Interview with Ádám and Imre
Interview with Ádám and Imre
Interview with Olly Zubor
(HammerWorld, ex-Cerebral Haemhorrhage)
Hail my good old friend Olly you are very welcome to my small blog Archangel’s Lantern! When and how did you get introduced to metal underground? What was your very first metal release you bought? Which metal band did you see live for the first time?
- Hi Georgius, hail to your blog readers!
As for my relationship with metal, my old good friend, Mr. Victor, who lived next door, he infected me with this music when I was 12-13 years old. Thanks to him, I also quickly got to know the underground scene, as he showed me a lot of foreign demos. My first metal record was Saxon - "Innocence Is No Excuse", which was completely audible on Hungarian radio at the time, and I diligently recorded it on a cassette. But what I also spent money on was Pokolgép - "Pokoli Színjáték", while my first concert was an Undertaking gig in the late ’80s.
When did you start to play the guitar? Which guitarists influenced you back in time and what are your favourite ones nowadays?
- I started playing guitar in 1991 when my friend Brutal came over to me with his bass guitar, which he got for Christmas. From then on, there was no question that we wanted to play music, and all I was left with was the guitar, ha-ha! But I already had a musical experience since I played the violin as a child. This is how I knew the operation of stringed instruments. Back then, grindcore was my favorite genre, so let’s say Mitch Harris had the biggest impact on me, ha-ha! But it is true that I have never been able to approach his quality… There are still plenty of good guitarists these days, for example, I even throw away my brain when I see some unknown musicians playing on Youtube.
Did you play before the Cerebral Haemorrhage in any hordes?
- No, for me only the Cerebral existed! This was born with name Trashold, on January 2, 1991.
Cerebral Haemorrhage will celebrate its 30th anniversary this year if I’m not mistaken. Will you prepare something special release for old fans of your band?
- It would have been good to celebrate last year as well, as our only album, To All Hypocrites was 25 years old. But this fucking virus prevented joint planning with old friends, musicians. So for now, I can only hope that this year we can really celebrate in some form…
Interview with Peter Markham
committed by László Dávid (Rattle Inc.)
Peter, how did you discover music and hard rock/heavy metal music particular? What did you find so exciting in this music?
- In the early 80’s, basically from the older siblings of my friends, who had all these metal and hard rock albums. Bands like early Van Halen, Cheap Trick, The Rods and even early Mötley Crüe, and I really dug it! Probably from when I was 12-years-old or so. Before that I was really into Kiss, who were a huge band in the late 70’s/early 80’s as you know and also AC/DC and Iron Maiden. My first LP was Black Sabbath’s „Paranoid”, and I remember putting it on the turntable and my dad looked truly disappointed, so I knew I was onto something! If your parents hate what you’re into, when you’re a teenager, that’s always a good thing! It was always exciting discovering new bands, and listening to albums and staring at the album covers for hours, like Witchfinder General, Demon and Rose Tattoo – a whole new world was opening up. Other than the music which I thought was really good, I think it was also being into something that everybody else hated, sort of going against the grain, or mainstream if you like, that I found attractive.
At which point and how did you turn into the underground world? How did you discover fast, brutal music?
- I grew up in surburbia and our local record shop in the nearest town had a little metal section. So there I bought Metallica, Slayer, etc. when their first albums came out. They also had a lot of Swedish bands like Oz, Mercy, Axe Witch and later Bathory. My father is English, so we went to the UK a lot on holiday, and I discovered the record shop "Shades" in Soho, London through Kerrang! Magazine. There I bought lesser known bands like Satan, Savage, Raven, Tokyo Blade and a lot of the NWOBHM bands, and also Danish bands like Mercyful Fate and Pretty Maids, because I actually didn’t know how to get hold of them in Denmark. So just digging a little deeper than the established bands like Iron Maiden or Saxon, and then I saw a video with Venom where they did "Witching Hour" on Swedish TV, and I thought that was the most intense and dark music that I’d heard at the time! Artillery lived pretty close to me, so I hung out with them quite a bit, even though they were older than I was, and I heard bands through them, and a few of the guys were also into punk like GBH and Discharge. I also hung out quite a bit with the band Witch Cross and would visit their singer Alex Savage quite often. I started going to concerts when I was around 13-14, and I was by far the youngest at the gigs. There was a lot of skin tight jeans, basketball sneakers and the good old mustache/perm combination. I saw Iron Maiden when Bruce Dickinson had just joined and Dio on the "Holy Diver" tour, I remember I thought it was quite hilarious that a grown man would pretend to fight a paper mâché dragon with a wooden sword on stage... but that’s 80’s metal in a nutshell!
What did/does mean to you underground respectively to be underground?
- Maybe not so much underground, but definitely DIY (Do It Yourself). I mean I was 14-15 years old at the time when I started the magazine, and getting records/tapes every day in the mail and corresponding with people from all over the world. I saw the metal underground very much to be ignored by the mainstream until basically Metallica became big. But anybody, anywhere can get involved: do a fanzine, put together a band, release a demo tape or a record, put on concerts etc. This goes for punk rock too, or any other music genre really. Instead of sitting around and waiting for things to happen, you could easily get involved yourself. I still firmly believe in this.
James Hetfield (Metallica), Roskilde Festival, July 1986
Did you also get involved in the tapetrading scene very soon? How did it happen?
- I never traded tapes, but got a lot of tapes sent to the magazine for review, and you could buy them in record shops, and some I ordered through the mail. One thing with Danish bands from that time like Mercyful Fate, is that they were really very good players, basically all the Danish bands were. So when bands like Bathory and Hellhammer came out, and also Mayhem, I had their first demo tape and I thought it was quite amateruish to be quite honest. I thought it was like a weak imitation of Venom really, also image wise - in the early Bathory promo photos Quorthon looked exacly like Cronos! I didn’t really get that into tapes, because I thought the sound quality is interior to vinyl, and tapes get worn faster.
At which point did the fanzines enter in your life? Do you still remember which fanzines did you get in your hands for the first time?
- I did the first issue of Metallic Beast in 1984, so a little before that. I read Metal Forces from the UK, and an early Danish fanzine called Hot Rockin’ and they were both a big influence. Also Ron Quintana’s Metal Mania, because it was also very humorous. There was an early Swedish fanzine, called Heavy Metal Massacre, that was a big inspiration too, they had a piece on Metallica when Dave Mustaine and Ron McGovney was in the band, so this was really early on. I remember when the first issue of Metal Hammer came out, that was the first big glossy magazine other than Kerrang!
How did you like them? Was this a brand new world for you?
- I was really into it, it was always exciting to get a new fanzine and to see what they wrote about and how they did the layout, and what new bands you could discover. I really liked some of the zines from California like Heavy Metal Onslaught, which I also wrote for, and Brain Damage and one from Florida called Guillotine and Sledgehammer Press. So I would buy some of the bands they wrote about like Laaz Rockit, Hirax, Abattoir, Dark Angel, Hades, Savatage and bands like that, but finding import albums was quite hard and expensive.
When did Metallic Beast start exactly?
- I would say about 1983, and the first issue came out the following year. My father worked for a big company that manufactured photocopy machines, so he did the all the photocopying. I did all the writing, layout and some photography myself. I drew the logo and stole some of the graphics from the first Venom album. I was always really interested in graphic design, putting text and pictures together and creating the layout. Which is what became my profession later, first in the print industy, and to this day where I work for an advertising agency. It’s almost like my hobby became my job.
How about the staff? How did you get to know each other at all?
- In the beginning it was just me, and some contributors sent in interviews and articles. I was so secluded, so it was all through the mail, and also people from overseas did some writing, from the US and Europe.
What was your motivation, goal with the fanzine? What did inspire you founding a fanzine?
- I think it was just a form of homemade entertainment, I didn’t play in a band, so I could get involved by writing about bands that I really liked and maybe inspire others to check them out. They was never a goal behind it, but now – 30 something years later, people still write me occationally about the magazine, and I got out of the metal scene in the late 80’s when I lost interest and got into other kinds of music. Lars Ulrich – through their management got in contact with me for the reissue of „Master of Puppets” to use some of the material from the magazine. So it’s fun and quite strange that people still remember and are interested in what I did as a teenager, as I am now in my early 50’s.
Did you have contributors/helping hands as well?
- Yes, a few people helped with the writing, but everything else I did by myself. My mother helped with some translation, since one of the issues came out in both English and Danish. My parents would also give me a ride to concerts and my mother came along when I first interviewed Slayer in ’85!
Would you say that Metallic Beast belonged to the first fanzines from Denmark?
- Hot Rockin’ was definitely the first, and I think I put out Metallic Beast roughly at the same time as Blackthorn came out, and there was also one called Unchained Energy, maybe I was a little before them. So yes – probably one of the first, but Hot Rockin’ had already existed a few years by then.
Did you, I mean the fanzines, help and support each other or was it rather a competition among you? Did you also trade with each other?
- I think we very much supported each other, trading ads, magazines etc. Not so much competition, as we were all quite different. Blackthorn was strickly metal, but I was also into punk and what later became known as crossover. But I was good friends with the other fanzine people, especially Tom Hallbäck from At Dawn They Read in Sweden, he was later in God B.C.
How did you get in touch with bands that were interviewing/featuring in each issues?
- Some interviews I did through the mail, but others I did in person. Metallica used to record in Copenhagen at Sweet Silence Studios ("Ride the Lightning" and "Master of Puppets"), so I did some interviews with Lars, which was among the biggest articles I did. Also Slayer on their "Hell Awaits" tour, and a lot of bands came through on tour – Kreator was an early band that toured in Denmark, and US bands like Exodus, right after they released "Bonded by Blood". Also NY bands like Anthrax and Overkill, and Motorhead always had letter known bands opening, like Exciter. And back then, touring was big part of being a professional band, up until Lemmy passed away, I think Motorhead playing in Copenhagen once a year, and I’m sure they did that everywhere else – almost. Also there would be these package tours in Germany where metal was really popular, so we would take the bus or train down to Hamburg to see Megadeth or Agent Steel, and whatever US bands that were touring.
How did you choose the bands that you wanted to interview/to feature at all? Did it depend on your personal musical taste or…?
- Very much my own personal taste, and the other writers wrote about bands that I wasn’t particularily into.
Was it easy to get in touch with the outfits?
- Yes, quite easy, they all had contact addresses on their records or demo tapes. Remember back then, postage was really cheap as opposed to now. I corresponded with Mick Harris from Napalm Death trading tapes, and he used to put soap on the stamps and then would ask me to send them back to him, then he would wash off the soap and reuse them. That went on until the British postal service threatened him with legal action, or something along the lines of that. The early Mercyful Fate records had a telephone number for their management on the back of the record. I remember calling that number and talking to this guy for a long time – maybe about an hour, when I was 13 or 14, so I had all these questions about King Diamond, if he was really a Satanist and what he was like as a person. I later realized that the guy on the other end of the line, was actually King Diamond himself – Kim Bendix Petersen, and he was talking about himself in the second person and now looking back, that was completely ridiculous, but also quite hilarious!
Did you always use own material or did you perhaps borrow articles from other fanzines, too?
- It was always original material in Metallic Beast.
I would ask you to give us every details about the issues of Metallic Beast! I mean, how were they done, what about the content of each issues, how in depth were the interviews, how were the reviews, how many issues were released, how much time did pass between each issues etc.. I’m interested in everything what come to your mind!
- No. 1 (1984): Witch Cross, Artillery, Wasted, Maltese Falcon, Evil and Mercy.
No. 2 (1985): Artillery, Warlord, Tyrant, Deathslayer, Overkill, Dorian Gray, Siren, Laaz Rockit and Alien Force.
No. 3 - 60 pages written in English, A5 size (1986). Interviews/articles with: Angel Witch, H-Bomb, Metallica, Venom, Savage Grace, Razor, Maninnya Blade, Death Angel, Prophecy, Helicon, Mantus, Chastain, Helloween, Abattoir, Thanatos, Mercy, Megadeth, Tankard, Excalibur, Artillery, Sacred Rite, Slayer, Kreator, Possessed, Laaz Rocket, Savage Thrust, Hawaii, Sodom, Slaughter, Samhain (DesExult), Destructor, Hallow's Eve, Havoc, Blitzkrieg, Liege Lord, Nasty Savage, Predator, Exodus, etc.
No. 4 - 36 pages written in English, A4 (1987). Interviews: Anthrax, Agony, Hirax, Agent Steel, Cryptic Slaughter, Death Angel, Exciter, Excel, Dark Angel, Kreator, At War, Blessed Death, Zoetrope, Metallica, Mefisto. Other articles & features: Suicidal Tendencies, Spastik Children, Corrosion Of Conformity, Mace, Cyclone, Wehrmacht, Cro-Mags, Master, Necrophagia, Wargod, Hellwitch, Final Conflict, Voor, Savage Death, Casbah, Mourner, Thanatos, Desexult, Legacy, Zoetrope, Heathen, Mercenary, Black Jack, Battalion, live reviews (Voivod, Venom, Cro-Mags, King Diamond, St. Vitus, Tormentor (LA), MDC, Vicious Circle etc.), news...
I really didn’t like doing reviews (I still don’t), so it was mostly articles or interviews. I did a few hundred of the first ones, and the last two issues maybe 1000-1500 or so, maybe more as I did a repress of those two issues.
The first three issues were written by Danish…
- No. 1 and 2 was only in Danish, No. 3 was both in Danish and English – I did two separate versions and No. 4 – the final issue, was just in English.
In my opinion, the Danish metal scene of the ’80s was very unique, such as Mercyful Fate, Evil, Artillery, Maltese Falcon, Witch Cross etc. can you tell us more about those times? What were your views as a whole?
- Yes, I agree – it was really unique. There wasn’t a lot of interest in some of those bands at home, Mercyful Fate and Evil were on Rave On Records, a Dutch label, so was Maltese Falcon, and Artillery were on Neat Records, an English label, even Pretty Maids were on an English label – Bullit Records. So the bands were really good in getting known outside of the borders, I think it was definitely thanks to Ken Anthony, who managed some of the bands, wrote for fanzines like Metal Forces and worked in several record shops in Copenhagen (Bristol and Double Fun). Metallica stayed at his apartment when they recorded "Ride the Lightning", and after their stay he said the drain in his shower was completely clogged because of all the long hair!
Did the fanzine satisfy the demands of the underground fans?
- I’d like to think so, a lot of people was really interested in the magazine, still to this day, which I find pretty amazing.
How were they sold and distributed/promoted? Were all of the issues sold out?
- Mostly through mail order or record shops, and the last two issues had distribution in the US – Important Records out of New York and in Swedish cities like Stockholm. And I would go around to record shops in Copenhagen and sell magazines to them.
Did you receive letters from other continents, too?
- Yes – I received letters from all over the world! Mostly the US and Europe, but also South America and South East Asia. Remember people sent cash back then, so I would take money to the bank to be exchanged, and sometimes they had never seen money from that particular country and couldn’t exchange it!
Were you also in touch with record labels? Did you get respectively how often did you get promo packages?
- Yes, a lot of labels sent our promo packages, I would say I got promo stuff on a daily basis. Some labels like Roadrunner and Music For Nations didn’t send out promos (not to me anyway), so I bought them myself. US albums were really expensive, because the US dollar was so high compared to European currency. Metal Blade and Combat releases you couldn't really find, but most of them came out as an European issue on either Roadrunner or Music For Nations.
On which format did you get the releases?
- Vinyl – mostly 12”, very rarely 7” and demo tapes of course.
With which label(s) did you get on well?
- Hmmm, I can’t really member – New Renaissance Records and Wild Rags springs to mind, mostly because I went to California in the summer of 1987, so I went to the actual record label offices and they supplied me with promo copies.
Did it happen that the materials, that you’ve got from bands or labels, weren’t featured in the issues because of lack of space or did you always have enough material for every issue?
- Yes, very often, it was too overwhelming to feature everything. And like I wrote before, bands like Mayhem, I just didn’t think wasn’t good enought to feature, the same with Social Mayhem and bands like that.
What about the production cost of each issues? Were your costs cleared, that you were investing in them?
- The first was my dad did for free, the rest I had offset printed and I paid for it with the money I made from selling the magazines. And my mother’s cousin owned a printshop, so he did it – but I paid for it myself. I actually also had a newspaper route to pay for printing of the magazine.
During the 80’s a lot of compilations were released by several labels, such as the famous "Metal Massacre", "Speed Metal Hell", "Thrash Metal Atack", "Beyond Metal Zone", "Stars On Thrash" to name a few. Did it help a lot for the bands to make a name for themselves? Were these samplers good things to introduce newer bands for the fans?
- Yes, it was definitely a good was for the bands to get known, Metallica and Slayer and bands like that, as you know, first made a name for themselves on "Metal Massacre". But to be quite honest, some labels like New Renaissance seemed to release anything regardless of quality. Let’s be fair, there’s a lot of mediocre bands on the "Speed Metal Hell" series.
Which year was the best for metal and why?
- I think 1984-85 because it was just so fresh and original. And all these bands that came out – the first Exodus album, Megadeth, Dark Angel, Possessed, Hirax etc. It was just so powerful and it was almost like they were trying to outdo each other in intensity! The NWOBHM wave, that was a little earlier, was also pretty amazing to my ears, the lesser known bands like Blitzkrieg or Bullet were easily as good as let's say Saxon or Tygers of Pan Tang.
What do you recall of the fanzine world of the 80’s as a whole? Blackthorn, Shock Power, Deathfuck, Violent Noize, Kick Ass Monthly, Metal Mania, Headbanger, Aardschok to name a few…
- Some of them I don’t know, but for me – Metal Mania and Kick Ass (Monthly) was the best and also most original. Bob Muldowney, who sadly passed away, was a really good writer, I think he basically started that whole thing about "posers" on the metal scene. Some European fanzines that weren’t put out by native English speakers, were quite poorly written I think, and difficult to read. That’s my view anyway.
Was it a kind of impenetrable scene? I mean, there were a very big amount of fanzines, as every day or week popped up a new one…
- Definitely – there seemed to be a couple of new fanzines popping up every week during those years. It was really great.
Because of the big amount of fanzines, was it hard to pick up fanzines for the fans/collectors?
- No, it was really easy – all you need was a postal address, and people used to send cash back and forth in those days.
What is/was the importance of the fanzines in your opinion?
- I think it’s really important, it’s written by fans for fans. Nobody were in this to make money, it’s purely a labour of love! I still read fanzines on a regular basis, maybe not in the metal genre, but still to this day. And as us old fanzine publishers used to say – the pen is mightier than the sword!
During the existence of Metallic Beast did the staff remain constant or were there guys that got out of the fanzine and others joined instead of them?
- Yes, kind of of, early on it was just me, then a guy called Jacob – who later committed suicide sadly... Then my friend Ole Kirk, who I’m still friends with to this day. There was some US writers who contributed, like John Fetters from Heavy Metal Onslaught out of San Mateo, California, and a few others.
What about the prime cost of the certains issues?
- Like I said, with the first issue there was no cost, and I can’t really remember the cost of the other issues, sorry. Everything was cheaper back in those days anyway.
Were all of you satisfied with every Metallic Beast issues?
- No. 1 I thought was quite fun because it was the first, I took the photo for the cover in Witch Cross’ rehearsal room and developed the film myself and did the print at school. No. 2 I thought was a strange mix of bands, so I don’t like that one so much. The photo of the cover of Artillery is really cool though. But they last two issues I thought were quite good, or so people tell me.
Why and when did you stop doing Metallic Beast?
- I stopped after No. 4 in 1987, I had gotten an apprenticeship as a typographer, and my parents divorced, so a lot of things were happening in my life and I didn’t have the time to do it anymore. I tried to do No. 5, and had some of it done, but just couldn’t manage to finish it unfortunately. Also I had gotten really into punk rock and skateboarding after spending the summer of ’87 in the US. For me the crossover thing was at first quite interesting, but then I totally lost interest. The metal bands were trying to incorporate punk into their material, and punk bands like Discharge, English Dogs etc. were trying to be metal. It just turned really bland and utterly uninteresting. I think either you’re punk or metal. To this day I still don’t like mixing of musical styles, like when Metallica were trying to be rock and doing Lou Reed songs or whatever. Who are they kidding? They will always be a metal band, it’s even in their band name... Or the whole funk metal – rap metal or whatever, a really bad idea! Nu metal is something I really don’t understand, it sounds really bizarre to my ears.
Tito Matos (Wehrmacht/Spazztic Blurr), Peter Markham &
Bill Crooks (Cryptic Slaughter), Portland, 1987.
Did you go on writing for other fanzines/magazines?
If so, in which magazines/fanzines did you take part?
- I wrote for a Danish fanzine called S.C.U.M. (Some Call Us Maniacs), it was done by John Kluge, who was the manager for Artillery. And I wrote for Metal Mania and Heavy Metal Onslaught like I mentioned before, and maybe a few more that I can’t remember. After a few years of not writing, I then joined Moshable, who was done by Lars Krogh, I published the first article he ever did in Metallic Beast No. 2 (an article on Kim Sixx). It was originally and metal/punk crossover fanzine, but evolved into a garage punk/rock’n’roll fanzine and lasted up until 1999. In 2011, I started writing a little bit again and I still occasionally write for fanzines – most recently Ugly Things, which is dedicated to forgotten underground 60’s garage punk.
In your opinion, did the scene become oversaturated at the late 80’s/early 90’s? How did you view the grunge, pop/punk and nu metal scene later on?
- I think you can compare the grunge wave to the thrash metal scene. The mainstream and major record labels didn’t give a shit about that kind of music, until bands started selling hundreds of thousands of records. After Metallica got big and toured the US opening for Ozzy, they signed everything that sounded a little like them – Metal Church, Flotsam & Jetsam etc. The same goes for grunge, when Nirvana got big anything that sounded remotely like them got picked up by the major labels, they couldn't tell the difference between Alice in Chains and Mudhoney. The same goes for pop punk, I saw Green Day on their first European tour and they would hand silk screen t-shirts before shows... that’s how DIY they were. Nu metal I know nothing about, I found it utterly boring and uninteresting...
Are you still proud of Metallic Beast these days?
- Yes, I am – even though I don’t have anything to do with metal in any way, it was a fun time in my life. I listen to Sabbath or Motorhead at times, that’s about it, and sold all my metal albums and tapes years ago. I’m really into early Deep Purple, when they had Rod Evans as the lead singer. English bands always played a lot in Denmark, also in the 60’s – the first Deep Purple concert was in Denmark, when they were called The Roundabout, and also the first (or one of the first) Led Zeppelin gigs, when they were known as The New Yardbirds. I am still an avid record collector, so I sell and buy, sort of to fuel the addiction! My collection is always revolving, getting new things and getting rid of things I don’t listen to anymore.
Who are/were your best friends from the scene? Are you still in touch with them?
- I still write with people from the California metal scene like Ron Quintana and follow whatever Katon De Pena from Hirax is up to. And some of the guys from bands Cryptic Slaughter and Wehrmacht, and I’m contact with Esben from Blackthorn/DesExult, since we're both in advertising. I think that’s about it.
Do you often read webzines? What do you think about them?
- I really like them, I would say I’m more into podcasts, but I am old school, so I prefer my magazine to be printed on paper.
Do you still keep an eye on what’s going on in the underground? How do you view the scene these days?
- No, I can’t say that I do, I am into other musical styles nowadays and have been so for many years now. I think it’s great people are interested, for me it was very much a period of my life, and a thing of the past, and I don’t really need to revisit it to be quite honest – been there, done that.
Peter Markham DJ'ing, Club Mau Mau, Copenhagen, 2009.
Do you often go to concerts, festivals these days?
- I have been to one metal show – in say the last 15 years – it was Venom with Niflheim opening. I actually thought it was quite horrible – I mean I saw Venom – at their prime in ’85 with Exodus opening. I actually wanted to go to Copenhell earlier this year, because Mercyful Fate were playing, and I was really into them growing up – but that got cancelled because of the pandemic. I’ve seen Mayhem and Slayer and bands like that at festivals, if I was passing by, but it’s not something I would go out of my way to attend. I don’t think I would see Metallica live, even if somebody would give me a free ticket. I saw them with Cliff Burton, and I think they’re so far removed from what they once were.
In your opinion, did the mp3 files/downloads cause a lot of troubles, problems, harm for the metal scene?
- No, I think the present time is the best time for music, even though I am a big record collector. You can listen to whatever music, from any time, anywhere you want. I am not a musician obviously, but if you make music, I assume that it would be in your interest that as many people as possible can hear it, not just a select few. Never underestimate the urge to own the real physical product though!
Peter, thanks a lot for your answers, what are your closing words for the Hungarian readers?
- No – thank you – it's been a pleasure! If you have any interest in obtaining a copy of the last two issues of Metallic Beast – I am selling the remaining copies I have on eBay. I’ve never been to Hungary, but have only heard good things about your country!
Interview with Julien (Thyr)
(Iron Flesh, Agressor live session)
Interview with Juliano and Marcos
Hail my Brazilian brothers, first of all I would congratulate to you both for the new LoneHunter-song, called War (The Fields of the Great LoneHunter), I listen to a lot of times, excellent one. How many tracks you were written yet for LoneHunter-debut and when do you plan to release it?
Juliano: Wow brother, thanks for the kind words. You were certainly one of the first to hear it and in fact you didn't hear the full track, just a rough mix. There are some details in the final edition of the track that in our opinion make it much more epic. “War” was the first track we started working on after “Beyond the Portals of Death” was released and it’s probably my favorite LoneHunter song. Basically, it tells a story and I believe that the atmospheres created by the instrumental fit perfectly with what is said in the lyrics. All the harmonic chaos created by the instruments, the changes in soundscapes, the incessant and unpredictable movement and all the textures of tones in it’s almost twenty minutes of duration make it very rich to my personal taste. It will probably be the title track for our next release. Personally, I would love to release it as a split with the Swedish band Eigenstate Zero that I love and that I met thanks to an interview at Archangel’s Lantern. Chris is crazy enough to also make long songs like us LOL. Imagine a split with a song from each band and about forty minutes long, it would be colossal. Unfortunately, Chris has other plans in mind. We already have several other tracks and ideas at various stages of progress planned for an upcoming release. Unfortunately, the current pandemic has changed the routine and plans of many people. Our idea was to start doing shows now in 2020 and to release our first album in early 2021, we already had the first date confirmed but our planning went to dust. To keep things warm we talked about the possibility of releasing another EP in the beginning of 2021 and thereby closing a cycle.
Marcos: We are working in two new tracks now. Unlike the music just released (War), they are more direct songs.
Juliano: Well, if I would review our work I’d say:
Preludium - What The Moon Brings: It’s an instrumental introduction that starts with a piano and choir in a vibe that is both classic, simplistic and disturbing and evolves with the addition of guitars, bass drums and keyboards for something more bombastic. The title is from a short story by H.P.Lovecraft and if you know the work you should listen to the track imagining the sunrise and what it brings with it.
Under Raven’s Shadows: A track that like a punch in the face already shows most of the elements found in the band's sound. Two vocals, old school Death Metal guitars, keyboards present as an element as important as guitars and sound variation. There is a riff on that song that is purely Nocturnus and that We love. The lyrics are about death from the perspective of the poem "The Raven" by Edgar Allan Poe and how a man or woman can surrender to irrationality before the greatness of the lone hunter with a thousand eyes.
Interludium – Face Your Fears: This is a track created by Marcos and has a Dark Ambient vibe, something a little cinematic I would say. I think it works very well as a divider between the preceding track and the succeeding song. This track has the same vibe from some old Scott Burns productions.
Eternal Time: That was the first track that we started working on LoneHunter. It was kind of a lab to test the limits that we would explore in the band and started as a re-reading of a track created by Marcos when he was still playing in another band called Immortal Majesty in the 90s. It starts out more raw and cold and evolves to finish in a guitar riff half Deicide, half Luciferion covered by a keyboard trip that tries to create something in the vein of a Nocturnus track called Artic Crypt. The lyrics are about how the brevity of the time of a life can be insignificant when placed in front of the vastness of eternity that the concept of Death brings with it.
Postludium - Beyond The Portal’s of Death: An instrumental “outro” that shows a slower and morbid theme, as if it were the soundtrack that prepares the revelation of the mystery that lurks behind the veil in the fields of the great lone hunter.
LoneHunter made two brilliant covers from Bathory (“Call from the Grave”) and Bolt Thrower (” The Forth Crusade”). Share your thoughts about it. Do you plan to make new covers in the near future?
Juliano: Thank you for the words. The Bathory track that is part of the Brazilian tribute made us very satisfied, unfortunately some mistake that was not ours and that we in the band cannot explain, made the track was put in the album come out much faster than the one we recorded and it was very frustrating for us. If someone has a first contact with LoneHunter through this cover, they may have the wrong impression about us. It was our intention that the Bolt Thrower cover would be part of the EP "Beyond The Portals of Death", Karl Willets himself supported us in that decision, but the record company that owns the music rights did not allow us to do that. In addition to these two covers that you mentioned, we did a version for "For all Those who Died" also by Bathory that would be part of a Mexican tribute and that will probably never see the light of day, and a version for "Cryonics" by Slayer that is on tribute released by Antichrist Magazine. We love working on versions of songs created by others and giving our own face to it. Now it's time to focus on our own compositions, but we've already talked about the possibility of playing with something from Death, Merciless, Pestilence, Black Sabbath, Obituary, Insane Death .... some we discard, others, well wait and who knows ...
Brother Marcos you unleashed an awesome solo-project namely Dark Kingdom and I must say the song “Echoes of the Night” you sent me to listen to it, a great job. Tell to the readers all the important information of Dark Kingdom please.
Marcos: Thanks for the kind words, brother.
I created the Dark Kingdom logo at the early 90’s and the idea was kept for several years. I am always creating arrangement and this year this kind of song starts appears in my mind. I like very much of working in different ideas.
LoneHunter goes to one direction. Dark Kingdom, Masturbator and Pesticide goes to another.
I will release a new song this year.
Marcos, what is the current situation with other hordes, you are playing or played back in the day as Masturbator and Pesticide?
Marcos: My main horde is LoneHunter. I play in Masturbator and Pesticide too. Masturbator is an old school Brazilian death metal band formed at 1987. It was the first band I saw playing live at 1990, in rehearsing. Old friends! I join forces with Masturbator at march’2019 and we played live in two local festivals last year. We are finishing the recordings of the first full length album. It will be released in Extreme Sound Records.
Pesticide was a splatter grind death metal I started at 1990. It was a project only with bass with distortion and drums. André play drums and me, bass. We recorded 2 rehearsal demo tapes. At 1994 we changed the name to Cauterization and recorded a rehearsal demo tape and stopped the activities. I started to play at Immortal Majesty and Cauterization never played after this. I played in Immortal Majesty for one year and left the band because of personal reasons.
Last year André and I started to play again and compose new songs. We want to release 8 songs next year.
Because there is another band called Cauterization we choose Pesticide for the return of our activities.
I played in the Funeral Serenade band too. It was a project with former members of Sex Trash band. I compose the song called Extintion and participated of the creation of 2 another songs. It was for some months and I left the project this year.
Brother Juliano you mentioned in our first conversation that you were invited to do the keyboards to Mr. Ed Mowery’s great band Tiwanaku. What should we know about that cooperation?
Juliano: Well… Yes Ed called me to the keyboards and I have to say that this was a bit of an unexpected honor. Ed was part of Nocturnus and honestly, being invited by a former member of one of your favorite bands to be part of a project is kind of surreal. The first album will have special guests that were part of bands that I have always admired like Death, Carcass, Cannibal Corpse, etc., that means that the whole thing is even crazier lol. BUT .... the fact is that I have a job that takes me more time than I have and I have a bad habit of making more commitments than I can and that would not give me enough time to do the job that the quality of the band would demand. In addition, the issue of distance is another factor that hinders the necessary logistics. Ed got an old friend to do the keyboards and he will continue with Tiwanaku. Ed had some personal problems that delayed plans a lot, but he is a great guy and managed to get things sorted out and get the train on track again. Soon news will be revealed and the material is getting great.
Juliano in our private conversation you told me you started a Dark Ambient project. Let’s talk about it.
Juliano: Yes, I have a lot of composed stuff that wouldn't fit in LoneHunter’s music and that I'll use in another approach, something more Dark Dungeon / Ritual Ambient music. This material will have a more "religious" connotation, let's say and it will be something very personal. Let's say that certain things that I believe and that deserves to be glorified will be in a sonic format. This project will be named as my old zine "Crypt of Eternity" and my intention is at first to finish five compositions.
What are your favorite albums from 2019 and 2020 yet? (from Brazil and Worldwide)
Juliano: Brother I get a lot of new stuff every day to review in Lucifer Rising Magazine and a lot of things always catch my attention. There is a lot of old school Death Metal band that has caught my attention. I will name a few but I am sure I will forget a lot. From Brazil my favorite band at the moment is OPEN THE COFFIN, which is composed by a former member of the Brazilian band INSANE DEATH, I recommend to all of your readers that try to know these two names.
Bands and albums that caught my eyes and ears recently were:
Necrot - Mortal
Bismarck - Oneiromancer
Come Back From The Death - The Rise of the Blind Ones
Cursed Blood - Taker of Life
Eremit - Desert of Ghouls
Innards - Back from the Grave
Sensory Amusia - Bereavement
Sepulchral Curse - Only Ashes remain
Troops of Doom - The rise of Heresy (Keep this name, they will be giants one day)
Trident - North
Undead - Existential Horror
Wobbler - Dwellers of the Deep (a Dark Progressive band that I love) etc, etc, etc.
Which are your favorite books/writers/poets and movies/actors? (Brazilians and others)
Juliano: Anything and everything from Master H P Lovecraft, Edgar Allan Poe, Neil Gaiman, Clive Barker, Isaac Asimov, Douglas Adams, Michael Moorcock, I have tons of old science fiction anthologies from all over the world in my library. A friend named Mimi Zanetti just founded her publisher "Carcosa Editora" and through her I met an author named Anthony M. Rud very unknown and I'm in love with the guy's style.
I'm totally in love with sci-fi movies and series, things like the Star Trek franchise, Sliders, Fringe, Twilight Zone, Amazing Stories. Currently two of my favorites are Lovecraft Country and The Boys.
Do you have any special hobbies besides creating music?
Juliano: I work a lot and in fact I am a bit addicted to it and my spare time is very limited. I love to write and I have several short stories written. Besides music, my other passion is books. I actually spend a lot more of money on books than on albums. Science fiction, art, history and mainly philosophy are my main topics.
I also have two daughters and I love spending time with them. My oldest daughter has a very different mentality and I love to discuss philosophy and things like that with her.
Obrigado/Thank you very very much, brothers! Send some thoughts to complete this interview.. Hail LoneHunter and Total Support!
Marcos: We want to thank you for your time, brother! For this interview and all support your give to us.
Juliano: Thank you brother for all the support. Your work to the underground is priceless.
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