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Author Archive for Josh Haun

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

Interview: DARKTHRONE

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

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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Dethroned Emperor #27 (Prosthetic Records Enters the Realm of Black Metal w/ 1349 and Ov Hell)

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.

Continue reading ‘Dethroned Emperor #27 (Prosthetic Records Enters the Realm of Black Metal w/ 1349 and Ov Hell)’

Black Breath – Heavy Breathing (Southern Lord, 2010)

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

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

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

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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Ronnie James Dio (1942-2010)

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.

Interview: WODENSTHRONE

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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Interview: IMPERIUM DEKADENZ

After several demos and full lengths for smaller labels, Germany’s Imperium Dekadenz are poised to break into the upper echelons of black metal with Procella Vadens, their debut recording for Season of Mist.  I spoke with vocalist/guitarist Horaz to discuss the new album and the band’s plans for 2010 and beyond.

Sonic Frontiers: What were the circumstances surrounding the creation of Procella Vadens? What are your thoughts on the album as a whole?

Horaz: We had the goal to create a new epic album filled with authentic emotions. To reach that goal we walked a long and stony way. But we accomplished the mission and we are very satisfied with result.
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Ludicra – The Tenant (Profound Lore, 2010)

San Francisco’s Ludicra are the very definition of an underrated band. Since the release of their first album Hollow Psalms in 2002, they have been influencing and changing the face of American black metal to seemingly little fanfare, in spite of the individual member’s musical pedigrees. Since long before Wolves in the Throne Room stalked the wilderness or Nachtmystium turned into psychedelic black meddlers, Ludicra have been crafting black metal that is as scathing and visceral as it is lilting and progressive. The Tenant is the culmination of the band’s ongoing musical evolution and is undoubtedly the album that will see them finally getting the accolades they deserve.
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Interview: TRIPTYKON

Hands down, the best metal show I’ve ever seen was Celtic Frost at the House of Blues in Hollywood, CA in 2006.  The band was touring behind their masterpiece album, the monolithic Monotheist, after many years of inactivity and that night they sounded absolutely monstrous.  Having worshipped Celtic Frost for years, I couldn’t believe I was actually getting to see them live and looked forward to following the band’s (at that time) rejuvenated career.

Unfortunately, the band imploded once again in 2008, but from the ashes of Celtic Frost, the even mightier Triptykon has risen, lead by none other than Tom G. Warrior and ready to swallow up the Earth in a churning vortex of blackened, atmospheric doom.  Their debut album, Eparistera Daimones, is quite simply the most suffocatingly heavy album of 2010 and possibly the past ten years, darker, gnarlier and even more devastating than Celtic Frost at their most dense and harrowing.  I contacted guitarist V. Santura to discuss the inception of the heaviest band on the planet and the creation of Eparistera Daimones.

Sonic Frontiers: You served as a touring guitarist for Celtic Frost in 2007. Was this experience in any way a lead-in to the genesis of Triptykon?

V. Santura: Well, Tom and me got along very well during the time I played in Celtic Frost and we both really enjoyed working with each other. But the actual reason for the genesis of Triptykon was not my involvement in Celtic Frost, it was the demise of Celtic Frost.
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Feature Review: Blood of the Black Owl – A Banishing Ritual (Bindrune, 2010)

So, there I was sitting at my desk, smack dab in the middle of an endless sea of cubicles. Hoping to kill two birds with one stone, I grabbed my promo copy of Blood of the Black Owl’s third and final album A Banishing Ritual and popped it into the CD drive so I could give it a listen while getting some office work done. I continued typing away on my keyboard as the disc began to play, when suddenly things started to get a little strange. My vision began to blur, my dual computer screens turning into amorphous masses of indecipherable fuzz, swirling into a tie-dye of malformed letters and numbers. And that’s when everything went black…
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