the stunning new album With Arms Extended to the Heavens earlier this year, M. Chami awakes early one Monday to answer a phone call from CVLT Nation to discuss the aura of Crown of Cerberus in a little more detail.
Crown of Cerberus explores themes relating to femininity, beauty, and strong female characters. This is seen across your various cassette releases in the song titles and accompanying artwork as well as the heavy use of female vocal samples and manipulations. Could you explain your interest in these themes and why it became the focal point for Crown of Cerberus?
It all kind of stems back from my time in Chicago. The project started around 2012 but I didn’t really get to fully realise them until 2013 and it was just during a very lonely period in my life. I had just come out of a very long relationship of about five years and, I don’t know, I felt like I had explored a lot of different venues for harsh or overly aggressive and I wanted to do something [else]; I figured once I get the sounds down, and feminine worship I guess you could say kind of came naturally with that. I felt that would be appealing because I wanted to do something that was pretty powerful but at the same time appeal to people that do power electronics or harsh noise or are into heavier music in general.
What was the recording process like for Pain is Beauty and how did the experience differentiate itself from prior recordings? Also, the album incorporates a stronger electronic element, bearing a different sound from what fans have come to expect. What powers and influences brought about this change?
CHELSEA WOLFE: I met my bandmate Ben Chisholm about four years ago, right around the time when I desired to bring some sort of electronic element into the band. He’s into analog synths and electronic beats and he’s really brilliant and multi-talented. Needless to say, he was a perfect fit. I found that we wrote songs together easily and we started messing around with some electronic songs that I originally thought we’d use for a side project…but I realized over time that I really didn’t want to put limits on this project, so we eventually started playing some of those songs live and I had a lot of fun with their energy. I knew they’d be the base for this new album.