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KREUZWEG
OST - Achtung Baby!- By Chris Bruni
How about this for a nice twisting jaunt? Kreuzweg Ost are a duo
that hail from the Austrian lands that may be familiar to many of
our readers. Consisting of Martin Schirenc (Pungent Stench/Hollenthon)
and Summoning's Silenius, the mind bender that they have formulated
is definitely in the realm of the "out there." Using World War II
as the main backdrop and splicing together many different samples
to create a provocative and stirring concept, this ambient/industrial
collective definitely has the potential to intrigue.
Iron Avantgarde, the title of this first observation, is a document
of official history nonetheless. Kreuzweg Ost have nothing to do
with any kind of fascism or political integration, but instead take
the history and stories of horror that made up WW II and translate
them into surreal sounds and manipulations. Kreuzweg Ost are not
for everybody, but no matter what you think of such an album, it
will definitely stir some sort of reaction in you.
I got the opportunity to touch base with Martin Schirenc and I'll
leave it up to him to explain his actions. The floor is his...
How did the idea for Kreuzweg Ost develop and what was the decision
to decide to record something of this nature with Silenius? I know
for a fact that the idea for KWO has been brewing for a while now.
Was this something that you'd always wanted to explore, seeing that
this is the first time you have actually dabbled in such a genre?
"Actually, I never thought much about it," says Martin. "Silenius
came to me with the idea and some melody lines. He asked if I would
be interested in working together with him in the comfort of my
home studio. It sounded intriguing, but it was in the studio that
it became clearer and where we noticed how we complemented one another
musically. I was responsible for programming, cutting out the samples,
and setting the rhythms. He would bring in the audio or visual documentation
that we would scour for peculiarities. The magic definitely happened
in the studio. This is where the 'insanity' of Kreuzweg Ost came
to be."
What are your thoughts on the final outcome of Iron Avantgarde?
Who do you think will embrace such an album (seeing that it is aimed
towards fans of industrial/darkwave music) and what kind of reactions
do you expect?
"Both Silenius and I are extremely satisfied with the end result,"
Martin glows. "More importantly it was fun to record. KWO has obviously
not much to do with the music of Summoning or Hollenthon. It cannot
be compared, and we don't expect fans of that genre to necessarily
like what we have done. However, I think that the extremeness of
the music could possibly attract fans that are looking for something
out of the ordinary and heavy. KWO is definitely for freaks that
are open to other forms of extreme music: history buffs and World
War II freaks, individuals involved in the industrial scene, black
metal fans looking for something new and more brutal, and of course,
the more open-minded fans of both Summoning and Hollenthon. But
it is certainly not for everyone.
"So far the reactions have been good," Martin continues, "although
much of the media have decided to ignore us and have made it difficult
for the project to become known. Mostly because they thought us
to be a Nazi band, but we have also had one interview from a magazine
(remaining anonymous) that we were forced to refuse. The questions
were so ridiculous and insulting. They had nothing to do with the
music, but rather with hypothetical situations that dealt with Nazi
gold or Hitler's present whereabouts after escaping from 'a burning
Berlin.' Either way, the editor then sent us an apology and a promise
to have a new interviewer submit a new set of questions, but that
never happened. It is unfortunate that people don't read or don't
want to acknowledge our info or the sticker that appears on the
European version of the CD. Both clearly state that we distance
ourselves from fascism and other such political ideologies."
Was part of the reason to create KWO due to the fact that Silenius
and yourself are fans of such bands like The Moon Lay Hidden Beneath
a Cloud, Der Blutharsch, and Allersellen? The art form definitely
fits into the aesthetic that these kind of bands emit. Are you influenced
by this particular genre?
"Well, not exactly. As previously mentioned, Silenius came to me
with the idea to create KWO. It is meant to be a sudden, brutal,
musical, and loud burst stemming in part from Silenius having submerged
himself in the harsh industrial and noise scenes over the last three
or four years. Likewise, it also has a lot to do with our macabre
sense of humour and sarcastic edge for which us Viennese are known.
Of course, this may be more recognizable to the German speaker,
but it is also recognizable to those with an understanding of the
historical events. However, since we don't want to leave anyone
out, the explanations to the meaning of each song are to be found
on our homepage: http://kreuzwegost.tsx.org."
If you could describe the overall aura of Iron Avantgarde, how would
you describe it?
"The horrors of World War II have stolen the spotlight -- with due
reason, I might add -- in the history books. For us, it was important
to tell all sides of the story, including the German side, without
disrespecting the casualties on either side. We focused on curiosities,
the propaganda machinery, the attempts to shut out what was going
on, and the ease with which 'normal' people (not politicians) were
swayed to do the ill will of a few. It is amazing to us both that
things can go so far. Most amazing, though, is that the human race
doesn't learn from its mistakes and continues to fall victim to
today's propaganda machinery. KWO should invoke a variety of feelings
and emotions, but most of all it should cast a light on the decadent
society in which we live."
It seems that the majority of Iron Avantgarde is laden with samples.
How was this all balanced out?
"Well, Silenius would scour hundreds of movies and documentaries,
as well as old vinyl, searching for possible samples. Then we would
sit together and figure out how and where we would incorporate them
into the fragments of songs and rhythmic sections we were crafting.
Like I said before, nothing was planned. Things worked themselves
out in the studio, where we were both able to allow the warped personalities
to shine through."
I find that this album definitely presents two faces -- one stern
and cold, and the other amusing. Was this intentional?
"Absolutely, and I refer to the previously mentioned sarcastic and
macabre edge/sense of humour of the Viennese. We tried to create
a disturbing, stomping, stormy atmosphere and purposely often took
it to the point of ridicule."
What does the name Kreuzweg Ost mean?
"The meaning was not top priority. It just needed to fit the music,
and in our case it needed to sound militant. Obviously it is possible
to find a deeper meaning. For example, the name implies a crossroad
of sorts. Imagine a fictitious place that both the Western and Eastern
armies crossed at some point. It can also be interpreted as a type
of crusade: the Axis versus the Allies. And finally, it makes a
reference to the martyrdom of Eastern European countries, which
have always had to carry a sort of cross and have always lagged
behind the West. The literal translation would be Crossroads East."
How is KWO a concept project, if it is one, and is there a message
that you wanted to conceive with Iron Avantgarde?
"The album chronicles the rise and fall of the Third Reich. It doesn't,
however, concentrate on what is force-fed to us in history class.
It approaches the era differently by unearthing the uncommon and
presenting cacophonous vignettes of war. You may find explanations
of every song in the Iron Avantgarde section of our official homepage.
As stated in our bio, we wanted to create, among other things, a
musical overview of war and likewise present a merciless memorial
to our decadent society that all too often takes for granted the
prosperity in which we live."
Have you come across any trouble with the authorities concerning
KWO, since the material, including the album layout and pictures,
does tend to have that intriguing taste?
"Actually, no troubles with the authorities whatsoever. Anybody
with a right mind can tell that the album as well as the booklet
-- which I designed -- chronicles the WW II. I don't have to tell
you that war is ugly. The graphics stem from old propaganda and
advertising of that period. I can't change history just to please
some anal retentive, homophobic media figures that may feel it necessary
to attack our artistic freedom as a result of their own underlying
guilt. The ones that scream louder are the ones with more to hide."
Is the sticker on the CD some sort of disclaimer?
"The sticker came about because the European distributor was nervous
about the thematic. They demanded to see the booklet layout prior
to accepting the CD in their catalogue. They actually didn't demand
a change, but they did ask that Napalm include a sticker in which
the band made their political stand clear. The sticker reads: 'Kreuzweg
Ost distance themselves from intolerance and fascism.' We had already
planned to make this message clear in our bio, which states: 'Albeit
the chosen thematic, Kreuzweg Ost is in no way a politically motivated
band and should not be placed in such a category. In order to prevent
potential misunderstandings, Kreuzweg Ost clearly and emphatically
distance themselves from any forum associated with racism and political
extremism. Artistic prerogative and freedom of expression, however,
should permit Kreuzweg Ost to present a musical overview of the
war -- a merciless memorial to our decadent society that all too
often takes for granted the prosperity in which we live -- without
having to break through the barriers of ignorance and intolerance."
Do you see KWO as a serious project from which we will see some
more material surface in the future? If so, what more do you have
planned for us and what can we expect?
"Kreuzweg Ost is a very serious project. A hell of a lot of work
went into the making of it. We definitely want to record a second
album, but I think it is still too early to discuss the details.
I am currently concentrating on finishing the second coming of Hollenthon
and another special treat (I wonder what that could be? - CB) and
Silenius needs to concentrate on Summoning. We will certainly keep
KWO's style intact, but won't duplicate the WW II theme. Instead,
we will tackle other topics having to do with the first period of
the 20th century. An old-fashioned and militant image should prevail."
DESTROYER
666- The Wolf Unchained - By Chris Bruni
Probably one of the most unique bands in the Australian extreme
metal scene, Destroyer 666 continues to impress in very large measures.
Headed by their heart and soul, K.K. Warlust, this horde of war
and rage have finally come forth with their impressive new effort,
Phoenix Rising.
Its predecessor, Unchain the Wolves, was definitely an album that
made an impression; an album where the forces of true black metal,
old-school thrash metal and even traditional metal clashed in atmospheric
resonance to create something of pure grandeur and, most importantly,
something fresh. Although Phoenix Rising is by no means the same
album as Unchain the Wolves, this new album still maintains the
powerful force that Destroyer 666 embodies. There are new elements
to the sound picture; the songs are merciless and their wrath within
this storm screams pure triumph and glory.
We caught up with the man himself, K.K. Warlust, to do a little
bit of catching up, throw a few curves here and there (without provoking
him too much, of course) and to see what really stirs the soul of
this Cro-Magnon metalhead.
It's been a while since the mighty Unchain the Wolves album and
you have finally unleashed your new and worthy offering, Phoenix
Rising. What are your thoughts on the final outcome and what were
the reasons for the delay, seeing that the lineup has shifted and
you are on a new label?
"We're all pleased with Phoenix..." begins Warlust. "It was a very
experimental album for Destroyer and I think it captures all the
emotions that D666 needs to convey while at the same time letting
us explore some more advanced ideas. The delays were a real pain
in the fucking arse for the whole band, but things have worked out
well. We now have S. Bezerker on bass and Evil Erik on drums. By
all accounts it's the best lineup we've ever had."
Unchain... was definitely a unique entity in its own right, but
what do you think separates Phoenix Rising from Unchain...?
"A desire to move away from the pack," Warlust states with pride.
"To move forward with our sound and try new things, and I'm fucking
glad we did. Phoenix... really opened the band up in terms of guitar
skills and drum work, and now that we've done that I think the new
tracks for the next album, Cold Steel, will see us combine both
the feelings of Unchain... with the brutality of Phoenix..."
Do you feel that it is important to maintain the black metal aesthetic
and feeling with Destroyer? How do you view today's metal scene?
"I like the scene today. Destruction are back, Iron Maiden are back;
I'm one happy man. The BM aesthetic? I've got some ideas on what
I consider to be 'heavy' and appealing to my eye, but to Hell with
any uniform that ain't denim and leather. The whole world's changing
to shitÉmen are encouraged to become like women or to act like fools.
Women are urged to succumb totally to their weakest attributes.
In metal I find (sometimes!!) a style and aesthetic that does not
change with every new fucking fashion that comes along. We can create
our fucking utopia in this desert of lies and shallow fools. That's
the beauty of such strong music as metal. It's all-encompassing."
Speaking of Australia, does the environment (socially and mentally)
play any sort of inspirational/motivational role for you in creating
such music? How steady or mixed is the environment down there, concerning
outcasts and socially acceptable people?
"No, Australian 'culture' is nothing more than a mix of U.S. and
British western culture. It's nothingÉpeople here, like everywhere,
are drowning in shallow water. Perhaps my disdain for the sheep
and their shepherds is inspiring. To see any remnant of Australian
culture you'd have to come around to my house or the house of the
Vomitor boys in Brisbane or the Grenade residence up in the Blue
Mountains over Sydney. Australian culture for me is defined by people
like Edward Kelly (an Australian outlaw of the late 1800s) and by
things like the Eureka Stockade that was the first of the Australian
people's rebellion against the British and the inherent aristocracy.
Culture was defined by the Irish and British convicts' attitude
towards the harsh British and Catholic environment, which they found
had been brought from Ireland and England to Australia. It's where
Australian people have got their disdain for all things aristocratic
and pompous. It led to our infamous irreverence for all such things
as well. But now these things are discouraged except when it comes
to anything of importance.
"As time goes by Australia is adopting the same witchhunting tactics
used in other parts of the world. Acceptance at the cost of discretion
seems to be the order of the day. Hell, even the bikers have been
taking it hard over the last five years. Only heroin dealers and
rapists seem to get any kind of leniency from the law (laughs)!
Just beautiful, isn't it?"
Adding to the overall atmosphere and aura of Destroyer are the themes
that are brought forward. Seeing that there is a definite old-school
vibe going with the music, thematically it goes much deeper into
thought. What do you intend to express with this album, and what
do you really mean with Phoenix Rising?
"To reinforce the idea that people have to let go! That there is
'no birth without blood'!"
Are your lyrics and themes directed towards a specific breed of
people? How do you balance between metaphor and reality in the themes
if there is such, or is your message based purely on metaphorical
substance?
"Yes, D666 lyrics are for those who see more than others, those
who have felt a strange discomfort with the world, for all those
who hate and are tired of wasting energy on it, for all those who
feel that they are better off in a 'worse' world, the outcasts,
the outlaws, for all those who can see sense in Charles Manson,
and (see) stupidity in their surroundings. But on the other hand,
there are also lyrics I've written which are for enjoying life with
a drink and a loud stereo and some good headbanging mates. For lying
back with your woman and thinking of fucking 'again.' There is NO
divide between reality and metaphor in my lyrics, there is no hidden
meaning. We live in a society that is supposed to support freedom
of speech. I'll take advantage of that 'till the witchhunters come
knocking, and then I'll either shoot them or laugh at them, maybe
both! (laughs)"
In the past, some of your themes have raised the odd eyebrow. It
seems that controversy has always reared its head with Destroyer
666. Is it always hard to escape or hide from the "Witchfinder"
these days? How do you respond to certain accusations people have
made about you due to some of your statements, themes, and lyrics?
"Unfortunately WE are the witchhunters, just as in the famous time
of witchhunting it was often your neighbour that pointed the first
finger. Each of us has the chance to fight the witchhunters by closing
our minds to their incessant propaganda. When any of us condemns
another for nothing more than an idea, we are playing into the hands
of the blind mob. To quote Black Sabbath, 'If you listen to fools,
the mob rules.' We should seek the path of the individual. You'll
find footprints along the way, but you'll not find the battered
earth and corpses of the herd that pass along through the mainstream.
Fortunately, being into metal probably means you're predisposed
to the life of the outsider already. It's a matter of becoming a
free spirit and not a lost soul.
"I no longer respond to these people who point fingers. Indifference
has become my greatest weapon and my greatest defence."
Extracting
the Venom - with Malevolent Creation -By Tate Bengtson
Plagued by a rotating cast of musicians, label difficulties, and
more than a little controversy, Malevolent Creation's lengthy tenure
in extreme metal has been, to put it mildly, turbulent. However,
with the release of the band's seventh full-length studio album,
Envenomed (Arctic Music), it would appear that the cards are finally
falling into place for the Floridian deathsters. Retaining the same
lineup for the second consecutive album, and now signed to a label
co-founded by guitarist and frontman Phil Fasciana, Malevolent's
recently acquired stability appears to be a central factor in the
ferocious return-to-form that is Envenomed.
The new album is an entirely different creature than its predecessor,
the solid but unspectacular The Fine Art of Murder. Envenomed is
an ear-blistering 11-song juggernaut that boasts a clear songwriting
focus and a vibrant intensity that surges from the album like a
massive electrical charge. Opener "Homicidal Rant" states Malevolent's
intentions with unflinching clarity, as pulverizing double bass
drumming, hyperactive riffing, and a vehement vocal performance
set the mood in a song that is as memorable as it is fierce. One
quality that is readily apparent on Envenomed is that all of the
tracks were written very much as songs, with distinct choruses and
an abundance of killer ideas differentiating one tune from another.
Six-string maniac and mainstay of the band Phil Fasciana attributes
this quality to the positive group dynamic, which made it "quite
easy to create the material for this album. We all knew that we
wanted to write a good, solid, heavy-as-fuck record. I think we
reached our goal."
Phil suggests that the band's approach to songwriting is inspired
by a ceaseless urge to ram ever more brutality down the throats
of its audience. Regarding the response that Phil hopes the music
of Malevolent Creation creates in its audience, he says, "I hope
people get the same feeling I get when I listen to music I love.
It is hard to describe, but I'm sure any musician knows what I am
talking about. I love to see a smile on someone's face when they
hear our music."
Among the songs most likely to inspire excessive headbanging are
the blitzkrieg riffing and assault-and-battery rhythm changes of
"Kill Zone," and the memorable following cut, "Halved," where the
malicious guitar onslaught is bookended by an inspired clean guitar
line that conjures an atmosphere of ominous anxiousness.
Lineup problems are a perennial problem for some bands, and for
Malevolent Creation that challenge has been particularly acute.
Commenting on the relative longevity of the current lineup, Phil
says, "The stability has made a huge difference in the music, I
think. The Fine Art of Murder was put together very fast, without
much contribution from the other (members). With Envenomed, we worked
together as a team." Phil continues: "This lineup is without a doubt
the best I've had the opportunity to work with. I'm so glad we all
get along! I feel much more confident and (the band feels) more
like Malevolent Creation again."
With sheer sonic carnage the invariable result of every cut that
appears on Envenomed, Malevolent Creation races through a venomous
selection of tracks that manage to recapture that classic early
â90s American death metal vibe without sounding anachronistic. Dave
Culross's drumming propels the band into the stratosphere at breakneck
speeds, while the formidable axe duo of Phil Fasciana and Rob Barrett
cuts a wide swath of destruction that indiscriminately obliterates
anything that dares cross its path. Entrenched behind the microphone,
Brett Hoffman offers a misanthropic array of throat-searing growls
which, while not as sickeningly deranged as some of his comrades-in-gurgling,
imbues the songs with a distinctive intensity that expertly captures
a series of thoroughly uncommercial vocal hooks.
Without the hindrance of label or lineup complications, Malevolent
Creation walked into the recording of Envenomed with a clear mental
image of how the album as a whole would flow, and the focus thus
shifted to "the production, and the way the music would be delivered,"
states Phil. "We wanted a thick-sounding record... I'm really proud
of the fact that we produced the album ourselves and it sounds so
killer!"
An album highlight is "Pursuit Revised," where Hate Plow vocalist
Kyle Symons joins Brett in a duet of deadly proportions. "Kyle shared
vocals on the song 'Pursuit Revised,'" explains Phil, "because Brett
wrote the song about Kyle, so it only made sense."
Envenomed also marks Malevolent Creation's debut for the Arctic
Music Group, which is a label founded by Fasciana and Malevolent
Creation's manager and attorney, Scott Hecker. Phil notes, "We wanted
to start a record label for a while, and the time was right. Both
Malevolent Creation and Hate Plow were free of contracts, so we
started Arctic and worked out a deal with Pavement Music, who markets
and distributes all of our releases. We have signed a few bands
and are looking forward to a lot more releases." In addition to
Malevolent Creation and Hate Plow, the Arctic Music roster is also
home to the unyielding black metal of Kult ov Azazel and the southern-styled
death rock of Burner.
Touring Europe in support of Envenomed, Malevolent Creation will
be part of a package which features In Aeternum, Hate Plow, and
Rotten Sound. As Malevolent Creation shares three of its members
with Hate Plow, the tour should be extraordinarily grueling. "Dave,
Rob, and I will be playing for both bands," notes Phil. "It's gonna
be rough!"
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