Featurelust: 10:13 ‘Oathblade’

When it comes to Black Metal there are a significant number of artists out there who are doing it all on their own. While most churn out promising albums there are some who tend to stand out from the rest, offering something new and fresh to our beloved scene. 10:13 from Orange County CA is a one man project that has created a sound all his own. Neil Carter the man behind the music is a talented musician and he has used this as his medium to channel his own inner feelings.

Recently I had the pleasure of taking a listen to his new single entitled Oathblade and I was pleasantly surprised by the overall sound. Using everything from a harmonica to a mandolin this song speaks volumes and is one you need to listen to alone and in isolation in order to take it all in.

 

While this does not quite classify as straight Black Metal it holds an almost primal ritualistic feel that seeps with an other worldly presence. Combining aspects from Atmospheric, Symphonic, and even raw Black Metal Oathblade is reminiscent of bands like Lustre and Leviathan. It as if Neil took everything and threw it into a cauldron and mixed it all together.

The song itself starts off with the sound of the mandolin and harmonica working harmoniously together like the chant of an old folk Bluegrass song then unleashes into a meld of furious drumming and melodic synth then slows down into an Atmospheric Black Metal harmony that is constant throughout the whole song. The drumming is fantastic and it adds just enough heaviness to add fluidity. In addition there are some spoken word passages that give off a haunting feel. 10:13 is a project that definitely deserves more recognition and if you are a fan of anything within the metal community you should definitely give this a listen. Be sure to also delve into the promo that was released last year. 10:13 is also working on a full length album with the release date still pending.

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Album Review: Terraforming- Jupiterian

Doom Metal is one of those genres that welcomes variety and often times creates an all around rumble that can leave the listener shaking. One such band that is making their way through the radar is Jupiterian from Brazil and they have an album that will be released on Nov. 15th via Transcending Obscurity Records entitled Terraforming. 

 Jupiterian possess a certain alure in that they mask their identities which only adds to their unearthly atmosphere. Fans of the genre rejoice this band is jam packed with hefty amounts of Doom but you will also find hints of Sludge, Atmospheric, and Black Metal.

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BELL WITCH: Seattle Doom Metal Duo Announces US Tour Dates With Monarch!; Mirror Reaper Movie Trailer Posted + North American Tour With Primitive Man Draws Near

 

BELL WITCH: Seattle Doom Metal Duo Announces US Tour Dates With Monarch!; Mirror Reaper Movie Trailer Posted + North American Tour With Primitive Man Draws Near

Seattle doom metal duo, BELL WITCH, will join French doom metalists/labelmates Monarch! for a stretch of US live dates this December. The tour will commence on December 1st and run through December 7th with additional performances to be announced in the coming days. The trek follows BELL WITCH’s previously announced North American tour with Denver doom troupe Primitive Man from October 25th to November 17th. See all confirmed dates below.

Additionally, BELL WITCH will bring their devastating odes to the stages of Roadburn Festival 2018. Set to take place in Tilburg, The Netherlands, the band will perform two sets, the first on Saturday April 21st at the 013 venue and Sunday, April 22nd at Het Patronaat. BELL WITCH will be recreating their soon-to-be-released, eighty-three-minute offering, Mirror Reaper, in its crushingly exquisite entirety. The feat requires the input of honorary member, vocalist Erik Moggridge (Aerial Ruin), who will be joining the band to complete the performance. Expect his fragile yet evocative vocal style to lend an even more ghastly and ethereal quality to BELL WITCH’s already otherworldly sound.

The anticipated Mirror Reaper is set for release worldwide via Profound Lore Records on October 20th. With their latest output BELL WITCH has created a truly enormous work – one continuous, eighty-three-minute piece unfolding as a single track. Engineered and mixed by veteran producer Billy Anderson (Swans, Sleep, Neurosis), the duo of Dylan Desmond (bass, vocals) and Jesse Shreibman (drums, vocals, organ) have pushed the band’s sound further beyond their landmark 2015 LP, Four Phantoms. While retaining the colossal heaviness of their previous releases, Mirror Reaper sees the band explore the more meditative, melancholy, and introspective aspects to their sound through the introduction of long, lonely organ passages and the return of Moggridge, offering a prominent presence.

In conjunction with the release, BELL WITCH has created a feature-length music video. The film is a video collage comprised of dozens of archival films. Each of these clips are woven together with the album to build a patient, heavy, and haunting narrative. The film aims to hold the viewer in the state of a lucid dream, feeling trapped as a specter drifting through places of darkness. Mirror Reaper will be a projection for the band’s live performances, as well as a standalone cinematic experience.

View the stunning trailer at  THIS LOCATION.

Issues director Taylor Bednarz, “I was given the opportunity to work with Dylan and Jesse on their incredibly ambitious new project, Mirror Reaper. I had started making small fan music videos by chopping up old archival film originally as editing practice. I started to find that you could craft these visceral narratives by weaving these different films together with the context of the music. What developed were deep and mysterious stories that were framed in the tone and rhythm of the music. I noticed how much symbolism and atmosphere I could pack into these four-five minute songs that I knew it had very unique cinematic potential.

When I met Dylan and Jesse, they were just finishing up the last of the album and had been kicking around the idea of a music video. I mentioned I was a filmmaker, showed them some of my work, and they extended the opportunity to make a film with them. After listening to the album and talking with the two, I started collecting dozens of old horror movies, anatomical films, historical documentaries. I am so honored to have gotten the opportunity to be a part of such an incredible project.”

BELL WITCH’s Mirror Reaper will be available on 2xCD, 2xLP, and digital formats. Preorder your copy today at THIS LOCATION

BELL WITCH w/ Primitive Man:
10/24/2017 Diabolical Records – Salt Lake City, UT * no Primitive Man
10/25/2017 Hi Dive – Denver, CO
10/26/2017 O’Leavers – Omaha, NE
10/27/2017 Cobra Lounge – Chicago, IL
10/28/2017 Rock Island Brewery – Rock Island, IL
10/29/2017 The New Dodge – Hamtramck, MI
10/30/2017 Ace Of Clubs – Columbus, OH
10/31/2017 Brillobox – Pittsburgh, PA
11/01/2017 Coalition – Toronto, ON
11/02/2017 Bar Le Ritz – Montreal, QC
11/03/2017 Geno’s – Portland, ME
11/04/2017 Cop Frat – Oneonta, NY
11/05/2017 ONCE – Boston, MA
11/06/2017 Saint Vitus Bar – Brooklyn, NY
11/07/2017 Kung Fu Necktie – Philadelphia, PA
11/08/2017 The Meatlocker – Montclair, NJ
11/09/2017 Sidebar – Baltimore, MD
11/10/2017 Strange Matter – Richmond, VA
11/11/2017 Drunken Unicorn – Atlanta, GA
11/12/2017 Exit/In – Nashville, TN
11/13/2017 White Water Tavern – Little Rock, AR
11/14/2017 Growlers – Memphis, TN
11/15/2015 Santos –  New Orleans, LA
11/16/2017 Lost Well – Austin, TX
11/17/2017 Ridgelea Lounge – Fort Worth, TX
11/19/2017 Club Red – Mesa, AZ w/ Thra, Ceremented * no Primitive Man
w/ Monarch:
11/30/2017 Cobalt – Vancouver, BC * Bell Witch only
12/01/2017 Highline – Seattle, WA
12/02/2017 Tonic Lounge – Portland, OR
12/03/2017 Old Nick’s – Eugene, OR
12/05/2017 Blue Lamp – Sacramento, CA
12/06/2017 Golden Bull – Oakland, CA
12/07/2017 Five Star Bar – Los Angeles, CA

“The title ‘Mirror Reaper’ is indicative of the Hermetic axiom ‘As Above, So Below,’ written with two sides to form one whole,” notes the band of the themes surrounding the concept and lyrics of Mirror Reaper “The song is both its own and its reflection, as an opposite is whole only with its contrary. Our focus as a band has always been the perception of ghosts and the implied archetype of the dichotomy of life/death therein. ‘Mirror Reaper’ is a continuation of that concept. During the writing process we were devastated by the loss of our dear friend and former drummer, Adrian Guerra. In love and respect to his memory, we reserved an important yet brief section in the song for him that features unused vocal tracks from our last album. This specific movement serves as a conceptual turn in the piece, or point of reflection. We believe he would be proud of it as well. ‘Mirror Reaper’ was the first collaborative writing project with the new lineup, and Adrian’s death during it brought extra emotional weight. We sought to match the complexity and weight of these events within the composition of the piece.”

Formed by Desmond and ex-drummer/vocalist Adrian Guerra, BELL WITCH released their first self-titled demo in 2011 and partnered with Profound Lore Records for their debut album, Longing, in 2012. The duo’s second LP, 2015’s acclaimed Four Phantoms was recognized as one of doom metal’s triumphs of the year. The band extensively toured in North America and Europe, securing notable festival appearances including Roadburn, Basilica Soundscape, Sled Island, and Psycho California.

Album Review: “Isolated Evolution”- Necrolytic Goat Converter

Necrolytic Goat Converter is probably one of the most interesting band names I’ve stumbled upon in recent years but do not let a name deter you. Isolated Evolution is a treasure trove combining all things Black Metal into a cauldron of memorable tunes and goats… just kidding about the goat part but if converting them is a form of creating solid musical composition then mastermind Chris Voss has achieved just this. 

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Vessel 333: Hvile I Kaos

Photo: Lone Wolf Productions

Gather yourselves prepare to be graced by music that is both painful to listen to yet beautiful admist the chaos that it harnesses. Kakophonix of Hvile I Kaos has taken the time to write some words about Vessel 333.. 

 Vessel 333 is more than just an album track, or even a single for that matter. It basically exists, quite literally, as a Vessel for something that was living inside me for quite some time. Something that essentially fed off my anger, resentment, and pain, bloating those aspects of myself to the point where they literally took on a life of their own apart from me. As such, I felt the need to give the miscreant a place to live other than myself, to the end that I could finally leave what it was feeding on behind and get on with my life.  

In order to do this, I wrote and recorded a piece of music intended to really capture the essence of what tore at me, and then proceeded to ask my friends to submit spoken word samples pertaining to their own experience of suffering. I was pretty pleasantly shocked by some of the submissions. People talked about wishing their family members would die. About constantly wanting to die themselves. About being raped. About nearly murdering their abusive parents. About being betrayed by someone they were in love with. It was fantastic. In the most fucked up way imaginable.

In addition to this, I invited Lurk (Conjuror, Light Being) to record guest vocals for the track. I gave him a simple text, “Don’t You Dare Numb the Pain”, and allowed him to kind of just do whatever he wanted. He ended up throat singing the whole thing, which lent an eerie, otherwordly, demonic atmosphere to the already tortured effort.

Once I had all of this together, I mixed all the voice samples in with the music. The end result is a veritable stew of toxic negativity in all its forms. Hatred. Sadness. Despair. Fear. Upon completion, I made a concentrated effort to transfer what was living inside me into the piece. Away from myself. Forever. And every time the recording is listened to, the thing makes itself known through the music and words contained therein.

 Thus is Vessel 333 made manifest. I hope it fucking hurts to listen to.

-Kakophonix

Stream Vessel 333 Here

There are a number of things that can be said about Vessel 333 taken off the upcoming album by the unwavering force that is Hvile I Kaos. This track in itself is a flurry of emotions that can be felt through the music and the spoken words. These voices and the pain that they are portraying is an almost tangible essence that is brought together by the mournful sounds of the cello, and the distant phantom tones of the phrase “Don’t You  Dare Numb the Pain” by Lurk (Conjuror, Light Being). Most of the spoken words were done so anonymously but some did choose to be listed. (Tiana Marie and Lauren Davis from performance art group Coven of Ashes, Tattoo Artist Jade Willow, and Necrohorn, vocalist of Ashenblood, Arachnigod)

Yet again Kakophonix has proved to be a master of invoking feeling and passion in his music but Vessel 333 is a bit different. This track left me at a loss for words and I found myself digging into the dark recesses of my mind to grapple with my own inner demons. Feelings of sadness, hate, remorse, and anger are prominent but this is something that the listener needs to experience first hand. It is hard for me to put it all into cohesive words. For a piece of music to be that insanely powerful is all the more reason to give Hvile I Kaos’s work a listen. There is true emotion here and of course everyone can take away from it what they will. The new album Agios O Fotiá is set to be released on October 13th 2017 through Deathwave Nexion and the album release show will take place at the 5 Star Bar on October 14th through Church of the 8th Day and The Elegy Ensemble. Bands performing include Imperialist, Ruines ov Abaddon, Solar Haze, and Morphesia. Again take the time and delve into this track, this one is painful yet beautiful.

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Black Mourning Light Fest 2017 Line-Up


Black Mourning Light Fest 2017 Line-Up w/ Blasphemy, Revenge, Rites of Thy Degringolade, Antichrist + more

Oct 13 / 14 – Edmonton, AB @ Starlite Room  – Tickets On Sale Now!

 

2017 Logo and Art by Sickness666
Main BML Logo by Christophe Szpajdel

Born out the hell storm of Edmonton, AB, black and doom metal festival Black Mourning Light presented by Crown of Viserys and GigFly.ca returns for its third installment. They have taken the meaning of extreme to new levels with this year’s 2017 edition hosted on October 13th and 14th at the Starlite Room. 

This year’s infernal ritual features legends BLASPHEMY (Vancouver, BC) and REVENGE (Edmonton, AB) headlining plus some of the most insane black metal and death metal acts to ever grace a stage with EVILHEART (Mexico), FORTRESS (Kalispell, MT), FUNERAL OF GOD (Canton, OH) plus a carnage of Western Canada acts that includes THE PROJECTIONIST (Alberta/Ohio), THE LUCIFER PROJECT (Edmonton, AB), RITES OF THY DEGRINGOLADE (Edmonton, AB), AMPHISBAENA (Edmonton, AB), ANTICHRIST (Vancouver, BC), XUL (Vernon, BC), SORGUINAZIA (Edmonton, AB), SCYTHRA (Regina, SK) and GOATHAMMER (Saskatoon, SK).

BML organizer Dustin Ekman comments:

“This year we are taking Black Mourning Light to a new level of brutality, and I couldn’t be more honoured to have true legends in black metal on the festival. Revenge and Blasphemy are two of the biggest names in black metal and with them are some of the best bands in the world to create an absolutely killer lineup. This is a year to not be missed, that’s for sure.”

Tickets are available at the following Edmonton locations Starliteroom, Blackbyrd Myoozik, Rendezvous Pub and online at the following links:

One Day Ticket or Two Day Pass – https://www.ticketfly.com/purchase/event/1434131/ 

Tickets are $45 for one day, $75 for both days.

BML 2017 Line-Up:

Friday, October 13th

Blasphemy
Antichrist
Amphisbaena
The Lucifer Project
Fortress
Sorguinazia
Evilheart

Doors 5pm

Saturday, October 14th 

Revenge
Rites of Thy Degringolade
The Projectionist
Xul
Funeral of God
Scythra
Goathammer
Doors 4pm

About BML:

Black Mourning Light Metal Festival is the black metal and doom festival founded by Dustin Ekman of Crown of Viserys. Created to fill a void in Edmonton’s black and doom scene. After two successful years in 2015 and 2016, Black Mourning Light Festival returns for a 2017 edition. The 2017 onslaught will feature bands from across Canada and USA. Those that attended the 2015 inaugural ritual and the 2016 two day mayhem will not be disappointed by 2017, as they can expect a different while similar experience to those events.

Last year’s 2016 edition featured a line up of black, death and doom bands from across Canada plus the USA with UADA, Panzerfaust, Erimha, Helleborus, Idolatry, Display of Decay, Vile Insignia, Hive, Wormwitch, Norilsk, Cell, Holocaust Lord, Nachtterror, Dethgod, Ye Goat-Herd Gods and Hunted By Ravens.

For more info, please visit https://blackmourninglight.wordpress.com

Interview: A Descent Into the World of Kakophonix 

Photo: Lone Wolf Productions

I had the pleasure of conducting an interview with Kakophonix of the Cellistic Black Metal project Hvile I Kaos. He was gracious enough to provide me with some insight on his music and other subjects. Deathwave Nexion a small label specializing in the occult is set to release the debut album entitled Agios O Fotiá on October 13th 2017. Some more information on the album can be found HERE. So please sit down and enjoy..

Rather than pushing a dogma or clearly defined agenda, I’m much more in favor of allowing those views, shaped in turn by those experiences, translate into the listener’s mind via the music.

1. Explain the concept behind the new album and how it came about:

Agios O Fotiá translates from “Oh Holy Fire” in Greek. The term “Agios O [insert deity here]” is used in a variety of spiritual traditions to denote reverence or praise. As there is no one specific archetype that the album as a whole corresponds to, it seemed only fitting to dedicate it to Fire. 

Consider the manifold nature of Fire. The blaze of the sun is essential for sustaining all life on earth. The harnessing of Fire was also a key step in our early human ancestors’ ascent along the path to dominance. By the same token, that life-giving source is also capable of destruction on a massive scale. Anyone who’s lived in Southern California for any prolonged period of time knows this all too well. And the sun that gives us so much will inevitably consume the earth it sustains. So it can be said that Fire is the ultimate token of the Gods, both of their generosity and their wrath. Awakening that within the Self opens the door to so much.

All the previous Hvile I Kaos releases have been these little EPs and splits dropped intermittently throughout the years. As this is the first full-length release, I wanted the album to serve as a sonic imprint of my own Becoming. As such, every piece corresponds to a direct experience of mine. Experiences the listener can partake in as well, if they so choose.


2. Where do you draw your inspiration from?

That has evolved a bit throughout the years. Prior releases corresponded to more general concepts. Death. The Flesh. The Abyss. As Hvile I Kaos has evolved, the experiences I’ve had have become much more tangible. Let’s just say my inspiration today isn’t necessarily 100% mine anymore. Despite the fact that I still do write everything from scratch and my ideas are still very much mine, the substance comes from, well, somewhere else. I’m kind of just transcribing what I’m given in a way.


3. You have been signed to Deathwave Nexion, elaborate on how you were approached

I’ve been in touch with some pretty shadowy figures in some deep and elusive circles. So much so that I’m not really comfortable naming names. That said, one such individual recommended I get in touch with the fine folks at Deathwave Nexion as an appropriate outlet for releasing future Hvile I Kaos workings, particularly in regards to the direction things are taking. 

I’ve so far had a great working relationship with the label. It’s not this business conglomerate that just wants to churn out releases to meet popular demand. Rather, the concern is primarily with maintaining the integrity of the creations and the message they carry. They treat their artists with the utmost respect. 


4. Can you touch on your line up for Hvile I Kaos?

The current live lineup for Hvile I Kaos comprises of some of my best friends and artistic colleagues, whose contribution has made the experience that much more rewarding. My conservatory friends Emerson Sinclair and Sam Hernandez have taken up the duties of violin and cello, respectively, to round out the string section. On guitar we have my old bandmate Martin Stacey. He and I both honed our writing chops on a very ambitious album for an older project of ours. 

All of these musicians are extremely creative individuals in their own right, and each have their own working catalog of original music. The chemistry in the band is the best it’s ever been, which does wonders when we perform live. The bassist situation right now is a bit up in the air, but we do have someone lined up to perform at our album release show in October.


5. If you could choose one instrument to master besides the cello what would it be and why? 

That’s an interesting question, particularly given the fact that I started really taking the cello seriously as a teenager when I realized my abilities on the guitar were kind of lukewarm by comparison. I suppose something a bit more exotic or obscure, like the Nycelharpa or the Sitar, could be cool. Anything to conjure up weird and wonderful sounds modern listeners may not be super familiar with. I’d definitely stick with a string instrument of sorts. 


6. What are your current views on today’s metal scene? 

The metal scene as a whole is kind of a broad topic, so I’m going to focus specifically on the Black Metal scene as I’ve experienced it. I’m pretty optimistic about the rise of Orthodox Black Metal in recent years. To me that is the most accurate representation of what the genre exists to achieve. True belief. True experience. True expression. It all goes back to honesty in the end. 

By that same token I’m a bit disheartened by how many current bands I’ve seen claim to be Black Metal that have no legitimate right to that claim. They seem to be under the assumption that creating an image and a “mystique” is the ticket to the cool kids’ table of the “elite”. Trying to seem dark without living the Darkness. And while such bands may have some audiences fooled, they’re certainly not fooling the very real Darkness they pay lip service to. That which does not suffer fools gladly.


7. What is your perspective on the internets impact on today’s music scene? 

That’s really a double-edged sword. The benefits seem to have been that artists can get their music heard without needing the approval of industry bigwigs, something that wouldn’t have really been possible in previous decades. On the flip side, I’m going to be that guy and openly admit that I see illegal downloading as a huge problem. Musicians pour everything they’ve got into their works. If you like an album enough that you just have to own it, you can pay $10 or whatever for it. Rest assured the artist spent way more to make it a reality.


8. Are there any specific bands that you are listening to currently that are worth mentioning?

I’ve been pretty impressed with the most recent Sinmara EP. I spin Uada’s EP a lot, as well as Tribulation’s discography. Also of note is this French band VI, which is a side project of a couple of the guys from Aosoth. Their album really sticks out because of the way they use chords. They have these super grandiose major and generally diatonic harmonies, and then they blindside you with these really gnarly dissonances. The end result is a contorted atmosphere that’s both sacred and profane simultaneously. I can’t think of a better sonic representation of sanctity defiled. It’s absolutely magnificent. And of course, you can never go wrong with the classics like Dissection or Deathspell Omega. 


9. Do you have a creative process, or any rituals you abide by?

That too has evolved quite a bit. Traditionally I’m the most creative at night. Sometimes I’ve been known to record and compose with the lights off, to really connect with the Source uninhibited. Often times I’ll come up with an initial riff or motif and get down some basic ideas, and then let the character of the music determine the conceptual direction of what I’m trying to say and proceed accordingly. Other times the subject matter comes first and I’ll mess around with musical ideas to match that. By the time I record the final product, the message I’m trying to get across is always at the forefront of my mind. During the recording of Agios O Fotiá, that really took over. The ritual aspect of the recording and composing is that inevitable communing with those abstract ideas and phenomena.

Live, of course, our performances are very visibly rituals. The use of the evocation triangle and the arrangement of candles give us a focal point to channel our energy towards. The great thing about Hvile I Kaos today is that the people in the band are all artists I can gel with on a personal level. We all play off one another with a mutual understanding of what we’re trying to put together, and if we’re lucky the audience responds and participates with their own focus and presence. Our last live ritual in Lakewood with Valkyrium was very special in that regard. 


10. What kind of ideologies or emotions do you try to convey through your music?

My views are my own, as are my experiences. Rather than pushing a dogma or clearly defined agenda, I’m much more in favor of allowing those views, shaped in turn by those experiences, translate into the listener’s mind via the music. Everything in there is beyond words anyway, so it’s best to experience it directly. 


11. For someone just getting into your music what song would you recommend?

For a while I kind of considered “The Dying Gasps of a Once-Proud Eagle” off the 2013 self-titled EP to be the quintessential Hvile I Kaos track. In many ways I still do, at least for the band’s earliest period. As far as the more recent stuff goes, I’d say to listen to the entirety of “Beholden: Thy Olde Birch Gibbet”. That EP really flows together as one continuous piece. I think it really represents the best in Hvile I Kaos prior to Agios O Fotiá. Once the album is out, I’ll likely give a different answer. 


12. How did you form Hvile I Kaos? 

Hvile I Kaos came about much like many Black Metal projects. One day in summer 2011 a 19-year-old kid pissed at everything and everyone decided to put his sulking to good use and record nasty, evil music out of his room. Of course, the fact that I play the cello made the end result a bit unorthodox to say the least. And when I went back to Ohio that fall to continue my conservatory studies, Hvile I Kaos was actually an immediate cause for my decision to add a Music Composition major to my Cello Performance program. As a result, it kind of became not only a direct extension of my artistic and personal growth, but also of my education. 

For a while I kind of put Hvile I Kaos on hold to focus on other bands and projects. A decision I now understand to have been a profound mistake. Today I see Hvile I Kaos as the central pillar of who I am as a musician. I have session work and gigs and school and teaching and all sorts of other involvements that come with the territory of being a freelance professional musician. But Hvile I Kaos is the one outlet I consider to be truly mine. That’s never changing.  


13. Typical question but what does your band name translate to how did you come up with it?

Hvile I Kaos translates to “Rest in Chaos” from Norwegian. It’s actually a low-key salute to Jon Nodtveidt from Dissection, one of my main inspirations to form and continue the project (I know he was Swedish, but I just thought it sounded cooler in Norwegian). I’ve always found Jon’s life and music pretty inspiring, primarily because he was one of those exceptional artists who really put his money where his mouth was and lived the Darkness he preached. That influence, as well as that of Selim Lemouchi from the Devil’s Blood, has been something I come back to a lot to maintain the purity of what Hvile I Kaos is all about.


14. What do you do in your spare time to unwind after recording and or practicing? 

Deep down I’m a complete nerd, so I’ll often put on a documentary to chill out. I like learning about pretty weird stuff. Serial Killers. Dictators. Revolution. Genocide. Torture techniques. Ancient cultures like the Maya or the Ukrainian Cossacks. I’ve had this strange fascination with Paleoanthropology and human evolution since I was a kid. I also like reading about religion and spirituality, particularly of the more fringe variety. I have a pretty extensive collection of books on those subjects.


15. You do session work, describe some of the projects or bands you have worked with. 

As a session cellist, I’ve had the distinct privilege of playing on some very special upcoming releases. Namely, my friends in Imperialist, Wolvhammer, A Hill to Die Upon, Curse the Gods, Martin Stacey, and Osi and the Jupiter are putting out some fantastic new music soon. All of these projects are visceral and honest reflections of the beliefs and experiences of the individuals behind them. Keep watch for what is to come. 


16. What are your plans for the future?

I’m going back to school this fall to finish my Master’s program in Cello Performance, so that’s going to be largely taking center stage. Hvile I Kaos is going to stay pretty active. I’m going to continue to work on new music, and we’ll be taking the shows that make sense for us. Of course, the Will of the individual and the progression of Wyrd play off each other in ways I can’t predict, but I’m going to stay open and keep my gaze fixed.

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