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Enslaved - Vertebrae
 Enslaved are perhaps one of the most legendary Viking Black Metal bands to hail from the great frozen north of Norway. On this offering to the nine worlds, Enslaved consists of: Ivar Bjørnson (guitar, keyboard), Grutle Kjellson (bass, vocals), Arve Isdal (guitar), Cato Bekkevold (drums), and Herbrand Larsen (keyboard, vocals). They appear to be making a progressive turn in their songwriting. How does this fare for Vertebrae?The opening of Clouds was different that what the likes of Frost (1994) and Isa (2004) (my two favorite Enslaved pieces) primes me for. However, they seemed to be able to make it work. It had its weak points; but overall, it succeeded. The rest of the album really reaches fir and grasps the part of me that leaves me truly enslaved (pun intended) to their sound. You can feel the icy waves around the Arctic Circle in its crystalline purity -- sometimes violently crashing around you; sometimes flowing to a smooth current. Much of this album reminds me of why I am a fan. Despite my swooning, there were moments I could not even force myself to like. Every now and then, a song would turn into what I can only liken to American post-grunge. I cannot stand American post-grunge. These parts would have been easily fixed by using more full, deep, operatic "viking" vocals. Despite this drawback, I very much enjoyed Vertebrae. I give this mighty release three and a half stars.   Enslaved's website Enslaved's MySpace profile Labels: cd review, music, Skot Behemoth - Ezkaton  Behemoth is widely known in the metal genre as being an unrelenting force of brutality and darkness. Hailing from Poland, Behemoth are an utterly vicious torrent of aggression to be reckoned with. On their new ep, Ezkaton, Behemoth is: Adam "Nergal" Darski (vocals, guitars, synth), Patryk Dominik "Seth" Sztyber (guitars), Tomasz "Orion" Wroblewski (bass), and Zbigniew Robert "Inferno" Promiński (drums). Like their last ep, Slaves Shall Serve, Ezkaton is comprised of 2 original studio tracks, 2 covers and concluded with live tracks. While last time they chose to cover Fields of Nephilim and Danzig, this time out they're covering Master's Hammer and The Ramones. (There is also a Misfits cover on the limited edition box set edition's 7" picture disc vinyl.) As their in-between album ep's go, this is a formula that works for them. Now, how did it turn out this time around? This is not Behemoth at their best. Chant For Ezkaton 2000 e.v lightly rips open the offering, whetting my tongue for Qadosh to get me moving. Jama Pekel (jam a pickle!) moves at a good pace but I cannot keep from laughing. The live tracks are what they are. On a whole, it seems their pace and hostility has waned some with this ep. It could be a bit heavier. It is not quite the frontal assault we've grown to crave. Behemoth set a standard and need to either meet it or excel beyond. I have a hard time using the word brutal and this ep in the same sentence. I can only hope they get some of their vital aggression back before they write and record the next one. I can only afford Ezkaton two and a half stars. They can do better. Behemoth's website Behemoth's MySpace profile Behemoth's YouTube channel Labels: cd review, music, Skot Cradle of Filth - Godspeed On The Devil's Thunder  Cradle of Filth are a melodic black metal band from England. On this release, they are: Dani Filth (vocals), Paul Allender (guitars), Charles Hedger (guitars), Dave Pybus (bass), Martin &0138;karoupka (drums), Rosie Smith (keyboards), Mark Newby-Robson (keyboards), Sarah Jezebel Deva (backing and female operatic vocals), and once more featuring the guest narratives of the legendary Douglas Bradley of Hellraiser fame. Cradle of Filth return from the lighter and more accessible sound they embraced with Thornography and Nymphetamine to their more traditional, black metal influenced sound in Godspeed..., much to the delight of their core fan base.The Blood This is a concept album about fifteenth century serial killer Gilles de Rais [Wikipedia article]. We all remember the last time they did a concept album about a famous, historical nutter, right? Cruelty And The Beast was an epic masterpiece! They were thinking right in going with that formula again. Godspeed...is indeed masterful. It is Cradle of Filth true to form once more. The guitars get good and fast when they need to and carry truly dark melodies throughout. I will likely learn a couple of these to warm up with. Dani gives a better vocal performance than he has for a couple of albums, but what caught my ears the most was an increase in Sarah's involvement. This is something fans have been asking for for some time. The Piss While I am indeed gushing over their return from more pop-inclined realms, this release still has a few down sides. Dani Filth still is not hitting the ear-piercing highs like he used to. I'm not one to beg for a screeching cat fight, but it is his signature. There has been some speculation that this is the result of Roadrunner Records influence. It sure seems in line with RR's behavior in the past. They seem quite partial to bringing mainstream moderation upon once extreme acts. Douglas Bradley's narratives are always good, but these are not up to his usual par. Perhaps it is in acting as de Rais, different from previous 'voices' he has been, but they seem more to the cheese than his past performances with Cradle of Filth. Finally, while all of the above I've said about the guitars hold true, there is still too much Maiden and not enough black metal in the riffs. Oh, Gian Pyres, how we miss ye. The Judgement This is a step back in the right direction. Cradle of Filth should not and never be a Hot Topic-friendly, emo-pop accessible band. They should be bitingly violent while cruelly beautiful. They should not be the beloved of 13 year old, neo-mullet wearing mall-goths. The music should not be MTV-friendly. This album is a drop of hope that Cradle of Filth can resist the influence of Roadrunner Records and stay true to who they've always been. Godspeed On The Devil's Thunder belongs with the elder releases in regular playing rotation. While it is not Dusk..., or any of the Gian-era releases for that matter, it is exceptionally better than their recent offerings. I give it a nice four and a half stars. Cradle of Filth website Cradle of Filth MySpace profile Labels: cd review, music, Skot Ceremonial Castings - Salem 1692  Ceremonial Castings is a melodic black metal band from Washington consisting of Jake Superchi (Lord Serpent, guitars & vocals), Nick Superchi (Old Nick, keyboards), Matthew Mattern (Bloodhammer, drums). According to their Wikipedia entry [link], Salem 1692 is a concept album about the Salem, Massachusetts witch executions in 1692CE. Lord Serpent and Old Nick claim to be descendants "...of the late Judge Ha(w)thorne...," a judge who presided over the trials. Meh.The Good The guitars carry their melodies quite well through the traditionally fast black metal riffing. The growled and screamed vocals are perfect for the atmosphere created by the music. Ceremonial Castings does a good job of mixing violent black metal with touches of epic sound and moments of moving slow-downs. The Bad Still, there were drawbacks to this release. The keyboards of "Old Nick" are adequate enough as background filler, but are mostly uninspired. The clean, operatic vocals, both male and female, sound hokey and forced. They feel more like an homage to other, more notable bands than an attempt to make their own mark. The Verdict Overall, Salem 1692 is listenable, and even enjoyable, if rather unoriginal. It stands up on its own but does not reach the anything exceptional to stand out from the very crowded barrage of melodic, symphonic black metal being released. I cannot justify giving this release more than three stars. Ceremonial Castings website Ceremonial Castings MySpace profile Labels: cd review, music, Skot From Darkness To Disgust: A History of Morpheus Today, the 17th of October, 2008, marks the official 11th anniversary of the inception of Morpheus, a band that was permanently put to rest a little over a year ago. In honor of this date, I am going to give a brief history of the band, as I remember it. While I began making "music" (mixes of brief necrophiliac songs interspersed with am radio noise and samples) under the pseudonym of Morpheus in the Summer of 1997, a few months prior to the October 17th birth date, it was on the official date that I invited John Ellis, Jr., aka. Spanky Payne, then going by the stage name False Einstein, (so named for a particularly prided lack of intelligence) to join Morpheus and form a real band. Let me begin a little further back. For a little over a year, I had been playing guitar in a two-person industrial metal band called Caution with vocalist and keyboardist Soulburn. In the summer of 1997, around the same time I started a solo side project called Morpheus, Soulburn and I decided to open up to other members. John came in on bass, friend Josh Meighan joined as an additional guitarist, and Kyle L'Esperance was being courted as a possible drummer. We'd practice a small set and booked ourselves a Battle of the Bands style gig. The night before the gig, Soulburn decided he did not want to do it and dissolved the band. The rest of us decided to start a new band Flail Chest. After a few months of practice and song writing, we booked a girl's birthday party as our first gig. This was the infamous October 17th set that is considered to be the first Morpheus show. No members of Flail Chest showed up aside from John and myself. Determined to still carry on, we played our set just guitars, vocals and bass with numerous samples and much destruction. That night, angry at everyone else, we ended Flail Chest and I invited john into Morpheus.  While Necrosex is the eldest Morpheus song, having written it prior to John joining, the first song we wrote together was Chastities. I wrote the music and we wrote the lyrics together. Chastities was a heavy but slow tribute to a quite promiscuous friend of ours, Chasity, whom was in possession of rather pleasing endowments. That theme of sexual deviance soon mixed with gothic overtones, destructive tendencies and a strong anti-Christian sentiment to create the original Morpheus sound. Musical styles ranged from angry punk to simple thrash metal and experimental industrial. This sound lasted for the first few Morpheus cassette releases Systematic Release {1997), Abyss of Lust (1998), and el Nino de Luzbel (1998). Between 1997 and 1999, we played many small house-party shows for tiny crowds and amassed a reputation for utter destruction, crowd abuse and pure sadistic fun. Inspired by the ineffable GWAR, we took stage "slaves." These 'slaves' were fans who would come up on stage and beat each other up while we played. We would also abuse them. They were typically led by a female slave who would go by the stage name 'Dead Angel'. The most memorable incident was when we created a large wooden cross, laid it on the ground, littered broken glass over it and tied a slave down on it. We proceeded to spit and bleed on him. Our stage acts would lead to us being banned from playing all over town and picking up a reputation. Between 1998 and 1999, John dropped his second stage name, Anal Buttfuck, and began going by the moniker he would hold on to, Spanky Seamen Payne.Somewhere in 1999, we picked up drummer Wharg0ul and recorded the final, heaviest and best version of Chastities to date and a thrash piece called Fuck You. Eventually, the Wharg0ul moved west and things slowed down. We didn't record again until 2000. The first year of the new millennium was a transitional period for Morpheus. The old sound was left behind and we explored noise metal and relentless thrash sounds. A CD-R demo release was recorded featuring the beginning of this direction, and later a three-way split CD-R with CHUNK and Insane Brutal Nonsense solidified it. Between 1999 and 2001, Morpheus passed through so many changes in attitude and sound that it was barely recognizable as the same band anymore. All measure of darkness left the feel of the music, being replaced by chaos and depravity. In 2001, John and I picked up an off-and-on former member Peter "Spaz" Bolster (Peter Belial of Torrents of Death) to make the rotation (no one had an assigned position; we all switched around) three. We booked ourselves a Battle of the Bands style gig and, the day of the show, Peter had to leave for a family emergency. On the spot, we convinced local kid Ben Bushman to fill the shoes. The set was fun and chaotic. Ben practiced with us a few times but eventually lost interest and faded out. That's where Rob The Dead came in. Rob The Dead had been in local thrash/grunge band Twisted Chaos and had some drumming experience. He took the helm and rounded out what would be the definitive Morpheus line up for the next five years. We wrote a slew of new songs, played loads of local shows and had a lot of fun. Though we did the switching act for most of the time, I began spending the bulk of time on guitar, Rob with drums, and John became a front man. We played the first Punk in the Park mini-festival, organized by The Scams guitarist Mike Wierzbicki (now Mikey X of Fight Back). Toward the end of 2001, Morpheus came to a screeching halt.  Growing personal problems between John and myself culminated in a heated argument, resulting in John declaring the band broken up. In the months to follow, John started various side projects with Rob and the denizens of John's house, the infamous 107 Granger. It was in this period that Rob formed Psychotic Assault with Matt O'Brien. I played a "More Fee Us" set with a returned Wharg0ul on drums consisting of a few Morpheus songs reworked into death metal and a pair of lengthy death metal jams. My most notable project in that period was a blackened death metal three-piece called Black Chapel. This consisted of myself, Peter Belial and Wharg0ul. While we never played any gigs, we had an ep's worth of material written and practiced. Eventually, Wharg0ul moved west again and Black Chapel dissolved. In the summer of 2002, as I got ready to move to Burlington, VT, John approached me to reform Morpheus. I agreed and we did so just in time to play the second Punk in the Park mini-festival, this time organized by Tommy of Send More Cops. We played many local and backyard shows. Most notable of that year was the Halloween set played in the local parade on a dolly attached to a pickup truck. We were powered by a loud gasoline generator and went crazy. This tradition and pattern continued for the next few years. Each year was highlighted by the subsequent Punk in the Park sets (which John and I were organizing) in the summer and the Halloween parade. I had moved back to Rutland, VT and John moved out to Grafton, VT. In 2006, we picked up bass player Mike O'Holic, also of Broken Mindz. Practices and shows became few and far between. Spanky started forming side projects, Rob began focusing more on Psychotic Assault, and I eventually joined Psychotic Assault. This caused a lot of tension between John and myself, he reacting with jealousy towards the decision. I eventually began paying a lot more attention to Psychotic Assault as well, itself being a much more organized and active band, perhaps justifying some of the jealousy. The final Morpheus show took place on November 10th, 2006 in Gloucester, MA at The Art Space with The Jabbers and the Jonee Earthquake Band. John did some speed with The Jabbers before the set and Mike was good and drunk. Rob and I played a relatively tight set but, for the most part, John's vocal timing was far off. Incredibly angry, Rob and I decided that this just wasn't worth it anymore. For the next month we bounced around the idea of ending Morpheus. Personal differences between myself and John were mounting again. Eventually, it came to a head and John once more broke up Morpheus. This time, I was resolved to not go back. Morpheus had been dying for a long time and needed to be put to rest. It was over. It was one hell of a ride, but it could go no further. It is over. It will never be again.I would like to take a bit to thank those who helped us out in some way over the years. First and foremost, I want to thank John and Rob. After that: Whore-God the slave, Dead Angel (all of 'em), Josh Macabre, Jock Itch, Kyle, Lucy Skullfukkr, the whores of Hatezine, Wharmaster, Soulburn, Heidi Fallen Angel, Alex Balls, Mike O'Holic, Broken Mindz, Send More Cops, Jonee Earthquake and his band, Thorn, Mikey X, The Scams, Forest, Klara Raven, Flowers In The Attic, Josh Larose, all the bands we've played with, all the slaves we've beaten, all the people who've drank with us or blown us, all the groupies and fans we ever had and anyone who ever came to our shows. You made the ride what it was. Thanks. RIP. Morpheus b.1997 d.2007 "I am the nightmare." The Official Morpheus Website Labels: Editorial, music, Skot, wolves What's To Come Over on MySpace, I noted the ep Noctis would be coming up next. Noctis has been pushed back and the next release will be the ep Scripture. Let me clarify. Over the past two years, I’ve been working on four vastly different MP3 EPs simultaneously: Antithesis, Noctis, Scripture, and Posthumanity. Originally, I was working on Antithesis as a full length but ended up writing in a few very different styles; so much so that there could not possibly be any cohesive feeling nor continuity to the release. Thus, I split it up into a collection of eps. Antithesis itself was the first finished and released late last year on MySpace, Amie Street, MP3.com and as a torrent via Pirate Bay’s tracker. The next in line, as above mentioned, is Scripture, a mostly instrumental soundtrack for a vacation in Niflheim. Early next year will see the release of Posthumanity, an industrial depravity, and Noctis, a dark and sullen gothic rock bit. I’ve tossed around the idea of a cover ep after that, but we’ll see. I toyed around with covers of three NIN songs (last having been offered on MySpace several times), one Ministry track and some Bauhaus. Who knows? Mountain Horror Once upon a time I decided to make some of the darkest, most desolate low-key lo-fi black metal I could muster. I wrote a few songs and called it Mountain Horror. It did not last and the songs fell to the wayside. The idea slept, frozen in the grimmest ice of a dark glacier in the blackened back of my head. Today, it has emerged, more depraved and desolate than ever. Thing is, I don't need another band. I am in Psychotic Assault/Violent Decay (or whatever the name is now) with Rob and I have Torrents of Death. Perhaps those songs would work in Torrents of Death? There is no set sub-genre really; it is just metal. I just may do that. I just may... go listen to some Gallhammer and DarkThrone. Labels: Editorial, music, Skot, wolves Deathcore Is Impotent I'm so tired of this deathcore bullshit. Every band and their groupies want to be deathcore and completely avoid the innovation and originality brought forth by the earlier death metal movement. Single-chord 'breakdowns' were fun that time Pantera did it. Since then, its been the same mindless copying over and over again. Why bother trying to write something of your own when you can just imitate everyone else and draw a crowd? (We all know how much the herd loves impotent songwriting.) This could be why I've grown so sick of the local scene. Bands who actually have their own sound are few and far between. I have better things to spend my money on than another cover band relabeling songs as their own. Labels: Editorial, music, Skot, wolves He Gave Us The Slip  Trent Reznor is back with another new nine inch nails release. This time, as a gift to the fans, the entire album is free to download. Again, as with Ghosts, it is 100% Digital Rights Management (DRM) free. Unlike Ghosts, however, this is a traditional NIN release -- vocals and all. I spent some time with The Slip to see how it struck me. While I support Trent and his newfound freedom wholly, his last few releases haven't held up to the first 12 halos [link] in my ears. The instrumental track opening this release up, 999,999, is a a neat, little piece of atmospheric synth play. 1,000,000 kicks in nice and distorted, albeit with Trent's more recent upbeat melodies. It is nice to see some of the familiar droning sounds filling out the soundscapes. Is that a hint of breakbeat in Letting You? Discipline reminds me why Trent is so damn good at writing about obsession. Echoplex is an interesting sound, like his own personal escape chamber. Lights In The Sky is a soft, poignant dream swirling downward into oblivion. Paired with the instrumental piece Corona Radiata, this is easily one of my favorite portions of the album. The concluding section of this release is a nice, dark wrap-up of an all around great recording.The Slip fails to capture the aggression of old NIN, but makes up for it with solid and tight compositions. All in all, this is a strong release. It stands above the rest of the post-Closure era and is a right solid set. The Slip shows both Trent's maturity as a song writer and the forward progression of his style. This will be on my mp3 player for some time to come. A Look at EnergyXT2  In my gear list, [>link] you will see I own a couple Behringer products. I'm a fan. The UCA202 USB Audio interface is a wonderful tool. As a consequence, I'm on the mailing list. The last such mailing has a blub about their new supported software by partner company xtsoftware [>link] called energyXT. This is supposed to be a full feature DAW, sequencer and mixer aimed at portability and low-latency performance. Anyone can download a limited version, but having the UCA202 made me eligible for a free license (normally around 31 bucks). I'm special.After spending a couple of days with this program, I'm impressed. I just wish the "compact" version didn't get so picky about how many waveform tracks I dragged in. Will it make me think twice about FL Studio 8? Not likely, at this point. It is, however, a light-weight, inexpensive alternative holding its own. energyXT is worth its cost and fun to tool around with. Labels: Editorial, music, Skot, tech Tucan Sam Never Knew: FL Studio 8  Image-Line has released the new version of its FL Studio audio creation program. I've been in love with Fruity Loops, as it used to be known, sometime since version 6; but I've yet to shell out (demo, sweet demo) for a full copy. FL 8 just may prompt me to do it.I played around with FL Studio 8 for an hour or so, setting up my fake drum kit and toying with the sequencer. Most of the application is the same. It opens with a default set of pattern tools, this version using a first run example song. One of the selling point new features in 8 is FL SynthMaker. This is a full-featured, modular synth generation environment. I am in love. Coupled with the Edison wave editor, SliceX drum loop slicer and re-arranger, the Fruity Limiter, and the flood of other smaller features make this version the standard in fully digital PC recording studio software. Gimme. Labels: Editorial, music, Skot, tech MP3: nine inch nails - Ghosts I Edit: 4p(GMT-5) 3 March 2008Nine Inch Nails has released the first of five volumes of new material, titled Ghosts, for free via torrent. TorrentFreak has a piece about it [link] as do Pitchfork Media [link] WebPro News [link] and a slew of other blogs and news outlets. This is a step in the right direction. While I have a deep love for physical media, (There's nothing like something tangible!) offering your music online at a price even the stingiest fan would consider reasonable with absolutely no Digital Rights Management (DRM) or crippling copy protection is a compliment to the fan and a hell of a strategy. DRM tends to be an insult against the consumer; an accusation of a crime that has not yet been committed. I am glad to see Trent Reznor showing his loyalty to his fans by giving his former label and their cronies a nice, fat middle finger. As of this initial publishing, I've yet to listen to the first volume. I have downloaded it, though, and am seeding on PirateBay's [link] tracker. The first volume consists of nine instrumental tracks illustrating the progression Mr. Reznor has come through from the early days. At times, I am reminded of the soundscapes created in the remix discs of the downward spiral days. Ghosts is, without a doubt, an interesting journey. Question: is this a halo? You can find it in MP3 format on The Pirate Bay here: link. It's posted by NINOfficial (presumably Mr. Reznor) and has this to say: Ghosts I is the first part of the 36 track collection Ghosts I-IV. Undoubtedly you'll be able to find the complete collection on the same torrent network you found this file, but if you're interested in the release, we encourage you to check it out at ghosts.nin.com, where the complete Ghosts I-IV is available directly from us in a variety of DRM-free digital formats, including FLAC lossless, for only $5. You can also order it on CD, or as a deluxe package with multitrack audio files, high definition audio on Blu-ray disc, and a large hard-bound book. G'on; check it out. Ghosts.NIN.com Labels: cd review, music, Skot Robot pr0n Former tech podcast producer extraordinaire Jeremy Williams has just made all of his podcast music available online. I don't know about you, but I'm a huge fan. PodcastFantastic MP3: Hot Chip - Shake A Fist Your average heatsink and fan won't cool this chipset.  Just yesterday, thanks to a WRUV (University of Vermont's radio station >link) dj played Shake A Fist by Hot Chip. This was my first exposure to them and I've listened to it a total of 10 times since. The track is a heavy-foundation, tribal-touched progression with light vocals drifting atop the seemingly 8bit-driven chaoscapes spiraling around the flow. I see how they got their name. I can picture those poor, poor microchips being pushed and up-clocked to the point of glow. The song gets its flow going pretty quick and moves on its lines until the very middle, wherein it all ceases. A man introduces the 'Sounds of the Studio' game and the song begins anew, stepped up to another level. This track brings addiction to new heights of single-song-repeat. While this song has been around their live set for some time, or so I've read, and living life on a 12" single, it's going to be on their new release, Made In The Dark, as well. I'll definitely be picking it up next month. Omnikrom.net is hosting an MP3 of it from the PagetteMusic blog, plus a remix. Blog Post | MP3 256kbps 8MiB MP3: A Sullen Wind Another new track has gone up on the MySpace profile [>link] today. This one is a soft soundscape titled A Sullen Wind and is likely to appear on the next Skot XV1 / IX / nine(9) project release Noctis Aetvrna. Go forth and download: mp3 6.7MiB 128kbps CBR 44KHz. MP3: She Won't Leave Me Alone Blues A new track went up on the MySpace profile [>link] the other day. It's just a simple, little blues tune with no vocals and no drums to poke fun at my girlfriend She Won't Leave Me Alone Blues. G'head and download it: mp3 4.4MiB 320kbps VBR 44KHz. Gear List With a complete lack of anything to really say today, I'm going to list my gear, insofar as music goes. If you care, keep reading; if not, fuck off. Hardware:
Software: 
I've got my heart set on a good list of additions to this list. I would love: Boss NS-2 Noise Suppressor pedal, Boss DD-3 Digital Delay pedal, some Shure SM57 and SM58 mics, Behringer UB802 EuroRack mixer, and the Image-Line FL Studio 7 XXL Bundle all registered and licensed. I think I'd like multi-input PCI recording hardware for my PC; but that sort of goes with a whole studio environment I am planning for my home. Are you bored yet? Perhaps I'll post some photos in Photobucket or Flickr later on.Edit: I added a screenshot. 22 Jan 2008 @ 1453(GMT-5) Dark Chapel The first time Morpheus went on an extended "broken up" hiatus, I started a blackened death metal band with former Morpheus drummer Billzebub and former Morpheus vocalist Pete "Spaz" Belial called Black Chapel. It lasted a little while; no shows were played, nor recordings made. Songs were, however, written. Pete and I were working on an EP's worth of material. At the end of Black Chapel, most of the songs were discarded (one later turned into Fuck New Hampshire, by Morpheus). That was pretty much that. I have recently come in to contact with Pete again. I have a crap load of metal in need of vocals that I've been hesitant to use with the nine(9) project / XV1 / IX. Can anyone guess what comes next? Black Chapel is back as Dark Chapel, (seems the name Black Chapel has been snagged up) a new black death metal project of pure evil and hatred. Who could ask for more? Keep your eyes open for an album soon and some shows in the spring! Dark Chapel website Skot XV1: Antithesis Just when you thought it was only old, out of print stuff... I'm giving the Antithesis ep away for free via Torrent through The Pirate Bay's trackers! download torrent 2007 six song ep industrial electronic 320kbps VBR 44KHz MP3 1 depths. 2 Deoxyribonucleic Breakdown 3 deconstruct 4 Tormentia 5 Recoil 6 Womb Download album artwork (zip archive; jpeg images, 300dpi)  Skot XV1: 2002 Demons torrent I'm giving the Two-Thousand and Two Demons demo collection album away for free via Torrent through The Pirate Bay's trackers. download torrent demo tracks from 2002. 320kbps VBR 44KHz MP3 industrial metal noise 1. sluggod 2. extra-sensory aggression 3. give (fearfuck) 4. slumberhell 5. frightmare 6. the seduction of an angel (you don't see me 01) 7. to come in chains (you don't see me 02) 8. the seduction of an angle (you don't see me 03) 9. human virus (placebo mix) 10. rest in the abyss 11. burning leaves fallen (prelude) 12. 13. paimon (unholy distort) 14. dead inside 15. cold 16. 17. pmon (epilogue) 18. digital luzifera Skot XV1: Blood Rites torrent I'm giving the Blood Rites album away for free via Torrent through The Pirate Bay's trackers. download torrent 2003 experiment electronic anti-rave 320kbps VBR 44KHz MP3 1 An Ascent To War 2 Norden Krieg 3 Diabolic Crescendo (Blood Sacrifice To Lilith) 4 Descent II (Deeper Still) 5 gRaverX 6 Opus Opiatus 7 Psycholatry 8 Schattengeist 9 Spanky (D)Evolved 10 Death Derivative Nightcast: The DigitaLucifer Podcast Don't get too excited, it's not done yet. This is just an announcement that there is a DigitaLucifer Podcast under production. It will include discussion on several DLNet topics, random bullshitting and music. Maybe some interviews as well. If anyone is interested in being interviewed, email us at * and tell us why you should be interviewed. I'd say the first podcast should be out within a month. Keep a look on this page. Interview with Vincent Crowley This interview originally appeared in Hatezine 2K and Spanky's Music Zine #2. Skot: Hi. How ya doin? Vincent Crowley: I'm doing very well. My life is being very productive. I am working on 2 music projects called "Wolfen Society" and "Crowley." My dark mind is always up to something.  How did the idea for wolfen society get brewing?After I put "Acheron" to rest, I decided to put together a band with people I have admired within the scene. It has manifested into something very special. Wolfen society is releasing a mini-cd called "Conquer Divine" on House Of Death Records (USA) and No Fashion Records (Europe). It will contain 3 original songs and a cover of Carnivore's classic hate theme "Race War". "Wolfen society" symbolizes hatred for mankind and all of the white light religions of the world. Pure fucking hatred! What will your Crowley project be like? It will be very different from all my other work. It is not metal. It is almost like listening to a horror movie. It is keyboards and vocals, with some samples. Some really eerie stuff. Very dark! It will be me on vocals and Aaron Werner doing keyboards and programing. All hellions will love it. What inspired you to start creating music? All my life music was a big part of it. My father and grandfather both played the guitar and keyboard. But when I heard metal for the first time, I knew I wanted to play it. Dark heavy music runs in my veins! Since this is for Spanky's Music Zine, I'm traditionally required to ask: do you like to spanky people? Of course. Inflicting pain is a good thing. Would it be possible to describe your career in Acheron with one word? "Unholy." What, to you, is vampirism? True vampirism is not biting people on the neck, although that can be quite fun, but by draining a human of their lifeforce. It is an ancient practice. It is magical and ritualistic. Only those of the "bloodline" know what I am talking about. Ia Tiamat! What do you think of black metal/goth hybrid bands such as Cradle Of Filth? I like some of their stuff. The music mixed with the keyboards is very interesting. Acheron played a show with Cradle Of Filth in New York and they were very cool guys. Do you have an opinion on the Thelemic/Pagan direction Morbid Angel has taken recently? To each their own. Trey is follwing the path he feels is right for him. "Do what thou wilt"! Morbid angel is a great band and they should follow their instincts. They have always been great guys to me. They deserve their fame. Could you puke up some of your influenzas? Sure... Mercyful Fate, Venom, Infernal Majesty, Celtic Frost, Destruction, Sodom, Bathory, Kreator, Judas Priest, Motorhead, Slayer, Black Sabbath, Ozzy Osbourne, Alice Cooper, Boyd Rice And Non, The Doors, Iron Maiden, Kiss, Morbid Angel, Danzig, Nine Inch Nails, Carnivore, Onslaught, and Kind Diamond. And now for my personally obligatory silly question: If you had a corpse sitting on your couch, what would you do to it? Depends if it was male or female. If it was a male, I'd nail it to the wall to look like Christ. If it was a female, I'd have a little fun!!! Ha ha Any last words, comments, or hatreds to spread around? Many thanks for the support. Keep a lookout for all my upcoming projects. Hail hatred! In blood.........Ad maiorem satanae gloriam! Labels: interview, music, Skot Old Grandad Interview So, how did you fukkrz get together? We must've been drunk. I mean, really fuckin' wasted. I can't think of any other explanation for why I'm hanging out with these two losers. I must admit, all I've heard is the OGD EP/San Fran666co bootleg album, but I sense a bit of "Undisputed Attitude" Slayer in your music. Am I far off when I say that's an influence? I wouldn't say you're far off. "Far out" maybe. Like, "Hey man, those drugs are far out!" Or another example might be, "Remember when we severed the limbs off of all those Christians? That was far out!" In terms of musical influences, there's a lot. Too many to count. Even if we could count.  In my review of that album, I wrote, "It sounds like Tommi Iomi being raped by a very acid-filled Slayer." What do you think of that?I love that comparison! Right up there with being compared to the sound of a pack of canabals. We do not like reviews that contain the following adjectives: beautiful, lovely, gentle, serene, wholesome. "Acid-filled" we like. What do you think of Morpheus (a local band most of the Hatezine staff are involved in) possibly doing a cover of your song, "Don't call me a Deadhead?" That's fine with us, as long as you force a deadhead to go to the show and tie him or her up on stage and be as abusive as fuck. Puke up some of your influenzas? Sabbath, Voivod, Slayer, Cheap Trick, Deadhorse, Melvins, Entombed, Rush, Maiden, Morbid Angel Would you like to list people you hate and why? Yes, but it would take too long. Why don't I just list the people I love. Here goes: Would you ever consider playing and possibly helping organize a mini-punk/metal festival in Vermont? We'd love to play in Vermont. As for organizing anything, we're not capable. We're not even organized enough to shit in a toilet. Do you, like the rest of the Hatezine staff, find the media raping of Columbine High very very fucking funny? You said it, boss! WAY too funny. But, you know, there was some truth to what was said. Some REAL intelligent discussions, I tell you. You know, like music making people kill other people. I mean, don't you kill lots of people? I know I do, and all of my friends. Yeah, they do to. But, only when I listen to heavy metal. When I'm not listening to heavy metal, I am a very responsible, kind person. Will you tell me your point at the next fucking show? Maybe Why shouldn't I call you a fucking deadhead? Because swear words offend me. Am I an idiot to say I hear a strong Black Sabbath influence in "Blatant Drug Song?" How the fuck am I to know if you're an idiot, you fucking moron! Who's idea was it to make those cool fucking lighters? I love 'em! That was my idea. When I was born I came out of the womb with a cigarette in my hand but no light. That sucked. Does your demon-alien logo stem from the obscure "Aliens are Angels" theory adapted to fit demons or fallen angels? I heard a man described, from a supposed abduction, writings on a wall in the spaceship and someone recognized the description as the angelic language, Enochian. No. We haven't really seen any art on the inside of spaceships that did much for us creatively. Yeah, some of it's nice. But, a lot of it is just regurgitated crap. Kind of sleazy motel room art. Not that sleazy motel rooms are bad, though. Is that certain section in "Fear" your theme song? You mean, my personal theme song? No, my personal theme song would be a fucked up annoying marching band song with all the instruments out of tune and the tempo gradually getting faster. Why do you love hate? Well, all the kids on my block love hate, so I thought I better get with the program. What's San Fuck666cunt, Califuktya like? Slutland, Hermount sucks brown halos all night. It's boring. I'm not really from California. I'm actually from Enochia, land of the demon alien angel abduction spaceship fallen thing place you talked about earlier. It's all right. Good cheap beer. Or, rather: Cheap beer, good! Labels: interview, music, Skot |
Literature Quoth Stoop not down to the dark world, Beneath which lies a faithless depth, And Hades dark all over, squallid, delighting in images, unintelligible, Precipitous, creaggy, a depth; Always rolling, always espousing an opacous, idle breathless body, And the light hating world, and the winding currents, By which many things are swallowed up. … Stoop not down, for a precipice lies below the earth; Drawing through the ladder which hath seven steps, Beneath which is the throne of necessity. -Chaldean Oracles of Julianus Daily Rotation + Add us to your Daily Rotation! 
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