Swedish old school black metal brutes WAN return with a five track mini-album, Gammal är äldst,the followup of their last year’s lauded full length “Wan Way to Hell”. CD is available via Carnal Records from December 21, 2018.
Swedish black metal force WAN came on the scene as a triad of aggression in 2009 to glorify Satan, chaos and the mighty northern darkness. Their debut, Wolves of the North, promptly saw its release in 2010. In 2013, the stalwart offered their second attack, Enjoy the Filth, fetching a more no holds barred and uglier song-writing approach. Two years later, Wan appeared in a split release called “Necroholic” alongside their countrymen Styggelse and Icelandic mystics Curse.
WAN encountered lineup changes in the next two years, but that could not disintegrate the tenebrous mightiness of the Swede horde. WAN unleashed the third album, Wan Way to Hell, via Carnal Records at the dawn of 2017. This album marks a new era for WAN and it confirmed the sustainability of their raw-energy, which is ever flowing and ever dark.
WAN are currently stronger than ever as a four-headed beast and they channeled violence through the latest mini CD “Gammal är äldst” (English: Old is the Oldest). Anyone au fait with the ‘80s and early ‘90s Scandinavian black metal knows what the five tracks of this EP convey. Indeed, they conjure nothing but relentless slabs of caustic riffs, maliciously intended raucous snarls and holocaustic drum-assaults. “Gammal är äldst” is available on CD format from this December 21 via CARNAL RECORDS.
To celebrate their glorious 10 years as a band, WAN will be embarking upon a European tour in May 2019 together with Nekrokraft and The Generations Army.
Treat your ears with the intensity of filthy ancient black metal.
On December 25th, Signal Rex is proud to present Ordem
Satânica‘s highly anticipated third album, Ordem Satânica, on
cassette tape format – strictly limited to 166 copies, never to be repressed
again on any format.
Ordem Satânica truly live in the
moment, that intoxicating fury of total and utter immersion. They’re possessed
by a hideous grimness that’s utterly hypnotizing, and not surprisingly are at
the forefront of Portugal’s prolific and thriving raw black metal scene.
Linchpins of the elite Aldebaran Circle – which currently includes Trono
Além Morte, Occelenbriig, Voëmmr, and
Degredo – Ordem Satânica‘s sound is comparably
chaotic and necrotic, bleary and blown-out. And yet, the trio possess a
deceptive sense of melody, malformed and miasmic, dissonant and distressed, that
favorably reminds of France’s immortal Black Legions from the dark days of the
1990s. For verily, this BLACK METAL from an ancient time – AGAINST the modern
world, and against the modern “black metal” scene.
To date,
Ordem Satânica have built a coveted canon of thoroughly
underground works, each more challenging and cantankerous than the last. Just
earlier this year, they released their second full-length, Demónios dos
Primeiros Mundos, and now strike back with their crudest ‘n’ rudest
gesture: fittingly, self-titled Ordem Satânica. Mesmerizing in the
malodorous depths it plumbs whilst exhibiting an acutely cultivated aspect
despite its crudeness, Ordem Satânica strips the band’s aesthetic bare
but builds it back up, blown out and nearly brittle, ever to debase the listener
during this transformation/transfixion: a windswept travail across desolation
and disgust, ever inwards and maybe even backwards, shot upward/outward from the
darkest dungeons of the soul. Modernity doesn’t exist here; there is only the
past, which passed before it began. Time stands still here, and the listener is
powerless against Ordem Satânica‘s evocations of a better/worse
world.
When there are still revisionist reveries for the early ’90s boom
of black metal, which inevitably died a slow death, there are bands in this
millennium who harness that very real, very primordial power, and the raw
Portuguese scene is currently at the forefront. Ordem Satânica
continue to carry the torch – have you been burned yet? Feel the first burn with
the new track “Senhor Dos Gelos”
Tracklisting for
Ordem
Satânica‘s Ordem
Satânica -Side A- 1.
Bellum Est 2. Senhor dos Gelos 3. Possuídos pelo Tirano 4. In Aeterna
Crudelitate II
-Side B- 1. O Black Metal é o Frio que traz a
Maldição 2. Ordem Satânica 3. Obra do Diabo
Occasionally, amid the deluge of new music and the endless
procession of reissues, some truly remarkable, nearly forgotten recording rises
to the surface. Such is the case with Nomenclature Diablerie’s
888 demo.
Formed in Sydney, Australia
in 1988, Nomenclature Diablerie was a short-lived project based
on songs written by guitarist Matty Boomsticks. The scene in Sydney at the time
was potent. Deathrash pioneers Slaughter Lord spearheaded the extreme metal
movement, and Sadistik Exekution’s emergence a couple years
later set the trajectory for the frenetic and chaotic style that would
eventually dominate the Australian scene.
Inspired by the aforementioned local acts, as well as Bathory,
Slayer, and the other extreme metal bands that were active at the time, Matty
began writing songs on his own. He mentioned to his friend Dave Slave, bassist
for Sadistik Exekution, that he was looking for a drummer, and
Dave passed the information along to Sloth, also a member of Sadistik
Exekution. The band was unnamed until Matty showed Dave one of the
songs he’d written, and Dave suggested scrapping the song, but keeping the
title, “Nomenclature Diablerie,” and using it as a band name
instead.
Matty and Sloth rehearsed together off
and on for several months and eventually booked time in a local studio to record
a demo. Before recording, Matty recruited another friend, Toneye (Chaotic
Impurity, Infinite Black), to handle the vocals. Although they only recorded two
songs, the demo, simply called 888, offered a distinguished approach to
metal that was incredibly advanced for the time. Matty’s mission with
Nomenclature Diablerie was to expand the boundaries of metal,
laying waste to the conventional approaches of the day, while still maintaining
a sense of purity in the music.
When listening to
888, it is clear that Matty was drawing influence from other styles of
music. The songs on the demo are a dizzying spectacle of warped time signatures
and clashing chords, but delivered with stunning precision. The second side in
particular, featuring the song “Premature Cremation,” shifts with mathematical
accuracy, the riffs lurching and bending, mutating as the song evolves. The same
innovative spirit that drove so much of the early Australian underground
permeates the 888 demo. Of course, one can only speculate about what
the band might have accomplished had Matty persisted, but the existence of this
demo offers at least a glimpse of Nomenclature Diablerie’s
fleeting brilliance.
Originally released in 1988
in an edition of around 500 tapes, and pressed again in 1999 as a very
poor-sounding 7” limited to 200, these tracks have never been given a proper
release until now. Presented here as a 45 RPM 12” with full-size cover art, this
definitive reissue is intended to restore Nomenclature
Diablerie to its proper place in the canon of Australian extreme metal.
DER WEG EINER FREIHEIT
have announced a 10-year anniversary tour in March and April 2019. On
this special occasion, the band will perform their self titled debut album in
its entirety. Special guests on this tour are AU-DESSUS (28.3. – 6.4), CELESTE
(7. – 12.4) and THE DEVIL’S TRADE (all dates). A full list of tour dates can be
found below.
Vocalist Nikita Kamprad comments: “2019 will be a special
year for us! It marks the 10 year anniversary of the release of our first album
“Der Weg einer Freiheit” and therewith the start of a long and exciting journey
in our lives. In tribute to this album and everyone ever involved in this band,
as a member or in the background, we’re playing it from start to finish each day
on this special tour. The only time for the next… maybe 100 years? Don’t miss
it, we’re bringing some great guests with us, namely CELESTE, AU-DESSUS and THE
DEVIL’S TRADE! On top we will celebrate the release of our upcoming live album
on this run and will be equipped with a limited tour edition that will only be
available on live shows during 2019. Get your tickets and see you soon!”
DER WEG EINER FREIHEIT
tour with AU-DESSUS and CELESTE and THE DEVIL’S TRADE 28 Mar 19
Paris (FR) Le Petit Bain * 30 Mar 19 Toulouse (FR) Le Metronum * 31 Mar 19
Barcelona (ES) Bóveda * 01 Apr 19 Lyon (FR) Rock n Eat * 02 Apr 19
Esch/Alzette (LU) Kulturfabrik * 03 Apr 19 Cologne (DE) Luxor * 04 Apr 19
Tilburg (NL) Little Devil * 05 Apr 19 Dresden (DE) Beatclub * 06 Apr 19
Hamburg (DE) Knust * 07 Apr 19 Nuremburg (DE) Hirsch ** 08 Apr 19 Prague
(CZ) Futurum ** 09 Apr 19 Vienna (AT) Arena ** 10 Apr 19 Munich (DE)
Backstage ** 11 Apr 19 Stuttgart (DE) Universum ** 12 Apr 19 Berlin (DE)
Lido ** 13 Apr 19 Wiesbaden (DE) Schlachthof **
DER WEG EINER FREIHEIT festivals 28 Apr 19
Oslo (NO) Inferno Metal Festival
The cover artwork and track-list
of ‘Finisterre’ can be found below.
1. Aufbruch (9:49) 2. Ein
letzter Tanz (13:49) 3. Skepsis Part I (5:05) 4. Skepsis Part II
(5:36) 5. Finisterre (11:13)
The musical puzzle that adds up
to become DER WEG EINER FREIHEIT turns into something more
complex – yet also clearer defined on the band’s fourth studio album,
‘Finisterre’. The original pieces are still in play: the aggressive German
directness akin to ENDSTILLE and a penchant for brooding melancholy as embodied
by IMPERIUM DEKADENZ. Spiralling psychedelic moments comparable to DEAFHEAVEN
and WOLVES IN THE THRONE ROOM also find their place – as well as a knack for
majestic melodies that shows parallels in Swedish black metal spearheaded by
MARDUK and DARK FUNERAL.
Yet while DER WEG EINER
FREIHEIT are clearly progressing along the lines laid out by their
previous acclaimed effort, ‘Stellar’, the band has found a way to make these
pieces fit more seamlessly. ‘Finisterre’ flows together into a coherent picture
that stresses the Germans’ unique approach and sound. This album marks the point
where DER WEG EINER FREIHEIT turn their various influences into
a work entirely of their own expression despite never trying to cover up their
roots. This impressive maturity has been reached through several
stages.
Founded in 2009 by guitarist Nikita Kamprad and vocalist Tobias
Jaschinsky, DER WEG EINER FREIHEIT garnered early attention
with their self-released debut ‘Der Weg einer Freiheit’ (2009), which quickly
sold out and was re-issued with new drum tracks a year later. Following the
‘Agonie’ EP (2011), their second album ‘Unstille’ (2012) already cored
international acclaim. In the aftermath of this record, co-founding member
Tobias left and main songwriter Nikita Kamprad took over his vocal
duties.
The frontman was first heard on third full-length ‘Stellar’
(2015), which saw DER WEG EINER FREIHEIT gaining traction
across the pond as well as expanding their European base. Having performed along
such diverse acts as WOLVES IN THE THRONE ROOM, NEAERA, THE BLACK DAHLIA MURDER,
AMENRA, CRIPPLED BLACK PHOENIX, and DOWNFALL OF GAIA as well as playing
prestigious festivals such as Graspop, Hellfest, Resurrection, Roadburn, Summer
Breeze, and Wacken has honed the band’s songwriting skills to razor-sharp
precision.
‘Finisterre’ clearly stands at the apex (for now) of the steep
climb that DER WEG EINER FREIHEIT have taken. This German star
is finally shining in full black.
December 14, 2018 – Los Angeles, CA – HISS FROM THE MOAT, the transcontinental black/death metal band founded by acclaimed drummer James Payne (Vital Remains, Hour of Penance), have unveiled a video for the title track of their sophomore album “The Harrier,” due out via M-Theory Audio on February 22, 2019
The song can also be streamed on Spotify, Apple Music and other digital platforms. In addition, the M-Theory webshop has launched the pre-order for “The Harrier,” which is available on CD and limited-edition moat-black vinyl (200 copies). Digital pre-orders via Bandcamp include an instant download of the title track. “The song, ‘The Harrier,’ represents the identity of the album both for the instrumental part and the lyrics.
The instrumental part is composed by many dynamic parts that create crescendos that then explode into more opened and epic parts, which is also how we composed the album itself — powerful, but not only fast,” explains drummer James Payne. “The lyrics, instead, are composed from extracts of sacred and political texts (as it’s indicated from the inscription in brackets) that, isolated and used in a more direct way, express and show how violent and brutal these books are, and sums up a good part of what the album itself talks about.
The video is composed from the lyrics that are supported from some illustrations that represent what the lyrics are saying. We chose to do this as a reference to how the illustrations were used in the past, to explain to whoever couldn’t read, what was written in the sacred texts. We wanted to do the same thing here since, nowadays, almost everybody can read, but everyone have their own interpretation of whatever is written, instead, since we have a specific and clear message to deliver, we’ve used the images to kind of have the same role that they had in the past — to explain to whoever gets our message, the meaning of it, to avoid misinterpretations.”
“The Harrier” – which features cover artwork by Stefano Bonora – was recorded, mixed and mastered at Milan’s SPVN Studio with Stefano Orkid Santi, who produced the latest Cripple Bastards album and previously worked as live engineer for bands such as Origin, Suffocation and Cattle Decapitation.
The U.S.-based Payne formed HISS FROM THE MOAT with two Italian friends – bassist/vocalist Carlo Cremascoli and guitarist Giacomo Poli – when he was just 18 years old. In 2009, the group self-released their debut EP, “The Carved Flesh Message,” which they supported by performing alongside the likes of Psycroptic, Skeletonwitch and The Black Dahlia Murder.
Four years later, HISS FROM THE MOAT released their debut full-length, “Misanthropy,” via Lacerated Enemy/Nuclear Blast. The band’s intense use of both extremes of death and black metal produced an album that stood alongside the delivery of acts such as Behemoth, Belphegor and Rotting Christ.
Following the release of the album, HISS FROM THE MOAT embarked on an extensive tour across Russia, Europe and Asia, delivering aggressive and visually engaging performances backed by the blackened intensity of the band’s new material. During this period, Payne left the legendary death metal act Vital Remains – a group he joined following a two-year stint with Italian death metal powerhouse Hour of Penance – to focus full-time on HISS FROM THE MOAT, and the band extended from a three-piece to a quartet with the addition of Max Cirelli (guitar/vocals).
Over the past two years, the band has toured extensively worldwide while working between the U.S. and Italy to write “The Harrier.” Now, HISS FROM THE MOAT aim to unleash another sonic onslaught that captures the band’s range of death and black metal inspiration while creating a unique and intense presence in the world of extreme music.
Swedish black metal force WAN came on the scene as a triad of aggression in 2009 to glorify Satan, chaos and the mighty northern darkness. Their debut, Wolves of the North, promptly saw its release in 2010. In 2013, the stalwart offered their second attack, Enjoy the Filth, fetching a more no holds barred and uglier song-writing approach. Two years later, Wan appeared in a split release called “Necroholic” alongside their countrymen Styggelse and Icelandic mystics Curse.
WAN encountered lineup changes in the next two years, but that could not disintegrate the tenebrous mightiness of the Swede horde. WAN unleashed the third album, Wan Way to Hell, via Carnal Records at the dawn of 2017. This album marks a new era for WAN and it confirmed the sustainability of their raw-energy, which is ever flowing and ever dark.
WAN are currently stronger than ever as a four-headed beast and they are ready to channel violence through the forthcoming mini CD “Gammal är äldst” (English: Old is the Oldest). Anyone au fait with the ‘80s and early ‘90s Scandinavian black metal knows what the five tracks of this EP convey. Indeed, they conjure nothing but relentless slabs of caustic riffs, maliciously intended raucous snarls and holocaustic drum-assaults. “Gammal är äldst” comes on CD format this December 21 via CARNAL RECORDS.
To celebrate their glorious 10 years as a band, WAN will be embarking upon a European tour in May 2019 together with Nekrokraft and The Generations Army.
Treat your ears with the intensity of filthy ancient black metal.
Today, Iron Bonehead Productions sets February 1st, 2019 as the international release date for the striking debut album of Portugal’s Graves, Liturgia da Blasfemia, on CD and vinyl LP formats.
Hailing from the current black metal hotbed of Portugal, Graves are a relatively new entity featuring members of Flagellum Dei and Summon. The band made their public debut during the summer of 2018 with Unholy Desecration demo. Containing the same foul ‘n’ filthy rudiments as that demo, Liturgia da Blasfemia will be Graves’ crude ‘n’ rude introduction to the world stage.
Put simply, Graves’ sound is grim and miserable black metal brewed in the darkest dungeons of the underground, reverent of the ancient ways but by no means tethered to the past. References to be made include the French Black Legions and of course the Portuguese Black Circle, but also raw Finnish black metal from the past couple decades, such is Graves’ emphasis on hypnotic, lashing melody. And compared to the demo’s more antisocial sound, here on Liturgia da Blasfemia do the power-trio reveal a considerably more feral physicality, no less ribald in its trance-inducing recesses but perhaps more apt to rise up from those depths and lash the listener with utmost cruelty. Similarly, the band utilizing their native tongue almost exclusively here lends an eerier, more otherworldly aspect.
Kneel and prostrate thyself before Graves’ Liturgia da Blasfemia. The first genuflection can be found with the new track “Sangrando em Golgota” HERE
. Cover and tracklisting are as follows:
Tracklisting for Graves (Portugal)’s Liturgia da Blasfemia
1. Do demiurge..Ultraje de viver
2. I am Fire I am Death
3. Sangrando em Golgota
4. Sangrando em Golgota… parte 2
5. Impregnado p` la Foice
6. Do teu Ventre a Maldade saiu
7. Minha Alma imolei em Golgota
8. Graves Hold Your Name
9. Via Dolorosa até Golgota
Automb unleashes another music video, this time for the track ‘Mourned’, professionally recorded and edited by Shane Mayer of Cerebral Audio Production.
BIO
Automb is a female-fronted black metal band that blends death metal elements seamlessly with classic black metal and atmospheric tones.
‘Esoterica’ is out now via Satanath Records (Russia), Final Gate Records (Germany) and Bruder Des Lichts (US). ‘Esoterica’ features Serge Streltsov of NECROPHAGIA, and session work from Scott Fuller of MORBID ANGEL as well as vocalist/bassist/keyboardist Danielle Evans.
It features bone-crushing blast beats, soul wrenching growls, punishing rhythms, and epic atmospheric leads. For fans of… BEHEMOTH, WATAIN, EMPEROR, DRUDKH, VADER, MORBID ANGEL, AND MAYHEM.
Today, Swedish black metal elite Valkyrja stream the entirety of their highly anticipated fourth album, Throne Ablaze. A work forged in the fires of the ancients with deadly intent to raze the present, Throne Ablaze precludes a full European tour of Valkyrja supporting the equally legendary Marduk and Archgoat, which starts later this week (dates below). Set for international release today via W.T.C. Productions, hear Valkyrja’s Throne Ablaze in its entirety exclusively HERE.
Valkyrja was founded in 2004 with the earnest intention of channeling violence, deprivation, and loathing through means of extraordinarily potent audio emissions. Their ideals were permeated by passionate and boundless perversion – a sickly urge festering ever so vibrantly in the essence of its members, a will to cast off the manacles of societal enslavement and leave a dying world behind. While the brotherhood took shape, opposition and defiance surfaced from the deepest recesses of the mind: a fierce hostility towards the laws and morals of their surroundings, notions which felt entirely alien to the band’s core.
As part of Valkyrja’s philosophy of ridding themselves from limitations, no specific genre was ever chosen since it would only serve to establish a framework of useless expectation. The artistic output created under the flag of Valkyrja defies all earthly shackles, including those of commercial categorization. With ideology as lodestar, venturing into darkness without a backwards glance, they took their first fledgling steps on a road staked out by the night itself.
Valkyrja’s debut album, The Invocation of Demise, was recorded in Necromorbus Studio during March 2007 and then released in physical form by Northern Silence Productions six months later. Valkyrja quickly gained their reputation as a ferocious live act: a display of carnal lust leaving each stage with the foul scent of death. Drawn to the stench of putrid bereavement, Metal Blade Records contracted the band in 2009. The Invocation of Demise was treated to a re-release by their new ally, thus spreading the curse even further. The same year also saw a return to Necromorbus Studio for the recording of their second album, the most aptly named Contamination. The new tracks would prove to be a crucial part of the band’s live setlist as they, the following autumn, embarked on their first European campaign.
Forged and conceived to reflect blood and fire, the third Valkyrja album, The Antagonist’s Fire, set the world aflame on the eleventh day of the eleventh month in the year 2013. The opus also marked the beginning of Valkyrja’s long-running collaboration with elite underground label World Terror Committee. During the past decade, facilitated by Massive Music and accompanied by titans of extreme metal, over 100 different European cities has been forced to swallow the bitter wine of sonic violence. Furthermore, 2016 and 2017 saw two extensive North American tours with Valkyrja as co-headliner, during which 22 different states were soaked in rotten blood.
Five years removed from the third opus, Valkyrja return under a new guise. The past few years have seen the band subjected to several crucial lineup changes, igniting a period of utter despair that would sow the seeds for what has now come to pass: Throne Ablaze is set for worldwide release on November 26, 2018. The album reflects the passion and dedication of everyone involved, those who face every storm – past and future – with weapon in hand. It will forever stand as a monument of continuous struggles – so right there, in the core of this strife to conquer every obstacle, kneel and obey the fires of the blazing throne!
Full obeisance can be found exclusively HERE.
Cover art, courtesy of Nestor Avalos, and tracklisting are as follows:
Tracklisting for Valkyrja’s Throne Ablaze
1. In Ruins I Set My Throne
2. Crowned Serpent
3. Opposer of Light
4. Tombs Into Flesh
5. Halo of Lies
6. Transcendental Death
7. Paradise Lost
8. Throne Ablaze
VIKTORIA EUROPA Part 2
Marduk + Archgoat + Valkyrja + support
Nov 30, 2018 (SVN) Ljubljana @ Winter Days Of Metal
Dec 01, 2018 (ITA) Brescia @ Black Winter Festival
Dec 02, 2018 (SUI) Aarburg @ Musigburg
Dec 04, 2018 (FRA) Paris @ Le Machine
Dec 05, 2018 (BEL) Bruges @ Het Entrepot
Dec 06, 2018 (NED) Hengelo @ Metropool
Dec 07, 2018 (GER) Leipzig @ Felsenkeller
Dec 08, 2018 (CZE) Plzen @ Bozkov
Dec 09, 2018 (GER) Ludwigsburg @ Rockfabrik
Dec 11, 2018 (GBR) London @ The Underworld
Dec 12, 2018 (GER) Trier @ Mergener Hof
Dec 13, 2018 (GER) Essen @ Turock
Dec 14, 2018 (BEL) Arlon @ L’Entrepot
Dec 15, 2018 (NED) Eindhoven @ Eindhoven Metal Meeting
Dec 16, 2018 (GER) Bad Oeynhausen @ Druckerei
Automb are a new Black metal band coming out of the Pittsburgh area that are already getting attention of all the major metal media outlets. Formed by Serge (ex Necrophagia), Danielle and Scott Fuller (Morbid Angel) today we sat down with them to find out all we can on this new band.
How did you guys meet?
We met through going to the same metal shows.
When did you decide to form Automb?
We formed Automb in the fall of 2017. It was a way for us to collaborate musically as well as a way for Serge to create black metal on the side while doing Necro.
I think it was from watching crazy church burning/murder, suicide documentaries about bands like Mayhem and Burzum
How did you get into Black metal? What was the one band that “did it” for
you?
Danielle: I was big into death metal for a while when I first started listening to metal and then I just started to venture off more and more. Immortal was one of the first black metal bands I listened to, then I got into the subgenres within black metal so DSBM, atmospheric black metal, etc. I would say bands like Watain, Rotting Christ, Deathspell Omega and Belphegor are the bands that “did it” the most for me.
Serge: I think it was from watching crazy church burning/murder, suicide documentaries about bands like Mayhem and Burzum. It was the next extreme thing for me in the evolution of metal. After that I discovered the whole Scandinavian scene and so on. I can’t pick a single band. But it was definitely bands like Emperor, Dissection, Gorgoroth, Satyricon and Immortal that made me want to write Black Metal.
What bands would you rate as influences on Automb?
Danielle: For me personally Watain and Dissection were huge influences on my lyrical content for sure.
Serge how long have you been playing guitar for?
13 years
What was your set up like for this album (guitar and amp)
I used an ESP LTD Eclipse and a peavey 6505+ head with a Mesa cab.
Eventually I ended joining Haxxan
How did you get into playing guitar for Necrophagia?
I used to play drums for a local black metal band around Pittsburgh and we got to open up for Taake and Killjoy happened to be at the show. He came up to my merch table to say that he really enjoyed my drumming and We ended up talking about all the Black Metal legends and burning churches for a good while and then he told me that he had a new black metal side project and he needed a drummer so he gave me his number and eventually I ended joining Haxxan. We spent about 2 or 3 months on rehearsals. One night I got the call to join the band as the guitarist and we had a show to do in 2 weeks and that was that.
What was it like to work with Killjoy?
It was easy and hard. It depended on what we were doing. We got along pretty well for the most part but we had our fights after stressful days. We had our disagreements but we eventually worked things out. He ended up agreeing to use most of my ideas for the new album.
We met Scott at the Morbid Angel gig in Pittsburgh
How did you guys get Scott from Morbid Angel to work with you?
We met Scott at the Morbid Angel gig in Pittsburgh earlier this year. Serge ended up getting his number and all that. We originally had another drummer do half of the tracks. We won’t mention who it is but we ended up going our separate ways. We had a deadline with the label and were looking for a drummer and Scott offered to help.
I mainly identify with the practice of witchcraft in all forms
Did either of you practice any religions if so what ones?
Danielle: I have considered myself to be “pagan” for quite a few years now. Throughout that time thought I have engaged more closely with varying subsectors of the occult or pagan belief systems. I mainly identify with the practice of witchcraft in all forms. I believe nature is the most holy and powerful place and it is through nature that we can directly communicate with the divine.
Serge: I wouldn’t call it religion but I do follow some paths that include paganism, hinduism, witchcraft, left hand path and other esoteric practices. I don’t like to conform to one single path because to me that’s only a small step away from Christianity
Have you ever had any strange psychic or occult experiences?
Danielle: Yes, plenty. I’ve been in tune with the spiritual realm for as long as I can remember.
Serge: Yes a few.
Have you played any live shows as Automb yet?
Not yet.
If not when can we expect to see you guys play live?
We have a show on November 2nd in Turtle Creek, PA.
And let the black flame inside be your guide!
Any final words?
We have a new lyric video coming out today!
