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.
Hi Justin, can you tell us about the recent Godflesh West Coast tour cancellation?
Yes, we’ll officially announce new dates soon. It was really bad news. We did all the work on our end to get the visas in time, but once again this process proved to be cumbersome. We’ve been there before and we know how this stuff works. But due to the government shutdown, Immigration just delayed our visas again and again and again. Basically they tried telling us they weren’t affected by the shutdown but they most definitely were. It’s already hard to get a fucking visa for this country, and then along comes a government shutdown and that pretty much killed all our plans. Godflesh and Jesu have had visa issues with US tours as long as I can remember. Jesu bassist Diarmuid Dalton was busted years back for marijuana possession and decades later that was enough for Department of Immigration to deny him a visa. So once again this tour is fucked, just as other tours of ours have been fucked in the past regardless of the band, times, anything – it’s just how it is. I still remember the first time this shit happened. It was 1990 or something like that and Earache Records sent us to play two shows in the US with guitars, but no visas! So we flew into Boston to do two shows, and no fucking idea what we were doing. I was twenty years old, and had no idea. Flew in all excited to finally play the US, and instead we got detained, interrogated and shipped right back to England, we didn’t even have the chance to leave the airport. And now every single time I want to tour the US they ask me about that incident and I have to explain it to them over and over again. Now we’re shooting for April 2014, and we started work on the visas again, immediately, like six fucking months ahead of time, so let’s hope that’s enough to deal with the US’s crazy immigration bureaucracy!
Did you pick the bands to bring on tour with you on this run?
Basically, yes. It’s unfortunate about Prurient, but Dominick couldn’t do it, so at that point I wanted to get Aaron more involved, initially getting Old Man Gloom to play but they couldn’t, so at that point I suggested to him to get House of Low Culture to play. Nails are solid, they are from the West Coast, so they were never in question.
Cvlt Nation: Hi guys! First of all thanks for finding the time to do this interview, it is much appreciated! So, would you like to introduce the band?
Chad Remains: The band is Darcy Nutt – guitar and vocals, Chuck Watkins – drums, and myself, Chad Remains – guitar and vocals. Nick Phit – bass was released from his duties in UZALA after the last recording wrapped up. We have no plans to find a replacement bass player at this time.
Cvlt Nation: What I wanted to ask since I first found out about the band is where you came up with the name UZALA? I guess it is a reference to the Akira Kurosawa film Dersu Uzala. What attracted you on that film? Apart from that it is awesome!
Chad Remains: You are correct. The relationship that develops between Dersu and Captain is very moving of course, but the main attraction to the film for me is the cinematography of the great Siberian landscape and the difference between the “man vs. nature” approach of the Imperial Russian soldiers and Dersu’s harmonious relationship with his surroundings. He is not apart from nature like the soldiers believe, he is woven into his landscape and forest home.
Great Falls, based out of Seattle, are an altogether interesting prospect, featuring one-time Jesu drummer Phil Petrocelli, Demian Johnston formerly of Playing Enemy and Kiss It Goodbye and Shane Mehling, also of Playing Enemy.
The resulting cacophony isn’t all that surprising – angular, off-kilter and noisy hardcore. In a year that’s seen high profile releases from the likes of KEN Mode, and after demos and split records with A Death Cinematic and Dephosphorus, the trio’s new album Accidents Grotesque comes at an apropos time, but make no mistake, Great Falls aren’t just another face in the crowd.
Hey Will what’s happening in your universe right now?
I’m in the middle of a few things, working on some new drawings inspired by vintage motorbikes and voodoo ceremonies, trying to finish the fourth issue of my comic Tales From Greenfuz, plus I have a few commercial jobs coming up. I just finished a poster for Beyond Fest, for a series of concerts by Goblin at the Egyptian Theatre in Hollywood, which was kind of a dream job for me.
If you could be a creature from another planet, what would you be and why?
I guess some kind of psychedelic warlord, cruising the universe in a riff-powered spaceship, discovering new galaxies and getting into adventures, that would suit me.
Subrosa’s More Constant Than The Gods is out now on Profound Lore Records
My favorite moment on More Constant than the Gods, SubRosa’s newest, comes at its very end. After over ten minutes of spare piano, flute, violin and distorted guitar, a looping hammered dulcimer solo passes into view and drones on and on, until it’s the only noticeable thing. In a sense, it’s very un-metal, but it might just be the heaviest thing on the record, a piece of powerful instrumentation that transcends whatever context the band had worked in before. It’s fantastic.
Naturally, I wanted to find out more about it, so I talked over email with Rebecca Vernon, the group’s frontwoman, guitarist and songwriter. We discussed the changing nature of the band, why metal musicians don’t break it big anymore, and why Vernon is compelled to see “what is behind the curtains.”
CVLT Nation interviews Toby Driver of Kayo Dot.
Pick up Hubardo here.
Hubardo no matter the length, came along fast, little over a year after Gamma Knife – can you tell us why?
A few reasons – firstly, the past couple of releases (Stained Glass and Gamma Knife) were relatively short, so I’ve just been overflowing with inspiration for a couple years now with no real means to get it out of me. With both Stained Glass and Gamma Knife, going into those projects, I knew that the band was already severely limited by budgetary constraints… So, in cases like that, I believe that it’s a better idea to keep the scope of a project small so that you don’t end up writing music that can’t be executed due to the budgetary constraints. With Hubardo, we budgeted from the getgo to do a larger-scale album, so were able to let the ideas flow freely. Secondly, we used more repetition in the writing this time than we ever have before, so we were able to make entire songs out of only two or three ideas, as opposed to the past where each song would have very little repetition and would consist of dozens of different ideas and permutations. Thirdly, I’m fortunate enough to be able to dedicate almost all of my time to music now, whereas in the past I’ve been crippled by my day-jobs… So these days, I can finish writing pieces of music in fewer weeks.
Check out this in-depth lecture featuring Stephen O’Malley from Sunn O))) and he breaks down many different topics. It’s pretty cool to hear him speak about his passions in such an intimate setting. I’m not going to write any more, you can hear for yourself what Stephen O’Malley has to say…
CVLT Nation has always been all about everything dark, so it should come as no surprise that we decided to sit down and talk with the master of darkness himself, Lustmord.
Hi Brian, you just released a brand new album after some time of silence. What else do you have planned for the rest of the year now that it’s out?
I’m off to Europe in a couple of weeks to do some some shows, so that’s going to keep me busy. I’m doing a show in London in two weeks. Haven’t been back to my hometown of the UK in twenty years so I’m looking forward to it. Also going to play a show in Den Haag in the Netherlands and one in Latvia. While in Britain I will also take time to visit my family. Supposedly there will also be a couple of shows in Russia in October, but the russian consulate can be a real pain in the ass with visas and all, so we’ll see how that goes. My biggest current project though is mixing, mastering and releasing a huge amount of my earlier work for a vinyl box, a triple vinyl or something, we’ll see. A famous movie director is also preparing a TV show and he asked me to use my music in it. It’s a big deal which I’m really excited about, but that’s all I can say about that for now. He’s also going to use my music in his next movie, but again, I can’t say much more right now. I’m also working on a major video game score that I was asked to work on a bout a year ago. Some annoying politics have gotten in the middle of that too, but it’s in the works.
Twenty years away from the UK. Wow. What kept you away from your motherland for so long?
Nothing major really, I was just too busy living life and exploring other places. And America, well, it is so big, I have been here for so long and feel like there is still so much of it I haven’t seen to worry about going back to the UK. I like to take trips with offroad vehicles into the californian desert and explore. No real reason really for such a long absence. I just feel like there so much to see outside of the UK to see still, and that has kept me elsewhere for the past two decades.
Freedom Assault Interviews ACxDC
You are known for imagery on your t-shirts and album covers that some people find offensive. Is this meant to offend or just done as a joke?
Neither really? I mean, on the one hand, we know that its going to offend a certain group of people, and we also know that its tongue in cheek humor will make some people laugh. But in general, the idea just pops into our heads, or it’s something we’ve been throwing around for a while or it’s a whim. Not a ton of thought is put into it until after it’s made. After it’s made is when we sort of look at it and analyze it and think about whether or not it conveys a message. A lot of people give us crap but I think you can say just as much with a t-shirt as you can with a 30 second song ha.
Sergio is a father to twins. How does this effect the band? Does it hold you back or make you more focused on what you can do?
It definitely is ONE factor in holding us “back”. In the sense that we have to make stuff count or make it happen right. Normally we would just play shows and not care about equipment or touring or whatever. Nowadays we do think things through, from shows to touring, since we have to keep into account bills and babysitters. But that happens with age as well. A lot of us have to worry about our jobs and handling normal life.