Thursday, March 28, 2024

Interview with Under The Shadows by Dave Wolff

Interview with Elias Negrin of Under The Shadows by Dave Wolff

How did you develop your latest EP "I Before You" and promote and distribute it since its release? What do you believe are the most important things people should know about it? 
Hello Dave, really happy to talk to you!
The drive for me since my school years is to make music, and this project is no exception! It developed really fast, within a few months actually, from inception to completion! I decided to undertake full production responsibility this time except for songwriting and arrangements, stretching myself a bit more but was fun too! Gained more confidence in the mixing-production part as well.
As far as line-up is concerned, I tried a different model too. Instead of trying to find permanent band members in a more traditional setup, I tried collaborations with musicians that I already know (have worked with them before) or by networking with new ones and seeing how it turns out. This also gives me more possibilities for the future. It did save a lot of time but brought more responsibility on me to explain properly what I want and still give musicians some freedom to express themselves within the boundaries of the songs. I am also very happy that my son Aris has helped with drums, this is absolutely cool and look forward to taking it further!
Distribution for now is only digital, started small and simple to test the waters a bit, EP can be found on all major digital platforms, Spotify, Youtube, Applemusic, Napster, Bandcamp etc. In the future I might press some vinyl and/or CDs. Promotion is done via an agency. I have worked with Kostas (Salomidis) before (with my other band Julian’s Lullaby) and I am happy to work with him again.

How does the name Under The Shadows represent your vision for the band and why was chosen in that regard?
I believe it encapsulates the general music direction of the band, a bit mysterious, somehow dark, not heavy metal exactly in a more traditional way but still a good fit, could make someone think and it creates a mood.

Who are the musicians you've collaborated with? Which of them appears on your EP? Provide a brief description of how the EP was recorded and mixed, as well as what songs are included.
I have collaborated with Eric Castiglia from Italy on vocals, he has quite an extensive experience and a number of releases in the melodic death/groove/gothic metal and related genres which makes him quite versatile as a singer. For lead guitars, I’ve worked with Dimitris Koskinas from Greece, an awesome player both in terms of musicianship and personality. We have worked together in my other band Julian’s Lullaby, which makes him a really credible and professional partner. On drums, as mentioned, my son Aris has contributed which is great of course but challenging as well since it takes a lot of effort to provide the necessary direction. Last but not least, Anna Spanogiorgou has contributed with her beautiful lyrics. We have a long lasting friendship and collaboration since 2009 if I recall correctly. I appreciate her both as a person and an artist, she is also a fantasy novels writer and definitely can get inspiration from her work.
Recordings and mixing-mastering were done at my home studio in the Netherlands, all collaborations were done by exchanging files online which makes it very convenient nowadays. It all worked quite well given I had the songs at a pretty much completed stage so I knew what I wanted more or less. Of course, while laying down the vocals and lead guitar parts we tried a few things and did a couple of revisions until we got the best possible version.
The tracklist of “I Before You” contains four songs; “Black Butterfly”, “7 (Sweet) Sins”, “The Emperor and The Nightingale” and “Blue Dragon”. The style of the songs is a mix of 90s metal with an in-your-face sound, short, tight compositions mixing some more modern metal elements. Lots of experimentation and things I didn’t try in the past. Future songs can be somewhat different; it's all based on the mood.

The process of finding musicians to work with seems to have been relatively straightforward. Initially, did you think it might be harder to track people down?
The process was indeed fast in terms of execution, I did flirt with the idea of finding long-term/permanent members but that would basically take a lot of time, tried with a couple of acquaintances and it didn’t work so quickly pivoted to finding professional musicians which is a general idea I have for many years now.

How does Eric Castiglia's training in vocals contribute to Under The Shadows' ability to expand their range?
Eric is a professional session singer, musician and songwriter with far too many collaborations under his belt to mention. Did approach him through a web portal after listening to some of his work and thought his style could match what I was looking for. We did the first song “The Emperor and the Nightingale”, it worked well and decided to move on with the rest of the material. I like the fact that his voice is versatile and can do both clean and brutal/growls.

How much experience does Anna Spanogiorgou have as a fantasy novelist? How does she obtain inspiration for characters and storylines, and how does it influence her lyrics? How does this affect the songs of the band?
Anna has already released a trilogy and she is very active in this community of writers, sharing her own reviews about other books, joining events and other activities. Fantasy and mysticism are the main sources of inspiration. Her lyrics though come from a different, earlier era where they more fit into dark and romantic fields I would say. I like both aspects a lot and I am glad we have this cooperation going on for many years.

How does Anna incorporate fantasy and mysticism into her recent trilogy? In what events does she share her work and her thoughts on other literary works?
The trilogy is a fantasy story where the protagonist is a girl called “Katia”, she possesses magical and mystical powers that she is not aware of and has a mission she doesn’t know anything about in the beginning. She lives a quiet, peaceful life and suddenly things turn upside down when she is dragged to an adventure beyond belief visiting imaginary places out of this world, places and people she never thought of or dreamed about.

Are Aris's musical tastes similar to yours or do they differ? When working on material together, what is the process?
We share a lot of common tastes in music and go to concerts together, but he is also listening to a lot of modern stuff that I do not resonate with necessarily. Working together is great and challenging at the same time. Exchanging ideas is easy as we have all the equipment at home. The challenge comes in terms of organizing our time, difference in mindset (and age haha), managing expectations, things like that. In general we communicate quite well, and it is fun which is most important.

In terms of working together and exchanging ideas, how does having similar tastes in music benefit you? Are there any bands that you saw together that were inspirational to you?
Well, having some similar tastes or references when creating anything (music, or art) is always helpful in capturing the end result faster and with more accuracy. Imagine asking a jazz drummer (with no metal influences/ playing style) to record an extreme death metal piece! I recall for example Annette Olzon who had no metal experience before and she was not a good fit at the end when she replaced Tarja at Nightwish. Hm now that I mentioned Nightwish, I recall we had a very nice time actually at Sabaton and Nightwish shows some time ago in Amsterdam. And of course not to forget the all-time great Mr. Udo Dirkschneider having his son Sven on drums, how nice this is!

How much input did your band mates have during the production of "I Before You"? How many other musicians do you plan to collaborate with once your current release gets around? How do you hope working with different musicians will provide the band with a variety of musical styles?
Given that I have the overall idea and responsibility over the project, I provided the framework/concept/style I am looking for every song, then let them process it and give me their interpretation. This is the model I intend to follow for this project in general, work on my ideas as the songwriter and then based on the style I want for every song look for the right collaboration. Don’t have a pre-decided plan on how many musicians to use but definitely this model allows me to experiment with various sounds, styles and musicians.

Who is the promotion company that is helping you spread the word? Could they also promote the CD and vinyl versions of "I Before You"? Do they also promote Julian's Lullaby?
The promotion agency is called K.S. Music Promotion, it’s an independent P.R. and booking management and the plan is to work with them for all future versions of the EP. We have worked with Kostas via another agency to promote Julian’s Lullaby in the past, and possibly will work again in the future. Talking about Julian’s Lullaby, we have been working for our third album for some time now but personal and family situations have delayed the whole process considerably. Hope we can finish it this year.

In what circumstances did you first become aware of KS Music Promotion, and what events led you to partner with them to promote your music? How much effort do they put into promoting their bands?
As mentioned, I have known Kostas for a few years now and we have worked together through Julian’s Lullaby so I’m fully aware of their professionalism and effort they put in helping their bands. Communication and transparency is also something well appreciated. We are all grown-ups so no room for fuss and making things unnecessarily complicated.

How long has Julian's Lullaby been around, with whom are you working and how many releases have you made so far as a project?
Julian's Lullaby is a band I formed in 2006 while still living in Greece, we have released an EP and two full-length albums on CD format. We have changed a lot of members throughout the years but our line-up is more or less stable since 2012, currently it is myself, George and Anna on vocals and a couple of friends as session musicians on drums, bass and lead guitars plus some guests on piano and violins.

Musically and lyrically, how similar are Julian's Lullaby and Under The Shadows? What are the different ways in which these bands can be distinguished?
Hm, musically I wouldn’t say much, except for the fact that I am the main man in both! Although I would expect someone that likes one could also like the other. However this is not the idea. I also expect to attract new listeners who wouldn’t like Julian’s Lullaby per se. Lyrically you can find similarities of course, but the style of Under The Shadows is more aggressive and direct. Julian’s Lullaby is more melodic and romantic with lots of keyboards and symphonic elements. The vocals are also balanced between male and female, while with Under The Shadows things can be much more experimental. In the future though, I intend to try other things with Under The Shadows. I am not limiting my options.

Does Julian's Lullaby exchange files in the process of composing? What file sharing software is best suited for collaborating and assembling material? Are you in contact with the musicians with whom you are working online?
Since we live in different countries with most of the musicians I collaborate with, file exchange seems the way to go. The actual collaboration is online but not synchronous, if I get the question correctly. I send the file(s) using Wetransfer for example, explain what I need and then I get the file(s) back for review, asking for revisions until the result is the best possible.

As the new recording of Julian's Lullaby is completed, how do you anticipate it will sound? Is there a desire for you to continue to build on what they have created so far?
The Julian’s Lullaby material is done to a large extent already, so songs direction is known more or less. Vocals and guitar solos are still to be done but the overall sound is not much different from the previous album. As long as there is an appetite for doing more, then I can definitely build up. It is true that we haven’t been very active in the past years due to various, mostly personal and family reasons. Hope we can soon finish the album and be able to release it!

If you considered the differences between Julian's Lullaby and Under The Shadows, would you say working with them has a balancing effect on you as a musician?
Yes, this is a fair statement to make.

Back to "I Before You", could you describe what “Black Butterfly”, “7 (Sweet) Sins”, “The Emperor and The Nightingale” and “Blue Dragon” are about, and how much of Anna Spanogiorgou’s experiences are reflected in the lyrics?
I don’t personally know what every poem (they were initially written as poems) is talking about, but there is a common denominator in most of them. They are dark and romantic, for example “The Emperor and The Nightingale” is a fairytale if I recall correctly. Fairytales and imaginary places are all over the place, like in “Blue Dragon”. You can sense dark romance and melancholy in most of these songs’ lyrics and this brings a certain mood, character and personality to Anna’s writing. Sometimes, I add a few lines or change the words to fit the melody but the core concept stays mostly intact. These lyrics have been an inspiration to me. The idea is to use a variety of themes in the future but I must also admit that writing lyrics is not actually my cup of tea unless I have a topic I really like to write about. Writing music is my way of expression.

In what ways, if any, do you think "I Before You" will provide inspiration for the material you and Anna prepare for your next recording? Is it more likely that you will wipe the slate clean and begin anew? At this point, have any ideas been proposed?
I have some ideas already for new songs and plan to begin pre-production in the coming months. I have some lyrics from Anna still to use so I will see what works and if I need additional inspiration. “I Before You” is definitely a good baseline for the next release but like I said, I don't want to limit my options.


-Dave Wolff

Interview with A.Moortal by Dave Wolff


Interview with A.Moortal by Dave Wolff

Were you born into a musical environment? Because your first exposure to it was when you played flute in middle school. Did you practice with a particular type of flute? And did you begin to consider a career in classical music at this time?
I wasn’t actually born into a musical environment. My parents both liked music but they didn’t play. My mom had played the flute in school but it wasn’t something that she stuck with. I really only chose band class and flute because my Mom always told me she did it when she was a kid and it sounded fun. The flute I had was just the cheapest one that the local music store had. I did ask to play the piccolo my third year but the band teacher said no. The greatest impact flute had on my music career is it led some friends to decide to teach me bass guitar. My two best friends in middle school were Sam Lanyon (of Anomalous) and Aaron Pauley (of Jamie's Elsewhere and Of Mice and Men). We were all new to music and they decided that I could learn to play bass because I had played flute. Still doesn’t make sense to me but they were right! We started our first band, Meniss Two Society or MTS. We were terrible but we had fun. I did learn some basic music theory playing flute that still helps me today but otherwise everything is self-taught and learned from friends.
When I got into bass my Dad helped me get my first bass guitar. I worked construction for him over the summer to pay for my first bass and amp. When he learned how affordable starting instruments were he decided to get a guitar. So we really started learning at the same time. Him having a guitar in the house led to me picking it up and starting to just kinda mess around. He thought I had a knack for it and when I was fourteen he came home with a guitar for me. I didn’t even ask. He just saw I was playing it and thought I’d enjoy it. I haven’t stopped playing guitar and writing since.

Did Meniss Two Society primarily perform locally? Are there any recordings they made during their tenure that can still possibly be heard today?
We never left the garage. Halfway through eighth grade Aaron Pauley moved out of town and the band died with his departure. But we all learned a lot and ventured onto new projects. I think there might be an old VHS tape somewhere of us playing and skateboarding but I have no idea where it is. So sadly nothing still remains.

If MTS was essentially a garage band that played for fun, what did it teach you about writing and arranging songs, as well as practicing with other musicians?
The biggest lesson it taught me is to follow the drummer. If everyone in the band follows the drummer, even if the drums are off, you’ll sound locked in. Other than that it really just showed me that playing music is fun and felt like home. It was a big step in becoming who I am today. And of course the basics of being in a room with other musicians. Getting used to what a full band sounds like in a room. How to set up an amp to work in the band instead of on its own. Stuff like that.

As a result of switching to guitar and discovering Disturbed, Slipknot, and Sum 41, your paradigm shifted. At this point did you decide to work at being a professional musician? In what ways did you relate to the bands you discovered and where did your tastes go from there?
I was always the weird kid. I got picked on a lot. My friends showed me some bands and it was just so raw. It was what all my feelings sounded like. This is when I realized music is what I was meant to do. I’ve been trying to make a career out of it ever since. I started writing on the guitar and every time I wrote an angry song idea I felt better about myself and my life. Over the years my tastes have evolved and broadened. I started going to local shows. I listened to everything from pop punk to extreme death metal. In recent years I’ve even started listening to top 40s pop music. Just to see what I can learn from it. These days I mostly listen to metal, I like a lot of newer stuff. Alpha Wolf, Thrown and Knocked Loose are always on my playlists. Slipknot still never misses. Lamb of God is one of my all-time favorites. I still listen to a lot of older metalcore too. 2000s Killswitch Engage is just untouchable.

When you started attending shows, who were the first local bands you saw? In what ways did they inspire you to compose music?
The first local show I went to was headlined by a local band called Below Ground. This would have been around 2004. They actually still play some shows and I’m pretty good friends with a few of the members now. The experience of going to an underground show with other people was so amazing to me. I still can’t explain it but it was like I had finally figured out who I was. I just wanted to feel that way all the time and help other people feel that way too.

Several years ago, I explored Celtic music and folk music. Extreme metal and punk bands incorporate these genres, and I see how they work together. What genres do you listen to that are compatible despite appearing incompatible at first?
I’ve always said metal is just classical music with electricity. I’ve always enjoyed classical compositions and opera. Pop music is probably the biggest departure from metal that I borrow from. A lot of metal feels like just throwing every idea at the wall. I love it, don't get me wrong, but I think the way pop music just gets to the point is really cohesive from start to finish is something every musician can learn from.

Describe Alpha Wolf, Thrown and Knocked Loose to those who may not be familiar with them. In your opinion, what do they offer that has not been done before?
All three I would classify as Metallic Hardcore. Definitely more punk-derived than metal. All three bands use pretty simple guitar riffs combined with elaborate drums, intense drums, and strange noises that aren’t exactly musical but sound really good in context. Knocked Loose has blown up in the last few years and does some weird, almost art piece things with their music. Last year they released two songs that seamlessly blended together and a music video to go with it. Alpha Wolf and Thrown are just so heavy in a way that I haven’t heard in more traditional metal and I really enjoy it.

When did you decide to start writing music after all of your exposure to music? At this time, what were your thoughts regarding being a musician and being a part of a band?
Once I moved from bass to guitar I started writing and composing. I kinda skipped over the whole “learn other people’s music thing.” I only learned a couple riffs here and there. I only recently started learning songs in addition to writing. As a new musician most of my thoughts on music were “I like this but I’d like it more if it did something different.” So I started trying to do that. As for being in a band I didn’t have many thoughts other than “I need to do this.” Playing live makes me feel alive in a way I can’t really explain. It’s more important than a hobby but less important than breathing.

When you compose music, how much effort are you putting into blending classical-inspired metal with direct, to-the-point music like pop punk?
I don’t think about it a whole lot. The writing process usually just starts with a guitar riff, sometimes a lyric, a feeling, or a story, but usually a guitar riff. I’ll record the guitar idea, put drums to it, then I’ll go through and pick apart its key elements. See what notes I’m using, determine the key, see if I’m moving through a chord progression in it, anything that might inform where the song should go. That’s where the pop influence comes in now. I used to just kinda throw riffs at the wall and call it a song. Now I break down the original idea and use that to grow the song. In my opinion this helps keep the music coherent and like it’s a connected piece of music and not just a bunch of ideas.

Can people instantly recognize your sound as one that belongs to you as a result of your approach to writing and combining genres?
I’ve been told over the years that I have a very recognizable style. Even friends who aren’t really into heavy music, I’ll show them something I’m working on and they’ll be like “Yup that’s an Aaron riff!” I do think that I have a way of writing that is somewhat unique to me which I’m really thankful for. I didn’t consciously cultivate that sound, it’s just happened over the years. I do have a very high output for creating and think that is what has honed my skills more than anything. I’ve definitely written some trash songs but I write like two to four songs or ideas a month. I think doing that for like ten years now has made me the musician I am now.

In your opinion, how important is it to channel emotions that people can relate to while listening to your music?
I think emotion is extremely important. Sometimes we musicians can get so caught up in technique and theory things can become too clinical. We forget that the theory and technique are tools to help us achieve emotional expression and not the whole point. I’m definitely guilty of this myself. But to answer the original question I think an argument could be made that emotion is the most important. Music is emotion. Most of my songs are about my battles with mental health and I think that comes through. I hope it does and that it can give some catharsis to people who have similar experiences.

Does your method of writing lyrics reflect your musical compositions in terms of how you channel feeling?
It varies from song to song. Lyrics are usually an afterthought for me. I’ll sit down with an idea and turn that into a full song instrumental. Usually I’ll start to see a story while I’m working through the music. That story will become the lyrics. Like I said before I’ve been struggling with my mental health pretty much my whole life. That feeling is always fueling my writing. A song will start from a vague sense of despair, or anxiety, or anger, and then get more specific.
Sometimes it’s the complete opposite too. My song “Hall Of Mirrors” started with the cover art. I was just messing with designs when it was slow at work and I came up with the artwork and the title. Then I decided on a story: it’s about someone who has betrayed you and has created struggles in your life. Once I had that I started working on the lyrics, no music at this point. I had 90% of the lyrics written before I ever picked up my guitar. I knew how I wanted the chorus of the song to sound vocally when I started working on the music too. I was screaming to a metronome in the car on my way from work that day. Once I got the guitar in my hand I had lyrics, vocal patterns, and a tempo. Then I started writing music to follow that. Short answer: yes, no, maybe, and sometimes.

What is the total amount of material you've released to date? Do you handle the release and distribution of your work independently, given your method of songwriting?
As of today, March 8th 2024, I have sixteen singles out, plus a new song releasing March 15th and another on May 17th. I plan on releasing a single every other month the rest of the year. I might even throw out a couple extra releases depending on how the year goes. I also have a physical CD I made by hand with thirteen tracks on it. It’s a compilation of the singles I’ve released over the last two years and a couple extras.
I do handle everything myself. I like to steadily release songs instead of an album every couple years. Right now I’m using Distrokid because it’s easy and affordable. I have a couple upcoming releases that I’m using Earache Digital Distribution to try out. See if it works better.

If you were to seek indie labels to reach a wider audience, where would you begin? Do you know what demographic and type of label you think would be a good fit for what you're doing?
I used to dream of a label. To get a record deal. That was the only way for years. Now I’m more interested in going the DIY route. My goal is to reach enough fans that the labels come to me. I’m not currently signed but I am working with Self Made Records LLC on marketing. It’s a cool set up because I’m still in charge of all my music and art but I get help with finding my audience.

What label of Erik’s were you signed to previously? Could you add how well it helped you gain exposure for your work?
I signed with Mistanthropik Records a few years ago. They helped me get interviews, reviews, and a lot of playlist spots. That’s why I was excited to work with Erik again!

How did you come to work with Self Made Records LLC and Earache Digital Distribution for promotion and distribution? In what ways have you been able to maintain creative control over your music?
I was signed to a label that Erik Leviathan ran a few years ago. Self Made reached out to me and said they wanted to work with me. When I found out it was the same team I said yes. They work with Earache distro so I tried it on their recommendation. I still have full creative control. That was never even a discussion.

When it comes to some musical genres, how do you define screaming? Do you think watching YouTube videos by vocal coaches would benefit your vocals? It’s common for coaches to demonstrate the importance of keeping your cords open to prevent damage.
Screaming is hard to define. I think any vocal that is heavily distorted could count. Anything from AC/DC to punk bands yelling at the top of their lungs are all a type of screaming. I’ve been doing extreme vocals for over fifteen years now and I still watch videos on Youtube and TikTok. I think I’m a pretty okay screamer but I’ll never think I’m so good I can’t learn something new. I actually just started learning proper warm ups a few years ago from watching Youtube videos.

Which vocal coaches have you watched on YouTube?
I watch Voice Hacks and videos featuring Melissa Cross that emphasize the use of melodic vocal techniques rather than shrieking. David Benites of Extreme Vocal Institute has some really good vocal tips. I actually found him on TikTok originally. Even in just sixty seconds he can be really helpful. Justin from Tallah has some really good videos on Youtube. I think his page is called Hungry Lights. I also watched “The Zen Of Screaming” by Melissa Cross when I was first starting to do screams seriously and not just for fun. Back then she was really the only one teaching it that I knew of.

How helpful have Melissa Cross and the other vocal coaches you have watched been to you? What adaptations did you make to the information you obtained from them?
The biggest thing was learning resonance control. I’m not a singer so I didn’t know how to control where my voice was in my body. Melissa gave a lot of really good singing advice that a lot of screamers overlook, but learning it really helped me get a fuller sound. I would also recommend her for learning proper breathing. I was lucky enough to learn that from the flute.

Do you have any vocalists who have inspired you as a vocalist over the last fifteen years? It Different singers from King Diamond to HR of Bad Brains have different styles to suit different moods. Is there something similar that you do with your lyrics?
Randy Blythe from Lamb of God. Probably my favorite screamer of all time. I really tried to emulate him in the beginning. Howard Jones (Light the Torch, ex Killswitch Engage) and Johnny Plague (Winds of Plague) were also really big influences in the beginning. For lyrics inspiration is more sporadic. Sometimes it’s what I’m listening to that’s inspiring, sometimes it’s a conversation or life event. I’m definitely influenced by the tropes of the genre. Metalcore kinda has a lane when it comes to lyrics. I try not to get stuck in doing things too the same, but you also kinda have to stay in the lane a little to appeal to fans of the genre. It’s a careful balance for sure.

When you compose, what genres do you tend to draw from most frequently? Is this different for each single? What methods do you use to reinterpret your influences?
Genres I think are probably Nu Metal and Metalcore. That’s what I listen to the most so there’s usually something I’m listening to a lot that’s in my head. It does differ from song to song for sure, but I like what I like ya know? But none of that is set in stone. Sometimes I’m just walking around humming a random melody and think “I should play that on guitar and put a breakdown under it” You never really know when or where inspiration is coming.
A lot of the time I’m just playing guitar for fun and I’ll improvise something I like. Then I’ll record it real quick and start messing with it. Change some notes around, add changes, have the root notes of it move through a progression. It’s a lot of just having fun with the guitar and experimenting.

Is it your practice to tailor your lines to fit the guitar progressions behind them, or do you fit them to the mood of the song as a whole?
Song as a whole definitely. When it comes to lyrics and vocals I follow the drums more than anything. But you gotta pay attention to everything going on. For example sometimes I’ll drop a line at the end of a part because I want some cool guitar run or drum fill to stand out. I’m a musician first so I’m usually making the vocals fit around the music. But like I said before, sometimes it’s totally different. That’s what makes music so fun, there’s no right or wrong, just what you create. Sure there’s “rules” but those are guidelines and ways to explain what you did.

As musicians find new ways to work within their genres, rules can be bent and stretched. Change some notes and experiment as you suggested. How much do you want to break the mold?
I never set out to break the mold. Or to fit in it. I just create and see where it takes me. Admittedly I don’t think I’m doing anything super groundbreaking. I think I sound different from most metalcore, but I’m not redefining the genre or anything. I think metal as a whole is expanding and I’m expanding with it.

Which of the singles you have released so far has proven most personal for you? What made those songs personal and what kind of cathartic experience was it to write them?
That’s a tough one. All of my music is very personal to me. I think my upcoming release “Hollow” (out 3/15/24 shameless plug) is definitely up there. Maybe just because it’s fresh on my mind. It’s a song about being depressed. That’s it. Not getting better, not overcoming. Just a song about how hard it can be to live with mental illness. I was in a funk and just needed to scream about it. The song is just catharsis for me, and hopefully anyone who hears it.
Another track that comes to mind is “Wage Slave”. When I wrote it I was working a dead end job, and hated it. I was just a number to them and barely scraping by. And I was just pissed and sad about it. I was looking for something better but I wasn’t having any luck. So I wrote a song about wanting to change the world so everyone can be happy, but also about wanting to fight your middle management boss in the parking lot.

Are “Hollow” and “Wage Slave” written in a way for younger and older listeners to relate to? Are the ideas about overcoming certain situations a common theme in your lyrics?
They’re written for me to relate to. I’d like to think my writing is timeless and for everyone, but that feels egotistical. These songs are written for the depressed and people fed up with the grind respectively. If that’s you, you’ll probably like them. Overcoming is a pretty strong theme in my music for sure. I try to be optimistic. “Hollow” is a departure from that. It’s not meant to be about overcoming. But I think that makes it an outlier in my catalog. What is the ease of composing solo as opposed to other musicians? Is this arrangement something that you would like to change at some point, or are you satisfied as a solo musician? The biggest difference is time. I don’t have to wait for someone to sign off on a part or spend half an hour teaching people parts to see if it works in the song or not. I can just write it and record it and decide. It can be really frustrating to have a group of people weighing in on your art. Especially if they’re not bringing anything to the table creatively. A.Moortal will stay a solo project. It was started as an outlet for me. I’m in some bands too but they satisfy different needs.

Is your desire for creative control reflected in your desire to independently produce your music?
Honestly self producing is more out of necessity. I’m a poor musician. I can’t really afford studios or producers. And I live in a small town, there’s not really anywhere to do it that’s reasonably close. I started learning production in high school because it was the only way I was gonna get my stuff recorded. I do like it though. It allows me to work as I write instead of needing to write a whole EP or album and then plan to record it.

Do you have any ideas for new material since your last release? Can you recall any recent experiences in your life that might serve as inspiration for lyrics?
My next two releases are fully finished and waiting. One will release in May and the next in July. I have an instrumental finished that will get vocals soon. For inspiration I think that one will use a haunting as a metaphor for generational trauma. Recently life has actually been pretty good, but it hasn’t always been and there’s a lot in the world I don’t like so I’ll never be lacking something to write about.

Given the personal nature of your work with A.Moortal, do you hope to be received by the metalcore industry? How do you weigh the importance of mass exposure and self-expression?
I would love to be accepted by the industry, yes. But it’s not the most important thing to me. I truly believe in my music and what I do. I don’t need to be world famous, I just want enough success to not need a day job. My hope is that if I just keep doing what I’m doing enough people will find it and like it so that I can make a living from it. Thank you for this interview by the way! Hopefully it will help get me in that direction!

Besides creating music as a solo artist, what else would you like to accomplish?
I have a new band I’m working on called RVR (pronounced river) that I’m really excited about. It’s more pop punk and rock. Just catchy, fun music. Other than that the goal is always just to be happy. Music makes me happy. My friends make me happy. My partner Ari makes me happy. My goal is to keep those things in my life and make as time as possible for them.


-Dave Wolff

Thursday, March 14, 2024

A tribute to M Teresa Clayton

Known for her evocative poetry, imaginative fiction, and insightful reviews, Teresa Clayton was long an inspirational member of the literary community. In addition to her contributions to Asphyxium Zine since 2015, Clayton penned a collection of hauntingly beautiful written works including Judith, Mystic Verses, The Umbral Garden, Storyteller, and My Name Is Metaphor. Tragically, she recently lost her battle with brain cancer, leaving behind a legacy of creativity and passion. In honor of her memory, a selection of Clayton's poignant poems from her Facebook groups have been posted at the webzine, shared with permission a few months ago. These verses, others at the webzine and those in her Facebook communities invite you to explore her unique perspective on life, love, and loss. For those who wish to offer condolences, Clayton's profile remains a place of remembrance and reflection. Clayton’s 2015 and 2016 interviews for Asphyxium provide more insight into her artistic journey and literary influences. As you take a moment to immerse yourself, explore the intricate, vivid imagery woven through her poetry, and connect with a truly remarkable writer.

M Teresa Clayton Official: https://www.facebook.com/groups/M.Teresa.Clayton.Official
M Teresa Clayton Official: https://www.facebook.com/groups/749177879163371
M. Teresa Clayton's Collaboration Group: https://www.facebook.com/groups/159584241176098
Mystic Verses: https://www.facebook.com/mysticverses.thebook
A Mindful Death: https://www.facebook.com/M.Teresa.Clayton

Interview from 2015: https://aeafanzine.blogspot.com/2015/10/poet-interview-m-teresa-clayton.html
Interview from 2016: https://aeafanzine.blogspot.com/2016/02/author-interview-m-teresa-clayton.html
Poems written by Clayton: https://aeafanzine.blogspot.com/search/label/POEMS
Fiction written by Clayton https://aeafanzine.blogspot.com/search/label/FICTION











































Sunday, March 10, 2024

Interview with Lock Down by Dave Wolff

Jeff Lombardi
Interview with Jeff Lombardi of Lock Down by Dave Wolff

How did you achieve the underlying heaviness of your full-length “Step Over The Bodies”?
The process was pretty organic. The guitar tones represented what we gravitated to. Justin and I are huge fans of crunch masters such as Dimebag Darrell Abbott, so I think that’s the baseline of where we start. Of course, there are a lot of other variables that make up your sound. I think most guitar players are like Eddie Van Halen, where you’re never satisfied always chasing a tone. I’m already envisioning on the next recording to use lighter gauge strings to brighten up the sound and add a little bit more warm mids. The drums have nice power behind them. It’s a combination between performance, equipment (DW drums), and it didn’t hurt having the king of the Brooklyn beats Danny Schuler of Biohazard mixing.

In the bass tracks, there are hints of industrial music, giving the album a menacing quality. Do you think this was a conscious decision or did it just happen that way? In what ways does the sound you achieved on the album reflect the attitude of the band?
There was no conscious decision with the writing direction. I think our style draws from all genres of aggressive music. Some more obvious than others. I can tell you that Hatebreed’s “Satisfaction Is The Death Of Desire” was the reason I moved back to New York from California to start a new band with Eric. We’re long time friends going back 35 years. We also played in Bile together during the “Suck Pump” era. I left Bile and was on hiatus for a few years living in San Diego. Then I heard “Last Breath” from Hatebreed and it was a game changer. That inspired me to start writing again. I wrote most of the album over a two month period. Then we connected with Justin who wrote “Won’t See Me Comin” and “Eternal”, plus we collaborated on “Blind Rage”. It all came together very quickly, and flowed naturally.
You can try to calculate and arrange riffs to make them fit… sometimes it works, but the best songs are the spontaneous ones. I wrote the title track “Step Over The Bodies” in ten minutes the day before we went to the studio to record. The next day, Roi wrote the lyrics on the spot and recorded the vocals without every hearing the song before, and nailed it on the first take. It’s my favorite song on the album and came together last minute.
Outside of the band we’re all relaxed funny guys, but the sound reflects our intensity and raw energy.

Why did you part ways with Bile, and how did you spend your time while on hiatus in San Diego?
Chris Liggio and I played in Napalm together and after we disbanded he approached me to join an industrial band he was starting, and although he was the driving force and primary song writer, it still felt like a band where everyone contributed with their roles. Three years later it was no longer fun and felt like a dictatorship. If you’re not playing with people to be hired hands, you shouldn’t treat them like they work for you. It just wasn’t fun anymore, so it was time to move on. The first few years were amazing, so no regrets.
After that, I stepped away from music for a few years. I was focusing on a career that generated income for independence. I never wanted to be in a position again where I had to depend on people for my next meal or place to sleep. There were plenty of days where the record label did not send a per diem, or if they did, it never reached my pocket. I’m also a diehard handball player, and spent most of my free time playing.

Napalm is going far back. At least two full-length albums were released by that band between 1989 and 1990. Were they disbanded afterward or what's the story with them?
Napalm was my first band right out of high school. We were a thrash metal band right around the time of the second wave of the genre. Napalm was signed to Steamhammer SPV records. After a couple of albums and European tours, we disbanded for various reasons, such as differences in musical direction.

Did the decline in popularity of thrash contribute to the musical differences within Napalm? How did the decline of thrash affected the local metal scene?
Eric Roi
I don’t think it was the decline of the genre, because during this time it was still near its peak. There was an oversaturation of thrash bands, and we overdid things trying to stand out and differentiate ourselves from all the bands forming left and right. The first album came very naturally, and was received very well by everyone, including the critics. We received favorable reviews from Kerrang, Metal Forces and Metal Hammer magazines. The U.S. branch of the label that signed us was shut down, and we only had the parent German label to work with. Unfortunately the band was in limbo for about a year until they gave us the opportunity to record the second album. So we had a year sitting around overthinking and experimenting outside styles, such as funk, which I think our attempt failed. The third album we wrote, was back to our roots and was much heavier, and we had gotten better as musicians. Unfortunately we lost the confidence of the label and we were dropped, which led to the breakup. The local scene in New York we were a part of had begun to trend in the hard-core direction.

Thrash metal made a comeback during the mid-to-late nineties. Did you discover new bands or regain interest in older bands during that period? What was your opinion of  “retro-thrash?
I didn’t listen to any new thrash bands in the 90s, but I did start listening to how metal evolved at that point. Really loved what Slipknot and Fear Factory were doing. There are some thrash bands that got better with time… Kreator is unmatched and just keep getting better. I still listen to all the classic 80s albums from Slayer, Exodus, Testament, Anthrax, and of course Metallica. I think all of them aged well.

What are the similarities and differences between writing and composing for Bile and writing and composing for Lock Down?
Bile was a great outlet for live performances. This day is still the best thing I’ve ever been a part of from that aspect, it was a spectacular thing to behold, and to be a part of. From a songwriting perspective, it was a bit frustrating as most of the songs were written and recorded, and then presented to the band. I was only able to contribute to one song on “Suck Pump” which was “Get Out”. Lockdown was, conversely, the exact opposite. Although I am the primary songwriter, I demonstrated the songs and rehearsal, and everyone was able to put their own stamp on it. Going forward I would prefer to collaborate… I like being part of a team in every aspect.

Do you channel the energy you generated in Bile when performing with Lock Down? Or do you primarily draw inspiration from hardcore? What is the contribution of metal to your sound?
I would say a little bit of both. There’s definitely a blueprint for hard-core performances that I’m sure is subliminally there and influences the energy. Visually, there is a lineage to Bile. We have continued with the vibe of wearing masks and face/head coverings during some of our shows. Plus, we are implementing a two or three vocalist attack similar to Bile. We like the diversity and contrast, as well as the performance intensity.
Metal is definitely in our DNA. I was learning guitar during the height of the New Wave of British Heavy Metal as well as the first wave of Thrash.

What are some of the topics discussed on “Step Over The Bodies”? Were there any developments that inspired you to write the lyrics for that album?
Eric Roi is the primary creative lyrical force. Inspirations are across the board drawing from personal experiences as well as outside perspectives. For example, “Steadfast” is a close family who served in the armed forces for our country. The lyrics are inspired by his story. We are not trying to make a political statement with the song. Roi is simply describing the human experience.
“Enlightenment” describes the growth of your soul. “Trail of Tears” is about the American Indian genocide, specifically the story of the Trail Of Tears so the song holds a lot of emotion. The track “Human Racist” is just hating on the negative side of some human instincts such as war, prejudice, and betrayal. The title track “Step Over the Bodies” is about overcoming obstacles in your way and the betterment of yourself by raising your own bar. “Hard to the Core” is the embodiment of hardcore as a movement. “Blind Rage” is a general vent for the angst of life interpreted by the listener. “Respect Collected” sometimes people give you respect and other times you must take it from them. “Duked” is about betrayal which unfortunately we all experience at some point. “Won’t See Me Comin” is a first-person perspective of a vigilante “Hatred” is our disgust of oppression in any form. It’s ugly and should never exist.

Is it difficult to express personal experiences through your lyrics? In general, are they written in such a way that listeners will be able to relate to them?
Eric Roi is the main lyricist, and his thoughts just seem to be an endless flow. He sends me texts all the time of lyrics he’s writing and extremely brilliant. I’ve contributed to lyrics over the years, but it is much more of a difficult process for me, where I start out with a first draft and then make multiple edits. I really leave it up to Eric to handle, he’s a genius at his art. I think the only lyrics we ever intentionally wrote with the audience in mind was “Hard To The Core”. Everything else is just what is swimming in Eric’s head.

Generally, how have magazines and webzines responded to “Step Over the Bodies”? Are there any publications in particular that most understand the band's perspective?
So far the responses have been supportive and positive. To be honest I didn’t know how it would be received. When you’re a fairly new band, you’re kind of in a bubble where the only feedback you get it is the local fan base and friends. Regardless of any feedback good or bad, I learned the hard way a long time ago not to write for anyone but yourself. The best songs are the ones that just come naturally.

Provide a brief description of the video you recently released for “Trail Of Tears”. Can you tell me who worked on it with the band and how do you express the lyrics through the imagery?
Our friend and media director Pete Dolan created the video. We let him know the song is about the genocide of Native Americans. Eric Roi is American Indian and Filipino. So he wanted to tell a version of the story. Pete added some silent movie footage, which I thought was awesome. Reminds me of the Iron Maiden video “Run to the Hills”. So it has a certain darkness to the vibe.

What has been your experience with SelfMadeRecordsLLC since you signed with them, and what led you to hook up with them?
The label has done a great job of socializing our name. That was the primary objective… having the music be heard. Our business relationship started with an interest to be involved with a compilation that led to a larger idea to release our full length we already recorded.

Does Lockdown have a good reputation among rock and metal fans outside of New York? Where in the US and other countries are you well received?
We have a solid fan base in our area. We also support our Long Island hardcore community and other bands. It’s probably like a lot of scenes globally where everyone sticks together. Most of the Lock Down members have been in a lot of bands over the years and formed lifelong friendships some veteran groups. Eric played with “In Your Face” who were one of the earlier NYHC bands. So there’s a lot of ties there. Craig from Sick Of It All and Parris from the Cro-Mags have supported us through social media. That’s a huge honor for us to get the nod from legends in our scene.

How has hardcore managed to maintain its sense of individuality despite the pressure people are placed under to conform? Describe the core values of hardcore that have endured throughout the years. In general, has adhering to those values been easy or difficult?
Hardcore has retained its integrity throughout the years, because it’s true to life and the core values it was built on. Hardcore to me is very honest and organic. So it’s easy to be ourselves, and not have to fit into any particular image or mold.

According to your description of your songs, some of them may be perceived negatively by people who don't understand hardcore. Is the genre responsible for positive changes in the world?
I don’t think it’s any artist’s responsibility to change the world. It’s honorable if lyrics and messages spread positivity and open the listener’s mind to intake knowledge. But this is art… it doesn’t have to move mountains or serve a guiding light.

Are you currently writing material for another release, or planning to? In what direction do you see the band heading in the future, and what are you most interested in being recognized for?
We have four songs completed for a release by the end of the year. We will continue to write and keep things fresh, but I doubt we’ll deviate too far from the sound we’ve established. One of the songs is titled “Vigilante”, which is the continued story of the song “You Won’t See Me Comin”. Another is “Street Fighter”, which is about a motorcyclist fighting to share the road with four wheel vehicles who put his life in danger. Eric rides, so he’s probably speaking from personal experience. Another song is “Life Sentence”, which is basically life can feel like a fight until the death. It can be a struggle for most of us. The fourth song is “Still In Business”. You could say Eric and I are affiliated with a group of local friends known as SIB. The lyrics are about all of our fallen brothers, who were part of this community. Thirty years ago it was referred to as a gang by New York news media, but it was really just a large group of friends because at that time there was a lot of crews and clicks. Sometimes there was violence when one group passed another group. But I would’ve never referred to it as a gang. We didn’t wear colors, nobody was jumped in, and it was not organized in traditional manner. It was about strength and numbers and protecting each other. Musically, the songs still have a Lock Down vibe, maybe slightly more metal riffs. I’m looking forward to collaborating the guys and seeing what’s next on the horizon.


-Dave Wolff

Monday, March 4, 2024

Fiction: "Some Days" by Devin J. Meaney


Some Days
Fiction by Devin J. Meaney

Some days the weight of the world is absolutely crushing. I wake up, try to put my feet on the floor, and then I hobble downstairs for a smoothie and some toast. Some days are good, some days are ok, but others I fall into the abyss, sunlight destroyed; the rain from above not literal but visibly there. Some days I walk within a blackened haze, the lights flickering and weak and the sound of my own voice within my head as deafening as the silence that often surrounds me. Some days are good, some days are ok, but some days could definitely be better.
Then I open a new box of Nicorette and pour myself a coffee and realize I’m just a bi-polar man with multiple addictions. At that point the deafening silence is reduced to clarity, I put on my shoes to go for a walk; then I make the move from black to grey—I step into the light—and I thank the world for Nicorette and coffee.
Thank you, Nicorette and coffee,
Sincerely—a bi-polar man multiple addictions.

Friday, March 1, 2024

Interview with Royal Orphan by Dave Wolff


Interview with Brendan Kelly of Royal Orphan

Your collaboration with Joey Mignanelli, the drummer and other founding member of Royal Orphan, dates back to the late 1980s. During that time, you have witnessed many changes in mainstream and underground music. How did Royal Orphan emerge from your collaboration, and how does working together to this day feel to you?
Royal Orphan is a natural culmination of everything Joey and I have done since we first met in high school. We actually both studied music in college with theory and composition so that combined with the influences of everything we grew up listening to results in what we sound like now. The hardest part is keeping it focused and cohesive so the music doesn’t have that “everything plus the kitchen sink” sound. We know musically what we’re capable of but we don’t feel the need to beat people over the head with our ability. Originality and innovation and quality songwriting is where the work comes in. To be truthful, I’m still re-using a lot of riffs and ideas way back from when I was in high school because of how well they held up all this time. A lot of those riffs used to grab people back when we were around, so why not roll them out now to a younger metal crowd? And nowadays I couldn’t be happier; we just can’t rehearse twice a week like we used to, nowadays it’s more like twice a month if we’re lucky. Scheduling around family life, kids, work and all that. So we make the best of the time we have to get things done. We still have the same inside jokes and all that and there’s a lot of history and memories. With Joey and Dan (Kelleher) there’s no one I’d rather work with. Three gears in a machine, that’s us.

What bands were you listening to when you met, and how influential were they in shaping your musical style over time?
The legendary tale is that Joey and I met in music class in Catholic high school. Our teacher was a nun, and Joey brought in King Diamond’s “Them” cassette to play for the class. We immediately became friends! He told me he played drums, and that week I was at his house with my guitar. First song we played was Mercyful Fate’s “Come to the Sabbath” start to finish without a hitch. We just took it from there. So pretty much the same bands we grew up listening to: Iron Maiden, Judas Priest, Slayer, Megadeth and Testament and later on we discovered bands like Voivod, Annihilator and Forbidden. Those bands really set the bar high in terms of the musical proficiency as well as innovation and originality. They had all the chops and ability but they never forgot about songwriting too, particularly Voivod who are a huge influence on our writing even though we don’t sound much like them at all, I always loved Piggy’s riffs because they were so heavy but he didn’t sound like anyone else. So in that regard it was fortunate there players like him to look up to because his style changed and advanced over time but never lost focus of what he was all about.

What was the inspiration behind the band's name? Does it have a specific meaning?
I wanted to put together two words that described opposites but made sense together. The word “Royal” meaning dignified, distinguished and suggests nobility, the word “Orphan” meaning desolate, alone, vagabond. What I really want to do is create an actual character that I can use in song lyrics like a running conceptual thread.

Where did you see old school thrash and power metal going in the mid 1990s, when grunge was becoming a trend and black and death metal were expanding their boundaries? In the middle of the decade, I remember the old school really making a comeback.
We were called Sanity in Ashes circa 1994-1997 and at that point with thrash/power metal you couldn’t give it away on a street corner. There were a few bands like us out there playing it at niche clubs and shows, bands like Gothic Knights and Zandelle. But everything back then was death metal and hardcore. I liked some of that stuff, I have friends in both scenes but I didn’t wanna go that way musically. I always had that hope of getting to Europe and pushing our stuff over there to a more receptive audience. As for grunge I thought it was just another fad. The first albums by those bands were great, I liked Soundgarden and the early Pearl Jam stuff but it just got ridiculous. Guys who could barely play their instruments singing every song about heroin and all out of tune. Just like any other subgenre the good bands had longevity and the more derivative bands fell by the wayside and were forgotten.
Later in the 90s, on the metal side, there were bands like Hammerfall who I thought were pretty good but I already had all the good Helloween albums worth owning. I thought “yeah they have the right idea and their hearts in the right place, but if they were more original they could smack it out of the park.” The old school made a comeback for a lot of reasons. The Kiss reunion with the makeup set everyone off on a nostalgia trip, so I think that triggered a lot more reunions.

What impact did those bands, with their originality and creativity, have on underground/extreme bands in the 90s and beyond? How would you account for their longevity?
Metal has its own trajectory built into it by its very nature. From the day Black Sabbath released their first album, millions of contenders to the throne were launched. The lyrics became more explicit, tempos got faster, guitars got flashier, vocals got more extreme either in the direction of Halford or Cronos, so the impact of bands like Voivod, Coroner, Mercyful Fate et al I would say had a profound impact on how death metal became more technical and black metal became more artsy/poetic if you will. It’s all a matter of what you want to take from it and which direction you want to pull. It’s funny you’re talking about longevity because Mercyful Fate just pulled off a tour bigger than they ever did in the 80s. I saw Exciter a few months back and they’re packing houses everywhere they go; maybe more than they did in the 80s. The longevity is attributed to JUST HOW FREAKIN AWESOME that material was back then. I think technology helps in a big way too. A younger audience with more disposable income has access to more music and they can check stuff out. I’d wager that because maybe this generation is more educated I guess?? Maybe a 25 year old in 2024 has a degree as opposed to the 25 year old hanging at L’Amour every night in 1986; they travel to festivals and they can spend more money on merch.

Do you remember outlets such as Slipped Disc that were around in the old days? At a time when it was difficult to locate the bands you listened to, how important were stores like it?
I remember Slipped Disc very very well. I grew up in Suffolk County so my place was Looney Tunes where I also worked for a while but Slipped Disc blew my mind the first time I went there. I think it was 1995 and I went there because they carried the Phil Lynott biography “The Rocker” when it first came out. I drove the hour from my house to go there to buy it. When I walked in and looked around I was dumbfounded. I think I dropped over 100 bucks in there. I bought the book, Thin Lizzy’s “Thunder and Lightning”, Saxon’s “Rock the Nations” and Blind Guardian’s “Imaginations from the Other Side” who I had never heard of before but I bought it just for the cover. I found Forbidden Distortion there and I had no idea they released anything after “Twisted into Form”. So I waited until next payday and grabbed that too. Entire discographies of Saxon, Raven, Savatage, Running Wild, Venom, stuff you couldn’t find anywhere.
Those places were a lifeline; but they were kind of like that smoke signal that let you know there was still signs of life out there. Of course you had to pay import prices but who cared. When you see young kids on the internet bitching about shipping costs on vinyls and CDs I feel like saying, “dude you have no idea.”

Has the internet effectively replaced vinyls or will there always be a need for them?
Maybe commercially, but the experience of going to a record store and being in that environment and physically surrounded by music can NOT be replaced. I honestly believe there will always be a need for them because the purchasing of music should be a real, tangible experience. A real music connoisseur shops for music like they shop for produce; you check every apple for blemishes.

The former owner of Slipped Disc continues to sell merch and do record shows in Long Island and elsewhere. Have you had a chance to attend a one of them?
I actually have not but I plan to. Joey goes all the time. He’s a real collector and a vinyl fiend. He gets it from his dad. His father used to take me and him to the record shows all the time at the VFW halls.

In your experience, what was it like to attend a record show at the VFW halls?
The few times I went it was just tables and tables of stuff. There wasn’t really much metal at the time, you really had to dig. I remember holding Venom's “From Hell to the Unknown” on double vinyl in my hands but not buying it, too scared ha ha ha. It was really a lot of older guys going nuts looking for an original Beatles' “Yesterday and Today Butcher Block” cover or another copy of Herb Alpert's “Tijuana Brass Whipped Cream” album. The genuine rarities.

I remember Record World at the Roosevelt Field mall, the first outlet where I discovered import releases. Did you visit there back in the day?
Not in Roosevelt Field but the Record World at TSS in West Babylon OH MAN what a place that was. Just talking about it I can’t believe the stuff they had; in the midst of a department store that also had a barber and a dentist and a food court It’s hard to imagine. They had imports, picture discs, the works.

In my observation many bands do “farewell tours” only to reunite thereafter. Generally, do you think they miss touring and give them the benefit of the doubt, or do you consider their reunion tours to be a series of cash grabs?
It’s hard to say with the farewell tours. A certain “#1 all-time favorite” band of mine who I won’t name has absolutely blown it. I know the original guys can’t stand each other. Maybe they get the itch because they know there’s an audience. They see kids one fourth their age wearing the shirts and singing the songs. I think in that sense they see relevance as a greater currency than cash because there isn’t much to be had out there. Bands are cancelling tours because touring costs so much.

What did you think of the “retro thrash” thing that began in the mid-90s with bands like Gehennah and Inferno? Some found it exciting and some believed those bands were faking it. Do you think it needed to happen in some ways, so the genre could come back?
I got a kick out of Gehennah; I had the “King of the Sidewalk” CD because of their Ill Literature interview I read. In my heart of hearts, I truly believe that four guys from Sweden who drink like that and wear Manowar and Venom shirts in 1995 have NO reason to fake anything. The thing is they were like another Hammerfall to me. They took the style of one or two influences and tried to make a whole other genre out of it, and maybe it somehow worked for them. Hammerfall is still in business but I just don’t see a band creating a body of work from it. At that particular point in time I ate it all up because I loved that stuff and in the States the alternative thing became so preposterous; songs about peaches and “mmmmm mmmm mmmmm mmmm mmmmmm” for a chorus. Ridiculous. But yes I do credit those bands, although derivative; they did what they had to do in order to start kicking doors down.

What explains your continued working relationship with Joey Mignanelli, and how did you first hook up with Dan Kelleher?
As for working with Joey and Dan, they’re my “ride or die” as the kids say these days. Joey and I just click, we have that chemistry and we lock in, that whole premonition thing about what the other is going to do next. He’s not just a great drummer, he’s a very advanced musical mind. Dan too. I’ve known Dan literally since we were four years old each, we grew up in the same town and got into music at the same time. We all hold each other to a very high standard because we all know what the other is capable of.

What is the frequency of your opportunities to write and practice during the Covid pandemic? When you're able to work in person, how do you go about creating songs? Do you have a practice space where you regularly meet?
We did not practice at all during the initial pandemic, March through July of 2020. Not just because of the lockdown but because I work as an RN in an ICU of a hospital in Queens NY and we got absolutely pounded. I was working four to five days a week, twelve hour shifts. Not only that but I have three children and my wife and I were working with them on their virtual schoolwork, and my son has autism so he needed a lot of attention. But I have my studio in my basement so I was able to work on tons of material which we are now refining and preparing to record. I practiced my individual guitar chops a lot so I definitely used that time to my advantage.
I usually write my version of what I have in mind for any given song with a pretty solid framework of where I’d like the song to go. I send a sound file to Joey and Dan and they give input. 90% of the time I show up with the “ingredients” if you will; riffs, chord sequences, lyrics, melodies; Joey and Dan come in and add arrangements. Sometimes they’ll rework an idea so it makes more sense, adds more suspense/intrigue or they’ll suggest changing the sequence of parts in a song so the song flows better.

How much of a task is it to balance family life with playing in a band? Is your wife supportive of what you’re doing working with other musicians? The 2021 documentary “I’m Too Old For This Shit” featuring the band Siren touches on these ideas.
Yeah it’s very difficult but it’s all in how you manage your time. It helps that I can send audio files of my ideas so everyone has an idea of the material walking in. Parenting in the modern age is a hundred times more involved than it’s ever been. I have two daughters in dance lessons and like I mentioned my son has autism so he requires a lot of attention. But you adapt, and the way I see it, I don’t have darts night or poker night with the guys; once or twice a month we get together in person and work on music for a solid four hours at a clip. And my wife is great; she’s very busy herself. Family is number one over everything.

Is it better for a band to have similar tastes in music and share that chemistry, or to have divergent tastes and work to make them fit together? Would it depend on how willing the band members are to work on a give-and-take basis?
We all grew up with the same core bands; Iron Maiden, Judas Priest, Metallica, Megadeth, etc. As time went on, I buried myself deeper into metal and 70s hard rock like UFO, Thin Lizzy and Blue Oyster Cult. Joe got into some death metal along the way and he’s a huge Misfits/Danzig fan. Dan is the prog rock aficionado; Rush, ELP, King Crimson. So in our case it works quite well; in our case it does work because we’re old enough that we’ve lived through and seen so many different phases of music, we pick and choose what we like from everything. I think there of course needs to be a common vision between the members for what direction they agree to go in. The last thing the local scene needs is another of what I call a “T-shirt band’, which is four or five dudes in their mid-twenties all wearing Slipknot shirts and guess who they wind up sounding like? It’s like “hey, congratulations guys, you sound exactly like a ripoff of your favorite band.”

When surfing Youtube or other streaming sites, how many ripoff bands or t-shirt bands do you usually see?
Oh they’re out there. I really quantify them but let’s just say there’s always been bands who “play by the rules” and these days it seems like an infestation of them.

Many bands are known to incorporate classical, opera, folk music and tribal percussion into their material. Documentaries like Sam Dunn’s “Global Metal” introduce music fans to creative and inventive musicians. Is this something you would consider doing?
If a song called for it in terms of getting across the lyrics or the atmosphere then absolutely. Joey and I actually performed Bollywood songs on stage with Indian musicians; it was a short lived project where they fused an Americanized guitar and drums format with traditional Indian music and songs from Bollywood movies so that was interesting. If you really pick apart Royal Orphan’s music there’s a lot of different flavors in there, it’s just a matter of making it fit. I always loved bands like Orphaned Land from Israel, Amorphis and Waylander from Ireland who added their own traditional ethnic influences into their music.

Sepultura was one of the first bands to incorporate tribal music before it became popular. When they started doing it, did you have a feeling it would eventually catch on?
I didn’t really follow Sepultura after “Chaos AD”. But at that time a lot of thrash bands were trying different things, trying to stay fresh and new without going the Metallica “Black Album” route. For them it worked, it was part of their national identity and it fit their music. I remember they had actual tribe members playing those parts. A new idea always has the potential to catch on depending on how well the originator pulls it off. Or if not, someone else tries to do it better I suppose.

What's your view about whether the “Black Album” by Metallica was good or bad for metal? What are the pros and cons?
I was in senior year of high school when that album came out. We used to get asked to play for all the pep rallies and football games so we’d play “Enter Sandman” because everyone knew it. But as an album it really didn’t stick to me, and to be honest I’d say that around when “…And Justice for All” came out we all knew something wasn’t right. The production was very thin, lack of bass, and it sounded like only one guitar. The “Black Album” definitely had better production but the riffs were gone and the speed and power were gone. I guess the focus was on more radio friendly songs. My whole thing with Metallica is that whatever they do now, good for them. They’re the most successful of the genre I won’t smack talk them. I love the first three albums; they’re burned into my DNA and they were a key element in my development as a guitarist and musician. I’m just not into what they do anymore.

I myself have seen some Bollywood movies, which of them did the band borrow songs from?
I don’t know the actual movies, but there was a composer by the name of RD Burman who also went by the name Puncham. I remember there was one song called “O Mere Dil Ke Chain” and a few others. This project was long before we started the Royal Orphan project, but in the future we may incorporate these elements. The rhythm and modal flavors I found intriguing.

Does Royal Orphan also look for new folk/traditional metal bands to listen to for inspiration, such as from Asia or New Zealand?
I’ve recently gotten into a band called Wytch Hazel, they’re getting really popular. They have English folk interludes and themes but overall it’s a heavy 70s influence like Thin Lizzy, Uriah Heep and Wishbone Ash with Christian lyrics.

Regarding that running conceptual theme you mentioned, do you have any ideas for the character you’ve been considering creating? What sources of inspiration have you been seeking?
So at the moment we’re working on our first full length to follow up the EP from 2018. The opening track is tentatively titled “Nightrunner”. There’s a passage in the lyrics that says “once you were royally now just an orphan running wild” so it references the character and describes the situation the songs subject is in. On one hand you can say the song is about the collapse of civilization but it’s also how the modern person would react if they were subject to a real “Lord of the Flies” scenario. You suddenly wake up one day and all the constructs and systems you relied upon were gone. I mean let’s face it; the average grown adult today melts down when they lose their Wi-Fi signal. If per chance one day a disaster struck so profoundly that we lost electricity, clean running water and food we’d have a ‘kill or be killed’ situation. And for the record I’m not a doomsday prepper but in today’s world we’re highly dependent on very intricate systems that guide us in our lives. One day we may have to rely on basic survival if it fails.

Is “Nightrunner” sort of a commentary on how people are over dependent on technology? Or is it related to laziness and complacency on the part of many people? How does this character you’re thinking of relate to it?
It is to a degree. This character once lived in the modern high tech world and is now thrust into an environment where they are expected to survive and hopefully thrive by a completely different set of rules. The idea of Royal Orphan as a character can be described as a rags to riches or someone transplanted across social classes. It can go both ways. I mean look at me as a person in real life and my own situation. I was living in a one room apartment and pretty much a non-entity until I kicked my own ass into gear and made something out of myself. I kicked alcohol and partying and got focused. But still, I displaced myself out of where I belong. An 80s head banger kid working as an ICU nurse or anywhere in healthcare? You’ve got to be kidding me. That’s America.

What were the ideas you lyricized for your 2018 EP? Were the lyrics inspired by any specific occurrences or were they about certain issues in general?
They were indeed about individual topics and I can break them down song by song.
“In Requiem” is a metaphor for the death of the music industry as we know it. The second verse “she was our queen the muse” is the personification of music as we all loved it, and how it’s been turned into something faceless and weak.
“Lost in Time” is about what I mentioned before, and it could be considered part of the character’s story. I went through a point in my life where I was complacent and maybe not doing the right thing and had a feeling of regret.
“Citizens of Nowhereville” pretty much describes the town I grew up in.
“Lights Camera Nothing” was inspired by one time I was flicking through channels. I came across Dane Cook on HBO and I was dumbfounded by his audience. A huge basketball arena and he’s on a huge stage and he has no material. Just blabbering nonsense and the audience was eating it up. Hey good for him that he can capitalize on the severe lack of intelligence of a whole generation, but it’s just sad that this is what passes for entertainment. And it’s like that across music and everything as we all know. The last verse incorporates like a Britney Spears type of scenario placed in a sort of human sacrifice setting. Old Roman amphitheater style. Again, nothing against her, it’s just sad what happened to her and all the other ones to follow. It’s a business that makes a commodity out of people. The big makers and movers and shakers and check writers just have no fucking souls.

Could you describe the growth process your lyrics have undergone since you released your EP?
It’s really more of the same; my lyrics are all about the human experience, my own perspective of the world and the older you get you realize that we’re always going to live in a world where things happen and change. So as long as the world keeps changing I’ll have no shortage of things to write about. That’s all I know how to do. The satanic bands, the bands who sing about witches and warriors and dungeons and dragons and fantasy themes, they do what they do and let em enjoy it but it’s not for me. I can’t sing that stuff with any conviction and make people believe it. So the themes I’m dealing with now are all just about real stuff that people can relate to. Even if the verbiage I use makes it work in a metal song.

It is more common nowadays to find bands pushing the boundaries of underground music?
Depends what you mean by underground; I think there are a handful of people out there who have the right idea. A long time ago music just hit an apex where there is literally no more innovation to be had. You can only reinvent the wheel to a point where you don’t have anything that functions like a wheel anymore. And particularly with heavy metal the fans can be finicky cats like Morris and his 9 Lives from the commercial. A lot of them have expectations to be met when they tune into a band or an album. You’re dealing with genre loyalists who expect a band to adhere to the bylaws of that genre so it’s a fine line to walk. I’m guilty of that myself. As a listener and a fan I know when a band gets too kooky or freaky with their sound I get turned off so as a writer and a musician I try to find the doors and windows where I can tweak things and be more expressive. But to answer your question I think if you look hard enough you can find some very interesting things. Unleash The Archers is a band doing insanely technical power metal like a completely over the top Symphony X but their songs are infectiously catchy; you could sing along in the car like any 80s pop song on the radio. Like I said if you’re inventive enough and you’re well versed in song composition like they are you can pull it off.

Can entertainment retain a part of its soul with underground music still growing and evolving, and the industry growing on its own merits? How will Royal Orphan continue to grow?
I think there are a few labels out there that have the right idea and they support their artists very well. But we all know, and we’ve seen it, that some of our metal heroes are phoning it in. Bands who were once considered underground are now half assing it, using backing tracks etc. But enough has been said about that. I think “soul” happens when someone puts something out there and the audience is receptive to it. When you hit those drums so hard they shake, when you belt that vocal note directly at the person in the back of the room, when you lay down that guitar solo like you’re at the gates of Heaven and Jimi and Eddie and Randy are watching you. As for how we’re going to grow in the future, I’m not sure how we’re going to practically last as an entity. But if I had control of the situation I’d like us to take a direction that resonates the old school spirit but not sounding like anyone else. Always pushing the envelope and trying to create something that no one else has done before.

With social media giving bands more creative control, how do you expect Royal Orphan to make an impact aboveground?
I don’t ever consider us breaking “aboveground.” That horse left the barn a long time ago. All three of us are married men pushing 50, there is no reason our personal demographic would ever be of any interest to the big tastemakers of the population of the American consumer. Right now all the power of the entertainment industry is in the hands of Taylor Swift and her legions of teenage girls with all of that disposable income. It’s pure economics; to quote Bill Hicks that is a lot of babysitting money to be shared around. She is literally the only thing happening “aboveground” right now. Any self contained rock band who plays their own instruments and writes their own songs whether you’re Green Day or Metallica or you’re a smaller band on our level serves only one purpose; we’re just there to piss everyone off. We just keep on showing up.

Regardless of how long Royal Orphan remains active, what would you like people to remember about your career when looking back?
I don’t consider what we do to be a “career” as much as it is an “endeavor.” I haven’t broke even from any of this and I don’t expect to. My main motivation for this is just to leave something behind one day; I think that’s what most musicians aspire to whether they admit to it or not. Your recorded legacy is forever; you, the musician are not. So if anyone looks back on what we did, I would really like people to think we did it our way, the best we could with 100% integrity. None of what we do is crowd funded, none of this is AI. Just pure grit, sweat, work ethic and a love for what we do. All our songs are painstakingly written, all our lyrics are about something, not just strung together generic “blood and guts and Satan.” We don’t have time for that; we focus on the composition of the songs and we take it seriously and we won’t waste a well written song on lyrics that we could have scratched out in junior high in five minutes. Every song is important to us and gets something across. But most of all we want people to enjoy it because otherwise what’s the point?


-Dave Wolff