*1/7/2010--The Dojo, Kata Sarka (Indy), Sorely Trying Days (Kokomo), Damages (Michigan), Cut Short (Delaware), and Heartless (Pittsburgh), 7 p.m., $8.
*1/15/2010--The Dojo, Defeatist (NYC), and Psychic Limb, time and $ TBA...
*1/24/2010--The Melody Inn, Coffinworm (Indy), Racebannon (Bloomington, IN), and Raise the Red Lantern (Chicago), 8 p.m., $6.
*1/25/2010--The Melody Inn, Nidus (Indy), Velnias (IL), Seidr (Louisville), and Peregrine (PA), 8 p.m., $5.
*1/28/2010--The Dojo, Drogas (Indy), Aseethe (Iowa), and Shores of the Tundra (Iowa), 7 p.m., $5.
Wednesday, December 30, 2009
Saturday, November 7, 2009
Welcome to Racebannon's Terror...
During its ongoing thirteen years of existence, Racebannon perseveres as a quartet based on continual evolution and conceptualization. Always on the verge of a sheer maniacal descent into the void with each release, guitarist James Bauman (Medusa), bassist Chris ‘Sal’ Saligoe (Rapider Than Horespower, Magnolia Electric Company), drummer Brad Williams (Medusa), and vocalist Mike Anderson (Medusa, Rapider Than Horsepower) have crafted another concept album filled with venom and seething turmoil.
This new actualization, dubbed Six Sik Sisters, is an excursion into the minds of a 1700’s era family where the son is forced to deal with his plagued sisters. Their parents’ dabbling in witchcraft brings about the sisters’ illness, and their brother is charged with the sisters’ disposal. This is not a tale with a joyful familial reconciliation. This is a story based on dread and ill-fated human circumstance with an added touch of necromancy.
To execute such a lofty story, Racebannon stripped down their sound. With shorter, faster, and more concise songs the band presents Six Sik Sisters in a more streamlined fashion. Trying to capture the terror ingrained in the story as well as their live show, Racebannon left the prior studio experimentation at the door of the studio, opting instead for a direct injection of intensity via guitar to amp pummeling, thunderous drumming, pulsating bass, and throat ripping vocals. Six Sik Sisters finds the band focusing their efforts into a form of thrash that never lets up.
Racebannon is a band that has never let trends or status compromise their gnarled art or song craft. With Six Sik Sisters waiting for release, Racebannon is poised for a speed metal incursion into abrasion. James Bauman recently discussed with The Cracked Skull the making on of Six Sik Sisters, working with Kurt Ballou, and what is coming up for the band.
A new Racebannon record is on the horizon. How long has that been in the works? Is it going to be a concept album like ‘Satan’s Kickin’ Yr Dick In’, and if so what’s the story behind it?
We started writing Six Six Sisters a while ago. I think we even had it written before Acid or Blood was released. It’s a concept album in the vein of Satan’s with another story line created by Mike. It takes place in the 1700’s and involves a brother forced to get rid of his six sisters. The sisters are plagued with disease as a result of their parents’ interest in witchcraft. Making the record in Witch City, USA (Salem, Mass.) provided a nice setting and ambience for us. You can’t go anywhere in that town without thinking about the Salem witch trials. Surprisingly, they display it proudly.
What can the world expect from the new record? I would imagine it sounds more streamlined and straight to the point of melting faces.
It’s definitely more streamlined and stripped down. On this record we just kind of wanted to be a thrash band with speed metal parts that don’t let up. We tend to be long winded on our records, and we decided to go for a more short, sweet, fast approach this time around. A lot of the tracks have that classic speed metal riffage happening that we’re hoping listeners will be able to appreciate. Also, Mike’s vocals totally rip and sound scary as hell. While we were listening to the first round of mixes in the God City basement I said to Mike, “Whoa, this sounds really fuckin’ scary.” Everyone immediately agreed. For the first time on a Racebannon recording the element of terror, that we seem to have at our live shows, has finally been captured.
How was working with Kurt Ballou? How did the recording go at God City? I know things were financially a little tighter for the band going out there.
It went really well. Besides Sal having to deal with an injured hand he hurt loading his 8 x 10 cab a week earlier, it was probably the easiest recording we’ve ever done. Kurt is pretty easy to work with. He does things correctly from the start, so there is no need to fix anything later. In fact, he even made us go buy a new cymbal since he didn’t like the condition of Brad’s ride. While mixing we just let him do his thing and didn’t really have any concerns that he wasn’t already aware of. He knows what he is doing. It’s obvious. It’s not so easy to make him laugh though, and we’re pretty damned hilarious most of the time. He’s a very focused dude. As far as finances go, we made due with what we had. We had to do some camping, which was fun and sort of kept us in the zone for the next day in the studio. Really, we didn’t care how hungry or dirty we were. We just wanted to make the record.
I’ve heard he likes to track the songs as opposed to recording live. Did that make the recording process a bit less organic and emotive? It probably made the sound cleaner.
I was a bit surprised that he wanted to do it that way, but we quickly realized that tracking everything there makes sense for the room and the setup. In order for him to get the drum sounds that he wants, there’s no better way to do it. But, you’re right, it’s hard to feed off of each other the same way as recording live as a band.
Did you play around with any different instruments, amps, or toys in general while in the studio for this record? Or was it straight SG to amp?
No. It was a pretty stripped down setup. I used the same guitar and setup that I use live. Kurt has a nice collection of amps and cabs, but I used my Emperor 6 x 12 on top of one of his Emperor 6 x 12 cabs. It made for quite a mountain of Emperor worship. But most of our recordings I usually like to use a toy or some sort. I used a theremin in the studio on our second record, In the Grips of the Light, and I used an old rack mount delay during Satan’s Kickin’ Yr Dick In and Acid or Blood sessions. On this recording I used a cheap octave distortion pedal on some of the songs. I’m not usually a fan of pedals other than the channel pedal for my amp, so using a pedal like that one was a little different for me. But I like the gnarly and nasty sound I got from it, even if Kurt made fun of it. I think he was even encouraging me to throw it away. He probably went out and bought one as soon as we left.
Overall, are you happy with the recording and mixing of the new record?
For the most part, I am happy with it. I am never really a hundred percent satisfied with our recordings. Everyone is their own worst critic, right? There are always a few things I wish would have been played differently or just came together the way I thought they would originally. But, yes, I’m generally happy with how this records sounds. It’s blazing and abrasive. I definitely always wanted that from Racebannon.
When can the world expect this beast to be unleashed on the world, and what label(s) is releasing it?
I can’t answer that yet and can’t wait to know myself.
Hopefully, there is a tour or two in the works in support of the new record when it’s released. Is it too early to think about that? Maybe an U.S. tour or tour of Europe…?
Hopefully, yes. Probably an U.S. and European tour will ensue, and maybe a tour of Japan if we’re lucky. We need to make that happen finally. But we do have another record coming out before the new album called Wrap the Body on Joyful Noise Records. We’ll do some touring for that. It’s completely unlike the new album. It’s actually a DJ 12” complete with instrumental and acappella tracks that will probably take some fans by surprise. We had Jilly from We Are Hex do some guest vocals on it as well as a remix by Yea Big and Kid Static and Stak. It came out great. That will most likely drop at the beginning of next year. We’re pretty pumped for it.
www.myspace.com/racebannonrocks
www.racebannon.net
This new actualization, dubbed Six Sik Sisters, is an excursion into the minds of a 1700’s era family where the son is forced to deal with his plagued sisters. Their parents’ dabbling in witchcraft brings about the sisters’ illness, and their brother is charged with the sisters’ disposal. This is not a tale with a joyful familial reconciliation. This is a story based on dread and ill-fated human circumstance with an added touch of necromancy.
To execute such a lofty story, Racebannon stripped down their sound. With shorter, faster, and more concise songs the band presents Six Sik Sisters in a more streamlined fashion. Trying to capture the terror ingrained in the story as well as their live show, Racebannon left the prior studio experimentation at the door of the studio, opting instead for a direct injection of intensity via guitar to amp pummeling, thunderous drumming, pulsating bass, and throat ripping vocals. Six Sik Sisters finds the band focusing their efforts into a form of thrash that never lets up.
Racebannon is a band that has never let trends or status compromise their gnarled art or song craft. With Six Sik Sisters waiting for release, Racebannon is poised for a speed metal incursion into abrasion. James Bauman recently discussed with The Cracked Skull the making on of Six Sik Sisters, working with Kurt Ballou, and what is coming up for the band.
A new Racebannon record is on the horizon. How long has that been in the works? Is it going to be a concept album like ‘Satan’s Kickin’ Yr Dick In’, and if so what’s the story behind it?
We started writing Six Six Sisters a while ago. I think we even had it written before Acid or Blood was released. It’s a concept album in the vein of Satan’s with another story line created by Mike. It takes place in the 1700’s and involves a brother forced to get rid of his six sisters. The sisters are plagued with disease as a result of their parents’ interest in witchcraft. Making the record in Witch City, USA (Salem, Mass.) provided a nice setting and ambience for us. You can’t go anywhere in that town without thinking about the Salem witch trials. Surprisingly, they display it proudly.
What can the world expect from the new record? I would imagine it sounds more streamlined and straight to the point of melting faces.
It’s definitely more streamlined and stripped down. On this record we just kind of wanted to be a thrash band with speed metal parts that don’t let up. We tend to be long winded on our records, and we decided to go for a more short, sweet, fast approach this time around. A lot of the tracks have that classic speed metal riffage happening that we’re hoping listeners will be able to appreciate. Also, Mike’s vocals totally rip and sound scary as hell. While we were listening to the first round of mixes in the God City basement I said to Mike, “Whoa, this sounds really fuckin’ scary.” Everyone immediately agreed. For the first time on a Racebannon recording the element of terror, that we seem to have at our live shows, has finally been captured.
How was working with Kurt Ballou? How did the recording go at God City? I know things were financially a little tighter for the band going out there.
It went really well. Besides Sal having to deal with an injured hand he hurt loading his 8 x 10 cab a week earlier, it was probably the easiest recording we’ve ever done. Kurt is pretty easy to work with. He does things correctly from the start, so there is no need to fix anything later. In fact, he even made us go buy a new cymbal since he didn’t like the condition of Brad’s ride. While mixing we just let him do his thing and didn’t really have any concerns that he wasn’t already aware of. He knows what he is doing. It’s obvious. It’s not so easy to make him laugh though, and we’re pretty damned hilarious most of the time. He’s a very focused dude. As far as finances go, we made due with what we had. We had to do some camping, which was fun and sort of kept us in the zone for the next day in the studio. Really, we didn’t care how hungry or dirty we were. We just wanted to make the record.
I’ve heard he likes to track the songs as opposed to recording live. Did that make the recording process a bit less organic and emotive? It probably made the sound cleaner.
I was a bit surprised that he wanted to do it that way, but we quickly realized that tracking everything there makes sense for the room and the setup. In order for him to get the drum sounds that he wants, there’s no better way to do it. But, you’re right, it’s hard to feed off of each other the same way as recording live as a band.
Did you play around with any different instruments, amps, or toys in general while in the studio for this record? Or was it straight SG to amp?
No. It was a pretty stripped down setup. I used the same guitar and setup that I use live. Kurt has a nice collection of amps and cabs, but I used my Emperor 6 x 12 on top of one of his Emperor 6 x 12 cabs. It made for quite a mountain of Emperor worship. But most of our recordings I usually like to use a toy or some sort. I used a theremin in the studio on our second record, In the Grips of the Light, and I used an old rack mount delay during Satan’s Kickin’ Yr Dick In and Acid or Blood sessions. On this recording I used a cheap octave distortion pedal on some of the songs. I’m not usually a fan of pedals other than the channel pedal for my amp, so using a pedal like that one was a little different for me. But I like the gnarly and nasty sound I got from it, even if Kurt made fun of it. I think he was even encouraging me to throw it away. He probably went out and bought one as soon as we left.
Overall, are you happy with the recording and mixing of the new record?
For the most part, I am happy with it. I am never really a hundred percent satisfied with our recordings. Everyone is their own worst critic, right? There are always a few things I wish would have been played differently or just came together the way I thought they would originally. But, yes, I’m generally happy with how this records sounds. It’s blazing and abrasive. I definitely always wanted that from Racebannon.
When can the world expect this beast to be unleashed on the world, and what label(s) is releasing it?
I can’t answer that yet and can’t wait to know myself.
Hopefully, there is a tour or two in the works in support of the new record when it’s released. Is it too early to think about that? Maybe an U.S. tour or tour of Europe…?
Hopefully, yes. Probably an U.S. and European tour will ensue, and maybe a tour of Japan if we’re lucky. We need to make that happen finally. But we do have another record coming out before the new album called Wrap the Body on Joyful Noise Records. We’ll do some touring for that. It’s completely unlike the new album. It’s actually a DJ 12” complete with instrumental and acappella tracks that will probably take some fans by surprise. We had Jilly from We Are Hex do some guest vocals on it as well as a remix by Yea Big and Kid Static and Stak. It came out great. That will most likely drop at the beginning of next year. We’re pretty pumped for it.
www.myspace.com/racebannonrocks
www.racebannon.net
Saturday, October 17, 2009
upcoming shows of interest in indy in november...
*11/7/09, The Dojo (4640 E. 10th Street), The Dream is Dead (Indy), Garrote (Indy), Wetnurse, and Struck By Lightning, 7 p.m., $6.
*11/13/09 Casa del Kotex, Slow Motion Enslavement (Indy), Order of the Black Hand (Indy), Mad Minute (Chicago), and 9 Foot Worm (Butthole Surfers Tribute), 7 p.m., $5.
*11/14/09 Locals Only, The Heinz (Japan), The Dockers (Indy), Mad Minute (Chicago), and The Mediocres, 9 p.m. $5.
*11/20/09 the 1511, Deadmen (Indy), Medusa (Bloomington), The Sorely Trying Days (Kokomo), and Disconnected (Toledo, OH), 7 p.m., $6.
*11/20/09 Melody Inn, Yuki (Indy), We Are Hex (Indy), and Blackheat, 10 p.m., $5.
*11/24/09 the Vollrath (118 E. Palmer St), Dark Castle (Florida), The Atlas Moth (Chicago), Order of the Black Hand (Indy), 8 p.m., $5.
*11/28/09 the Dojo, Racebannon, Transgression, Stand & Deliver, 7 p.m., $6.
*11/13/09 Casa del Kotex, Slow Motion Enslavement (Indy), Order of the Black Hand (Indy), Mad Minute (Chicago), and 9 Foot Worm (Butthole Surfers Tribute), 7 p.m., $5.
*11/14/09 Locals Only, The Heinz (Japan), The Dockers (Indy), Mad Minute (Chicago), and The Mediocres, 9 p.m. $5.
*11/20/09 the 1511, Deadmen (Indy), Medusa (Bloomington), The Sorely Trying Days (Kokomo), and Disconnected (Toledo, OH), 7 p.m., $6.
*11/20/09 Melody Inn, Yuki (Indy), We Are Hex (Indy), and Blackheat, 10 p.m., $5.
*11/24/09 the Vollrath (118 E. Palmer St), Dark Castle (Florida), The Atlas Moth (Chicago), Order of the Black Hand (Indy), 8 p.m., $5.
*11/28/09 the Dojo, Racebannon, Transgression, Stand & Deliver, 7 p.m., $6.
Monday, October 5, 2009
Saturday, October 3, 2009
From Iron to Rage... part 2.
Do you track most of the bands that come through or do you recording in a living setting or both?
I do a bit of both. It really depends on the vibe. I like tracking as live as possible. But it is hard doing that with death metal or something when you have to use a click track and all that. I would say ninety five percent of the recordings usually start with the drummer and rhythm guitar scratch tracks, then it’s on to final guitars and bass. Of course the vocals are always the last thing to track. It just depends.
Do you have a particular mic or mics that you like to use when recording various instruments? Do you have any other favorite pieces of equipment or instruments you like use when recording?
I pretty much use the industry standard stuff, but I have to say I do love my Rode Nt1 mics. They’re super versatile, and I use them for everything from drum overheads, secondary guitar, and vocals. I have two of them. Also, the Sunn Beta Lead comes in handy on a lot of occasions. Thanks Karl!
What was the first official Basement Rage recording or rather what band was first to be recorded? How did it go?
Other than my own stuff I think it was the Bulletwolf demo. That was back in 07, and it was a huge learning experience and a ton of fun. I love those dudes! They have a song called “100 Beers.” We damn near drank that many doing that demo. I think the final count was 92 or so. Shit. I’m a bit more pro these days. I did that recording for free after all.
How has it been working with the various Indy bands and their differing projects?
Awesome! We have so many killer bands in this city, man. I have learned so much from just having them down and having them want to work with me. I started this for the sole purpose of working with new bands, and so far it’s really been cool. I have no real formal training, and aside from reading a few books, I’ve learned all of this on the fly. It’s because of the bands in this city and through word of mouth and personal recommendations that keeps me doing this. I have nothing but praise and mighty hails for the Nap!
Is there one recording that stands out to you more so than another in terms of really capturing what the band was/is trying to do?
I dig all the bands I’ve worked with so far. I think most of the stuff captures the vibe the best it could at the time. If I had to pick one, then I would say the Coffinworm demo. I was just immediately floored by their material. I really immersed myself in that project as did the band. The all around vibe of those sessions were amazing, and I have to say its my proudest moment so far. They got a deal with Profound Lore Records on the strength of that recording, and that got me really stoked. I also love the Bulletwolf full length. That was my first big project. It was very cool to get that cd from the dudes after it was pressed, and I’m holding a real, pro pressed and distributed cd in my hands that I had worked on. That is a big accomplishment for me.
I would imagine with each recording session allows you to tweak and continually develop and refine you recording process. Is there a recording session that sticks out as more challenging and why?
Totally. It is all a huge learning experience. I learn something new every time. It’s really like anything else. The more you do it the better you get at it, or at least I try to. I’m always picking up on new things, and most importantly on things not to do. Production and engineering is still really fascinating to me, and there is so much to learn and experience. It also allows space for artistic expression, freedom, and experimentation. It is not as strict as a lot of people might think in terms of following some type of rule book. I still have a ton to learn. It’s never ending. All my sessions have been challenging for numerous reasons. Whether those reasons are time constraints, recording bigger projects like the Bulletwolf record, or gear issues. They’re all very challenging.
Do most bands approach you for demo work and smaller projects, or is there starting to be more interest in recording full lengths? Do you have a preference in recording either? I would imagine time constraints and scheduling could both be problematic.
Yeah, there is interest for both. I’m pretty much up for anything these days. I still only choose to work with people that have mutual interests, and I pretty much stick to the hard rock, metal, punk thing simply because that is what I’m into. Call me close minded, but I want to work on stuff I dig with people I like being around. I really don’t think Indy has that “go to guy” for those styles. Hopefully, I can be that guy one of these days. As far as preference, I’m cool with all of it. I try to keep at least three to four songs, but it really comes down to what the bands want, can afford, and how long we have to spend on it. I’m also on tour quite a bit these days with either The Gates of Slumber or Nachtmystium, so sometimes I can be the biggest scheduling conflict.
Who is lined up for some time in Basement Rage?
This is all before the end of the year. I have Apostle of Solitude coming in to do some new demos, and after I get back from Europe in November then I will be working with Demiricous. Then there is a project with Jeff from Nachtmystium in the works that I will be playing drums on as well. Christ Beheaded will have some new jams to record soon. Also, I just finished recording a cool doom—experimental band called Nidus.
Contact Bob Fouts at www.myspace.com/basementrage or basementrage@yahoo.com. To listen to music recorded at Basement Rage Studio go to its Myspace page or visit these bands’ Myspace pages:
www.myspace.com/christbeheaded666
www.myspace.com/tunguska317
www.myspace.com/bulletwolf
www.myspace.com/coffinworm
www.myspace.com/rejicide
www.myspace.com/summonthedestroyer
www.myspace.com/niduskills
I do a bit of both. It really depends on the vibe. I like tracking as live as possible. But it is hard doing that with death metal or something when you have to use a click track and all that. I would say ninety five percent of the recordings usually start with the drummer and rhythm guitar scratch tracks, then it’s on to final guitars and bass. Of course the vocals are always the last thing to track. It just depends.
Do you have a particular mic or mics that you like to use when recording various instruments? Do you have any other favorite pieces of equipment or instruments you like use when recording?
I pretty much use the industry standard stuff, but I have to say I do love my Rode Nt1 mics. They’re super versatile, and I use them for everything from drum overheads, secondary guitar, and vocals. I have two of them. Also, the Sunn Beta Lead comes in handy on a lot of occasions. Thanks Karl!
What was the first official Basement Rage recording or rather what band was first to be recorded? How did it go?
Other than my own stuff I think it was the Bulletwolf demo. That was back in 07, and it was a huge learning experience and a ton of fun. I love those dudes! They have a song called “100 Beers.” We damn near drank that many doing that demo. I think the final count was 92 or so. Shit. I’m a bit more pro these days. I did that recording for free after all.
How has it been working with the various Indy bands and their differing projects?
Awesome! We have so many killer bands in this city, man. I have learned so much from just having them down and having them want to work with me. I started this for the sole purpose of working with new bands, and so far it’s really been cool. I have no real formal training, and aside from reading a few books, I’ve learned all of this on the fly. It’s because of the bands in this city and through word of mouth and personal recommendations that keeps me doing this. I have nothing but praise and mighty hails for the Nap!
Is there one recording that stands out to you more so than another in terms of really capturing what the band was/is trying to do?
I dig all the bands I’ve worked with so far. I think most of the stuff captures the vibe the best it could at the time. If I had to pick one, then I would say the Coffinworm demo. I was just immediately floored by their material. I really immersed myself in that project as did the band. The all around vibe of those sessions were amazing, and I have to say its my proudest moment so far. They got a deal with Profound Lore Records on the strength of that recording, and that got me really stoked. I also love the Bulletwolf full length. That was my first big project. It was very cool to get that cd from the dudes after it was pressed, and I’m holding a real, pro pressed and distributed cd in my hands that I had worked on. That is a big accomplishment for me.
I would imagine with each recording session allows you to tweak and continually develop and refine you recording process. Is there a recording session that sticks out as more challenging and why?
Totally. It is all a huge learning experience. I learn something new every time. It’s really like anything else. The more you do it the better you get at it, or at least I try to. I’m always picking up on new things, and most importantly on things not to do. Production and engineering is still really fascinating to me, and there is so much to learn and experience. It also allows space for artistic expression, freedom, and experimentation. It is not as strict as a lot of people might think in terms of following some type of rule book. I still have a ton to learn. It’s never ending. All my sessions have been challenging for numerous reasons. Whether those reasons are time constraints, recording bigger projects like the Bulletwolf record, or gear issues. They’re all very challenging.
Do most bands approach you for demo work and smaller projects, or is there starting to be more interest in recording full lengths? Do you have a preference in recording either? I would imagine time constraints and scheduling could both be problematic.
Yeah, there is interest for both. I’m pretty much up for anything these days. I still only choose to work with people that have mutual interests, and I pretty much stick to the hard rock, metal, punk thing simply because that is what I’m into. Call me close minded, but I want to work on stuff I dig with people I like being around. I really don’t think Indy has that “go to guy” for those styles. Hopefully, I can be that guy one of these days. As far as preference, I’m cool with all of it. I try to keep at least three to four songs, but it really comes down to what the bands want, can afford, and how long we have to spend on it. I’m also on tour quite a bit these days with either The Gates of Slumber or Nachtmystium, so sometimes I can be the biggest scheduling conflict.
Who is lined up for some time in Basement Rage?
This is all before the end of the year. I have Apostle of Solitude coming in to do some new demos, and after I get back from Europe in November then I will be working with Demiricous. Then there is a project with Jeff from Nachtmystium in the works that I will be playing drums on as well. Christ Beheaded will have some new jams to record soon. Also, I just finished recording a cool doom—experimental band called Nidus.
Contact Bob Fouts at www.myspace.com/basementrage or basementrage@yahoo.com. To listen to music recorded at Basement Rage Studio go to its Myspace page or visit these bands’ Myspace pages:
www.myspace.com/christbeheaded666
www.myspace.com/tunguska317
www.myspace.com/bulletwolf
www.myspace.com/coffinworm
www.myspace.com/rejicide
www.myspace.com/summonthedestroyer
www.myspace.com/niduskills
Friday, October 2, 2009
From Iron to Rage... part 1.
To many in Indianapolis’ music community Bob Fouts is known as a preeminent drummer. He is a man that many musicians and fans alike recognize locally, nationally, and internationally for his prior accomplishments and ongoing success in such bands as Burn it Down, Amongst the Swarm, About the Fire, Christ Beheaded (albeit on guitar), Nachtmystium (a Chicago based experimental black metal band), and the seminal The Gates of Slumber. The latter two are actively recording, touring, and releasing new material. Fouts has been around the block musically and never rests for too long before answering the siren cries of the road in search of further musical exploration.
With any veteran musician comes a solid resume of studio time. Fouts has logged countless hours in numerous studios and hammered his war like drums into submission in a variety of places, but in the cold clutches of February of 2007 his very own Basement Rage Studio commenced. The aptly named Basement Rage Studio was at first an outlet for his own bands to demo and record new ideas. It wasn’t long there after that Fouts started to record projects outside of his own bands.
Fouts maintains a free flowing approach to recording bands, interjecting where needed, and offering suggestions based on mutual respect. Choosing to work with bands cut from a similar ilk as his own bands or tastes, Fouts displays a deft touch behind the screen manning the digital realm which is the basis for his recordings. With a true DIY spirit, each recording is a learning experience that adds to his ever expanding bank of knowledge when it comes to recording and what works.
Several Indianapolis based bands have benefited from working with Fouts. Whether the end product is a thoroughly recorded demo or a full length release, each band offers Fouts the opportunity to hone his craft between tours, support his local music community and friends. With that in mind Fouts would genuinely like to make recording his other gig when not on the road. At the time of this interview Fouts had just finished recording a local Indy band and was preparing for an upcoming tour with The Gates of Slumber. What follows is The Cracked Skull’s exchange with Bob Fouts about his evolving Basement Rage Studio, previous and upcoming projects, and working with differing Indianapolis bands.
What made you decide to start a studio? Did it start with you recording your own band(s)?
Yeah. I work for a music retail store here in Indy, so I decided on a whim to pick up a few things to help my bands at the time. I was looking to demo our new stuff, and it just grew from there.
What’s your recording platform or set-up?
I work on a Mac with Cubase DAW software currently. I’m using Studio 4, but I just got the upgrade to 5 in the mail. I will install it before my next project. I also upgraded my interface to MAudio Profire 2626.
Since you are a drummer, how important is capturing a quality drum sound along with the other instruments? Quality sounding drums are always a big plus in any recording.
O yeah, very important… I spend quite a bit of time on drums. I mean, I have to be realistic about the room I’m using. Nothing is going to make a bad kit sound good no matter how much processing and shit you try to throw on it. In my opinion a good kit tuned properly with new heads is where I always try to start. Sometimes guys will bring kits that might sound ok live, but I usually talk them into using one of mine instead of spending half the session tuning and changing heads. Good mics are important as well. Guitar and bass tones seem to come quicker for me. I try not to color the players’ tone too much especially the in heavy, distorted type of tones. Most of the guitar and bass players I’ve worked with have good to great gear, and already have their sound dialed in the way they want it. My job is to try and capture that and make it as huge sounding as possible. I always have four or five amps lying around the studio to help guys that need them. We will drag something else out just to add a bit of depth if needed. I love doing guitars as well. It’s fun, and I like to experiment when we have the time.
What is your overall goal when recording bands? Do you like to let the bands take the reins or do you interject your own take on things?
I interject to a degree, but at the end of the day the band has the final call. It is their music after all. I guess it really depends on the band and the people within it. I have been lucky enough to work with a lot of friends, and I’m a fan of a lot of the bands I work with. We have this whole mutual respect thing. If I have a suggestion, then they will normally be open to it or at least give it a listen. I will definitely interject when I get an inspired idea. That happens quite a bit when you’re working with great bands.
With any veteran musician comes a solid resume of studio time. Fouts has logged countless hours in numerous studios and hammered his war like drums into submission in a variety of places, but in the cold clutches of February of 2007 his very own Basement Rage Studio commenced. The aptly named Basement Rage Studio was at first an outlet for his own bands to demo and record new ideas. It wasn’t long there after that Fouts started to record projects outside of his own bands.
Fouts maintains a free flowing approach to recording bands, interjecting where needed, and offering suggestions based on mutual respect. Choosing to work with bands cut from a similar ilk as his own bands or tastes, Fouts displays a deft touch behind the screen manning the digital realm which is the basis for his recordings. With a true DIY spirit, each recording is a learning experience that adds to his ever expanding bank of knowledge when it comes to recording and what works.
Several Indianapolis based bands have benefited from working with Fouts. Whether the end product is a thoroughly recorded demo or a full length release, each band offers Fouts the opportunity to hone his craft between tours, support his local music community and friends. With that in mind Fouts would genuinely like to make recording his other gig when not on the road. At the time of this interview Fouts had just finished recording a local Indy band and was preparing for an upcoming tour with The Gates of Slumber. What follows is The Cracked Skull’s exchange with Bob Fouts about his evolving Basement Rage Studio, previous and upcoming projects, and working with differing Indianapolis bands.
What made you decide to start a studio? Did it start with you recording your own band(s)?
Yeah. I work for a music retail store here in Indy, so I decided on a whim to pick up a few things to help my bands at the time. I was looking to demo our new stuff, and it just grew from there.
What’s your recording platform or set-up?
I work on a Mac with Cubase DAW software currently. I’m using Studio 4, but I just got the upgrade to 5 in the mail. I will install it before my next project. I also upgraded my interface to MAudio Profire 2626.
Since you are a drummer, how important is capturing a quality drum sound along with the other instruments? Quality sounding drums are always a big plus in any recording.
O yeah, very important… I spend quite a bit of time on drums. I mean, I have to be realistic about the room I’m using. Nothing is going to make a bad kit sound good no matter how much processing and shit you try to throw on it. In my opinion a good kit tuned properly with new heads is where I always try to start. Sometimes guys will bring kits that might sound ok live, but I usually talk them into using one of mine instead of spending half the session tuning and changing heads. Good mics are important as well. Guitar and bass tones seem to come quicker for me. I try not to color the players’ tone too much especially the in heavy, distorted type of tones. Most of the guitar and bass players I’ve worked with have good to great gear, and already have their sound dialed in the way they want it. My job is to try and capture that and make it as huge sounding as possible. I always have four or five amps lying around the studio to help guys that need them. We will drag something else out just to add a bit of depth if needed. I love doing guitars as well. It’s fun, and I like to experiment when we have the time.
What is your overall goal when recording bands? Do you like to let the bands take the reins or do you interject your own take on things?
I interject to a degree, but at the end of the day the band has the final call. It is their music after all. I guess it really depends on the band and the people within it. I have been lucky enough to work with a lot of friends, and I’m a fan of a lot of the bands I work with. We have this whole mutual respect thing. If I have a suggestion, then they will normally be open to it or at least give it a listen. I will definitely interject when I get an inspired idea. That happens quite a bit when you’re working with great bands.
Friday, September 25, 2009
upcoming shows of interest in indy in october...
*10-2-09, 1511, 7 p.m., $5, Slow Motion Enslavement (Indy), Deadmen (Indy), Red Shadows (Indy), Expire, and The Human Condition; a benefit for the Dojo.
*10-6-09, Murphy Building Studio 8, 7 p.m., $10, Burst (Sweden), Zoroaster (Georgia), The Dream is Dead (Indy), and Drogas (Indy).
*10-9-09, The Melody Inn, 9 p.m., $5, The Dockers (Indy), Bulletwolf (Indy), and Livermortis (Indy).
*10-17-09, The Alley Cat (part of Broad Ripple music fest), 10 p.m., Demiricous (Indy), Phoenix Bodies (Indy), Drogas (Indy), and Slam Dunk (Bloomington).
*10-23-09, Locals Only, 9 p.m., $5, Devil to Pay (Indy), Nidus (Indy), Sleepbringer (Indy), and Hail Architeuthis (Bloomington).
*10-25-09, The Melody Inn, 6 p.m., $8, Demiricous (Indy), Worldeater (Indy), You Will Die (Indy), Coffinworm (Indy), and Medusa (Bloomington); a benefit for Mat Arluck of Sweet Cobra.
*10-6-09, Murphy Building Studio 8, 7 p.m., $10, Burst (Sweden), Zoroaster (Georgia), The Dream is Dead (Indy), and Drogas (Indy).
*10-9-09, The Melody Inn, 9 p.m., $5, The Dockers (Indy), Bulletwolf (Indy), and Livermortis (Indy).
*10-17-09, The Alley Cat (part of Broad Ripple music fest), 10 p.m., Demiricous (Indy), Phoenix Bodies (Indy), Drogas (Indy), and Slam Dunk (Bloomington).
*10-23-09, Locals Only, 9 p.m., $5, Devil to Pay (Indy), Nidus (Indy), Sleepbringer (Indy), and Hail Architeuthis (Bloomington).
*10-25-09, The Melody Inn, 6 p.m., $8, Demiricous (Indy), Worldeater (Indy), You Will Die (Indy), Coffinworm (Indy), and Medusa (Bloomington); a benefit for Mat Arluck of Sweet Cobra.
Thursday, September 24, 2009
Deadmen video 2...
Here's the second video of the Deadmen throwin' down at their practice space. A big thank you goes to Mike Naish for the helping The Cracked Skull with the videos.
Wednesday, September 23, 2009
Deadmen video 1...
There will be a series of videos of the Deadmen posted in the following days. For now we'll leave you with this.
Sunday, September 13, 2009
show review: keelhaul, sweet cobra, and coffinworm...
Now here at The Cracked Skull we do enjoy a good show, but on 9-12-09 at the always sticky Melody Inn three bands tore the place down. With that said, only one band that night was from Indy: Coffinworm. The 'worm opened the show bathed in green light and waves of blackened sludge. Worthy of praises of the damned, Coffinworm unleashed its collective fury on the crowd, and the crowd responded. Many a solemn head nod, raised fist, and strained neck was to be seen as the down beat to full black metal charge blasted eardrums. This is a band honing in on where it wants to take any listeners; straight down in a locked pine box filled with dirt and grime, that ultimately ends in suffocation. Their 2010 release on Profound Lore Records can't come soon enough. Chicago's Sweet Cobra hit the stage next, and delivered a set dominated by new material. Proving to be on point every time they grace a stage in Indy, the band did not disappoint. Sweet Cobra possess the raw energy of a amphetamine jacked long haul trucker looking for the most direct way from one spot on a map to next. If you have seen Sweet Cobra before, then you know what to expect. That expectation is a high octane eruption that melds metal and hardcore into a straight ahead purging of night terrors and open roads. By the end of their set they left the crowd demanding and wanting more. Keelhaul took the stage next to finish the night's show. One of Cleveland's finest bands switched on their amps and proceeded to blister the slightly diminished crowd's ears with a staggering display skill. Keelhaul twisted, turned, and skewed their way through old and new material alike throughout the entirety of their lengthy set. The people that stuck it out witnessed a dizzying array of math metal with continual peaks, valleys, and progressions. Keelhaul only let up briefly when their drummer had a mishap with his snare. No worries once a replacement snare was secured, and the guitar, bass, and drum torture continued. By the end of their set, Keelhaul had finished off a crowd already happily pummeled by Coffinworm and Sweet Cobra. All in all, a three band line up like this one is good way end a week.
Monday, August 24, 2009
Profound vision...
Artistic vision is the backbone of any musician, artist or band. There is a certain integrity that must be upheld and sought to continually progress and adhere to the artist’s vision. This is the central precept of Profound Lore Records: integrity within artistic vision. The label’s dedication to artistic license and vision has helped establish Profound Lore Records as an uncompromising independent label willing to work with artists to fulfill their highest potential.
Founded in 2004, by Chris Bruni (Mississauga, Ontario, Canada), Profound Lore Records is a label bound to the underground. Bruni searches for the extremes and eclectic in multiple genres and styles, but is always seeking to mold the label into a cohesive collective with a similar aesthetic. It is a collective based on provocative, enticing and often transcendent music that affects him directly. Whatever style a band works in, Bruni maintains that a band must truly believe in their overall aesthetic from album artwork to musical expanse. From one band to the next, Profound Lore Records presents a flowing roster of artists that resonates with Bruni.
As a label, three Indianapolis bands (The Gates of Slumber, Apostle of Solitude, and Coffinworm) have found a home on Profound Lore Records currently or with recent releases. The Gates of Slumber was the first band to work with the label when it released ‘Conqueror’ in 2008. Viewed by Bruni as a milestone for the label, ‘Conqueror’ gained widespread praise and recognition as a prominent release from the metal community. Due to its success, Profound Lore experienced greater exposure from the release of ‘Conqueror’, and it secured the label an exclusive U.S. distribution deal.
Profound Lore Records is an ever-evolving label with a fierce diversity of bands. Never settling for the middle ground, Bruni is intent on holding firm to the extreme recesses of music. The Cracked Skull spoke with Bruni recently about his label’s vision, integrity, continuing progression within his label’s aesthetic, and Profound Lore’s connection to Indianapolis.
There are bands on Profound Lore from all over the world. Do you think that any region or particular place(s) has their ear to the pulse of underground, eclectic, and extreme music?
I guess it depends on what kind of style. The west coast for example has a good sense of eclectic and unique formidable artists, each of whom are of a distinct nature, and overall have always had a cool creative surge. That’s a region I am quite fond of, especially since the atmosphere and overall vibe of the west coast is quite distinct. On the other hand, New York is another region stateside in which I am very fond of when it comes to the underground and its overall culture. As for overseas, I’m fond of Australia, since some of the most crazed and brutally extreme bands currently hail from there. There is a great creative surge happening in the U.K. and France as well.
Is there a preference for bands with a particular style over other perceived styles? Or is it more important for the band or artist to truly believe in the vision and scope of their music?
I guess it depends on what I want to bring to the fold. I mean, there’s no preference of style per se, even though it seems these days I lean a lot towards doom metal. I definitely want to build the death metal contingent of the label even more. Overall, I think the most important thing is for the band to truly believe in
the vision and scope of their music not matter the style.
What’s the overall aesthetic you’re trying to achieve for the label?
I guess something artistically potent no matter what the style I release, and for each artist and release to correlate with each other. Basically, it shouldn’t seem odd to see a band like Portal next Amber Asylum. It’s the aesthetic the links the two together. Of course the artwork and the way a release is presented also plays an important factor in helping shape the label’s aesthetic too. But essentially, the overall aesthetic should come across as alluring, provocative, transcendent, and enlightening at the same time.
Profound Lore as a label seeks a cohesive collective for its roster of bands and artists. How close do you think you have come to achieving this, or is this goal or notion an ongoing process?
It’s an ongoing process to keep this goal at least consistent and building. The main thing for me is that I release music that I can relate and resonate with like an extension of my personality. It’s basically a feeling within that has to trigger for me to decide if I want to include a specific artist amongst my roster. Even though I present many different styles within my releases, I think the roster seems very cohesive more so now than ever. Of course I go through certain mood shifts on what I like to present, but it’s cool to see people notice that I have maintained a cohesive collective with the different styles I present with my releases. Basically, there should be no such thing as “this seems weird or out of place to be on Profound Lore.”
There are three bands on Profound Lore from Indianapolis. Which band did you work with first, and did you approach them or the other way around?
The Gates of Slumber were the first, and they approached me to help them get more ground within North America. The album I did with them, ‘Conqueror’, I see as a milestone for the label because not only is it a landmark release in metal, but it was the first release of mine to really get widespread exposure. It was the first release that my U.S. distributor took on when I officially went exclusive with them. And it is through The Gates of Slumber where I discovered other bands like Coffinworm and Apostle of Solitude; both are close confidants of the band. So I guess when Gates broke out, it gave me the opportunity to check out these other bands they are close with through their recommendations and close connections.
In terms of label direction, Profound Lore remains rooted firmly in the underground. With that in mind, what has it been like working with the three bands from Indianapolis? What was it about the bands that made you excited ad willing to work with them?
It’s great. These three bands are very appreciative, enthusiastic, and really cool individuals to work with. It’s cool because Indianapolis wasn’t really known to have any breakthrough metal bands, and with The Gates of Slumber helping to lead the charge, I think it will be good for bands like Apostle of Solitude and Coffinworm to help strengthen the metal scene in Indianapolis. I mean, not only is The Gates of Slumber a cool side of the doom metal coin that I enjoy, but they are one of the few real metal bands which I think should be one of the leaders in waving the flag of true metal today. And now with The Gates of Slumber signing with Rise Above, I’ve managed to fill that void with Apostle of Solitude. Again, it is through The Gates of Slumber which lead me to work with Apostle and Coffinworm.
What do you know about or rather, what do you think is going on in Indianapolis that seemingly produces sincere and dedicated heavy music?
I think with bands like The Gates of Slumber making a name for themselves and gaining recognition, through their sincerity and dedication to heavy music, on top of being some of the coolest and respectable guys in all of metal is a reflection of what is happening in Indianapolis. It’s their entire aura, dedication, and good attitude.
Could you see Profound Lore working with other Indianapolis bands in the future as well?
Since The Gates led me to work with Apostle and Coffinworm, who knows…? Maybe these two bands could lead me to working with other bands in Indianapolis through their connections since I trust these bands’ judgment and their knowledge on heavy music.
Is there any potential for a Profound Lore fest or showcase with a good sampling from the label’s roster?
Well, if this were to happen, it sure as hell won’t work in Toronto (essentially where the label is currently based or at least that closest major city where the label is based). But I don’t know. I guess something out on the west coast could work out or even a showcase at such events like South By Southwest would be a worthwhile venture to undertake.
For current releases, full band roster, band and label merchandise, upcoming releases, tours, band news, and label updates check http://www.profoundlorerecords.com and www.myspace.com/profoundlore .
Founded in 2004, by Chris Bruni (Mississauga, Ontario, Canada), Profound Lore Records is a label bound to the underground. Bruni searches for the extremes and eclectic in multiple genres and styles, but is always seeking to mold the label into a cohesive collective with a similar aesthetic. It is a collective based on provocative, enticing and often transcendent music that affects him directly. Whatever style a band works in, Bruni maintains that a band must truly believe in their overall aesthetic from album artwork to musical expanse. From one band to the next, Profound Lore Records presents a flowing roster of artists that resonates with Bruni.
As a label, three Indianapolis bands (The Gates of Slumber, Apostle of Solitude, and Coffinworm) have found a home on Profound Lore Records currently or with recent releases. The Gates of Slumber was the first band to work with the label when it released ‘Conqueror’ in 2008. Viewed by Bruni as a milestone for the label, ‘Conqueror’ gained widespread praise and recognition as a prominent release from the metal community. Due to its success, Profound Lore experienced greater exposure from the release of ‘Conqueror’, and it secured the label an exclusive U.S. distribution deal.
Profound Lore Records is an ever-evolving label with a fierce diversity of bands. Never settling for the middle ground, Bruni is intent on holding firm to the extreme recesses of music. The Cracked Skull spoke with Bruni recently about his label’s vision, integrity, continuing progression within his label’s aesthetic, and Profound Lore’s connection to Indianapolis.
There are bands on Profound Lore from all over the world. Do you think that any region or particular place(s) has their ear to the pulse of underground, eclectic, and extreme music?
I guess it depends on what kind of style. The west coast for example has a good sense of eclectic and unique formidable artists, each of whom are of a distinct nature, and overall have always had a cool creative surge. That’s a region I am quite fond of, especially since the atmosphere and overall vibe of the west coast is quite distinct. On the other hand, New York is another region stateside in which I am very fond of when it comes to the underground and its overall culture. As for overseas, I’m fond of Australia, since some of the most crazed and brutally extreme bands currently hail from there. There is a great creative surge happening in the U.K. and France as well.
Is there a preference for bands with a particular style over other perceived styles? Or is it more important for the band or artist to truly believe in the vision and scope of their music?
I guess it depends on what I want to bring to the fold. I mean, there’s no preference of style per se, even though it seems these days I lean a lot towards doom metal. I definitely want to build the death metal contingent of the label even more. Overall, I think the most important thing is for the band to truly believe in
the vision and scope of their music not matter the style.
What’s the overall aesthetic you’re trying to achieve for the label?
I guess something artistically potent no matter what the style I release, and for each artist and release to correlate with each other. Basically, it shouldn’t seem odd to see a band like Portal next Amber Asylum. It’s the aesthetic the links the two together. Of course the artwork and the way a release is presented also plays an important factor in helping shape the label’s aesthetic too. But essentially, the overall aesthetic should come across as alluring, provocative, transcendent, and enlightening at the same time.
Profound Lore as a label seeks a cohesive collective for its roster of bands and artists. How close do you think you have come to achieving this, or is this goal or notion an ongoing process?
It’s an ongoing process to keep this goal at least consistent and building. The main thing for me is that I release music that I can relate and resonate with like an extension of my personality. It’s basically a feeling within that has to trigger for me to decide if I want to include a specific artist amongst my roster. Even though I present many different styles within my releases, I think the roster seems very cohesive more so now than ever. Of course I go through certain mood shifts on what I like to present, but it’s cool to see people notice that I have maintained a cohesive collective with the different styles I present with my releases. Basically, there should be no such thing as “this seems weird or out of place to be on Profound Lore.”
There are three bands on Profound Lore from Indianapolis. Which band did you work with first, and did you approach them or the other way around?
The Gates of Slumber were the first, and they approached me to help them get more ground within North America. The album I did with them, ‘Conqueror’, I see as a milestone for the label because not only is it a landmark release in metal, but it was the first release of mine to really get widespread exposure. It was the first release that my U.S. distributor took on when I officially went exclusive with them. And it is through The Gates of Slumber where I discovered other bands like Coffinworm and Apostle of Solitude; both are close confidants of the band. So I guess when Gates broke out, it gave me the opportunity to check out these other bands they are close with through their recommendations and close connections.
In terms of label direction, Profound Lore remains rooted firmly in the underground. With that in mind, what has it been like working with the three bands from Indianapolis? What was it about the bands that made you excited ad willing to work with them?
It’s great. These three bands are very appreciative, enthusiastic, and really cool individuals to work with. It’s cool because Indianapolis wasn’t really known to have any breakthrough metal bands, and with The Gates of Slumber helping to lead the charge, I think it will be good for bands like Apostle of Solitude and Coffinworm to help strengthen the metal scene in Indianapolis. I mean, not only is The Gates of Slumber a cool side of the doom metal coin that I enjoy, but they are one of the few real metal bands which I think should be one of the leaders in waving the flag of true metal today. And now with The Gates of Slumber signing with Rise Above, I’ve managed to fill that void with Apostle of Solitude. Again, it is through The Gates of Slumber which lead me to work with Apostle and Coffinworm.
What do you know about or rather, what do you think is going on in Indianapolis that seemingly produces sincere and dedicated heavy music?
I think with bands like The Gates of Slumber making a name for themselves and gaining recognition, through their sincerity and dedication to heavy music, on top of being some of the coolest and respectable guys in all of metal is a reflection of what is happening in Indianapolis. It’s their entire aura, dedication, and good attitude.
Could you see Profound Lore working with other Indianapolis bands in the future as well?
Since The Gates led me to work with Apostle and Coffinworm, who knows…? Maybe these two bands could lead me to working with other bands in Indianapolis through their connections since I trust these bands’ judgment and their knowledge on heavy music.
Is there any potential for a Profound Lore fest or showcase with a good sampling from the label’s roster?
Well, if this were to happen, it sure as hell won’t work in Toronto (essentially where the label is currently based or at least that closest major city where the label is based). But I don’t know. I guess something out on the west coast could work out or even a showcase at such events like South By Southwest would be a worthwhile venture to undertake.
For current releases, full band roster, band and label merchandise, upcoming releases, tours, band news, and label updates check http://www.profoundlorerecords.com and www.myspace.com/profoundlore .
Tuesday, August 18, 2009
upcoming shows of interest in indy in september...
there are still plenty of good shows coming up to finish off august, but it never hurts to plan early for next month's crop of shows.
*9/6/09, The Dockers (Indy), Deadmen (Indy), Fight Amp (New Jersey), and Millions (Chicago), at the Casa, 5 p.m., $6.
*9/12/09, Coffinworm (Indy), Sweet Cobra (Chicago), and Keelhaul, at the Melody Inn, 10 p.m., $8.
*9/18/09, Bulletwolf (Indy), Lord Mantis (Chicago), Sleepbringer (Indy), Tunguska (Indy), and Poor Bastards Revolt! (Michigan), at the Murphy Building, 7 p.m., $8.
*9/21/09, the Melvins, Down, Weedeater, at the Vogue, 8 p.m. $25.
*9/22/09, Slow Motion Enslavement (Indy), Weekend Nachos (Chicago), Hate (Chicago), and Sea of Shit (Chicago), at 1511 E. 49th Street, 7 p.m., $7.
*9/24/09, Apostle of Solitude (Indy), Hull (New York), Salome (Virginia), and Batillus (New York), at the Melody Inn, 8 p.m., $6.
*9/25/09, Deadmen (Indy), Devil To Pay (Indy), King Deuce (Indy), and The Cocaine Wolves, at the Melody Inn, $5, 10 p.m
*9/26/09, The Gates of Slumber (Indy), Lair of the Minotaur (Chicago), Bulletwolf (Indy), and Sleepbringer (Indy), TGoS CD release at the Emerson Theater, 6:30 p.m, $8.
*9/28/09, The Dream is Dead (Indy), Slow Motion Enslavement (Indy), Livermortis (Indy),and Tombs, The Murphy Building, 7 p.m., $6.
*9/30/09, Monotonix (Israel), Thunders (Indy), and Turbo Fruits, at the Murphy Building, 7 p.m., $10 in advance and $12 at the door.
*9/6/09, The Dockers (Indy), Deadmen (Indy), Fight Amp (New Jersey), and Millions (Chicago), at the Casa, 5 p.m., $6.
*9/12/09, Coffinworm (Indy), Sweet Cobra (Chicago), and Keelhaul, at the Melody Inn, 10 p.m., $8.
*9/18/09, Bulletwolf (Indy), Lord Mantis (Chicago), Sleepbringer (Indy), Tunguska (Indy), and Poor Bastards Revolt! (Michigan), at the Murphy Building, 7 p.m., $8.
*9/21/09, the Melvins, Down, Weedeater, at the Vogue, 8 p.m. $25.
*9/22/09, Slow Motion Enslavement (Indy), Weekend Nachos (Chicago), Hate (Chicago), and Sea of Shit (Chicago), at 1511 E. 49th Street, 7 p.m., $7.
*9/24/09, Apostle of Solitude (Indy), Hull (New York), Salome (Virginia), and Batillus (New York), at the Melody Inn, 8 p.m., $6.
*9/25/09, Deadmen (Indy), Devil To Pay (Indy), King Deuce (Indy), and The Cocaine Wolves, at the Melody Inn, $5, 10 p.m
*9/26/09, The Gates of Slumber (Indy), Lair of the Minotaur (Chicago), Bulletwolf (Indy), and Sleepbringer (Indy), TGoS CD release at the Emerson Theater, 6:30 p.m, $8.
*9/28/09, The Dream is Dead (Indy), Slow Motion Enslavement (Indy), Livermortis (Indy),and Tombs, The Murphy Building, 7 p.m., $6.
*9/30/09, Monotonix (Israel), Thunders (Indy), and Turbo Fruits, at the Murphy Building, 7 p.m., $10 in advance and $12 at the door.
Wednesday, August 12, 2009
Sleepbringer Part II: practice video...
Bare with us as this is our first in, hopefully, a long line of video interviews with bands. The video is an informal discussion about Sleepbringer's arsenal of gear and in general practice space.
Tuesday, August 11, 2009
Never running from the Reaper...
Deadmen. It is a name that draws a swift conclusion. It is an acknowledgement of the final destination. It is urgent and direct. This is what the members of Indianapolis’ newest whiskey and beer soaked hell-raising five piece evoke. Urgency.
Veterans of a multitude of current and former bands, vocalist Nate Olp (Demiricous, Whiskeytits, Lair of the Minotaur), guitarist Garrett O’sha (Coffinworm, Salvation, Angelville), guitarist Carl Byers (Coffinworm, Salvation, The Retreads, The Dream Is Dead), bassist Bob Peele (Whiskeytits, Suicide Note), and drummer Patrick Driscoll (Red Shadows, Salvation, Angelville) came together in the summer of 2008. After the demise of Salvation, O’sha, Byers, and Driscoll still wanted to pursue a more aggressive musical path together. This formed the core of the band. Olp and Peele were soon asked to join and round out the lineup.
Summoning their collective powers, the band down stroke their way into a brand of metal that infuses hardcore and punk into a brutish malaise. This is urgent music fueled by the mutual love of metal and hardcore punk between friends to bring about a unified sound. It is meant to be loud and rowdy. If a party springs up along the way, then it makes life that much better.
Making no bones about it, Deadmen’s music is not the wheel reinvented. Rather, it is a direct boot to the head. It is a blast furnace turned up to melt faces and cause a ruckus. Like their song title suggests, ‘Been there, still there,’ Deadmen invoke their collective consciousness to come together in stamping out weak riffs with a steadfast resilience backed by experience. Carl Byers spoke with The Cracked Skull about motives, inspiration, being from Indianapolis, and running from the reaper.
Why Deadmen? What’s the motives and inspiration behind the band and name?
The band name doesn’t have much intended meaning, but I think it’s as good as any other we could have picked. I was listening to the Dead Boys, and I was thinking about how snotty it sounded to call themselves ‘Boys.’ Dead Boys to men… Deadmen. The name isn’t exactly a nod to them, nor is the music specifically, but I thought it sounded cool. Everyone liked it enough to go with it. I think the main inspiration for me with name and approach to the band is to blend what we all love in the realms of heavy metal and hardcore—punk into one cohesive sound. It’s not anything new, but it ain’t broke so why fix it? I’d say that all of us in the band are aligned in that thought. To be more specific, regardless of how cliché this sounds, but it’s just friends making music together that we all like. Turn it up and party!
It would seem that the songs on the demo have a sense of urgency. Where is this urgency coming from, and are you all running from the reaper or what?
Haha! Not exactly, but that makes a good source of inspiration. I guess the best way to sum it up is that the majority of the riffs we come up with won’t sound good played at slower speeds. We slow it down from time to time, but usually it’s a down stroke picking, d-beat party.
What’s a typical writing session like for Deadmen? Does one person contribute more than another, or is it a collective effort?
Everyone contributes to the writing process, but generally the songs come together from riffs that Garrett and I bring to practice. We build from there. All of us put our two cents in though, and if a song seems even mildly weak we trash it.
As far as being straight out of Naptown, what do you think makes Indy’s collective heavy music scene so diverse and productive?
I think this city is easily one of the best examples of what an underground music scene should be. Granted, the outside community is generally not very supportive and the amount of people involved directly is on a smaller scale, but I like it that way. People can’t afford to get too cliquish, the hipster contingent is almost nonexistent, and people here are proud of what we have going on.
What other Indy bands at the moment are you all feeling?
Honestly, I wouldn’t say there are any that I’m personally not feeling, at least from the hardcore and metal scenes. Those scenes continue to produce great bands.
As a relatively new band with veteran members of numerous bands, what is on the agenda for Deadmen (recording, obviously shows, tour)?
Deadmen is strictly a fun thing for us. We have no plans to tour. Hopefully, we can make it out of state soon on some weekend warrior excursions to play with friends in surrounding cities, but that’s about as much as we want to do. Everyone in this band is busy with their other bands, jobs, or whatever. The shows we have coming up should be great. Our first show will be a Punk Rock Night at the Melody Inn on August 22. I can’t think of a better place to birth the band into a live setting. We also have two other shows booked in September. We may be playing a benefit show for the new collective DIY space, The Dojo, too. As for recording, I’m happy with the way the demo turned out. It was my first attempt at recording a full band. Not sure what we’ll do for anything after this, but eventually there will be a legit release of some kind. We’ve got six songs finished, and we’re currently writing at every practice. I’d really like to do a 7 inch if we can find a label to put it out. Regardless, we should have enough songs for a full length by the end of the year. We’ve talked about recording with Bob Fouts at Basement Rage Studios here in town if our schedules will allow, or possibly continuing to record further material ourselves. I’ve got some new recording gear on the way that should produce better results, so hopefully we can keep everything in-house.
Speaking of dead men, who are three that you would like to meet if you could raise their cold corpses from the ground and why?
I can only answer this question for myself, but if I had to pick three former living humans to resurrect and chat with over a beer it would have to be Nicola Tesla (to hear all the great ideas he probably had that were never brought to fruition), Phil Lynott (probably the best storyteller in rock ‘n’ roll history and never toppled from that throne in my opinion), and Thomas ‘Pig Champion’ Roberts (for obvious reasons).
What does a group of dead men drink to stave off the grave or get that much closer?
The simple answer is whatever adult beverage you put in front of us. Whiskey and beer make the good times even better, and when it’s free…
First chance to see the Deadmen: 8/22/09, The Melody Inn, $5, 10 p.m.
www.myspace.com/deadmencomesripping
Veterans of a multitude of current and former bands, vocalist Nate Olp (Demiricous, Whiskeytits, Lair of the Minotaur), guitarist Garrett O’sha (Coffinworm, Salvation, Angelville), guitarist Carl Byers (Coffinworm, Salvation, The Retreads, The Dream Is Dead), bassist Bob Peele (Whiskeytits, Suicide Note), and drummer Patrick Driscoll (Red Shadows, Salvation, Angelville) came together in the summer of 2008. After the demise of Salvation, O’sha, Byers, and Driscoll still wanted to pursue a more aggressive musical path together. This formed the core of the band. Olp and Peele were soon asked to join and round out the lineup.
Summoning their collective powers, the band down stroke their way into a brand of metal that infuses hardcore and punk into a brutish malaise. This is urgent music fueled by the mutual love of metal and hardcore punk between friends to bring about a unified sound. It is meant to be loud and rowdy. If a party springs up along the way, then it makes life that much better.
Making no bones about it, Deadmen’s music is not the wheel reinvented. Rather, it is a direct boot to the head. It is a blast furnace turned up to melt faces and cause a ruckus. Like their song title suggests, ‘Been there, still there,’ Deadmen invoke their collective consciousness to come together in stamping out weak riffs with a steadfast resilience backed by experience. Carl Byers spoke with The Cracked Skull about motives, inspiration, being from Indianapolis, and running from the reaper.
Why Deadmen? What’s the motives and inspiration behind the band and name?
The band name doesn’t have much intended meaning, but I think it’s as good as any other we could have picked. I was listening to the Dead Boys, and I was thinking about how snotty it sounded to call themselves ‘Boys.’ Dead Boys to men… Deadmen. The name isn’t exactly a nod to them, nor is the music specifically, but I thought it sounded cool. Everyone liked it enough to go with it. I think the main inspiration for me with name and approach to the band is to blend what we all love in the realms of heavy metal and hardcore—punk into one cohesive sound. It’s not anything new, but it ain’t broke so why fix it? I’d say that all of us in the band are aligned in that thought. To be more specific, regardless of how cliché this sounds, but it’s just friends making music together that we all like. Turn it up and party!
It would seem that the songs on the demo have a sense of urgency. Where is this urgency coming from, and are you all running from the reaper or what?
Haha! Not exactly, but that makes a good source of inspiration. I guess the best way to sum it up is that the majority of the riffs we come up with won’t sound good played at slower speeds. We slow it down from time to time, but usually it’s a down stroke picking, d-beat party.
What’s a typical writing session like for Deadmen? Does one person contribute more than another, or is it a collective effort?
Everyone contributes to the writing process, but generally the songs come together from riffs that Garrett and I bring to practice. We build from there. All of us put our two cents in though, and if a song seems even mildly weak we trash it.
As far as being straight out of Naptown, what do you think makes Indy’s collective heavy music scene so diverse and productive?
I think this city is easily one of the best examples of what an underground music scene should be. Granted, the outside community is generally not very supportive and the amount of people involved directly is on a smaller scale, but I like it that way. People can’t afford to get too cliquish, the hipster contingent is almost nonexistent, and people here are proud of what we have going on.
What other Indy bands at the moment are you all feeling?
Honestly, I wouldn’t say there are any that I’m personally not feeling, at least from the hardcore and metal scenes. Those scenes continue to produce great bands.
As a relatively new band with veteran members of numerous bands, what is on the agenda for Deadmen (recording, obviously shows, tour)?
Deadmen is strictly a fun thing for us. We have no plans to tour. Hopefully, we can make it out of state soon on some weekend warrior excursions to play with friends in surrounding cities, but that’s about as much as we want to do. Everyone in this band is busy with their other bands, jobs, or whatever. The shows we have coming up should be great. Our first show will be a Punk Rock Night at the Melody Inn on August 22. I can’t think of a better place to birth the band into a live setting. We also have two other shows booked in September. We may be playing a benefit show for the new collective DIY space, The Dojo, too. As for recording, I’m happy with the way the demo turned out. It was my first attempt at recording a full band. Not sure what we’ll do for anything after this, but eventually there will be a legit release of some kind. We’ve got six songs finished, and we’re currently writing at every practice. I’d really like to do a 7 inch if we can find a label to put it out. Regardless, we should have enough songs for a full length by the end of the year. We’ve talked about recording with Bob Fouts at Basement Rage Studios here in town if our schedules will allow, or possibly continuing to record further material ourselves. I’ve got some new recording gear on the way that should produce better results, so hopefully we can keep everything in-house.
Speaking of dead men, who are three that you would like to meet if you could raise their cold corpses from the ground and why?
I can only answer this question for myself, but if I had to pick three former living humans to resurrect and chat with over a beer it would have to be Nicola Tesla (to hear all the great ideas he probably had that were never brought to fruition), Phil Lynott (probably the best storyteller in rock ‘n’ roll history and never toppled from that throne in my opinion), and Thomas ‘Pig Champion’ Roberts (for obvious reasons).
What does a group of dead men drink to stave off the grave or get that much closer?
The simple answer is whatever adult beverage you put in front of us. Whiskey and beer make the good times even better, and when it’s free…
First chance to see the Deadmen: 8/22/09, The Melody Inn, $5, 10 p.m.
www.myspace.com/deadmencomesripping
Tuesday, August 4, 2009
upcoming shows of interest in indy in august...
Here is a quick list of a few shows that are going down in Indy. These all have the makings for a good bit of ear ringing and face melting.
August:
*8/7/09, Bloody Panda (Brooklyn, NY), Black Arrows of Filth & Impurity (Indy), and Tunguska (Indy), $6, 7 p.m., at the Casa (if you don't know, you better ask somebody).
*8/14/09, The Gates of Slumber (Indy), Demiricous (Indy), Apostle of Solitude (Indy), Coffinworm (Indy), Zoroaster (Georgia), and Serpentcult (Belgium), $10, 6 p.m., Emerson Theater.
*8/15/09, Devil To Pay (CD release show), The Cocaine Wolves, Lopan (Columbus, OH), and Chapstik (Detroit, MI), 9 p.m., Zanies Too
*8/22/09, Deadmen (Indy, first show), Punchups, Typos, Pigtail Crooks, $5, 10 p.m., the Melody Inn.
*8/22/09, Yuki (Indy, shoegaze EP release show), Dark Halo Matters (Indy), Red Light Driver (Indy), and Tiger Spirit (Chicago), $5, 9 p.m., Locals Only.
*8/23/09, Slow Motion Enslavement (Indy), Dead Issue (Milwaukee), Bored Straight (Milwaukee), $5, 7 p.m., The Dojo.
*8/28/09, Drogas (Indy, first show), Summon the Destroyer, Spero, and Lorenguard, $5, 7 p.m., The Murphy Building--studio eight.
August:
*8/7/09, Bloody Panda (Brooklyn, NY), Black Arrows of Filth & Impurity (Indy), and Tunguska (Indy), $6, 7 p.m., at the Casa (if you don't know, you better ask somebody).
*8/14/09, The Gates of Slumber (Indy), Demiricous (Indy), Apostle of Solitude (Indy), Coffinworm (Indy), Zoroaster (Georgia), and Serpentcult (Belgium), $10, 6 p.m., Emerson Theater.
*8/15/09, Devil To Pay (CD release show), The Cocaine Wolves, Lopan (Columbus, OH), and Chapstik (Detroit, MI), 9 p.m., Zanies Too
*8/22/09, Deadmen (Indy, first show), Punchups, Typos, Pigtail Crooks, $5, 10 p.m., the Melody Inn.
*8/22/09, Yuki (Indy, shoegaze EP release show), Dark Halo Matters (Indy), Red Light Driver (Indy), and Tiger Spirit (Chicago), $5, 9 p.m., Locals Only.
*8/23/09, Slow Motion Enslavement (Indy), Dead Issue (Milwaukee), Bored Straight (Milwaukee), $5, 7 p.m., The Dojo.
*8/28/09, Drogas (Indy, first show), Summon the Destroyer, Spero, and Lorenguard, $5, 7 p.m., The Murphy Building--studio eight.
Thursday, July 30, 2009
An Uneasy Night's Rest... Sleepbringer
Heroes Laid to Rest was a former Indianapolis rust metal band of doom and heaviness. From the demise of Heroes Laid to Rest sprung Indianapolis’ Sleepbringer. Sleepbringer, three fourths of the original HLTR, is a full tilt, smash your head against the wall band of metal purveyors. Comprised of guitarist—vocalist Mike Downton (Emotion Zero, Curb, and Heroes Laid to Rest), bassist--vocalist Mike Naish (Necropharmacon), guitarist Colin Richard (Heroes Laid to Rest), and drummer Rob Lemen (Heroes Laid to Rest and Nidus) all come together in a collaborative effort to bring a wash of color to their brand of organic sonic dissonance.
True to their origins, the band’s sound is reminiscent of bands typically categorized as doom or stoner, but there are added nuances due to changes in song writing and structure. Whether those nuances come in the form of slick guitar solos or disparate then conjoining parts, it is certain that new direction in song writing is more expansive and shifting. There are still detuned guitars, slow and creeping tempos, and off kilter time changes, but there is a new depth and complexity to their music. This depth is in part due to, newest member and bassist, Mike Naish’s playing . Naish joined HLTR at the end of its life replacing then bassist Bill Scott and playing Scott’s bass lines. Naish is in full command of his writing within Sleepbringer. With the lineup solidified the band was able to fully explore the shifting directions in song writing and progression.
Awash in an eerie mix of denseness and at times ghostly sounds, Sleepbringer deliver music that lives in the moment. Recently both Mike Downton and Mike Naish discussed with The Cracked Skull musical rejuvenation and depth, Indianapolis’ musical climate, and what the future holds for Sleepbringer.
Heroes Laid to Rest... What Changed? Musical directions, Naish's addition to the band, a musical rejuvenation...?
Mike D: Basically we had come to the conclusion that it wasn't the same band. We found ourselves not playing the Heroes stuff. Not because we didn't like it, but because the other stuff we were writing came together quickly. So we go together and said, "No more Heroes, we'll start over." Plus, with the addition of Mike (Naish) we didn't feel it was right to have him play something else someone else wrote. Mike's playing is quite different from Bill's.
Mike N: Mike (Downton) called me one day and said Heroes was done. I was a little shocked and surprised. He wanted to start a new band to leverage the current talent pool. I really enjoyed Heroes, but I love playing in Sleepbringer. There is a different dynamic to it as opposed to Heroes.
Certain elements of Heroes Laid to Rest seem to remain intact (the core band members, the dropped tunings, the weightiness of the music), but there also seems to be a new depth. Why the shift?
Mike D: I think it's because of Naish. His playing is vastly different from Bill's. Mike has always played bass, where as Bill was a guitarist playing bass. Mike just approaches the song writing process differently. Mike likes to work around the guitar riffs to add new depth. He has a different approach to the bass all together.
Mike N: Style. That's about all there is to it. The tunings provide the color or backdrop to this band. I think the depth comes from all the members of this band as opposed to just one. Downton was the single biggest element in Heroes when I was there, but I could see him shifting from that position the longer I was in the band. Within a year it had changed from Mike (Downton) being a conductor to a collaborator. Everyone told me that Downton was a hardass when it comes to writing, but I've never seen that.
What are the band's influencing factors in the most recent son writing process?
Mike N: For me it has been the complete freedom to do what I want. Sometimes, Mike will mouth the notes to me while we are playing, but I have complete control. We all kind of noodle around while we're writing, and eventually someone plays a riff. Once everyone hears it is when the collaboration really begins. The is where Downton shines. He can pull together what we think are riffs, notes, or pieces of songs and produce something we all love by the next practice. The creative process in this band is simply stimulating for musicians.
Mike D: The process itself hasn't really changed all that much. We mainly go in and one of us will have a riff, and we'll know pretty quickly if it will work. We'll build upon that from the recordings of practices because sometimes parts of songs are scattered. I'll take the audio from practice and start piecing together parts and see what works.
Within the song writing process, who are the main contributors? Is the writing process more organic?
Mike D: It's pretty organic. We just start playing, and eventually we'll all clue into what one of us is doing. We don't lay it out like "Ok, this is the verse. This is the chorus." At our last practice we were all noodling around and Naish comes up with a riff, so Colin and I will stop playing to listen to what he is doing. We try it a few different ways. We'll play it sort of soft, and then build up to the same riff just heavier with full chords and drums. Everyone contributes, which is a change from the norm. Rob has been known to structure songs based on riffs he's heard and who should play what, and Colin we'll even throw in a riff every now and then. It's not that they couldn't before, but I was sort of a taskmaster at times. "You play this here, you play this beat until I nod, and then we'll come in with this riff." I like instant results, and if it's not working I like to move on. We've dumped plenty of riffs because they just didn't seem to work.
Mike N: Everyone contributes. Bottom line. Downton can put together solo and lead parts like nobody's business. I sometimes get lost watching him play. Colin has an ear for what sounds good and when. Rob can keep time better than an atomic clock. I think everyone brings a lot to the table with it comes to song writing. I think it's pretty organic.
As far as Indy's music scene is concerned, where do you feel your place is within it (not status or stature), but rather whom do you feel a sort of kinship musically?
Mike D: You know the scene in Indy has always ruled, and it doesn't really matter who is playing. I mean, we always seem to get hooked up with Apostle of Solitude or The Gates of Slumber, so if there were some sort of musical kinship then it would be with bands like that. Our last show we played was with Coffinworm, and goddamn, rip your fucking eyes out and piss on your brain. That shit ruled. Like with most bands in Indy, they just play because they love to play. There is no competition. No bullshit. They record and put out demos because they want to and not for some idealistic noton of 'making it.' I'm comfortable with our 'place.' We don't play out a lot, mainly because of all of our schedules, but the Indy scene rules so much that you can just contact anyone that is setting up a show. Ask them to play, and they'll make it happen. Not because of who we are as a band, but that's just how Indy is.
Mike N: I think the heavy music scene has caught fire in the last few years. There are bands that are more digestable than others, but the musicians themselves are a close, tightly knit bunch. Some bands the I've gotten to know better are Apostle of Solitude, Nidus, and Order of the Black Hand. All those guys are awesome musicians and people too. We tend to get lumped into the 'metal' category, which is fine, but we are a doom band. Slow, heavy, with alternating time signatures... It is not like the typical fast metal song structure that we see a lot of.
With that in mind, how healthy of an environment is Indy for cultivating and producing meaningful muisc? Do you feel that Indy is representative of a city that for whatever reason(s) seems to produce some of the most forward and challenging heavy music in the Midwest currently? Or would you say the music being made in Indy and around Indy is more of a reflection of current times?
Mike N: Yes. It's healthy here. Sometimes we see a lot o f the same people at shows, but those are the true fans. I like going to heavy shows because I will always know someone. Honestly, I have not looked elsewhere too much. The shows I've played out of town have been ok, but I always like coming home to the Melody Inn or Zanies to see a show.
Mike D: In my opinion, Indy has always ruled. The best part is that people that I met back in 1990 or 1991 are still around, in bands, booking shows, putting out demos, and making zines. There really is amazing going on from Rev. Payton, Yuki, Mavarich, Worldeater, The Dockers, The Gitmo's, The Gates of Slumber... Every style seems to be represented. I think that because people in Indy do give a shit allows an opportunity for bands to be heard no matter the audience size. Just go to Rippy's basement for a show, the 1511 house, or the Melody Inn. You'll see new bands all the time because the people that put on these shows actually give a shit. They want to give back somehow, and that rules. The Dojo will be up and running soon. It's a new collective that I think will have a huge impact on the DIY music community in and around Indy. When places like this can survive, then only good thing can happen for everyone.
What's on the horizon for Sleepbringer? Recording, shows, releases...
Mike D: Good question. The plan is to record at the beginning of August. What we'll do with those tracks are unknown. We know one, possibly two songs will go to the Droning Earth compilation series. We'll most likely send the rest to At A Loss and Seventh Rule, and see if they might be interested in releasing them. Regardless, a DIY type of demo will be made for the masses. As far as shows... Whenever, wherever really... Our schedules can be hectic at times, namely mine since I'm in graduate school at IU Bloomington and moving down there this fall. That might slow things down.
Mike N: I'm looking forward to recording because it's high time we have a record. We will probably have enough music for two records, but like a big penis contest you only want to show enough to win. With Mike (Downton) working on his Ph.D., we take things as they come. I can't say that we have any other real plans other than to play shows when we can, practice, and continue to write music that makes us happy.
Contact Sleepbringer at myspace.com/sleepbringer
vibes music broken into...
Sometime late in the evening of July 29 to early morning of July 30 Vibes Music on 54th Street (Indianapolis) was broken into. The front door was smashed in, and several vintage guitars are reported as stolen. The guitars ranged from various vintage Gibson and Hagstrom models. No serial numbers have been released yet, but keep an eye out in the greater Indianapolis area for the suspect guitars. Stealing, burglary, thievery, or any manner of theft is pure cowardice. It is a shame that it happened to an independent music store with a sincere following within the community. Hopefully, all the pilfered guitars are returned and the thieves are found and prosecuted.
Monday, July 27, 2009
coffinworm demo review...
The Cracked Skull is not just another online music review site, but Coffinworm's (Indianapolis, Indiana) demo, 'Great Bringer of Night', is just the kind of homegrown demo worth tracking down and listening to repeatedly at a suitable volume hoping for brown note bliss. The various molten hammers being poured through the speakers of your stereo will reaffirm what metal is all about. 'Great Bringer of Night' is heavy in all the right ways: guitars tuned to the depths of the Mariana Trench, gravel throat blaspheming, subversive bass growls, and war drums. Slow, mid tempo, deft time signature changes, and some well placed feedback adds to the churning of this demo. Basically, if the listener's face is suddenly pulverized into dust against the nearest hard surface while listening to this, then the goal of this demo would seemingly be achieved. Recorded at the aptly named Basement Rage Studio in Indianapolis by Bob Fouts, Coffinworm has managed to capture what lies in the blackened hearts and deep recesses of the minds of those whom don't shy away from the dark and shadows. Instead of having one song that sticks out, 'Great Bringer of Night' is best approached in terms of movements. Each song break signaling the next step, the next push into the ground to ultimately end up as a feast for the creeping things that live on the south side of terra firma. This is quite the initial outing for Coffinworm as their debut full length should be out in '10 on Profound Lore Records. Until then, one fist raised and excessive head nodding will suffice while spinning this disk at top volume.
For information on buying Coffinworm's 'Great Bringer of Night' and other merchandise head to their Myspace page, and catch them at their next show. They won't disappoint.
www.myspace.com/coffinworm
For information on buying Coffinworm's 'Great Bringer of Night' and other merchandise head to their Myspace page, and catch them at their next show. They won't disappoint.
www.myspace.com/coffinworm
Sunday, July 26, 2009
a new space...
Indeed that is the word. There is a new community centered music and arts space opening up on the east side of Indy (4640 E. 10th Street) designated the Dojo. This is a good thing. Indy is long overdue for a space with a sincere DIY ethic that fills the gap left behind from such beloved spots as the Sitcom. It would seem that unlike a collective, this new space will try to operate as a co-op. It may have some form of membership and hierarchy to help establish the space as a viable and permament fixture in Indianapolis as a whole. Low cost language classes, art exhibits, and shows are a few things that could potentially be expected to happen at the space. Well, definitely shows as there is one going down July 27th featuring three Indy bands (Worldeater, Order of the Black Hand, and Livermortis) and one touring (Force Fed from Pennsylvania). This is a solid line up for the inaugural show benefiting the new space. It will be interesting to follow the progress of the Dojo. Hopefully, it turns into a space with a positive and lasting effect on its east side neighborhood and further establishes a genuine sense of community in Indianapolis.
Thursday, July 23, 2009
first up... Sleepbringer
Here is a video of Sleepbringer from this past January at Zanies Too. Interviews and up to date video footage of the band are forthcoming. Until then, I leave you with this video and link to their Myspace page.
www.myspace.com/sleepbringer
www.myspace.com/sleepbringer
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