Illimitable Dolor/Leaden Light/Transcending Obscurity Records/2019 CD Review

  Illimitable  Dolor  are  a  band  from  Australia  that  has  had  music  reviewed  before  in  this  zine  and  plays  a  very  atmospheric  form  of  funeral  doom/death  metal  and  this  is  a  review  of  their  2019  album  "Leaden  Light"  which  was  released  by  Transcending  Obscurity  Records.

  Rain  and  thunder  sounds  start  off  the  album  before  going  into  more  of  a  heavier  and  melodic  funeral  doom  metal  direction.  Most  of  the  tracks  are  very  long  and  epic  in  length  along  with  the  vocals  being  mostly  death  metal  growls  and  when  screams  are  utilized  they  add  in  a  touch  of  black  metal.

  When  guitar  solos  and  leads  are  utilized  they  are  done  in  a  very  melodic  style  while  the  synths  gives  the  songs  more  of  an  atmospheric  feeling.  Clear  vocals  can  also  be  heard  in  some  parts  of  the  music  as  well  as  some  clean  guitars  also  being  utilized briefly  and  all  of  the  music  sticks  to  a  slower  direction,  spoken  word  parts  can  also  be  heard  briefly  on  the  closing  track.

  In  this  recording  Illimitable  Donor  remains  true  to  the  atmospheric  style  of  funeral  doom/death  metal  from  their  previous  release.  The  production  sounds  very  professional  while  the  lyrics  cover  destruction,  beauty  and  nature  themes.

  In  my  opinion  this  is  another  great  sounding  album  from  Illimitable  Dolor  and  if  you  are  a  fan  of  atmospheric  funeral  doom/death  metal,  you  should  check  out  this  recording.  RECOMMENDED  TRACKS  INCLUDE  "Armed  He  Brings  The  Dawn"  and  "Leaden  Light  Her  Coils".  8  out  of  10.

 Official Bandcamp

https://www.youtube.com/watch?v=zM2B--YJgOw

Chalice Of Suffering/Lost Eternally/Transcending Obscurity Records/2019 CD Review

  Chalice  Of  Suffering  are  a  band  from  Minnesota  that  has  had  music  reviewed  before  in  this  zine  and  plays  an  atmospheric  form  of  funeral  doom/death  metal  and  this  is  a  review  of  their 2019  album  "Lost  Eternally"  which  was  released  by  Transcending  Obscurity  Records.

   Clean  playing  starts  off  the  album  while  all  of  the  tracks  are  very  long  and  epic  in  length  as  well  as  all  of  the  musical instruments  having  a  very  powerful  sound  to  them.  Spoken  word  parts  can  also  be  heard  quite  a  bit  throughout  the  recording  and  atmospheric  sounding  synths  are  also  added  into  some  parts  of  the  songs.

  Death  metal  growls  are  also  a  very  huge  part  of  the  recording  along  with  the  slow  and  heavy  riffs  being  very  heavily  rooted  in  funeral  doom  metal.  The  riffs  also  add  in  a  decent  amount  of  melody  while  one  track  also  introduces  clean  vocals  onto  the  recording  and  when  grim  screams  are  utilized  they  also  add in  a  touch  of  black  metal  and  all  of  the  music  sticks  to  a  slower  direction.

  On  this  recording  Chalice  Of  Suffering  remain  true  to  their  atmospheric  style  of  funeral  doom/death  metal.  The  production  sounds  very  professional  while  the  lyrics  cover  depression,  sadness,  loneliness  and  grief  themes.

  In  my  opinion  this  is  another  great  sounding  recording  from  Chalice  Of  Suffering  and  if  you  are  a  fan  of  atmospheric  funeral  doom/death  metal,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "In  The  Midst  Of  Once  Was"  "Lost  Eternally"  and  "Whispers  Of  Madness".  8  out  of  10.

https://www.youtube.com/watch?v=BOqT1uk1sKo

  

Doomcult/Talsur/Nameless/2019 Split Album Review

  This  is  a  review  of  a  split  album  between  Netherlands's  Doomcult  and  Russia's  Talsur  called  "Nameless"  which  was  self  released  in  2019  and  we  are  going  to  start  off  the  review  with  Doomcult  a  solo  project  who  returns  with  his  mixture  of  the  traditional,  atmospheric  and  funeral  doom  metal  genres.

  His  side  of  the  split  starts  out  with  a  very  slow,  dark  yet  heavy  sound  while  all  of  his  tracks  are  very  long  and  epic  in  length.  Vocals  are  mostly  done  in  more  of  a  Venom  influenced  first  wave  black  metal  style  along  with  the  solos  and  leads  being  done  in  a  very  depressive  and  melodic  style.

  All  of  the  musical  instruments  have  a  very  powerful  sound  to  them  along  with  the  music  also  capturing  the  darkness  of  funeral  doom  metal.  The  riffs  also  add  in  a  decent  amount  of  melody,  one  track  also  brings  in  clean  vocals  as  well  as  all  of  the  music  sticking  to  a  slower  direction  and  his  side  of  the  split  closes  with  a  cover  of  Talsur's  "Waters  Of  Loss  which  also  brings  in  a  brief  use  of  keyboards.  The  production  sounds  very  professional  while  the  lyrics  cover  Occultism  themes.

  In  my  opinion  this  is  another  great  sounding  recording  from  Doomcult  and  if  you  are  a  fan  of  the  traditional,  atmospheric  and  funeral  styles  of  doom  metal,  you  should  check  out  his  side  of  the  split.  RECOMMENDED  TRACK  "Plague".

  Next  up  is  Talsur  a  solo  project  that  plays  a  very  melodic  form  of  funeral  doom/death  metal.

  His  side  of  the  split  starts  out  with  some  clean  playing  while  most  of  his  tracks  are  very  long  and  epic  in  length. A  great  amount  of  funeral  doom  emtal  elements  can  be  heard  in  the  slower  sections  of  the  music  along  with  the  vocals  also  being  done  in  a  very  melodic  style  and  the  riffs  also  use  a  great  amount  of  melody.

  When  screams  are  utilized  they  add  in  a  touch  of  black  metal  as  well  as  the  solos  and  leads  being  done  in  a  very  melodic  style  along  with  some  depressive  crying  being  added  into  the  background  briefly.  Growls  can  also  be  heard  at  times  and  all  of  the  music  sticks  to  a  slower  direction  and  his  side  of  the  split  closes  with  a  cover  of  Doomcult's  "Wrath". The  production  sounds  very  professional  while  the  lyrics  cover  loneliness,  despair  and  hopelessness  themes.

  In  my  opinion  Talsur  is  a  very  great  sounding  melodic  funeral  doom/death  metal  solo  project  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  his  side  of  the  split.  RECOMMENDED  TRACK  "The  Hateful  Hour".

  In  conclusion  I  feel  this  is  a  very  great  sounding  split  and  I  would  recommend  it  to  all  fans  of  funeral  and  melodic  doom  metal.  8  out  of  10.

 https://doomcult1.bandcamp.com/
https://talsur.bandcamp.com/ 

      

II Vuoto/Vastness/Hypnotic Dirge Records/2019 Full Length Review

  Italy's  II  Vuoto  has  returned  with  a  new  recording  which  continues  the  atmospheric  style  of  funeral  doom  metal  from  his  previous  releases  and  this  is  a  review  of  his  2019  album  "Vastness"  which  was  released  by  Hypnotic  Dirge  Records.

  A  very  distorted  sound  starts  off  the  album  before  adding  some  clean  playing  onto  the  recording  along  with  most  of  the  tracks  being  very  long  and  epic  in  length.  All  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them  and  synths  are  also  added  into  some  parts  of  the  music.

  When  guitar  solos  and  leads  are  utilized  they  are  done  in  a  very  melodic  style  while  the  slow  and  heavy  riffs  are  done  in  more  of  a  funeral  doom  metal  direction.  Vocals  are  mostly  deep  death  metal  growls  along  with  some  clean  vocals  and  whispers also  being  utilized  at  times  as  well  as  the  riffs  also  adding  in  a  decent  amount  of  melody.

  When  screams  are  utilized  they  bring  elements  of  black  metal  onto  the  recording  as  well  as  one  song  also  introducing  acoustic  guitars  onto  the  album  along  with  some  spoken  word  parts  also  being  used  briefly  and  all  of  the  music  sticks  to  a  slower  direction,  the  album  closes  with  an  instrumental  track.  The  production  sounds  very  professional  while  the  lyrics  cover  sorrow  and  distress  themes.

  In  my  opinion  this  is  another  great  sounding  recording  from  II  Vuoto  and  if  you  are  a  fan  of  atmospheric  funeral  doom  metal,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Vastness"  and  "V  (The  Fifth  Nail)'.  8  out  of  10.

https://www.youtube.com/watch?v=-w0omamNlQA

Red Moon Architect/Kuura/The Vinyl Division/Grey Beton Records/2019 Full Length Review

  Finland's  Red  Moon  Architect  have  returned  with  a  new  recording  which  continues  the  melodic  funeral  doom/death  metal  style  of  previous  releases  and  this  is  a  review  of  their  2019  album  "Kuura"  which  was  released  as  a  joint  effort  between  The  Vinyl  Division  and  Grey  Beton  Records.

  A  very  slow,  dark,  heavy  and  atmospheric  sound  starts  off  the  album  along  with  some  keyboards  also  being  mixed  in  with  the  heavier  sections  of  the  music.  Most  of  the  tracks  are  very  long  and  epic  in  length  while  the  vocals  also  bring  in  a  great  amount  of  tortured  screams  which  also  adds  in  a  touch  of  black  metal.

  When  guitar  solos  and  leads  are  utilized  they  are  done  in  a  very  dark  yet  melodic  style  while  the  keyboards  also  gives  the  music  more  of  an  epic  atmosphere.  The  riffs  also  bring  in  a  great  amount  of  depressive  sounding  melodies,  one  of  the  tracks  is  a  drone  orientated  instrumental  and  all  of  the  music  sticks  to  a  slower  direction.

  On  this  recording  Red  Moon  Architect  remain  true  to  the  melodic  funeral  doom/death  metal  style  that  was  established  on  previous  releases.  The  production  sounds  very  professional  while  the  lyrics  cover  memories,  despair  and  death  themes.

  In  my  opinion  this  is  another  great  sounding  recording  from  Red  Moon  Architect  and  if  you  are  a  fan  of  melodic  funeral  doom/death  metal,  you  should  check  out  this  recording.  RECOMMENDED  TRACK  "Kuura  Pt.  3".  8  out  of  10.

https://www.facebook.com/RedMoonArchitect/

https://www.instagram.com/redmoonarchitect/

https://twitter.com/rmametal

  

Urza/The Omnipresence Of Loss/Solitude Productions/2019 CD Review

  Urza  are  a  band  from  Germany  that  plays  funeral  doom  metal  and  this  is  a  review  of  their  2019  album  "The  Omnipresence  Of  Loss" which  was  released  by  Solitude  Productions.

  Dark  soundscapes  start  off  the  album  along  with  some  powerful  sounding  bass  guitars  a  few  seconds  later  that  lead  to  a  heavier  funeral  doom  metal  direction  along  with  the  vocals  being  deep  death  metal  growls  as  all  of  the  tracks  being  very  long  and  epic  in  length  and  the  riffs  also  bring  in  a  decent  amount  of  dark  sounding  melodies.

  At  time s a  touch  of  90's  era  doom/death  metal  can  be  heard  in  the  bands  musical  style  while  the  focus  is  on  more  of  a  modern  sound.  When  screams  are  utilized  they  add  in  a  touch  of  black  metal  along  with  some  clean  playing  also  being  added  into  some  parts  of  the  music  and  when  guitar  solos  and  leads  are  utilized  they  are  done  in  a  very  melodic  style, clear  vocals  can  also  be  heard  briefly  and  all  of  the  music  sticks  to  a  slower  direction.

  Urza  plays  a  style  of  funeral  doom  metal  that  is  very  slow,  dark,  heavy  and  melodic  sounding  along  with  some  touches  of  depressive  black  metal.  The  production  sounds  very  professional  while  the  lyrics  cover  apocalypse,  nihilism,  denial  and  death  themes.

  In  my  opinion  Urza  are  a  very  great  sounding  funeral  doom  metal  band  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "A  History  Of  Ghosts"  and  "Demystifying  The  Blackness".  8  out  of  10.

https://www.facebook.com/UrzaDoom/

The Cold View/Born, Banished, Beaten, Broken, Buried/2019 Full Length Review

  Germany's  The  Cold  View  have  returned  with  a  new  recording  which  continues  his  mixture  of  ambient,  drone  and  funeral  doom  metal  from  previous  releases  and  this  is  a  review  of  his  self  released  2019  album  "Born,  Banished,  Beaten,  Broken,  Buried".

  Drum  beats  along  with  some  slow  yet  heavy  funeral  doom  metal  riffing  starts  off  the  album  while  all  of  the  tracks  are  very  long  and  epic  in  length. Vocals  are  mostly  deep  yet  guttural  death  metal  growls  while  the  riffs  also  add  in  a  decent  amount  of  dark  sounding  melodies  into  some  parts  of  the  songs.

  When  synths  are  utilized  they  give  the  music  more  of  an  atmospheric  feeling  as  well  as  introducing  elements  of  ambient  onto  the  recording.  All  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them  along  with  some  drones  and  melodic  guitar  leads  also  being  utilized  at  times.

  Clean  playing  can  also  be  heard  in  certain sections  of  the  recording  along  with  the  music  also  adding  in  some  mid  tempo  sections  at  times  and  acoustic  guitars  are  added  onto  the  closing  track  as  well  as  a  brief  use  of  fast  playing  and  blast  beats.  The  production  sounds  very  dark  and  heavy  while  the  lyrics  are  a  concept  album  based  upon  existentialist  questions  about  life,  death,  loneliness  and  the  pain  of  existence.

  In  my  opinion  this  is  another  great  sounding  album  from  The  Cold  View  and  if  you  are  a  fan  of  funeral  doom  metal  with  elements  of  ambient  and  drone,  you  should  check  out t his  recording.  RECOMMENDED  TRACKS  INCLUDE  "Born  And  Banished"  and  "Broken  And  Buried".  8  out  of  10.

 http://www.thecoldview.com
https://thecoldview.bandcamp.com      

Encoffination/We Proclaim Your Death, O' Lord/Selfmadegod Records/2019 CD Review

  San  Diego,  California's  Encoffination  have  returned  with  a  new  recording  which  continues  the  funeral  doom/death  metal  style  of  previous  releases  and  this  is  a  review  of  their  2019  album  "We  Proclaim  Your  Death,  O'  Lord"  which  was  released  by  Selfmadegod  Records.

  Funeral  orientated  synths  start  off  the  album  and  also  mixes  in  with  the  heavier  sections  of  the  music  at  times.  A  great  portion  of  the  tracks  are  very  long  and  epic  in  length  while  whispers  can  also  be  heard  in  the  background  briefly  along  with  the  slow  and  heavy  riffs  being  very  heavily  rooted  in  doom  metal.

  Vocals  are  mostly  deep  yet  guttural  death  metal  growls  along  with  the  riffs  also  adding  in  a  small  amount  of  dark  sounding  melodies  at  times.  All  of  the  musical  instruments  have  a  very  powerful  sound  to  them while  the  music  also  shows  some  influences  of  90's  era  doom/death  metal  but  also  keeping  it  modern  at  the  same  time,  one  track  also  introduces  clean  playing  onto  the  recording  and  all  of  the  music  sticks  to  a  slower  direction.

  On  this  recording  Encoffination  remains  true  to  the  funeral  doom/death  metal  sound  that  was  established  on  previous  releases.  The  production  sounds  very dark  and  heavy  while  the  lyrics  cover  Occultism,  Death  and  Eternity  themes.

  In  my  opinion  this  is  another  great  sounding  recording  from  Encoffination  and  if  you  are  a  fan  of  funeral  doom/death  metal,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Ebony  Skulls"  "The  Keys  Of  Hell  And  Death"  and  "Haunted  Voices".  8  out  of  10.

 https://www.facebook.com/templeofencoffinment
https://encoffination.bigcartel.com      

Hiemis/Thule/Gradual Hate Records/2019 Full Length Review

  Hiemis  are  a  solo  project  from  Spain  that  plays  a  mixture  of  drone,  dark  and  esoteric  ambient  and  this  is  a  review  of  his  2019  album  "Thule"  which  was  released  by  Gradual  Hate  Records.

  Home  made  instruments  start  off  the  album  along  with  some  atmospheric  sounding  drones  making  their  presence  known  a  few  seconds  later.  Some  of  the  tracks  are  long  and  epic  in  length  while  the  synths  bring  in  elements  of  dark  ambient  when  they  are  utilized  as  well  as  using  a  variety  of  many  different  sounding  keys.

  All  of  the  tracks  are  instrumental  while  all  of  the  songs  sound  very  different  from  each  other  which  also  gives  the  music  a  lot  more  variety.  At  times  the  music  also  gets  very  ritualistic,  ethereal  and  esoteric  sounding  and  all  of  the  songs  also  stick  to  a  slower  musical  direction  throughout  the  recording.

  Hiemis  plays  a  musical  style  that  takes  drone  and  dark  ambient  and  mixes  them  together  to  create  an  esoteric  sound  of  his  own  as  well  as  keeping  everything  instrumental.  The  production  sounds  very  dark  while  the  songs  themes  focus  on  Atlantis,  Thule,  Greco-Roman  Mythology,  Philosophy,  Politics  and  History. 

    In  my  opinion  Hiemis  is  a  very  great  sounding  mixture  of  drone,  dark  and  esoteric  ambient  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  solo  project.  RECOMMENDED  TRACKS  INCLUDE  "Wrath  Of  The  Gods"  "The  Rivers  Of  Hell"  and  "At  the  Stroke  Of  The  Trident".  8  out  of  10.

https://gradualhaterecords.bandcamp.com/album/thule 

Bloodsoaked Necrovoid/The Apocryphal Paths Of The 8th Vitriolic Transcendence/Blood Harvest/Caligari Records/2019 CD Compilation Review

  Bloodsoaked  Necrovoid  are  a  band  from  Costa  Rica  that  plays  funeral  doom/death  metal  and  this  is  a  review  of  their  2019  compilation  "The  Apocryphal  Paths  Of  The  8th  Vitriolic  Transcendence"  which  consists  of  their  2018  demo's  and  was  released  on  a  single  album  as  a  joint  effort  between  Blood  Harvest  and  Caligari  Records.

  A  very  distorted  and  heavy  sound  starts  off  the  compilation  along  with  the  riffs  also  adding  in  a  decent  amount  of  dark  sounding  melodies.  Vocals  are  mostly  deep  death  metal  growls  along  with  the  music  being  very  heavily  rooted  in  the  90's  and  the  slower  sections  of  also  funeral  doom  and  doom/death  metal  together.

  When  the  music  speeds  up  a  great  amount  of  blast  beats  can  be  heard  along  with  some  of  the  tracks  being  very  long  and  epic  in  length.  When  screams  are  utilized  they  also  add  in  a  touch  of  black  metal  as  well  as  the  songs  also  bringing  in  a  decent  mixture  of  slow,  mid  paced  and  fast  parts.

 At  times  the  growls  also  get  very  guttural  sounding  as  well  as  all  of  the  musical  instruments  have  a  very  powerful  sound  to  them along  with  some  clean  playing  is  also  added  on  the  closing  tack.The  production  sounds  very  old  school  while  the  lyrics  cover  darkness,  death,  cosmic  horror  and  occult  themes.

  In  my  opinion  Bloodsoaked  Necrovoid  are  a  very  great  sounding  funeral  doom/death  metal  band  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  compilation.  RECOMMENDED  TRACKS  INCLUDE  "Metaphysical  Prolapse  Through  Purulent  Detaching  Nightmares"  "Flesh  Divination's  For  The  Ego-Plundered  Psyche"  and  "Sempiternal        Gravitational  Pull  Of  The  Massive  Cosmic  garden".  8  out  of  10.

https://bloodharvestrecords.bandcamp.com/album/the-apocryphal-paths-of-the-ancient-8th-vitriolic-transcendence      

Ataraxie/Resignes/Xenocorp/Deadlight/Weird Truth Productions/2019 Full Length Review

  Ataraxie  are  a  band  from  France  that  plays  an  extreme  mixture  of  funeral  doom  and  death  metal and  this  is  a  review  of  their  2019  album  "Resignes"  which  was  released  as  a  joint  effort  between  Xenokorp,  Deadlight  and  Weird  Truth  Productions.

  A  very  slow,  dark  and  heavy  funeral  doom  metal  sound  starts  off  the  album  while  all  of  the  tracks  are  very  long  and  epic  in  length.  Vocals  are  mostly  death  metal  growls  along  with  the  solos  and  leads  being  done  in  a  very  dark  and  melodic  style  and  when  screams  are  utilized  they  also  add  in  a  touch  of  black  metal.

  All  of  the  musical  instruments  on  the  recording  also  have  a  very  powerful  sound  to  them  along  with  some  clean  guitars  also  being  added  into  certain  sections  of  the  recording.  Spoken  word  parts  and  whispers  can  also  be  heard  briefly  and  the  riffs  also  add  in  some  dark  sounding  melodies  at  times.

  When t he  music speeds  up  a  decent  amount of  blast  beats  can  be  heard  along  with  the  music  also  bringing  in  a  good  amount  of  90's  doom  and  death  metal  influences  but  keeping  it  modern  at  the  same  time.  The  production  sounds  very  professional  while  the  lyrics  are  written  in  a  mixture  of  French  and  English  and  cover  despair,  torturing  and  suffering  themes.

  In  my  opinion  Ataraxie  are  a  very  great  sounding  extreme  mixture  of  funeral  doom  and  death  metal  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  band.  RECOMMENDED  TRACKS  INCLUDE  "People  Swarming,  Evil  Ruling" and  "Coronation  Of  The  Leeches".  8  out  of  10.

https://www.youtube.com/watch?v=NRiRHkMqq7w  

Zachary Lucky Interview

1.Can you give us an update on what is going on with you and your music these days?
It has been close to three years since my last record came out (Everywhere A Man Can Be). For about the past year I've been chipping away at a new collection of songs called "Midwestern". We recorded them in Ontario Canada back in October and have plans for this record to come out mid October of this year. Between now and then, I'll be out on the road across Canada, performing at a handful of festivals and smaller shows.

2.How would you describe your musical progress over the years?
It is a strange thing, to go back and listen to my early records (for me to do so). It is almost like looking at an old photograph of yourself and seeing how you've changed. When I started releasing songs and "albums" I was only about 18 - I think I was even "releasing" some music towards the end of high school - so if a person were to go back and listen to those songs, they would definitely sound dated, because I was young - my world view, and songwriting were both very immature. All of those early EPs and releases played a part in me getting to where I am today though. They got me out of the road and connected me with so many of the friends and fans that I've met in the past ten years, which have ultimately played a part in me being where I am today. I think my music really turned a corner with the release of "The Ballad Of Losing You" in 2013. That was the first record that I made with real musicians in a real studio. The songs were good, and I think that we captured something really special with those recording sessions. Evening going back and listening to that record now, I still find that it is able to stand on its own and is a good listen. After turning that corner in 2013, and really beginning to feel like I had found my voice, I've been working on my songwriting and really making that the focus. I think that is something people have come to expect from my songs too - to hear a story.

3.What are some of the lyrical topics and subjects you have explored with your music over the years and also how would you describe your progress as a songwriter? Although I don't intend every record that I put out to have a theme, my songs usually tend to lean in a thematic direction with each release. The Ballad Of Losing You was a record that came out of a really tough point in my life - a parting of ways with someone I had been close to for a long time. Those songs sprung from a well of loss and hurt - both feelings which I think a lot of us can relate to. Everywhere A Man Can Be came out of a big change in my life - moving halfway across the country to join my partner in raising our daughter - I started a new life essentially. That record was a collection of road songs that came out of that time of change and movement. It was a reflective piece about all the years I had spent on the road - and really at that point, I didn't know if I was going to be able to keep touring and doing the full time musician thing. This new record "Midwestern" sort of sees me returning to the stripped down acoustic vibe that we found on Ballad, but there is also a definite progression. I think the songs on this record are some of the best songs I've ever written. I feel like I really grew a lot as a songwriter between the last record and this one. Hopefully other folks see that growth too.

4.Your grandfather was also a musician himself, do you feel music is genetic in your family? Grandpa Johnnie was indeed a musician - a legend in some circles. He spent more years on the road then I think I'll ever be able to. I could talk about him and his legacy for hours - but that is a different conversation. I don't know if I would say that music is genetic in my family - and if it is, it is deeply genetic in an unspoken way. I honestly didn't know much about my Grandfather till I was 19 or 20. They weren't ever around, because they were always on the road, so if there was some connection there - it was deep rooted. I do feel a connection to him now though, even though he has passed. There have been many times when I've been out for a solo run of shows and felt that he was there with me. Being a touring musician is a weird life. You're always coming or going - and not too many folks understand it. It can be tough to forge long lasting relationships with people who aren't also doing the same thing - because "normal folks" go about life in a much more normal and sane way. I think often about how Grandpa would understand all that I'm doing and have done. If he were around, I think we'd have a lot of road stories to share with each other. I wish we could have done that.

5.You have worked both solo and also with full bands, which one do you enjoy the most? They're very different experiences. For the past few years, I've almost strictly been performing with my band - and I love that. We've got a good show together - and there is nothing I like more then hammering out 3 hours of our folk and country music in an old honkey tonk. I just came off the road - 12 solo shows in 11 days, and I also loved that. It is a very different show. I played some older songs and spent a lot of time talking about the songs and the stories behind them. I think audiences like that kind of show too. They're both good, just very different. It is hard to deny that being out on the road with the band is a hell of a time though. Solo tours can be a pretty lonely way to exist.

6.What are some of the best shows that you have played over the years and also how would you describe your stage performance? I don't know if I can pinpoint certain shows - when you're doing a hundred to two hundred shows a year for 10+ years, its tough really remember every single one. I think more then remembering a certain show that stands out - it is more just a feeling of coming into my own as of late. I really feel that as an artist and a band, we've really begun to feel comfortable - the songs are good - the shows are good - I'm feeling pretty comfortable on stage these days. I think we're just at a point where we're hitting our stride and folks are really enjoying the shows as much as we are.

7.Do you have any touring or show plans for the future? Right now things are pretty quiet - we have five or six Canadian festivals this summer and will be doing a couple months worth of shows across Canada in the fall when Midwestern comes out. My goal is to touring throughout the UK and EU in early 2020.

8.Recently 'Nordvis Produktion' re-issued your 2013 album and this label is known mostly as an extreme label and your music is very different than what is normally released on this label, what are your thoughts on working with them so far? Andreas is a great person. Right form the get go, we had a lot in common, from the way we like to go about this business to the things we both like to do in our free time. For me, it has always been about finding people who you connect with - there isn't enough time in this life to work with folks that you couldn't consider family. The optics of Nordvis releasing Ballad are a little strange at first glance, but I think there is a lot of cross off - yes the music is completely different from what Andreas normally releases, but I think a lot of folks who enjoy the extreme music that he releases might also find things in a record like Ballad or other Americana albums that they also enjoy. It is a new venture for us both, and we're still waiting to see how it pans out. I like Andreas though, and I'm thrilled to have him giving this record a second life.

9.On a worldwide level how has the reaction been to your music by those that have heard it so far? The support that I've received in the past ten years has blown me away. I'm come from a pretty small rural area in Canada, so to have people ordering records from Germany, Japan, The Netherlands and other countries that I couldn't even dream of visiting - it has really blown me away. It just goes to show that songs can travel and connect with people from all walks of life. Once you release a song into the open, it belongs to everyone - and every person who listens to it will find different meaning in it.

10.When can we expect newer music and also where do you see yourself heading into as a musician in the future? As I said, Midwestern will be coming out this October, if all goes according to plan. The past few years have been pretty hectic - I've become a father twice over, and so it has been a juggling act trying to figure out how to be on the road and putting as much time into my career, while spending as much time as I can with my kids. I suspect the next few years will continue to be similar, but I hope that I'm still able to be out on the road playing 100  - 150 shows a year. I'd be on the road non stop if I could. Nothing I love more then being up on stage, singing these songs. I've got a couple different records in my head that I'd like to make. I have to work on getting this out released first though. We'll see where it takes me.

11.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays? I've listened to everything from folk, to metal and traditional country. I think all music has a place. I tend to listen to a lot of "guys with guitars" these days. Been listening to a fellow from down in Texas called Adam Carroll. He is one of my go to's. I've also recently discovered a great country singer named Vern Gosdin. If you're into good country music, check him out. A few others that I've always got in rotation are Hayes Carll, Corb Lund, Fred Eaglesmith, Townes, Blaze. Guys like that.

12.What are some of your non musical interests? Being out on the road, if you're doing it full time, takes up almost all of your waking hours - and since I'm largely an independent artist, I've got a lot of hats to wear. I'm constantly working on something. When I'm not "working" I'm usually hanging out with my two daughters or out fishing - I got into fly fishing a few years back, and it has become a real passion of mine. I never get out as much as I should though. Not enough hours in the day.

13.Before we wrap up this interview, do you have any final words or thoughts? I appreciate you taking the time to get in touch. it is great to connect with you - and hopefully I'll get to come perform these songs over your way sooner then later.

http://zacharylucky.com/

Veronica Moser presents: neurodiversity fight back!/Ho Gravi Malattie/2019 Compilation Album Review

  Veronica  Moser  is  a  solo  project  from  Italy  that  plays  a  mixture  of  noise,  experimental,  dark  ambient  and  field  recordings  and  this  is  a  review  of  her  2019 compilation  album  "neurodiversity  fight  back"  which  was  released  by  Ho  Gravi  Malattie  and  also  has  separate  tracks  from  Dora  Maar,  Mai12,  Twofaces,  Glass  Earth,  Narog,  Immersion,  Solar  Anus  and  Yorgas  H,  a  later  track  elmet.

  Spoken  word  samples  start  off  the  album  before  adding  some  field  recordings  onto  the  album  along  with  some  percussion  that  also  gives  the  music  more  of  a  tribal  and  ritualistic  feeling.  At  times  the  music  also  gets  very  experimental  and  avant  garde  sounding  and  the  music  also  adds  a  sci-fi  atmosphere  into  some  parts  of  the  songs.

  A  great  portion  of  the  tracks  are  instrumentals  while  all  of  the songs  also  sound  very  different  from  each  other.  Some  of  the  tracks  are  very  long  and  epic  in  length  as  well  as  some  elements  of  dark  ambient  and  noise  also  being  added  into  some  parts  of  the  music  and  one  track  also  introduces  clean  vocals  onto  the  recording  as  well  as  some  spoken  word  parts  also  returning  in  certain  sections  of  the  recording.

  There  are  also  a  great  amount  of  collaboration  songs  on  the  compilation  and  at  times  some  of  the  artists  also  add  in  tracks  of their  own  turning  it  from  a  Veronica  Moser  album  into  more  of  a  collection  of  other  artists.  As  the  compilation  progresses  a  brief  use  of  Gregorian  chants  and  can  also  be  heard  and  the  same  track  also  adds  touches  of  industrial  onto  the  compilation,  a  later  track  also  brings  more  of  of  an  aggressive  vocal  approach.  The  production  sounds  very  dark  while  the  lyrics  cover  dark,  philosophical  and  occult  themes.

  In  my  opinion  Veronica  Moser  is  a  very  great  sounding  mixture  of  noise,  experimental,  dark  ambient  and  field  recordings  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  solo  artist  and  compilation.  RECOMMENDED  TRACKS  INCLUDE  "Lullaby"  "The  Virgin's  Sacrifice  In  Pagan  Ritual"  "Breed"  and  "Yemeni  Space  Fighters".  8  out  of  10.

https://hgmmusic.bandcamp.com/album/veronica-moser-presents-neurodiversity-fight-back

Paths Of The Eternal Interview

1.For those that have never heard of you before, can you tell us a little bit about the musical project?
- Paths Of The Eternal is a branch off of my vaporwave/vapor project, PATHS, started back in 2016. In 2017, I released a split album with Mythril Spectre called Once Through An Ancient Archway. This was my first real attempt at making dungeon synth style music. After that, I felt like I wanted to do more with the genre, but I felt like it didn't make much sense to keep releasing under the PATHS moniker, as the other material released under that name was so stylistically different. And so, Paths Of The Eternal was born. A project dedicated solely to the release of dungeon synth style recordings.

2.So far you have released a demo and also have been a part of a split, musically how do both recordings differ from each other?
- I'd say the Paths Of The Eternal demo is much more lofi and grimier. This was intentional. I wanted something that sounded like it was found in the deepest corner of a dark, murky abandoned castle or cathedral. The demo was also written entirely in one day and mixed later on. I wanted it to feel very minimal. Whereas my tracks for the split I wrote over the course of two or three months. I think you can tell the same person made both, but I don't think they sound very similar production wise. I'm very happy with both!

3.What are some of the themes and images you bring into your musical style?
- When I started my PATHS project, the goal was to bring listeners to a place that never existed, to create an atmosphere or mood. To uncover some kind of great secret, or feel like you're wandering into some kind of mystical territory that no one else has experienced. I'm really inspired by the idea of divinity and mysticism in the sense that it's something humans will never truly understand, but will always be fascinated by and curious about. The difference between PATHS and Paths Of The Eternal is simply all in the aesthetic. Paths Of The Eternal takes place in castles, cathedrals, mysterious caves, graveyards, or other realms that cannot be described verbally, only aurally.

4.What is the meaning and inspiration behind the name 'Paths Of the Eternal?
- Again, I think it plays on the idea of spirituality and mysticism. With both of my dungeon synth releases, to me, there is a feeling of death in the air of the recordings. Not sad or evil or angry or spiteful, just simply dead or not "alive" in the sense that human beings are alive. I think it evokes a sense of wonder and mystery, but the name is up for the listener's interpretation, as is the name PATHS.

5.Can you tell us a little bit more about the artwork that is presented on the demo cover?
- It's a picture I took while playing one of my all time favorite video games. A game that had a major influence on this whole project and all of my dungeon synth material.

6.With this project you record everything by yourself, do you feel you are able to express yourself musically a lot better this way?
- Yeah, you could say that. I've always been kind of a loner artistically. I haven't really met many people who are like minded artistically, so that kind of forced me to just learn how to do everything myself. I don't mind it, someday I'd love to collaborate with someone, but it would have to make sense. I'm also kind of a control freak, I know what I want and want what I want haha.

7.You also shared a split with 'Mythril Spectre', what are your thoughts on the other musical project that had participated on the recording?
- Mythril Spectre did a fantastic job! Really unique tracks, I loved it. The vocaloid was a bold choice, but I think it only benefited their material. I remember talking to them and bringing up the idea to do a split, because both of us at the time were a little unsure if we could pull the dungeon synth thing off, at least I was. So doing the split together really helped give both of us the confidence to dive into the genre. It couldn't have worked out better.

8.Currently you are unsigned, are you looking for a label or have received any interest?
- If by unsigned you mean restricted to working with a single label, then yes I am unsigned. However, both of my releases so far have had label releases. Once Through An Ancient Archway was released on Aurawire and the Paths Of The Eternal demo is being released on tape by Black House Industries, run by the frontman of one of my all time favorite black metal bands, Krieg. The tape is available for preorder now, here's the link to that:
https://blackhouseindustries.bigcartel.com/product/paths-of-the-eternal-preorder-bhi-002

I also am currently working with another label on a Paths Of The Eternal full length that is coming later this year.

9.On a worldwide level how has the reaction been to your music by fans of dungeon synth?
- The reaction has been great! I've only heard positive things about my dungeon synth material and I couldn't be happier about it! Just great to see people get what I'm doing, really encouraging.

10.Are you also involved with any other bands or musical projects?
- I have a ton of old projects and projects that are currently in the works. Some current projects of note is of course my vaporwave/vapor project, PATHS. But I also have a horror industrial project called Digital Anger, which I've now done 3 releases for, heavily influenced by artists like Ministry and Skinny Puppy. Just put out a Digital Anger album last year called Firewalker, which is available on CD via Hellscape Recordings. Very metal friendly and very abrasive. As far as projects in the works, The only thing I'll mention is that I have a solo black metal project that will be surfacing soon. Actually just finished mixing it this week. Irreverent Witness, remember that name.

11.Where do you see yourself heading into as a musician during the future?
- I'll continue doing electronic synth stuff, but I see myself heading more and more towards black and death metal, experimental rock, industrial. Hard to say because there's so much stuff I'm working on, but don't know when it will surface. I'm not tied down to any genre. I don't want to be seen as a beat producer/dungeon synth artist/vaporwave artist/black metal artist, I want to make it clear that I'm gonna do whatever style I feel like doing. Just feels natural to me. I actually have been working on an experimental pop album, which is so far away from anything else I've ever made. I fear being pigeonholed to one thing, so I try to do a lot of different things because of that. I like the freedom to do whatever, I would get bored if I could only do one style.

12.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?
- Oh man, too many to list. As far as artists that have had the biggest influence on me overall I'd have to say Nine Inch Nails, Skinny Puppy, Deftones, Darkthrone, Angelo Badalamenti, Morbid Angel, Blood Incantation, Pink Floyd, Goblin, Mayhem, Oneohtrix Point Never, Trans Am. That's just the tip of the iceberg in terms of my influences, I'm kind of all over the place. Lately I've been really into Old Tower and war metal bands like Black Witchery, Blasphemy, and Beherit. Also anything Caligari Records, 20 Buck Spin and Dark Descent put out I'm all over.

13.What are some of your non musical interests?
- I'm a huge film and video game nerd. I also started my career as a filmmaker this year by putting out my first two short films. "The One (Before The Next)" is a stylish noir drama with a Carpenter esque soundtrack and "CHAINS" is a Lynchian Surrealistic horror film. I'm proud of both but, I think CHAINS is the one I'm most proud of. I wouldn't say music is my favorite and film is next, they kind of go back and forth. Sometimes I'm all about music, sometimes I'm all about film. My favorite directors include David Lynch, Stanley Kubrick, John Carpenter, David Cronenburg, Stuart Gordon, Robert Eggers and Ari Aster. If you're interested in my films you can check them out here: https://vimeo.com/drewspenny

14.Before we wrap up this interview, do you have any final words or thoughts?
- Thank you to anyone who has supported Paths Of The Eternal so far. Means the world to me, I have a lot more in store for the project so expect to hear from me again soon. For now, check out the Paths Of The Eternal Demo and if you like it preorder the tape from Black House Industries here: https://blackhouseindustries.bigcartel.com/product/paths-of-the-eternal-preorder-bhi-002

Tir/Urd, Skuld & Verdani/Repose Records/2019 Full Length Review

  Tir  are  a  solo  project  from  Turkey  that  plays  dungeon  synth  with  some  elements  of  dark  ambient,  folk  and  neo-classical  and  this  is  a  review  of  his  2019  album  "Urd,  Skuld  &  Verdani"  which  was  released  by  Repose  Records.

  Synths  start  off  the  album  and  they  are  also  heavily  rooted  in  the  90's  dungeon  synth  style  as  well  as  adding  in  a  variety  of  many  different  sounding  keys  on  later  tracks.  Some  of  the  tracks  are  very  long  and  epic  in  length  along  with  the  music  also  mixing  in  elements  of  dark  ambient  and  neo-classical.

  Programmed  drums  are  also  utilized  at  times  while  the  music  also  captures  the  atmosphere  of  a  fantasy  movie  soundtrack  as  well  as  adding  in  some  elements  of  neo-folk  at  times.  Most  of  the  tracks  are  instrumentals  along  with  only  a  couple  also  adding  in  some  clean  vocals,  as  the  album  progresses  a  brief  use  of  spoken  word  parts  can  also  be  heard,  nature  sounds  can  also  be  heard  in  certain  sections  of  the  recording  and  acoustic  guitars  are  also  added  onto  the  closing  track.

  Tir  plays  a  style  of  dungeon  synth  that  is  very  heavily  rooted  in  the  90's  style  while  also  mixing  in  elements  of  dark  ambient,  folk  and  neo-classical  to  create  a  sound  of  his  own.  The  production  sounds  very  dark  while  the  lyrics  cover  Paganism  and  Fantasy  themes  when  they  are  utilized.

  In  my  opinion  Tir  are  a  very  great  sounding  dungeon  synth  solo  project  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  recording.  RECOMMENDED  TRACKS  INCLUDE  "Ancient  Spirits"  "Giant's  Tragedy"  "Memories  in  The  Shadow"  and  "Rhon".  8  out  of  10.

https://tirofficial.bandcamp.com/album/urd-skuld-verdandi

    

Adoran/Artemisia/Tartarus Records/2019 Full Length Review

  Adoran  are  a  duo  from  Toronto,  Ontario,  Canada  that  has  had  music  reviewed  before  in  this  zine  and   plays  a  mixture of  drone,  sludge,  doom  metal  and  post  rock  and  this  is  a  review  of  their  2019  album  "Artemisia"  which  was  released  by  Tartarus  Records.

  Atmospheric  sounding  drones  start  off  the  album  while  both  of  the  tracks  are  very  long  and  epic  in  length.  Powerful  sounding  bass  guitars  can  also  be  heard  quite  a  bit  throughout  the  recording  as  well  as  the  music  also  getting  very  repetitive  and  primitive  sounding  at  times  and  the  music  also has  its  spacey  and  trippy  moments.

  Elements  of  sludge  and  doom  metal  can  also  be  heard  in  the  slower  sections  of  the  music  as  well  as  both  of  the  songs  capturing  an  improv  atmosphere.  A  touch  of  post  rock  can  also  be  heard  in  some  parts  of  the  music  and  both  of  the  tracks  stick  to  a  slower  musical  direction  as  well  as  always  remaining  instrumental.

  On  this  recording  Adoran  remain  true  to  their  instrumental  and  improv  mixture  of  drone,  sludge,  doom  metal  and  post  rock  and  the  production  sounds  very  dark.

  In  my  opinion  this  is  another  great  sounding  recording  from  Adoran  and  if  you  are  a  fan  of  drone,  sludge,  doom  metal  and  post  rock,  you  should  check  out  this  album.  RECOMMENDED  TRACK  "senna".  8  out  of  10.

https://adoran.bandcamp.com/

 

      

Poppet/Lodge Of Research/WageMage Interview

1.For those that have never heard of you before can you tell us a little bit about the musical projects?
Poppet is an experimental dungeon synth project, it is a space where I can create and experiment with music and sounds. Originally begun as a black metal project, it quickly shifted to a dungeon synth project when I realized that you needed drums and guitars to be metal, Poppet, I feel can achieve the most styles out of any of my projects the other ones are more specifically focused to tackle genres that would be harder for Poppet to tackle.
WageMage is my attempt to make synthwave with a science fantasy theme, although it generally turned into darkwave/electro-industrial. Unlike all of my other projects, it is entierly instrumental.
Lodge of Research is my attempt at making Current 93-style neofolk, but with an angle inspired by MIDI music and dungeon synth in general. It draws on my ideas as Poppet but transposes them to a more songwriterly zone.

2.Musically how do all your projects differ from each other?
Poppet is dungeon synth with heavy black metal influence. Occasionally, although not frequently, noise elements and other abraisive aspects will be included. Typically it will be slower and more ambient with a lot of free improvisatory influences.
WageMage has drums, and is distinguished from my other projects as always having drums and always being instrumental. I tend to use arpeggiators way more, as well occasionally appregiating drums. Increasingly, I have started to incorporate influence from aggrotech, power noise and black metal.
Lodge of Research typically will always use a slap bass tone on my DAW, will almost always incorporate vocals, will feature a mix of black metal screams and operatic singing, and will often utilize flutes. This is not cut and dry, but I tend to stick to these rules.

3. You projects cover a variety of many different genres ranging from black, doom metal, dungeon synth, neo-folk and experimental, do you feel you are very diverse as a musician?
Yes, I try to listen to as much music as possible, both for fun and for learning. I typically listen to metal, and that's how I was exposed to a lot of these subgenres, but I generally have been branching out to different subgenres and scenes altogether. I only really play keyboard, but the versatility of the instrument has allowed me to experiment with different styles more easily.

4.With your lyrics you cover a lot of different occult traditions ranging from the Left Hand Path, Qabalah, Sufism, Gnosticism, Freemasonry, Voodoo, Paganism, Witchcraft and Eastern Religions, can you tell us a little bit more about your interest in the occult and the paths you have explored over the years?
I've been incredibly interested in the occult and religions in general starting around 10th grade. Initially, much of my interest was because of the aesthetics, and to an extent it still is. Ethnically I am a Jew, and I have delved deep into Qabalah, Hasidism and have spent time with Jews in isolated retreat settings. I still feel a connection to my Judaism, especially the more mystical aspects, but I am generally trying to seek other concepts. I have spent time in a Sufi lodge in NYC, a couple of orthodox/eastern churches and an African Traditional religious temple before as well, and have found interest in them. In addition, I regularly go to the Rubin Museum of Art, which is a museum of esoteric Buddhist art from the Himalayas. You can find much of that kind of art on my Poppet albums. I recently have developed an interest in practicing magick as well. Left-hand path traditions have always been interesting to me, despite my love of asceticism and ritual. Currently, I am attempting to practice Chaos Magick, writing sigils, meditating and eventually trying to evoke spirits to assist in my life. The level of interactivity it has is astounding, and I enjoy delving into the works of Crowley and Carroll.

5.What are some of the other lyrical topics and subjects you have explored with your music so far?
Aside from the religions you mentioned, in Dungeon Dub I cover Rastafari as a faith. Non religious topics include fantasy, weird fiction, Lovecraft, Howard, Sword and Sorcery, Cyberpunk, the show Gravity Falls (this is also referenced in my blackened dungeon synth project Xanthar) I also wrote a depressive black metal EP about Family Guy under the name Petergeist. Typically if my lyrics aren't about religion or fantasy, they are generally humorous.

6.Since 2019 you have released a great amount of music, do you feel you spend a great amount of time writing and creating music?
I do indeed spend a lot of time writing music, although this generally happens to be in my spare time rather than setting days aside for it. When I have nothing better to do, I will write or hone a song I have. I tend to go through them quickly, and I improvise them generally as well.

7.Out of all of the musical projects you are a part of which one is the most important to you?
Poppet will always be my most important, as will WageMage. At the moment they are the projects I'm most invested in, although that may change.

8.Most of your releases have been solo so far, would you be open to working with a full band?
I would indeed. I might possibly start a NWOBHM MIDI band with a friend in 2020, but it isn't set in stone. Since I'm a college student it's hard to find time for everything.

9.Has any of your musical projects have gotten any label interest?
It has! Three Poppet albums Borne of an Eldritch Fortress, Infernally I Wander, and Mastery Ov The Arcane Crafts will be released via the legendary Akashic Envoy Records.

10.On a worldwide level how has the reaction been to your projects by fans of metal, dungeon synth, neo-folk and experimental music?
Generally people think of it as a unique niche project in a niche genre. They enjoy my avant-garde and outsider take to music I'm not trained in, and they find my perceptions unique. Obviously some people are confused by my work often negatively so, but this is a sign I'm making music that has an impact. It's not for everyone, but it's not trying to be.

11.Where do you see yourself heading into as a musician during the future?
I always see myself making new releases and new projects regularly. I sometimes fantasize about having a touring act that has a mild amount of popularity in dark music communities, but I'm content in the underground as it is now.

12.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?
Nazgul from Italy is a band I really dig, Italian black metal in general always seems to go towards the top of my list. The focus on synths, atmosphere and theatrics is much more present in that regional style than elsewhere. Mortuary Drape were one of the first second wave bands to have an elongated organ intro as well. I also really dig Emperor, Oath of Cirion, Enid, Candlemass, Manilla Road, Sigh Heathen, Blind Guardian and Skepticism amongst others for metal
As for Dungeon Synth, I listen to a lot of Chaucerian Myth, Bitter Old Wizard, Witches Moon, Basilica Rift, Gluttony, Shevelreq, Xynfonica, Burzum, Avox, Tyrannus and others. I love how expansive the genre is and how friendly people are in that scene.
I also listen to a lot of Jazz (John Zorn, Sun Ra, Albert Ayler, John Coltrane, Mary Halvorson), hip-hop (Denzel Curry, Wu-Tang Clan, Techno Animal) and psych folk/neofolk/industrial (Vulcan's Hammer, Current 93, Sol Invictus, Gae Bolg, The Incredible String Band, Shirley Collins, the Legendary Pink Dots, Coil and Richard Thompson)

13.What are some of your non musical interests?
I am a religious studies major in college, and because of that, I have a strong interest in religions, world cultures, spiritual practices, art, artifacts, architecture and to a lesser extent food and language. I am also into history, cartoons, anime, graphic novels, card games like Yu-Gi-Oh! Video games like Azur Lane, politics and political science and reading in general. My interests oft change and warp over time. Currently I'm re-watching a lot of my favorite Simpsons episodes, it's a brilliantly written show.

14.Before we wrap up this interview, do you have any final words or thoughts?
Thank you so much for having me on and showing my music! I enjoyed answering these questions.

https://poppetblackmetal.bandcamp.com/
https://lodge-of-research.bandcamp.com/
https://wagemage108.bandcamp.com/

WageMage/Secular Transhumanism/2019 EP Review

  WageMage  are  a  solo  project  from  Vermont  that  plays  a  mixture  of  ebm,  experimental,  industrial,  aggrotech,  darkwave,  synthwave  and  horror  synth  with  a  touch  of  black  metal  and  this  is  a  review  of  his  self  released  2019  ep  "Secular  Transhumanism".

  Industrial  and  electronic  music  sounds  start  off  the  ep  along  with  some  programmed  bets  while  the  synths  also  add  in  a  variety  of  many  different  keys.  At  times  the  music  also  captures  the  aggression  of  aggrotech  as  well  as  also  capturing  the  atmosphere  of  a  fantasy  and  horror  movie  soundtrack.

  All  of  the  tracks are  instrumental  while  all  of  the  songs  sound  very  different  from  each  other  and  at  times  the  music  also  captures  the  dark  atmosphere  of  black  metal.  When  the  programmed  beats  speed  up  a  touch  of  gabber  can  also  be  heard  and  the  songs  also  add  in  a  decent  mixture  of  slow,  mid  paced  and  fast  parts.

  Wagemage  plays  a  musical  style  that  takes   ebm,  experimental,  industrial,  aggrotech,  darkwave,  synthwave  and  horror  synth  and  mixes  them  together  to  create  a  sound  of  his  own  as  well  as  keeping  everything  instrumental  and  the  production  sounds  very  dark.

  In  my  opinion  WageMage  is  a  very  great  sounding  mixture  of   ebm,  experimental,  industrial,  aggrotech,  darkwave,  synthwave  and  horror  synth  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  solo  project.  RECOMMENDED  TRACKS  INCLUDE  "Coding  In  Ugaritic"  and  "Dianetical  Metaphysics".  8  out  of  10.

https://wagemage108.bandcamp.com/  

Lodge Of Research/Fellowcraft/2019 Full Length Review

  Lodge  Of  Research  are  a  solo  project  from  Vermont  that  plays  a  very  dark  and  bizarre  form  of  neo-folk  and  this  is  a  review  of  his  self  released  2019  album  "Fellowcraft".

  Folk  music  orientated  synths  start  off  the  album  and  also  bring  in  a  variety  of  many  different  sounding  keys  along  with  some  clean vocals  also  being  used  quite  a  bit  throughout  the  recording.  Grim  sounding  black  metal s creams  can  also  be  heard  briefly  and  programmed  beats  are  also  added  into  some  parts  of  the  music.

  At  times  the  music  also  captures  the  fantasy  of  a  fantasy  video  game  along  with  some  casio  style  keyboard  also being  added  into  some  part  of  the  music.  A  couple  of  the  tacks  are  very  long  and  epic  in  length  as  well  as  one  track  also  introducing  psychedelic  elements and  whispered  vocals  onto  the  recording  and  all  of  the  songs  sound  very  different  from  each  other.

  Lodge  Of  Research  plays  a  style  of  neo-folk  that  is  more  synth  orientated  than  most  bands  and  artists  of  this  genre  while  also  adding  in  a  touch  of  black  metal  to  create  a  sound  of  his  own.  The  production  sounds  very  dark  while  the  lyrics  cover  Fraternal  Societies,  Witchcraft  and  Occultism  themes.

  In  my  opinion  Lodege  Of  Research  are  a  very  great  sounding  bizarre  neo-folk  solo  project  and  if  you  are  looking  for  something  that  is  very  original  sounding,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Rite  of  The  Forest"  and  "...In  The  Witches  Temple".  8  out  of  10.

https://lodge-of-research.bandcamp.com/album/fellowcraft