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čtvrtek 9. září 2021

News! - HELLSWORD - Chains Of Mortality

For fans of Venom, Hellhammer, Destroyer 666.

Time for the debut HELLSWORD album is drawing closer and today a new song from “Cold Is The Grave” gets unleashed. “Chains Of Mortality” captures perfectly the spirit of the Slovenian trio: it’s raw, it’s heavy and it summons the spirit of the greatest bands of all time: Hellhammer, Venom and Bulldozer!

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Slovenia's answer to the first wave of black metal, Hellsword’s goal has always been to exhume the most ancient blackened speed metal out of the crypt it had been unrightfully interred into. Formed in 2009, the band has developed a cult following after the release of their demo ”Blasphemy Unchained”.

Drawing influence from early black metal pioneers such as Venom, Bathory, and Hellhammer as well as newer bands like Destroyer 666 and Nifelheim with an added touch of heavy metal, the trio comprised of Mark Massakre, Mike Manslaughter, and Ironfist now returns with their first full-length album, “Cold Is The Grave” to be released in September via Emanzipation Productions. It builds upon the band’s previous work with nine tracks ranging from face-melting speed to slower paces and dealing with topics such as devil worship, the end of the world, death, desolation, mortality, and the absurdity of human existence.

Ever since its formation, the trio has been dedicating themselves to the pursuit of bringing back the sound, feel, and atmosphere of the first wave of black metal. The band has, besides the now cult demo “Blasphemy Unchained” also released the “Sounding the Seventh Bell” EP and has played numerous shows both in Slovenia and abroad.

“Cold Is The Grave” will be released in digital, LP, and CD formats by Emanzipation Productions on 24th September 2021.

Line-up:

Mike Manslaughter: bass

Mark Massakre: drums

Ironfist: guitars, vocals

Webshop:

https://targetshop.dk/hellsword

Web:

Facebook

Interview - TEMPLE OF DREAD - Maybe Death Metal has become a pool of honesty and reliability in this crazy world.

Interview with death metal band from Germany - TEMPLE OF DREAD.

Answered Markus Bünnemeyer (bass, guitars), thank you!

Translated Duzl, thank you!

Questions prepared Jakub Asphyx.

Recenze/review - TEMPLE OF DREAD - Hades Unleashed (2021):

https://www.deadlystormzine.com/2021/08/recenzereview-temple-of-dread-hades.html

Ave TEMPLE OF DREAD! Every time I go on vacation, I take some of my favorite music with me. I have listened to your new album "Hades Unleashed" both at the seaside and in the mountains. It stood out the most in an old abandoned cemetery. I have to say, the album was incredibly successful. It's your third in a row. Where did you want to go from last time and has your approach changed? I find the new one darker, more raw.

Temple of Dread stands for uncompromising Death Metal and I didn't want to change that. Nevertheless, we thought about how we could add new elements to the songs so that we don't become a copy of ourselves. So, on the one hand we added more melodies and harmonies to the songs, on the other we increased the pace and the aggression. The sound is very raw and brutal and we managed to create a very dark atmosphere.

Listening to "Hades Unleashed" is like going back to the nineties, when the seminal death metal records were being made. You've managed to achieve a great moldy sound. Where did you record the new album, who mixed it, who took care of the mastering and production - is it also Jörg Uken, like with SLAUGHTERDAY? Did the situation around covid 19 affect you in any way? The album sounds like it was recorded in analogue, but I don't think that's true or am I wrong?

Jörg is not only our drummer, but also our engineer and producer. Although he records digitally, he attaches great importance to natural sounds. He managed to strike the perfect balance between modern and “old-school” sounds. The corona lockdown gave me more time to concentrate on songwriting, Jörg also had a few breakdowns in his studio, so we were able to bring the entire recordings forward.

I really like Paolo Girardi's covers. He's really talented. I had to order a T-shirt right away. Why Paolo? How did you choose the motif? For example, did he hear your music beforehand and get inspired by it or did you choose from finished paintings? And what exactly does the motif mean? Is it the entrance to the underground, to the realm of Hades?

I love Paolo's art very much. He's also a very nice person and he put a lot of time and effort into our cover artwork. I gave him the lyrical concept and he integrated everything perfectly into our artwork. The picture shows the entrance to Hades, from which all evil of the Greek underworld are hurled out.

Speaking of the lord of the underworld...do I understand correctly that the album is entirely inspired by Greek myths and mythology? How did the lyrics come about, who is the author and which story about Hades appealed to you the most?

Originally it was supposed to make an album about ancient myths in general. However, most of the lyrics are dealing with ancient Greek sagas. But “Empyrean” is about a Roman legend and “Whores of Pompeii” is about the downfall of this city and the activities that were carried out there until the end (laughs). All the lyrics were written by my best friend Frank Albers, just like on the first two albums. I think, the story of the “Tartarus” is very thrilling and sinister and fits perfect to a Death Metal Song.

TEMPLE OF DREAD are personally linked to SLAUGHTERDAY. Are there any differences in the way you create new material? Do you record differently, for example? And how are the songs for TEMPLE OF DREAD created, I mean now the process itself. Is it hard for you to distinguish if you're writing for TEMPLE OF DREAD or SLAUGHTERDAY?

Slaughterday actually only consists of two members, namely Jens (our singer, but Guitarist in Slaughterday) and Bernd (Reiners, Vocals and drums). The two of them write and record all the songs together. I only play bass there during live performances. For Temple I mostly prepare all songs completely by myself, which is mainly due to the fact that only I live on an island. Then I go to Jörg with my riffs, who brings his ideas regarding the drumming to the table. At the very end, Jens gets the songs and then he works out his vocal parts. Every song is a Team-Work, but we act in sequence - not at the same time.

How are TEMPLE OF DREAD doing with concerts? Do you like to play often? Are you tempted to go abroad? What do concerts mean to you? Is it also a social event for you? And do you also go to events as a visitor, to support your colleagues?

So far, we actually don`t play live. This is due to a lot of things, for example our activities in other bands or my residence on an island. But I don't want to rule this out in principle for the future. Of course, I like going to concerts, I love social contacts with other fans and I also support other bands as a fan. Next weekend I will go to the Schoonebeek Deathfest in the Netherlands. I´m really looking forward to this event and after the long frustrating Corona-restrictions I hope – and I`m shure - I will meet a lot of maniacs there!

I don't know about Germany, but here in the Czech Republic the death metal scene is quite small. Only a few people come to some gigs, sometimes it reminds me of the old days in the 90s. But other times it's packed to bursting. But overall it's still alive, I just think it needs some young blood. Most musicians have kids, jobs, lots of other things to worry about. There's nothing to complain about, we're still having fun, I just wonder how many years we can keep it up? Not all of us are men of steel like Paul Speckmann☺). How do you feel about the death metal scene in Germany? And is there anything that you would change or annoys you?

Your description also applies to the German Death Metal scene. Everyone involved is getting older – the bands and the fans. Soon, we will not longer play in youth centers but in retirement homes (laughs). Sometimes it's really frustrating that this music doesn't seem to appeal to young people anymore. Personally, I'm older than Death Metal, but I don't hope I'll outlast this great style of music.

When did you first get the idea to start making music? And how did you get into extreme music? What bands did you worship? Who were your role models? What about your first gig? I don't remember it, for example, because I was completely drunk at the age of 13☺). How was your first live performance and what band did you stand on stage with? Please reminisce for us.

Puh! - that's a lot of questions. I was also 13 years old and also drunk all the time! My first two albums were Slayer's “Reign in Blood” and Iron Maiden`s Debut. Both are still among my favorite albums to this day. I think Slayer on the Divine Intervention Tour was one of the first big live-shows for me. In addition to Thrash Metal, I quickly got into Death Metal. In this area, I've loved bands like Autopsy, Death, Pestilence and Benediction from day one. My first own appearance was with an unknown punk band called Amok - the total demolition!

I have a tricky question for the bands at the end. What does death metal mean to you? Is it a lifestyle? Feel free to elaborate or get philosophical. How would you define this style?

Yes, Death metal is a lifestyle. It represents a fuck-off and a straight-to-your-face attitude. The scene follows its own laws and rules. It is a sworn in community that immediately recognizes and condemns any approach to commerce. Maybe Death Metal has become a pool of honesty and reliability in this crazy world.

Thank you very much for the interview. I'm going away again for the weekend. I've been loving it lately. Just me, new places and good old death metal. I'll definitely take the new TEMPLE OF DREAD record with me again. The album "Hades Unleashed" was really good! Thanks a lot for it too. I wish him a lot of success and may you prosper in your private lives too!

Thank you very much – and all the same to you!

Recenze/review - TEMPLE OF DREAD - Hades Unleashed (2021):

https://www.deadlystormzine.com/2021/08/recenzereview-temple-of-dread-hades.html

Recenze/review - TEMPLE OF DREAD - World Sacrifice (2020)

Recenze/review - TEMPLE OF DREAD - Blood Craving Mantras (2019)

https://testimonyrecords.bandcamp.com/album/temple-of-dread-hades-unleashed

https://www.facebook.com/TempleofDread

https://www.instagram.com/templeofdreadofficial/

https://open.spotify.com/artist/63gOmJYMY5DArrmagcCrOL

https://www.facebook.com/testimonyrecords

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Rozhovor - TEMPLE OF DREAD - Možná se z death metalu v tomto šíleném světě stala kaluž poctivosti a spolehlivosti.

Rozhovor s death metalovou skupinou z Německa - TEMPLE OF DREAD.

Odpovídal Markus Bünnemeyer (basa, kytara), děkujeme!

Přeložila Duzl, děkujeme!

Otázky připravil Jakub Asphyx.

Recenze/review - TEMPLE OF DREAD - Hades Unleashed (2021):

https://www.deadlystormzine.com/2021/08/recenzereview-temple-of-dread-hades.html

Ave TEMPLE OF DREAD! Pokaždé, když odjíždím na dovolenou, tak si s sebou beru nějakou oblíbenou muziku. Vaši novinku „Hades Unleashed“ jsem tak poslouchal jak u moře, tak i na horách. Nejvíc vynikla na jednom starém opuštěném hřbitově. Musím říct, že se album neskutečně povedlo. Je vaším třetím v řadě. Kam jste se chtěli od minula posunout a změnil se nějak váš přístup? Novinka mi přijde temnější, syrovější.

Temple of Dread vyznávají nekompromisní Death Metal a nechtěl jsem to měnit. Přesto jsme přemýšleli, jak bychom mohli do skladeb přidat nové prvky, abychom se nestali kopií sami sebe. Takže na jedné straně jsme do skladeb přidali více melodií a harmonií, na druhé jsme zvýšili tempo a agresivitu. Zvuk je velmi syrový a brutální a podařilo se nám vytvořit velmi temnou atmosféru.

Poslouchat „Hades Unleashed“ je jako se vrátit zpátky do devadesátých let, když vznikaly zásadní nahrávky death metalu. Povedlo se vám docílit skvělého plesnivého zvuku. Kde jste novinku nahrávali, kdo ji mixoval, kdo se postaral o mastering a produkci - je to také Jörgem Uken, jako u SLAUGHTERDAY? Ovlivnila vás nějak situace kolem covid 19? Album zní, jakoby bylo nahráváno analogově, ale to asi nebude pravda nebo se mýlím?

Jörg není jen náš bubeník, ale také náš zvukař a producent. Přestože nahrává digitálně, přirozenému zvukům přikládá velký význam. Podařilo se mu dosáhnout dokonalé rovnováhy mezi moderním a „oldschoolovým“ zvukem. Lockdown během korony mi poskytl více času soustředit se na psaní skladeb, Jörg měl také několik výpadků ve svém studiu, takže jsme měli možnost posunout celou nahrávky kupředu.

Obaly od Paolo Girardiho mám moc rád. Má opravdu velký talent. Musel jsem si ihned objednat tričko. Proč právě Paolo? Jak jste motiv vybírali? Slyšel třeba vaši hudbu dopředu a nechal se jí inspirovat nebo jste vybírali už z hotových maleb? A co vlastně konkrétně motiv znamená? Je to vchod do podzemí, do Hádovy říše?

Paolovo umění mám velmi rád. Je to také skvělý člověk a věnoval spoustu času a úsilí našemu obalu. Dal jsem mu lyrický koncept a on vše dokonale integroval do naší kresby. Na obalu je vchod do Hádovy říše, odkud vyvěrá všechno zlo řeckého podsvětí.

Když už jsme u pána podsvětí…chápu to dobře, že album je celé inspirováno řeckými bájemi a mytologií? Jak texty vznikaly, kdo je jejich autorem a který příběh o Hádovi vás oslovil nejvíc?

Původně jsme zamýšleli napsat album o dávných mýtech obecně. Většina textů se však zabývá starořeckými ságami. Ale „Empyrean“ je o římské legendě a „Whores of Pompeii“ je o pádu tohoto města a aktivitách, které tam byly prováděny, až do konce (smích). Všechny texty napsal můj nejlepší přítel Frank Albers, stejně jako na prvních dvou albech. Myslím, že příběh „Tartaru“ je velmi napínavý a zlověstný a skvěle se hodí pro death metalovou skladbu.

TEMPLE OF DREAD jsou personálně provázáni se SLAUGHTERDAY. Jsou nějaké rozdíly v tom, jakým způsobem tvoříte nový materiál? Nahráváte třeba jinak? A jak vznikají skladby pro TEMPLE OF DREAD, myslím tím teď samotný proces. Je pro vás těžké odlišit, jestli skládáte pro TEMPLE OF DREAD nebo SLAUGHTERDAY?

SLAUGHTERDAY se ve skutečnosti skládají pouze ze dvou členů, jmenovitě Jensa (našeho zpěváka, ale kytaristy ve SLAUGHTERDAY) a Bernda (Reiners, zpěv a bicí). Ti dva společně píší a nahrávají všechny skladby. Já tam hraju na basu jen během živých koncertů. Pro TEMPLE OF DREAD většinou připravuji všechny skladby úplně sám, což je dáno hlavně tím, že na ostrově žiji jen já. Poté jdu se svými riffy k Jörgovi, který dodá své nápady týkající se bicích. Na samém konci dostane Jens skladby a poté vytvoří své vokální party. Každá skladba je týmová práce, ale tvoříme postupně - ne současně.

Jak jsou na tom TEMPLE OF DREAD s koncerty? Hrajete rádi a často? Láká vás vyrazit i za hranice? Co pro tebe koncerty znamenají? Je to pro tebe i společenská událost? A chodíš i ty na akce jako návštěvník, podpořit své kolegy?

Zatím vlastně nehrajeme naživo. Může za to spousta věcí, například naše aktivity v jiných kapelách, nebo moje bydliště na ostrově. Ale v zásadě to nechci do budoucna vyloučit. Samozřejmě rád chodím na koncerty, miluji sociální kontakty s ostatními fanoušky a také jako fanoušek podporuji ostatní kapely. Příští víkend pojedu na Schoonebeek Deathfest v Nizozemsku. Na tuto akci se opravdu těším a po dlouhých frustrujících koronavirových omezeních doufám - a jsem si jist -, že tam potkám spoustu maniaků!

Nevím jak v Německu, ale u nás v Čechách je death metalová scéna poměrně malá. Na některé koncerty přijde jen pár lidí, občas mi to připomíná staré časy v devadesátých letech. Jindy je ale narváno k prasknutí. Celkově to ale pořád žije, jen si říkám, že by to chtělo mladou krev. Většina muzikantů má děti, práci, spoustu jiných starostí. Není si na co stěžovat, pořád nás to baví, jen si říkám, do kolika let to vydržíme? Každý z nás není ocelový muž jako Paul Speckmann). Jak vnímáš death metalovou scénu u vás v Německu ty? A je něco, co bys změnil nebo tě štve?

Tvůj popis platí také pro německou death metalovou scénu. Všichni zúčastnění stárnou - kapely i fanoušci. Brzy už nebudeme hrát v centrech mládeže, ale v domovech důchodců (smích). Někdy je opravdu frustrující, že se zdá, že tato hudba už mladé lidi neláká. Osobně jsem starší než Death Metal, ale nemyslím si, že tento skvělý hudební styl přežiju.

Kdy tě poprvé napadlo začít dělat muziku? A jak si se dostal k té extrémní? Jaké kapely si uctíval? Kdo byl tvým vzorem? A co první koncert? Já si jej třeba nepamatuju, protože jsem byl ve třinácti letech úplně namol:)). Jak dopadlo tvé první živé vystoupení a s jakou skupinou si na pódiu stál? Zavzpomínej pro nás prosím.

Uff! - to je spousta otázek. Když mi bylo 13 let, také jsem byl neustále opilý! Moje první dvě alba byla SLAYER „Reign in Blood“ a debut IRON MAIDEN. Obě dodnes patří mezi moje oblíbená alba. Myslím, že SLAYER na „Divine Intervention Tour“ pro mě byli jednou z prvních velkých živých show. Kromě thrash metalu jsem se rychle dostal i k death metalu. V této oblasti jsem od prvního dne miloval kapely jako AUTOPSY, DEATH, PESTILENCE a BENEDICTION. Moje první vystoupení bylo s neznámou punkovou kapelou s názvem AMOK- totální demolice!

Mám pro kapely na závěr připravenou takovou záludnou otázku. Co pro tebe znamená death metal? Je to životní styl? Můžeš se klidně rozepsat nebo se pustit do filozofie. Jak bys tento styl definoval?

Ano, death metal je životní styl. Představuje to “ fuck-off” a “straight to your face” postoj. Scéna se řídí svými vlastními zákony a pravidly. Je to přísaha v komunitě, která okamžitě pozná a odsuzuje jakýkoli přístup k obchodu. Možná se z death metalu v tomto šíleném světě stala kaluž poctivosti a spolehlivosti.

Děkuji moc za rozhovor. Na víkend jedu zase pryč. Dělám to poslední dobou hrozně rád. Jen já, nová místa a starý poctivý death metal. Novou desku TEMPLE OF DREAD si vezmu určitě zase s sebou. Album „Hades Unleashed“ se totiž opravdu povedlo! Díky moc i za něj. Přeji mu mnoho úspěchů a ať se vám daří i v soukromých životech!

Díky moc a nápodobně!

Recenze/review - TEMPLE OF DREAD - Hades Unleashed (2021):

https://www.deadlystormzine.com/2021/08/recenzereview-temple-of-dread-hades.html

Recenze/review - TEMPLE OF DREAD - World Sacrifice (2020)

Recenze/review - TEMPLE OF DREAD - Blood Craving Mantras (2019)

https://testimonyrecords.bandcamp.com/album/temple-of-dread-hades-unleashed

https://www.facebook.com/TempleofDread

https://www.instagram.com/templeofdreadofficial/

https://open.spotify.com/artist/63gOmJYMY5DArrmagcCrOL

https://www.facebook.com/testimonyrecords

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středa 8. září 2021

Recenze/review - CENTENARY - Death…The Final Frontier (2021)

CENTENARY - Death…The Final Frontier

CD 2021, CDN Records

INTERVIEW:

english:

https://www.deadlystormzine.com/2021/09/interview-centenary-death-metal-gives.html

czech:

https://www.deadlystormzine.com/2021/09/rozhovor-centenary-death-metal.html

for english please scroll down

Říkali mi, že zde potkám své vlastní démony. Ale zatím se nic neděje. Je ticho, jen krkavci krouží nad hlavou. Nad starým pohřebištěm v lesích, kde prý pohřbíval své oběti jeden šílený vrah. Usedám na šedivý kámen, dívám se do tmy a poslouchám novou desku amerických death metalistů CENTENARY. Pravý, reálný, temný smrtící kov, u kterého se probouzejí nemrtví. Alespoň tak to slyším já, starej pes. Přidávám hlasitost a po nějaké době si všimnu dlouhého stínu za mnou. Obličej bez tváře, tělo plné červů. Vzduchem se vznáší pach rozkládajícího se masa. Myslím, že jsem zde správně.

O CENTENARY jsem již psal v roce 2019, kdy kapela vydala svoji první dlouhohrající desku "Into the Graveless Beyond" (odkaz na recenzi dole pod článkem). Již tenkrát jsem byl pohřben zaživa a stal se věrným fanouškem těchto šílenců. Z riffů totiž odkapává zkažená krev, vokál je nasáklý chorobami a atmosféra skladeb připomíná náladu starých hororů z osmdesátých let. Mí vlastní démoni se opět probudili, aby vydali další svědectví o onom světě.

CENTENARY se ve své hudbě inspirují jak švédskou death metalovou školou (ENTOMBED, NIHILIST, ENTRAILS, SORCERY, UNLEASHED, DISMEMBER, GRAVE), tak pravěkými prašivými odkazy smeček jako MASTER, CIANIDE, OBITUARY. Výsledkem je i letos nechutný, mokvající koktejl, kterého když se napijete, tak budete navěky prokleti. Alespoň mě se to znovu stalo. Do nečisté hry vám uvede už parádní obal od Juanja Castellana, vychutnáte si zvuk mistra Jeffa Vergielse, u kterého nadskakují víka od rakví. Mám rád atmosféru starých opuštěných pohřebišť. Utíkám sem z dnešního ošklivého a umělého světa. Při poslechu "Death…The Final Frontier" potkáte šílené vrahy s motorovou pilou, oběti bez hlav, bez končetin, bez svědomí. Budete se brodit po kolena v krvi, zažijete pestrou paletu brutálních vražd. Death metal býval vždy o ošklivých věcech, o atmosféře chladných piteven, o exhumaci hrobů o jejichž existenci byste raději nevěděli. CENTENARY umí napsat skvělé skladby plné temnoty, chladu, šílenství. Mají v sobě energii dávných časů, poctivost, odhodlání, opravdovost. Věci, které mám na tomhle stylu tolik rád. Letos se jedná o vynikající masakr v márnici, o nekonečné toulky záhrobím, o muziku, která mě rozemlela na prach. Existuje tisíc způsobů popravy, ale na konci je nakonec vždy jenom smrt. Američanům se ji podařilo vypálit do songů. Zničující starý, plesnivý death metal, který ve vás zanechá krvavý otisk!

Asphyx says:

They told me I would meet my own demons here. But nothing is happening yet. There is silence, only ravens circling overhead. Above an old burial ground in the woods, where a mad killer is said to have buried his victims. I sit on a grey stone, look into the darkness and listen to a new record by American death metalists CENTENARY. A real, real, dark deadly metal that the undead wake up to. At least that's how I hear it, old dog. I turn up the volume and after a while I notice a long shadow behind me. Face without face, body full of worms. The air smells of decaying flesh. I think I'm right here.

I wrote about CENTENARY in 2019, when the band released their first full-length album "Into the Graveless Beyond" (link to the review below the article). Even then, I was buried alive and became a loyal fan of these lunatics. Corrupt blood drips from the riffs, the vocals are soaked with diseases and the atmosphere of the songs is reminiscent of the mood of old horror movies from the eighties. My own demons awoke again to bear further testimony of the afterlife.

CENTENARY is inspired in its music by both the Swedish death metal school (ENTOMBED, NIHILIST, ENTRAILS, SORCERY, UNLEASHED, DISMEMBER, GRAVE) and the prehistoric dusty references of packs such as MASTER, CIANIDE, OBITUARY. The result is a disgusting, soaking cocktail this year, which if you drink it, you will be cursed forever. At least it happened to me again. Juanja Castellan will introduce you to the dirty game, you will enjoy the sound of master Jeff Vergiels, with coffin lids bouncing. I like the atmosphere of old abandoned burial grounds. I'm running away from today's ugly and artificial world. While listening to "Death… The Final Frontier", you will meet crazy killers with a chainsaw, victims without heads, without limbs, without conscience. You will wade to your knees in blood, you will experience a variety of brutal murders. Death metal has always been about ugly things, about the atmosphere of cold autopsies, about the exhumation of graves whose existence you'd rather not know existed. CENTENARY can write great songs full of darkness, cold, madness. They have in them the energy of ancient times, honesty, determination, authenticity. Things I love so much about this style. This year it is an excellent massacre in the morgue, endless wandering through the grave, music that has ground me to dust. There are a thousand ways of execution, but in the end, there is always death. The Americans managed to burn it into songs. Destructive old, moldy death metal that will leave a bloody imprint on you!

about CENTENARY on DEADLY STORM ZINE:

Recenze/review - CENTENARY - Into the Graveless Beyond (2019)

Tracklist:

Entangled in Entrails

Liquified Rot

Strangled by the Night

Tower of Excarnation

Ceaseless Astral Dirge

The Laughing Death

Malicious Symbiosis

Remote Manipulation

Facial Dislocation

Slaves From the Grave

Line-up:

Jim Albrecht - Bass

Mike Bradley - Guitar/Backing Vocals

Matt Cunningham - Lead Guitar

Adam Davey - Drums

Allen Mercer - Vocals

https://centenary.bandcamp.com/album/death-the-final-frontier

https://www.facebook.com/detroitchainsawmetal/

https://instagram.com/centenary_official

www.cdnrecords.com

https://cdnrecords.com/?s=Centenary&post_type=product

A few questions - interview with death thrash metal band from United Kingdom - TERRIBLE CLAW.

A few questions - interview with death thrash metal band from United Kingdom - TERRIBLE CLAW.

Answered Paul Harrington, thank you!

Recenze/review - TERRIBLE CLAW - Disaster Catalyst (2021):

https://www.deadlystormzine.com/2021/09/recenzereview-terrible-claw-disaster.html

Ave, can you introduce your band to our readers? – When was it founded and what style of music do you play etc.?

Me (Paul harrington – guitarist) and Stu (Pendergast – drummer) started the band back in 2017. We’ve been listening to death metal since we were teenagers back in the early nineties and we wanted to write music that was influenced by all those great bands. So, in essence, we play death metal heavily incluenced by the floridan bands of the early nineties.

Where and under what conditions were you recording the new album? Who was in charge of sound, production and mastering?

The album was written and recorded in our various homes. Paul H started writing it probably back in late 2018. We’ve all got busy lives and families so it’s not a quick process normally but then COVID hit. In some ways that probably helped the writing of the album as all of a sudden we were stuck at home for a long time. It also provided Dan (vocals) with some more lyrical inspiration.

The writing of the album was finished in early 2021 and we then set about turning the demo material into properly recorded songs.

Stu then took over editing, mixing and mastering duties. So it’s all been done by the band at our homes. No professional studio or professional engineers involved.

We were trying to get a sound that isn’t the ultra produced sound you tend to get with metal these days but somewhere between the raw recordings from morrisound in the nineties and what you can do with modern digital production and tools. Hopefully we’ve struck the right balance. We’re really pleased with how it’s come out.

How many copies were released and which medium was used for this new edition (CD, digital, vinyl, cassette)?

The album is only on streaming platforms at the moment but we’re soon to be putting it out on CD. We hope to get it out on vinyl eventually but thats a costly endeavour so we’re going to need to build our fan base before that’s a possibility. Of course being able to play live shows helps with that side of things so we’re hoping 2022 is a better year for gigging.

Ultimately vinyl is the main goal if for no other reason than the graet artwork can be showcased in a large format.

Who is the author of the lyrics and how were they created and about what do the lyrics deal with?

Dan wrote the lyrics for the album, with a few lines on a song or two coming from Paul H. The lyrics were written when each song had been finished structurally. The lyrics cover a variety of political and social topics, and some that cross over and blur those lines (Pyrrhic), as increasingly it seems that politics has divided us socially. Anyone who reads the lyrics for a song like At Any Cost, especially people from the UK, will probably recognise the topic fairly quickly. Other songs like Arrogance Incarnate or Self-Sabotage Continuum explore whether it’s human nature to become our own worst enemy and ruin our own goals and personal relationships in pursuit of short term gains.

Who created the logo of the band, and who took care of the graphics and the website? What about you and social networks? Do you consider these things important?

Paul H came up with the band name and logo. All the art was done by Mortuus and Paul did all the layout. We love the linework Mortuus does and he’s a great guy to work with.

Social media is, unfortunately, a necessary thing for bands now. We don’t like it but we have to accept it. If you’re not on social media these days you can pretty much forget about anyone having a clue about you. That said, it is a great platform for getting stuff out around the world easily and quickly and much better than the small flyers we used to give people in local pubs in the nineties. Its just a shame that it’s also so locked down behind monetisation now.

So, go follow us on facebook and youtube!

Which label did you choose for releasing your album and why this label? Are you satisfied by how your label represents you and takés care about you?

At the moment we don’t have a label, so we do everything ourselves. Ultimately it would be great to have a proper label behind us and, who knows, maybe one day we will, but its a very crowded market these days.

Which bands do you idolise and where do you get your inspiration?

So many. Mostly the old albums from the classic bands like Death, Malevolent Creation, Suffocation, Morbid Angel, Pestilence, Loublast, Gorguts, Cynic, Entombed, Dismember, Hypocrisy, Gorefest, Sepultura.

Also some of the more modern DM bands like Obscura, Necrophagist, the faceless etc.

Did you send your record to some Labels - which are the labels? How was the response?

Not yet, we will eventually but as said earlier, it’s a crowded market and labels are only going to be interested in bands they can make some money from so for now we need to build our fan base.

How many gigs have you played? Which type of gigs do you prefer, whether it's (clubs or festivals) and which of your performances would you consider as the best?

None so far. We had some booked in 2020 but for obvious reasons those were cancelled. We have 2 in October this year and plan to be out on stage a lot more in 2022. We’ve all been in bands before and have played tiny shows in pubs through to festivals like Summer Breeze, Brutal Assault, Hellfest and Bloodstock. Playing to 10,000 people at a festival is great but the massive stage and distance from the crowd makes it a very different experience from playing a pub or a club to a small crowd. Usually smaller shows make for a better sound on stage and that can really make a difference to your performance.

So playing live is universally great as long as the crowd are into it and the sound is decent.

What about your plans for the future? What do you want to achieve with the band?

Mostly to enjoy playing and writing music. That’s the important thing. We aim to get out live a lot more and hope to get some decent shows under our belt in 2022 and just build up the terrible claw name. We’ll almost certainly start writing a 3rd album in 2022.

How and where can your fans contact you? Can you provide some contact information?

Through our facebook page at Terrible Claw | Facebook

Thanx for the interview.

Recenze/review - TERRIBLE CLAW - Disaster Catalyst (2021):

https://www.deadlystormzine.com/2021/09/recenzereview-terrible-claw-disaster.html

https://terribleclawmetal.bandcamp.com/releases

https://www.facebook.com/Terrible-Claw-1551886394940370/

https://www.instagram.com/terrible_claw_metal/?utm_medium=copy_link

https://www.youtube.com/channel/UCrEp9qv_Rjr1fsn9PceHAMg

https://open.spotify.com/artist/6NgX4surRJ2bh3sRQyH1Th

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