The Double A Doom Interview : Demon Eye

So what a start to 2014 has been in terms of quality music.  Kicking things off was the stunning new record by Blackfinger and in hot pursuit shortly after, was the brilliant new record by Demon Eye. Released on the excellent, Soulseller Records, home of The Sludgelord approved Norwegian doom band Tombstones, Leave The Light encompasses the spirit of the 70's era doom and yet it refrains from sounding typically retro.  Having honed their songs to perfection, Demon Eye have received much praise for their debut record, which our good friend and Sludgelord contributor, Lucas Klaukien raved about here at SludgelordHQ

Let's get down to business, talk is cheap and I am sure you don't want to hear me prattling on for the sake of it.  I hooked with Erik Sugg, front man for Demon Eye and fired some questions at him. So enjoy the interview and if you haven't heard their record, make sure you do so.  Cheers and thanks for reading.  AP.   

(SL) Let’s kick things off, who are you, state your name (s) and purpose?

(ES) I’m Erik Sugg.  I play guitar and sing for Demon Eye.  Larry Burlison is the band’s lead guitarist.  Paul Walz plays bass and does the “evil priest” voice on our song, “Fires of Abalam.”  Bill Eagen plays drums and sings all of the vocal harmonies with me.  Our purpose is to write heavy, evil music with melodic hooks and cool dynamics that entertain us and make our live shows entertaining for the audience.  

(SL) Summarise your musical journey (s) this point?

(ES) We started as a deep cut ‘70s rock tribute called Corvette Summer.  Really we just wanted to have an excuse to get together play the unheard songs by bands like Deep Purple, UFO, Budgie, etc., great tunes that you never hear on classic rock radio.  Not only did that end up being a total blast, but it also helped us get really tight as a band.  We all grew up on hard rock and old school metal, so it was a natural progression for us to start writing material of that ilk.  I spent a weekend in the North Carolina mountains by myself in a dark, wooded area where I read lots of H.P. Lovecraft and wrote some doomy riffs on an acoustic guitar  When I got home I shared my songs with the guys and everything just came together.  “Hecate” was the first Demon Eye song.  We were loving the direction of our material, so we recorded our first six songs at a friend’s studio, put them up on a bandcamp page, and the next thing we know we’re being contacted by all these righteous folks from all over the globe, telling us how much they dig our music.  We really couldn’t believe it.  Not long after that we signed with Soulseller Records and began recording the newer material, and played lots of fun shows with amazing bands.

(SL) What can fans look forward to from you in 2014? How is your schedule shaping up?

(ES) The release show for “Leave the Light” will be in Raleigh on February 1st.  We’ve also got an upcoming gig with some Relapse recording artists, Lord Dying.  In between all of that we’re looking to play more shows regionally, and should also be making our way north of the Mason Dixon line for the first time, probably during the summer.  The subject of touring overseas has been introduced to us, but we’ve got a lot of things to consider before that happens.

SL) What springs to mind when you think about the completion of your new/current record?

(ES) I think the very first thing that ran through my mind was, “Damn that was fun.”  Or I could be remembering that completely wrong and actually thought, “I hope I didn’t screw anything up.”

(SL) Who handles song writing duties?

(ES) Everyone.  Initially I was the one who brought riffs to the table, but from where I stand, if you don’t have a great band to help bring the music to life you might as well just keep your riffs on a dusty shelf in your bedroom.  For our song writing credits we do a 25% split each, (just like Sabbath and Led Zeppelin).  Larry remains inspired and always comes up with killer riffs, (“Edge of Knife” and “Silent One” are Larry’s tunes), and Paul has written some great stuff as well, (“Devil Knows the Truth” was his idea).  And Bill’s role can not be understated.  Drummers often get disregarded when it comes to song writing credits, but without having a beast of a drummer like Bill, someone who has incredible ideas and adds such powerful dynamics to the music, there isn’t a whole lot you’re going to be able to do, even if you have the most rocking riff ever.  

So far the fellas seem cool with letting me handle all the lyrics, which is fun for me because I get to incorporate a lot of the classic weird fiction and vintage horror films that I enjoy.  Also, even though I’m generally a pretty mellow, pleasant person, I do have some dark things rambling through my mind quite often.  It’s great to be able to address those thoughts through our music.

(SL) How long was the gestation of your new/current opus from conception to delivery?

(ES) It’s been a bit of a jagged time lapse, but a very productive one.  I believe we started recording our first six songs with Alex Maiolo at Seriously Adequate Studios in Carborro, NC during the Fall of 2012.  We just took our time and did things at a relaxed pace. The session was mixed and mastered by Pete Weiss at Verdant Green Studios in Vermont during the Spring of 2013 and the music was uploaded to the Internet by April of 2013.  We got the record deal offer from Soulseller during the Summer of 2013, went back to Seriously Adequate later that fall to record additional material for the full length LP, and Pete finished the mastering for the entire project at Verdant Green in October.  All of the finished masters were then given to Soulseller and the production factories in late 2013, and that pretty much brings us up to date.  “Leave the Light” will be available internationally as of January 24, 2014.

(SL) The artwork is really great, was it designed with a particular physical format in mind? Who designed it?

(ES) John Hitselberger, a local Raleigh artist, created that excellent imagery.  Believe it or not, that is a hand painted piece on canvas and has been in a few international art exhibits.  What you see on the record cover is the scanned version of the actual painting.  I believe it’s for sale of you’re interested ;)

(SL) As a music fan yourselves and given that music seems to be so disposal at times, how is it to a great package to your fans, and yet not alienate them by producing something which is not affordable. What are your thoughts on the finished physical product? What format is/will be available?

(ES) Soulseller is releasing our album on vinyl, on CD, and as a digital download.  It’s great to see that people still value having a physical, tangible item in their hands because that’s the way we feel as well.  When we initially finished recording our first batch of songs our main priority was in just getting them online so people could hear them.  We did burn a few CDRs as a give aways for a big show with did with The Sword last spring.  Much to our surprise people started writing us to see if we could sell them those CDRs via mail order, regardless of the fact that the songs were available as a free download at the time!

(SL).  Speaking off, getting a record out there are you a) Indiegogo (crowdfunding) or b) career no no

(ES) Not to give you a generic answer, but I don’t have much of an opinion on it one way or another. Unless it’s something like the whole Amanda Palmer debacle where she raised one million dollars via crowd sourcing and then wanted to hire volunteer musicians for a tour without paying them, (that is until she was very publically denounced over it), I’d never judge someone for going down that route. If a band I like is using crowd sourcing to release a record, I’m certainly not going to forego buying their album because they used Kickstarter, Indiegogo or whatever.  That said, I don’t believe I’d ever use it.  I’m too lazy and it seems too complicated, haha.

(SL) The best and worst things about being in a band?

(ES) The best thing about being in a band is that you have a full time, 24 hour a day vehicle for expressing yourself musically.  That is pure gold. The worst thing is when you become your own worst enemy, like when you start worrying about what other people think, what other bands have that you don’t, and just working yourself into a negative frame of mind..  All of that is completely unnecessary.  It will make you become combative with everyone, even your band mates, and eventually your music will suffer.  It happens to the best of musicians, though.

(SL) Influences and heroes, what are turn offs and turn on’s?

(ES) Attitude goes a long way with me.  I’m not down with musicians who act like douche bags.  That is, unless it’s a punk band and it’s kind of their “deal,” you know?  I grew up near Virginia Beach where the great punk band, The Candy Snatchers, originated.  Their singer, Larry May, was a total lunatic and would always rage at people and talk a lot of smack, (a band I was in years back, who gigged alongside the Candy Snatchers, was a victim of that once, haha).  But man, Larry is the most entertaining and intense frontman of all time.  In those circumstances you sort of expect someone to be a bit of a dick, you know?  That’s how they should be!

I do need to say that in my experience, metal folks are truly great down-to-earth people.  Metalheads typically get a bum rap for being thugs, burnouts and losers, but that is seldom the case.  Most of the time they’re just working class, mellow minded people know how to have a good time, (unless you lived in Norway the ‘90s I suppose, haha).  Being that’s the case, I’ve never met anyone in the metal community who was a difficult personality.  Demon Eye played a show this past fall with Mike Scheidt, of YOB, Vohl, and Lumbar.  It was a thrill for me because I’m a huge fan.  I can say in all honesty that Mike was one of the most beautiful human beings I’ve ever encountered, one of those rare folks who just radiates positivity.  That makes me want to support his music even more.

SL) Any record from the past or present that springs to mind?

(ES) Some recent faves for me include Uncle Acid & The Deadbeats - “Mind Control,” Blood Ceremony - “The Eldritch Dark,” Church of Misery - “Thy Kingdom Scum”, Noctum - “The Final Sacrifice,” and Amon Amarth - “Deceiver of the Gods.”  Larry’s been digging Steve Harris’s “British Lion” and the UFO “Hot’N’Live” anthology.  Paul’s getting his blues on with B.B. King’s 1970 record, “Indianola Mississippi Seeds,” and the self titled Grand Funk Railroad album.

Photo (C) Ken Trousell

(SL) The last album that kicked your arse?

(ES) For me, Hot Lunch’s self titled record.  They’re a Blue Cheer-style proto metal band from Oakland, California and they are HOT shit.  Their singer, Eric Shea, is a modern day Ian Gillan.  Larry’s choice would be Horisont’s “Time Warriors.”  A killer Swedish band.  That record is chock full of some sick, harmonic riffing.

(SL) What was your first instrument or musical experience and what do you use today?

(ES) My father bought me an acoustic guitar when I was nine years old.  He tried to show me how to form a few basic chords, but I had a total brat attack over not being able to play and didn’t touch it again until I turned 15, haha.  I wish I had still had that guitar, even if only for nostalgia.  These days I play a Gibson SG through a Laney AOR Pro Tube half stack.  Larry plays the same rig, but is a Stratocaster man.  I’ve never seen anyone wield a Strat the way that Larry does.  He really knows how to bend the tonal dimensions of those guitars.  Paul plays a Rickenbacker bass, which we collectively love, and Bill is currently playing a Sonor kit with Paiste cymbals, (although I’m convinced he could pound garbage cans and make them sound good).

(SL) One item, gear or otherwise that characterises your band and one item from your set up you cannot live without?

(ES) I really like that Larry and I both use the same guitar heads, the aforementioned Laney AOR Pro Tubes.  They’ve helped give us some distinctive tones, plus there’s something striking about seeing a band where the guitar players have matching rigs.  I don’t think either one of us are particularly wedded to the Laneys because we both like to keep our eyes open for other cool gear, but it's hard for me to think of playing another amp because I really love my Laney.  It’s the Iommi/Sleep “Holy Mountain” amplifier for god’s sake!

(SL) Pro-tools versus old school?

(ES) Both have their merits.  Sometimes I think a lot of bands who go through that painstaking process to recreate a vintage recording are putting a lot of unnecessary energy into the whole thing.  I've done sessions in the past with bands where we used the old analog tape machines.  At times I thought it sounded great and that we achieved what we were going for.  Other times I was like, “Is that all?!” But at the same time, I can remember how floored I was when I heard that first Witchcraft record years back.  That was recorded vintage style, and it completely blew my mind.  I think when it comes down to it you can make anything sound good as long as you have an engineer who knows their stuff. Alex Maiolo, who recorded “Leave the Light,” is a perfect example.  Alex has really eclectic musical tastes, but he grew up on classic rock and early metal.  He’s one of those guys who knows how to zero in on a particular sound and use the proper tools to get the sounds that work.  I wish I had the attention span and the equipment knowledge to reveal what all he used, but Pro-tools was a definitely part of the process.  

(SL) Has there been much opportunity for your band to do live shows and is playing live  still as important today given the influences of the web and social media ?

(ES) Demon Eye is fortunate to live in an area where there are plenty of opportunities to perform live. We couldn’t not do that.  For me, playing live is vital.  I’m all for promotion via social media and the Internet, but a band has to be able to pull off their music live.  Granted, there are exceptions, like if someone is just tinkering with experimental ambient-type music.  Music like that could probably survive just by being passed around the Internet.  But if you play with a blood and guts band, I want to see you do it in real life.  I want to hear it and feel it.

(SL) Who are some your favourite bands you have toured with and what have been your band highlight (s) thus far?

(ES) So far our favorites have been: Hour of 13, the brainchild of the masterful doom riffster, Chad Davis.  The Sword, a band who everyone knows well I’m sure ;)  We had a great time opening for them.  Sinister Haze, a traditional doom band from Richmond, Virginia, who I once described as “Blue Cheer on a bummer acid trip after washing down some ludes with cheap malt liquor.”  Mike Scheidt, from YOB, who was doing a solo tour when we played with him.  Uzala, a loud, dark band from Boise, Idaho.  Mountain Thrower, from Wilmington, North Carolina, who have a vintage Cream/Hendrix sort of thing going on.  The Great Dismal Swamis, from Norfolk, Virginia; a super fun, trashy Stooges-esque rock band.  The Church of Zann, a powerful Lovecraftian three piece from our great state, (Benjamin Powell from the Valient Thorr is their drummer).  And Corpse Mountain, a younger band from here in Raleigh who we recently hooked up with.  Not only do they have the best name ever, but they’re an excellent band with some very twisted riffery.  Meeting all of these righteous folks, not to mention all of the great people who come to our shows, or the ones who reach out to us online, have all been highlights.  It’s been a blast.

(SL) What are your survival tips for the road ?

(ES) Don’t be too proud to crash with somebody's parents and eat their food!

(SL) Vinyl Junkie or Ipod flunky? Discuss

(ES) I’m a total vinyl junkie.  A friend of mine, who is a stellar garage/psych DJ, has a wife who refers to his record buying habit as “black crack.”  I’m definitely this sort of addict as well.  Some dick stole my Ipod a few years ago and I’ve been without one ever since, but I honestly can’t say that I don’t miss it all that much.  There are so many different ways to access music these days.  My main methods for listening to music are vinyl, (there’s typically never a moment in my house when a record isn't spinning on the turntable), streaming on my smartphone, (for when I’m driving or walking around town), or just browsing on YouTube.

(SL) Finally, do you have any final comments/word of wisdom you’d like to bestow upon us?

(ES) Nah, not really.  Just try not to be schmucks to one another, and have a good time, all the time.

Words and Interview by : Aaron Pickford

For more information :

http://demoneye.bandcamp.com/

https://www.facebook.com/demoneyenc

The Double A Doom Interview : Cokegoat

Chicago, the third most populated City in the USA, nicknamed The Windy City and home to arguably the most notorious ganster of the 1920's, Al Capone.  Let us not forget, a haven for incredible music.  Today we're focusing our attention on the curiously monikered band, Cokegoat, whom we featured at SludgelordHQ a few week back and who, funnily enough, hail from Chicago.

A sextet, incorporating many elements of slow heavy music, with perhaps a strong focus on doom, their bio blurb emphasises that when you think of Cokegoat, think Electric Wizard meets Mastodon and Black Sabbath circa '73 - ‘76.  Doesn't sound much like doom does it? The fuck it doesn't.  Indeed that is the interesting thing about this band, they are difficult to pigeonhole. Their debut record, Vessel is incredible and I was intrigued to find out more about this unique and ultimately very cool band.  So enjoy the interview!!  

Welcome to the Sludgelord, pleased to talk to you guys and welcome.

(SL) Who are you, state your name (s) and purpose?

Jeff Wojtysiak, one of three guitarists and one of three voices in Cokegoat.

(SL) Summarise your musical journey (s) this point?

Cokegoat’s musical journey is a new adventure. We have been together as a musical unit for the past 2 1/2 years. ‘Vessel’ is our debut record. I had a bunch of demos that I recorded but after we got together, we shuffled, reworked and added, and began writing as a unit. The members of this band were good pals of mine and like minded humans who’ve been playing music in and around Chicago for the last 20 some years.

(SL) What can fans look forward to from you in 2014? How is your schedule shaping up?

We’re doing a shit ton of writing and having stoned conversations about concepts for our upcoming video. We’re planning to record some shit and get it together for our next album to be released. Then we tour. Midwest, the coasts, Europe. Hopefully all within the next year and a half. And babies, this band will have more babies.

SL) What springs to mind when you think about the completion of your new/current record?

We were prepared. We knew what we wanted the record to sound like. Jordan, our drummer is also a sound/electrical engineer, we talked a lot about how we wanted to approach the sessions so they wouldn't get away from us, which kept us focused and on track. The record is very true to who we are as a group. It sounds like us in our rehearsal room and on stage. When we were tracking it I was thinking, if this is just the beginning, it makes me very excited about the future of this band.

(SL) Who handles song writing duties?

We all do. All six of us. Someone usually comes to the table with a few ideas. We all chime in and give our opinion. Change shit. Move stuff. Hit delete. Sometimes multiple opinions can stall things but that's why we work on several things at once. We can shift gears as often as we need. As for words, I write most of them, because I’m saying most of them. I come from a background of playing mostly instrumental music, so writing lyrics was foreign at first. On the record you can hear me getting stronger and more confident when it comes to writing and phrasing. It’s fun to push it and get others involved with ideas for vocal presentation.

(SL) How long was the gestation of your new/current opus from conception to delivery?

About a year and a half. This is our first effort as a group. We spent about 8 months writing, 4 of which Rebekah tried to figure out what her noises would be... Ukulele with a pickup stuck on with gum and a distortion pedal was a serious contender. We then spent every weekend for about 2 months at Bricktop Recording with Andy Nelson (Weekend Nachos) recording 9 songs, 8 of them made the record. Carl Saff then mastered it, we shipped it off then we started on the artwork.

(SL) Reflecting on your new/current record, was your artwork designed with a particular physical format in mind? Who designed it? What are your thoughts the finished physical product? What format is/will be available?

I love the work of friend/artist/tattooer Max Brown. At the time he was doing all these black ink drawings on this thick creamy paper, super dark and psychedelic. He did the album art with very little direction and the end product successfully describes the record. It’s dark. It’s heavy. It’s ethereal. It’s weird. It’s high, drunk and laughs a lot. We then had Josh Davis of Dead Meat Design hand screen all the jackets and inserts, which we then had to fold, glue and stuff ourselves. This was a very lengthy process which kept us involved every step of the way. I’m glad we did it this way. I doubt we will do our next one in this fashion, but I’m glad we put in the sweat and time to get our hands dirty with the creation of the final product. We decided to just do a digital download and 180 gram vinyl for this release. I would like to stay in those 2 formats for future releases. The only time I see CD’s anymore is when people are doing drugs off of them.

(SL) The best and worst things about being in a band?

I really enjoy being creative with like minded people who can laugh and have a good time. Sometimes practice ends and Club Cokegoat begins, which is us just listening to music, drinking and talking shit for hours. I really don’t see anything negative about being in a band, especially this one. Why do it if any of it sucked? Your shitty 95 job sucks, bitch about that.

Use creativity and friends to wash all that crap down the drain. It was said that “Cokegoat pulled off the neat trick of being a positive metal band” in the Chicago Tribune recently. Is that a best or worst thing? You decide.

(SL) Influences and heroes, what are turn offs and turn on’s?

I grew up on all the 80’s metal. Most of it, if I listened now, I don’t think I could stomach. You can’t fault the bands. People were young, everything was new. Out of the bunch I still do listen to Slayer.

SL) Any record from the past or present that springs to mind?

...And Justice For All. I remember being blown away by that record. I got the tab book and tried to learn every song, which I’m sure I did, horribly.

(SL) The last album that kicked your arse?

The latest Stomach Earth and Primitive Man. But I’m never surprised when we revisit Jethro Tull or Prince albums at Club 

Cokegoat.

(SL) What was your first instrument or musical experience and what do you use today?

My parents rented me a Series 10 guitar from a local shop where I started taking lessons when I was 13. I remember all the teachers at the time had a hard on for Eddie Van Halen. He’s good and he definitely changed the game, but I’m not the biggest fan of the songs. I wasn’t then and still not, except Drop Dead Legs from 1984. Tight shit. As for gear, I love gear. I have an addiction. I’m always buying. selling, trading shit. The other’s in the band get stuff here and there, but I’m always on the lookout. I’m very happy where I am now. I have a ‘73 Orange OR120 and a late ‘90s Matamp one off that is bitchin’. I run one or the other though an Emperor 2x12 1x15 cab. Eminence Swamp Thangs for the 12s and a Big Ben for the 15. I hit the head hard with a Smallsound/Bigsound Mountain Range into a Blackarts Toneworks Superbass Revelation. I’m a big fan of both those pedal companies, they can do no wrong. I love all the tones that the strings have in this band. Ed’s Westbury guitar is big and tight and has a more saturated distortion coming from a Laney AOR. Chase runs a 70s Ampeg V2 that is just huge and nasty with the bottom end. It has a nice natural break up. Then I run a sort of a mid gain heavy on the mids dirt. Add Tim on the bass hitting an Ampeg V4B into levels of natural power tube break up that is like honey on your honey. Can you see my hard on? It works and I love it.

(SL) One item, gear or otherwise that characterises your band and one item from your set up

you cannot live without?

I think the way we approach vocals, 3 of us, one being a female, adds a signature element. And Rebekah’s noise making/synth playing is a great part of our sound. It comes from left field but adds a much needed layer that just works.

(SL) Protools versus old school?

Everything is Pro Tools. It would be great to say “yeah we love recording on tape and it sounds great and it’s so blah blah blah.” The truth is tape is expensive, tape machines are old and if not matinenced, maintained and cleaned properly are worthless. When we did this record we kept it as organic as possible. We walked in with the tones we wanted. A great room, good mics, good preamps and a very knowledgeable engineer. Andy Nelson was a dream to work with. Dude killed it . Being in the studio isn’t always a great time, but I can’t wait to get back in there and work with Andy again.

SL) Blogs and social media vs. getting on the road and touring?

All of the above. Everything and anything is helpful when it comes to getting your name out there and selling records. Ideally, we’d always want to play in front of people and have them experience us live. Unfortunately, we’re not time travelling wizards. So read about us, stream some free tracks, buy it if you dig it. We’ll do our fair share of touring, but in the meantime, thank Al Gore for the internet.

(SL) What are your survival tips for the road, any rider requests?

Unfortunately there’s a lot of downtime when touring. Learn to drink, drink to learn. Never complain, never explain.

(SL) What have been your band highlight (s) thus far

We have had the opportunity to play with some great bands in the short time we have been around. Church of Misery, Jucifer, The Skull (ex Trouble), Early Graves, Mouth of the Architect, Electric Hawk to name a few. Chicago has an awesome heavy music scene.

(SL) Vinyl Junkie or Ipod flunky? Discuss

I love my records but I also love my Spotify. Best of both worlds. I love the Spotify to check out new bands, new records, and if it’s a home-run, buy that shit. Support that shit. Making quality records isn't cheap. We have a turntable at the rehearsal spot and I love when someone brings in a record to share with the group.

(SL) Indiegogo or creative no no?

I had to google Indiegogo, I wasn’t sure what that was. Personally I would never crowd fund for a project of mine. I think it’s embarrassing. You should use a tool like that if you are trying to make a cancer killing robot, not a fucking rock record. As I said earlier, it isn’t cheap to make a quality record, but it’s doable. Plan that shit out. Save some money. Don’t beg for it. If you can’t do it because you can’t fund it yourself or with the help of a label, then maybe this isn't the time for you. Be smart with your costs. Shit we are folding our own jackets and stuffing our own records to save money. Several months ago I saw a band that I knew back in the day had crowd sourced over $200,000 to record and press a new record. $200,000! I think that is nuts. In this day and age how do you even make a record for that amount of money? Buy beats from Pharrell? How do you spend all of it, and if you don’t then what do you do with it? What type of fucking paperwork do you even have to fill out? Fuck that. I don’t want to have an accountant on the payroll. Keep it simple. Do it yourself or find a label that is like minded and can help.

(SL) Finally, do you have any final comments/word of wisdom you’d like to bestow upon us

We are looking forward to writing and recording. And Club Cokegoat. Also we hope that in the near future Cokegoat will be live in a city near you to spread our drunken, heavy fun times upon each and every one of your faces.

Words and Interview by :  Aaron Pickford

You can buy their new record here

For more information :

http://www.facebook.com/cokegoat
http://cokegoat.bandcamp.com.

The Double A Doom Interview : PEACEMAKER

Formed in 2010, with a desire to play and create music in the vein of old school doom, PEACEMAKER was born.  Friends and former band members, Sam Taylor and Richard Maw, soon recruited Al Lawson to the fold, eventually finding a voice for the project in shape Al Osta (Ravens Creed/Satanic Dystopia).

Following their inception, PEACEMAKER started to create music together and would eventually release a 3 song sampler in 2012. It was a further 18 months again, before they unleashed their debut record, Cult.45.  Mainly a studio project to vent their frustrations, PEACEMAKER are set to make their live debut imminently, therefore I thought it would great  to catch up with these guys. Here is my interview with Richard Maw (Drums) and Al Lawson (Bass, Engineer/Producer)

Welcome to the Sludgelord, pleased to talk to you guys and welcome. 

(SL) Who are you, state your name(s) and purpose?

Al, bass player & recording engineer/producer.

Maw, Drums.

(SL) Summarise your musical journey(s) this point?

Al: I knew Maw & Taylor through Al and started playing bass on some songs they'd been jamming, then Al got involved when we were doing the record.

Maw: Yeah, Taylor and I have been playing metal together, on and off, since we were 12 years old. We decided to start writing the kind of stuff we wanted to listen to; old school doom with some influences from thrash/death and trad as well.

(SL) What can fans look forward to from you in 2014? How is your schedule shaping up?

Al: We have a gig on January 25^th (The Unicorn, Camden) supporting Bast and we've got an EP's worth of songs written so hopefully we'll get that recorded and out early/mid-2014.

Maw: We would love to do a good festival or support slot, but it all depends what we get offered.

(SL) What springs to mind when you think about the completion of your current record?

Al: It (Cult .45) was the best we could do and I mean that with all sincerity and positivity. I'm happy with how it came out and I think we were all humbled by the awesome reviews it received. For anyone to give a shit about us took me by surprise but that some people really enjoyed it made all the hard work feel worth it.

(SL) Who handles song writing duties?

Al: Taylor writes the music and Maw writes the lyrics - we all chip in ideas about the songs but those two get the bulk of it together.

(SL) How long was the gestation of your current opus from conception to delivery?  

Al: It took a long fucking time! We were jamming the songs for about a year before we recorded, then it was probably 9 months till the album sampler came out then another 9 months before we put the album out.

(SL) Reflecting on your current record, was your artwork designed with a particular physical format in mind? Who designed it? What are your thoughts the finished physical product? What format is/will be available?

Al: The front and back cover was by Jen O'Brien, we just gave her some keywords and themes and she sent us what you see - we were blown away by it. The rest of the art was by Lee Thompson. For four guys without a label and a small fan base I'm really happy with it. I would love to see a vinyl release but in our circumstances it wasn't possible.  (jenobrien@gmail.com & lee.thompson12203@virgin.net)

(SL) The best and worst things about being in a band?

Maw: The best would be the artistic expression of making music and creating something.

The worst... it would seem petty to gripe about travel to rehearsals or organising people to get there etc. but I am a petty man, so there it is- the logistics.

(SL) Influences and heroes, what are turn offs and turn on’s?

Maw: In terms of playing drums- John Bonham, Bill Ward,  Nicko McBrain, Dave Lombardo, Igor Cavalera, Gene Hoglan, Brian Downey, Philthy Animal Taylor, Steve Asheim, Pete Sandoval, Jean Paul Gaster... the list goes on. NB I am not comparing myself to any of those guys!

In terms of bands that are reference points for what we do- Sabbath, Grand Magus, High On Fire, Electric Wizard, Iron Maiden, early Metallica and so on.

Heroes is a difficult one. Musically, I personally would pick Motorhead: consistent and uncompromising.

Turn Offs- Image over substance/false metal.

Turn Ons- see the Motorhead description above.

(SL) Any record from the past or present that springs to mind?

Al: Jane Doe by Converge is a really inspirational record for me, sonically and musically. I have a lot of time for Kurt Ballou's work.

Maw: I am a big fan of the “classic” bands; I particularly like the vibe and atmosphere of Killers by Iron Maiden, also the classic Metallica, Sabbath and Priest records.  I am also very into early to mid 90's death metal. Heartwork, Once Upon The Cross, The End Complete... again, the classic bands.

(SL) The last album that kicked your arse?

Al: I really dug the Goat album, World Music, I came to that a bit after it came out but it got heavy rotation. I'm a big fan of David Axelrod and there's definitely his influence in there.

Maw: So far this year, the Blackfinger record. It shocked me by how good it was! Currently very much enjoying The Wounded Kings 'new one.

(SL) What was your first instrument or musical experience and what do you use today?

Al: I've played guitar since I was young but I actually had to buy a bass to join the band!

Maw: I started learning drums at age 11; my first kit was a heap of shit bought for £40 including cymbals, from a bloke in Grimsby who was clearing out his garage. I was 12 going on 13. I think it was maybe a Premier kit, but it was a bit of a collection of bits; at least thirty years old when I got it. It had been painted black, so at least that made it vaguely metal. Terrible sound. All that said, at the time I really loved it and I learnt how to “play” a kit using it. Prior to that I just used a single rubber practice pad.

I now have a Yamaha Stage Custom kit- nothing fancy and now around 16 years old. For those interested I use: 22”x16” bass drum with Janus double pedal (long footboards for my long feet!), 16”x16” floor tom (won in a very satisfying eBay bidding war), 14”x14” tom on snare stand, Mapex 14”x6.5” Phospher Bronze snare. Cymbals: Sabian 14” AAX stage hi hats, 16” XS20 Rock Crash, 18” XS20 Rock Crash, 18” XS20 China and Tosco 22” heavy “ping” ride. Ridge Rider Cowbell. In summary, I basically use reliable mid range stuff that can take some punishment and gives the sound I need for playing metal; larger tom sizes, powerful snare, dry ride etc.

(SL) One item, gear or otherwise that characterises your band and one item from your set up you cannot live without?

Al: For the band I always think about a noose! Our song Dead Man's Keys was inspired by a newspaper article about a guy whose life fell apart and he hanged himself in pretty bizarre circumstances and it crops up in a few other places. For me, Mountainking Electronics Megalith fuzz pedal, it's all over the Cult .45 album and it destroys everything. Alan Pavlica designed it inspired by Mainliner's Mellow Out record and it sounds huge. Like a Big Muff x1000000!

Maw: I personally pick my Tosco 22” heavy “ping” ride cymbal. I have been using it for twenty years and it has been on every recording I have ever done. It is, in fact, consistent and uncompromising!

(SL) Pro-tools versus old school?

Al: It's about being sympathetic to the material and achieving the end result that you're happy with. Making a record with Pro Tools should not dictate that you chop everything up and make it super clinical and precise nor should working on tape mean that it sounds “old” or loose. I generally record into Pro Tools, fix things that need to be fixed and leave things that don't. As much as possible I record how I want it to sound in the end. I would rather use proper hardware gear but if I have to throw a plugin on something at some point so be it, as long as it sounds right.

SL) Blogs and social media vs. getting on the road and touring?

Al: We are so grateful for our social media followers. We have been a studio project from the very beginning and without social media it would have felt pretty empty. I would love to get on the road and tour but we've all got jobs and lives outside the band so a retweet or a 'like' is as close to applause as we get!

(SL) What are your survival tips for the road, any rider requests?

Al: The only tour I've ever been on was really nerdy and involved Travelodges and spreadsheets, no rock n roll advice I'm afraid.

(SL) Have you ever been starstruck and what have been your band highlight (s) thus far

Al: I have little appreciation of celebrity culture on any level. 'Stars' are simply people and I suppose the best way to relate to someone you admire is to be on the same level as them rather than position yourself below them. Band highlight for me would be the warm reception to Cult .45!

(SL) Vinyl Junkie or Ipod flunky? Discuss

Al: Vinyl for enjoying, listening, collecting, remembering & generally giving a shit about. MP3 for casual listening, convenience, previews, promos etc.

Maw: Ipod for convenience (work commute, not annoying the missus), vinyl for home listening pleasure. I used to buy vinyl in my early teens (cheapest format for classic Maiden, AC/DC etc) and have got into buying it again over the last couple of years. There is nothing like sticking an album on and paying attention; looking at the art work reading the lyric sheet and so on. A total listening experience!

(SL) Indiegogo or creative no no?

Al: I'm really not keen on crowd funding. Taking pre-orders on an album to help get it pressed is one thing but I think all of this “buy a signed lyric sheet for $50” or “meet us backstage for $1000” is disrespectful to fans. Fans are everything to a band, without them you're nothing, so saying fans can get closer to you as long as they pay you money leaves a bad taste in my mouth.

(SL) Finally, do you have any final comments/word of wisdom you’d like to bestow upon us?

Al: Feels good – is good. Thanks to Sludgelord and anyone who tolerates us :)

Maw: Our album “Cult .45” is available from now as a “pay what you want” download from now until the time of the gig, so all you doom fans out there can get it for free. Massive thanks to anyone who has bought, downloaded or listened to the record.

Words and interview : Aaron Pickford

For more information

Label: DistortionPlus Records
Website: Facebook / Bandcamp / Big Cartel