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Published by Josh Haun on June 14, 2010 in Uncategorized.

A statement from Josh Haun regarding the closure of Sonic Frontiers(dot)net:

First of all, I want to say that the decision to close down Sonic Frontiers was a tough one, and not something I took lightly. For the past several months, I have wrestled with whether or not to soldier on with the site. Unfortunately there are a number of reasons that have recently come to light which have made me realize that the site has run its course, and I have no choice but to re-focus my time, creativity and energies on other endeavors.

When Sean started Sonic Frontiers, he envisioned not just another music site, but an active community that covered only the best in underground and independent music. Though the site has had ups and downs over the years, I firmly believed when I took over the reins from Sean last year that I could help SF live up to this ideal. It turns out I was both right and wrong. I believe that the site did continue to provide great coverage during my stewardship, however the communal aspect unfortunately became lost. I can attribute this to a number of factors, ranging from difficulties being able to find other enthusiastic regular contributors to some admittedly rather lax guidelines set down by myself in regards to deadlines and content management. I could complain for paragraphs about how I feel that others have repeatedly let me down, but I am simply not going to do that. I am as much responsible as anyone for the site’s successes and failures, if not more so.

To all the readers, as well as the bands, labels and PR folks that have helped support my endeavors with Sonic Frontiers since I started writing for the site back in 2007, I hope that you will follow me to the next phase of my work as an underground music/metal journalist. That phase is That’s How Kids Die(dot)com, a website dedicated strictly to underground heavy metal (and metal only) in all it’s wondrous guises. I have realized to truly pursue what I love, I must create a more single-minded vision that reflects my undying dedication to the genre of music that has shaped me as a writer, editor and creative mind for the last 15 plus years. You have my word that I will put the same amount of care, thoughtfulness and dedication into That’s How Kids Die that I have put into everything I have ever done, be it as a part of Sonic Frontiers, or various other outlets.

Additionally, I have been asked to contribute to the venerable Invisible Oranges.  This is a great opportunity to learn from seasoned writers and further hone my craft, as well as to expose my writing to a wider audience.

Effective July 1st, all activity at Sonic Frontiers will cease. All appropriate recent content I have created for the site will be moved to That’s How Kids Die, the rest will be archived elsewhere. As of October, the site will shut down completely. I am happy that the site has gone out on the highest note possible, as I can’t think of a better final interview than my favorite metal band, Darkthrone.

Thank you for your continuing support.
-Josh Haun

http://thatshowkidsdie.com

http://www.invisibleoranges.com

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Interview: DARKTHRONE

Published by Josh Haun on June 3, 2010 in Interviews. Tags: , , , , , , , , .

Dear Sonic Frontiers readers, please excuse me for a moment while I gush like a complete fanboy.  DARKTHRONE is my favorite metal band.  Ever.  When the PR firm representing Peaceville Records in the USA offered me an e-mail interview with drummer/vocalist/black metal godfather/walking metal & hard rock encyclopedia FENRIZ, I could barely contain my excitement.  The following interrogation is what transpired when I was given the opportunity to pique Fenriz’s brain about the excellent new Darkthrone album CIRCLE THE WAGONS , the resurgence of “real” heavy metal in the underground and the importance of making your own breakfast.

Sonic Frontiers: Tell us about the new album, Circle the Wagons. What do you consider to be the main themes/concepts behind the album? How would you describe the album to those who have not yet heard it?

Fenriz: it’s our own kind of heavy metal, it’s Ted’s 4 songs and i never know what influences him. then there’s my 5 songs which mostly sounds like fast heavy metal (speed metal) from 1979-1985. then there’s clear and various ugly vocals and i just realized this didn’t come out very good as an advertisement for our sound – but no one really sounds like us at the moment, i think we are extremely old school and still fresh.

there are no themes, lyrics are about a plethora of subjects, ranging from street lyrics to the soulful stuff (like Black Mountain Totem song).

SF: You recorded Circle the Wagons at your own Necrohell Studios. What are the advantages of having your own recording space? What is the equipment setup at Necrohell?

Fenriz: i am not a musician, i’m a music personality, so i don’t know anything about equipment, that’s Ted’s department. it’s a portable mini studio and we rig it ourselves and Ted records and mixes it as well – so it’s VERY DIY.DIY HARD!!! haha!! Advantages is that we don’t have the presence of a “studio guy”, we are just by ourselves with the help of our friends Kjella and Mats. It’s Kjellas house, so Ted has to drive 3 hours from the north to get there and i take the bus for 3 hours from the south. Having this studio makes us get our own sound, it’s a guarantee that we don’t end up in a studio where there are modern equipment or some guy that tries to talk us into some new tricks. we keep it old. WITH US, THE OLD WAYS ARE NEAR.
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Interview: ALCEST

Published by Josh Haun on June 1, 2010 in Interviews. Tags: , , , , , .

If there is one band out there that is truly pushing the boundaries of black metal, it is France’s Alcest. The brainchild of former Peste Noire and Amesoeurs guitarist Neige, the band’s latest album Écailles de Lune is an at times ethereal, at times depressing and harsh exploration of haunting, guitar driven soundscapes, and one of the year’s most inventive metal albums. I sent this interview to Neige just before he was set to embark on Alcest’s first ever North American tour.

SF: Tell us about the new album, Écailles de Lune. How did you approach creating this album in comparison to other Alcest works?

Neige: While “Souvenirs” was a description of memories I had as a child about the luminous far away dimension I am speaking about in the previous questions, “Écailles De Lune” could be seen as a metaphor of how I manage to live with this experience now in my everyday life. As I sometimes feel that nobody really understand and grab what I am speaking about, in some moments it’s like if I was a stranger here, having the sensation a non-human part of my soul is screaming inside me to be back in the world he belongs to. This explains besides the “Écailles De Lune” lyrical theme’s melancholy. It’s a story about a man sitting front of the sea at night and thinking about his life, the fact he can’t find any interest anymore in his earthly existence, nothing and nobody that could give him joy. He falls in love with the night, being captivated by the voices of the waves and the spirits of the sea. He goes swimming in the depth, all surrounded by aquatic guardian spirits for finally having a serene sleep in the bottoms of the sea and never coming back in the real world.
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Unbookable #8 (The Aftermath)

Published by Matt Finney on June 1, 2010 in Columns. Tags: , , , , .

After the Approaching track by track, I emailed Katie and I never heard anything from her. A week went by and I figured she was busy. She probably is, most people have a life, but I’m almost certain she read it and not a whole lot of good can come from wishing that your ex would get a divorce from her husband. It felt good to get all of that out at the time but I wish I could take it back. I understand if she hates me. I mean, it is kinda creepy that after 5 years I still can’t get over her. I was with her during all of my teen years and it’s hard to pick out memories that don’t involve her. She helped me through so many tough spots and they’ve all been coming back to me. I’ve been thinking about this time that happened a few summers ago. I had this gigantic blow out with my dad. We almost got into a fist fight and I had to leave. There was no way I could stick around. My dad is the angriest person I’ve ever met. Me and her had to take the bullets out of his gun once because we were so uneasy about him. I’ve never seen anything like it before or since. He still hasn’t dropped this incident and he isn’t afraid to bring it up whenever he feels slighted. I remember having to go stay at her house until things cooled off. It was one of the best and worst times of my life. I was upset from all of the bullshit at home but she always had this way of comforting me. She always knew what to say or what not to say. We slept in her bed and she went to work the next morning. I had no idea that 2 weeks later it would all be over. I would be left with a small drinking problem and a desire to do nothing. It’s a big mess but what it comes down to anymore is that I love her. I’m gonna miss it when her emails stop for good. I just felt like I had to get that out of my system but no matter how many words I spew out you will never give you the full picture of her and how much she meant. I guess the worst that could happen is that I end up like Jesse Lacey but he’s cool as shit so I dunno…
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Dethroned Emperor #27 (Prosthetic Records Enters the Realm of Black Metal w/ 1349 and Ov Hell)

Published by Josh Haun on May 30, 2010 in Columns. Tags: , , , , , , , , , , .

One of the things that has always fascinated me is the absorbtion of extreme music into the American mainstream. It happened to death and thrash metal long ago, when bands like Metallica and Megadeth exploded, Earache Records releases got distributed through Columbia and Morbid Angel signed with Giant. Styles that were once reviled by the populace at large somehow found their way into the bins at Best Buy. Some styles have taken much longer to achieve this, particularly black metal. One could argue that Cradle of Filth and Dimmu Borgir (and possibly Satyricon) have long been commercially acceptable black metal bands here in the states, but I would argue that those bands strayed very, very far from their BM roots in order to become accepted and “marketable”. It has only been in recent years that traditional black metal bands have come to sign with more “mainstream” metal labels here in the USA, and a perfect example of this is California-based Prosthetic Records releasing the new albums from 1349 and Ov Hell.

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Black Breath – Heavy Breathing (Southern Lord, 2010)

Published by Josh Haun on May 29, 2010 in Reviews. Tags: , , , , .

I’ve gotta be honest, Black Breath’s Razor to Oblivion EP didn’t do a whole heck of a lot for me, so I was a bit skeptical when the band’s debut full length arrived in the post. I certainly wasn’t expecting to have my ears ripped off and fed to me by what can only be described as a gnarlier, burlier and more bloodthirsty version of Black Breath than the one that recorded Razor to Oblivion, like someone injected them with death metal steroids imported from Stockholm, Sweden circa 1991. But, that’s exactly what happened when I threw Heavy Breathing on the ol’ hi-fi. This is the kind of album that makes you want to drink too much beer, smoke too much weed, and punch your friend in the face too f**king hard.
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Interview: DEIPHAGO

Published by Josh Haun on May 24, 2010 in Interviews. Tags: , , , .

Had I heard Deiphago’s Filipino Antichrist just a bit sooner, it would have come in damn near the top of my “Best Albums of 2009″ list.  Blurring the line between bestial, chaotic black metal and harsh noise-ridden brutality, the album is a psycho-Satanic cyclone of obliterating distortion, possessed vocals and belligerent drums, laying waste to everything within earshot.  Indeed, this is an album that must be heard to be believed, such is the sheer ultraviolence on display throughout the recording.  I contacted bassist/vocalist V. 666 for some insight into the creation of the album, and what it means to be a Filipino Antichrist.

Sonic Frontiers: For any readers who might not be familiar, how did Deiphago get started?

V. 666: Deiphago was formed back in 1989 under the name of Satanas to continue the legacy of the 80s black metal gods Venom, Sodom, Hellhammer and Sarcofago. We changed our name to Deifago in 1990 which was due to the influence of Sarcofago and the then mighty Deicide. Our first demo was recorded and released in 1991; we were the first band to use the term Satanic Doom Death Metal. By 1992, influenced by our peers such as Beherit, Impnaz, Blasphemy, Deicide and Morbid Angel we started going into a more black death grind approach and the end result was 1993’s Hail Mary Inanna demo. The years that followed were constant live assaults throughout Manila and the recording of demo 1997 which was a return to Bathory era Blood Fire Death. The band continued to be haunted by drummer problems which started since day one and by the end of 1998 it was decided to put Deiphago in a hiatus! Not Dead but Dreaming!
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Interview: COFFINWORM

Published by Josh Haun on May 22, 2010 in Interviews. Tags: , , , , , , , .

To say that Coffinworm blew me away with the impossibly heavy, smoked-out assault of their debut album, When All Became None, is an understatement.  To say that they caved my f**king skull in might be slightly more accurate.  Imagine a doomsday obsessed bunch of corpse-painted Norwegians decided to overdose on whiskey and quaaludes and then start a crustcore band and you’re about halfway to envisioning the beyond gnarly as all hell apocalyptic death-sludge these guys are capable of delivering.  I spoke with vocalist D about the devastating debut and stripping nude for your killer.

Sonic Frontiers: Coffinworm has been around since 2007 and your debut full length is just out on Profound Lore. How did it feel to finally record a full album? Are you pleased with the result?

D: I feel relieved now that it is complete. From start to finish I am completely pleased with the album, and I would hazard that the rest of the band concur with this statement to a relatively high degree. Chris/Profound Lore has been very supportive of us since we released our demo, and we are proud to deliver our musical first-born under his blackened banner.
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Interview: WATAIN

Published by Josh Haun on May 18, 2010 in Interviews. Tags: , , , .

Over the past decade, Sweden’s Watain have usurped the throne of Scandinavian black metal. By marshaling the forces of total darkness to create a string of devastating albums and asserting their dominance through mesmeric live performances, the unholy trio have positioned themselves as the one BM act that just might be able to make good on the genre’s promise of creating the soundtrack to armageddon. Their latest album, Lawless Darkness, is the culmination of the trio’s hellbent war-march towards the unlight. I spoke with frontman Erik Danielsson via e-mail to discuss the new album and cutting through the fabric of the universe.

Sonic Frontiers: Tell us about the new album, Lawless Darkness. What did you set out to accomplish?

Erik Danielsson: A thorough musical exploration of the darkside. Lawless Darkness to us is the greatest and most well-crafted monument we have ever risen in honour of ours gods. To the listener, it will be a glimpse into a world where the illusions of this world of flesh and light are absent; the garden of unearthly delights, the abode of liberated fire and boundless becoming.
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Mangled Bohemians/Baseball Camp Nurse – split (Icky Recordings, 2010)

Published by Matt Finney on May 18, 2010 in Reviews. Tags: , , .

In my hands I have the latest outing from Portland, Oregon frightscapers Mangled Bohemians and lo-fi noise maker Baseball Camp Nurse. It’s a split between the two acts through Connecticut’s Icky Recordings. The Bohemians fill up the first track with an 18 minute piece called “Scatterbrain (bad acid)” that’s bipolar the entire way through. It can’t make up its mind whether it wants to put you to sleep or make your ears melt off. It has Stars of the Lid drones mixed with riffs that you would hear on Earth’s Hex. This is the kind of stuff Richard Ramirez would’ve listened to when he was laying around in graveyards. They’ve grown so much since their first full release Degeneration that it’s hard to believe that they’re the same band. There’s been a few lineup changes since that record and the new members seem to be making these sounds come to life. They’re not relying so much on the creepiness anymore but they don’t let you forget that they know how to control the hairs on the back of your neck. I’m really looking forward to seeing where this band is going to go from here.
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Ronnie James Dio (1942-2010)

Published by Josh Haun on May 16, 2010 in Features. Tags: .

Normally, Sonic Frontiers does not post news bits, but for this occasion we absolutely have to make an exception.  Today, the heavy music world lost one of it’s greatest vocalists of all time, Ronnie James Dio.  Dio’s career was one of the most storied in all of heavy metal, having provided vocals for Elf, Rainbow, Black Sabbath, Heaven & Hell and his own solo band, Dio. The legendary singer succumbed to stomach cancer at the age of 67.

The following message was posted on Dio’s official website by his wife, Wendy Dio:

Message from Wendy Dio
Today my heart is broken, Ronnie passed away at 7:45am 16th May. Many, many friends and family were able to say their private good-byes before he peacefully passed away. Ronnie knew how much he was loved by all. We so appreciate the love and support that you have all given us. Please give us a few days of privacy to deal with this terrible loss. Please know he loved you all and his music will live on forever.

- Wendy Dio

Ronnie James Dio was and will always be a true metal icon who will live on forever through his music and the joy it gives to listeners the world over. The staff of Sonic Frontiers sends our condolences to Mr. Dio’s loved ones.

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Unbookable #7 (Finney vs Dedicated Records + Haun/Sonic Frontiers)

Published by Matt Finney on May 16, 2010 in Columns. Tags: , , , , , .

I decided to take a departure from Approaching time around. I didn’t want to give too much away about the album before it’s finished so to keep the mystery alive and to keep you reading, I present you with two new interviews from two great men. The first one up to the plate is Dedicated Records owner Bradley Palko. He asked me to do an interview with him a few weeks ago and it’s finally all done. I’m a huge fan of the guy’s label and work ethic and I look forward to seeing his label become a regular name in the net label community. He’s put out some amazing music from Anna Rose, Snowmobile, and Heinali. Expect great things from him and the artists he works with.

The second is the man, the myth, and the legend….Josh Haun. Our chat came about from a Facebook status that he posted. He said he wished someone would interview him for a change and I jumped at the chance. Mr. Haun has become my go to guy for advice. He’s become my Mr. Feeny, if you will, and I’m honored that he took a few seconds to talk with me. I hope you enjoy the interviews. Not really sure what I’m gonna talk about in the next column but I’ll think of something. Stay posted guys. Until next time.
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Twilight – Monument to Time End (Southern Lord, 2010)

Published by Josh Haun on May 12, 2010 in Reviews. Tags: , , , , .

Let’s get a few things out of the way. First, this review is about Twilight the black metal band, and has nothing to do with a bunch of vapid twenty-somethings possessing the acting abilities of dead trees parading around as teenage vampires, or the subliminal Mormon propaganda book series that inspired them. Second, Twilight’s 2005 self-titled debut was pretty abysmal. Sorry if that comes off as harsh, but it’s the truth. The album was poorly recorded, unfocused and generally sounded like a cut-out bin black metal sampler CD. Fortunately, things have improved beyond vastly for the band’s second album, Monument to Time End, resulting in one of 2010’s most compelling pieces of progressive BM.
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Unbookable #6 (Approaching: Track by Track)

Published by Matt Finney on May 1, 2010 in Columns. Tags: , , , , .

The last time I talked about the new FY album, I gave you a little sneak peek into the sound, what some of the songs are about, and why we named it Approaching. I didn’t want to give away too much and I still don’t. We’re about halfway through it and everything is sounding great. We’ve both changed so much, lyrically and musically, and this album is a huge step for both of us. We’re so excited about finishing this and we can’t wait to get it out there for all of you. It’s been the one thing that’s pulled me out of bed lately. I can’t talk much about the music since that part isn’t through but I thought I’d do a track by track with the lyrics on the album. A lot of people worry about revealing the meanings to songs and I understand that. Most of my favorite songs are about things that are vague. That connect with me in a way that might not connect with you and that’s what’s great about music. These are my most personal lyrics. Some of them are pretty cringe worthy and I know I’m going to get a lot of pissed emails and facebook messages after people find out what they’re about. I also think they’re the most universal and I hope you guys will agree. A full lyric sheet will be available when the album is closer to being finished. Sorry for all the self-pity in advance. Have mercy on me!
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Interview: WODENSTHRONE

Published by Josh Haun on April 24, 2010 in Interviews. Tags: , , , .

Last year, the UK’s Wodensthrone blew me away with their debut album, Loss. Rarely is modern black metal so masterfully crafted; progressive, majestic and regal, yet also raging, harsh and strangely mournful. By digging deep into their English heritage and ancestry, the band have created something that goes beyond the typical “pagan black metal”, something that truly taps into the long-dormant energies of ancient lore and spirituality. Much like their Transylvanian brethren Negura Bunget, Wodensthrone doesn’t just present the listener with a collection of songs, they take you on an enthralling, multifarious musical journey.

To say that I was eager to interrogate the band last year would be an understatement, and I immediately contacted them for an interview via e-mail. Several months later, after many trials and tribulations that involved lost e-mails, lack of internet connection and various mishaps beyond both mine and the band’s control, I am pleased and proud to at last present an in-depth discussion with the mighty Wodensthrone, answered collectively by several members of the band.  I can’t thank them enough for the time, thought and effort they put into what is arguably one of the best interviews Sonic Frontiers has had the privilege of conducting.

Sonic Frontiers: Wodensthrone has been around since 2005, yet Loss is the band’s first full length. Why the long wait before recording a proper album?

Richard: Although we have been a band since 2005, we only really emerged as a group in early 2006. Because of this, we dropped around 25 minutes of previously written material and started from scratch. We released our split 7″ with Niroth in 2006, then moved on to write and record our split with Folkvang, released in 2008. By this time, we were fast approaching the completion of Loss. All of the songs were written by the end of 2008 but it was a case of getting the funds together and getting the studio time booked before that vision could be realised. Once we had recorded the album, many technical and personal difficulties occurred in the Negura camp, which delayed Hupogrammos in mastering the record. But in the end we were very happy with the result, so any delay did not matter so much.
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