Terror Trax: Sinthetik Messiah

Sinthetik Messiah

The following is a real interview with a real band. It does, however, take place in a fictitious world.

It was raining again on Tuesday, which made me happy as usual, because I could sit at my kitchen window and watch the Unclass peasants, who can’t afford to install the weather predictor app on their portable life-line telephones, being melted into the sidewalk by the sudden and fierce onslaughts of toxic rain plummeting from the rusted sky. Watching an elderly man fall to the pavement screaming, clawing at his melting face and pulling his cheeks loose from their bones, I chuckled and took a sip of my coffee, thinking about how thankful I was for my tiny hovel’s triple titanium reinforced roof and siding. The old man’s legs melted off and my phone rang, alerting me of an incoming call. I answered on the second ring. It was Bug Gigabyte. He said he was ready to do his interview for Horror Addicts. Delighted, I screamed aloud an ancient curse of joy and threw my cup of coffee across the room, smashing it against the wall and sending porcelain bits raining down on the cold, tile kitchen floor. Sensing the excitement in my voice, Bug asked if I could meet him at Café Metroid in twenty minutes.

“You’re goddamn right I can”, I replied. After saying our mutually cordial goodbyes, I hung up and raced into my clothing container booth to put on my chemical rain and toxicity resistant cloak. Five minutes later, with my trusty journalist’s satchel slung over my shoulder, I was hopping over melting peasant corpses, rushing toward my destination.


Stepping over the remains of several peasants that were splattered near the front entrance, I entered Café Metroid. I pulled back the hood of my protective cloak. My eyes scanned the room, searching for Bug Gigabyte’s signature black mowhawk. My stomach rumbled. I needed a quadruple ghost pepper infused espresso shot to calm my excited nerves. I stepped into the line that led to the counter. Suddenly, the café’s front door exploded open. I calmly looked over my shoulder to see who or what had burst through the entrance. A Seeker tore past me, brandishing an inert particle reverser in her trembling hands, a determined fire in her eyes. My eyes trailed her, watching her disappear through the swinging kitchen doors, admiring her athletic form held inside her tight leather pants. I felt a hand on my shoulder. I turned. It was Bug. He smiled at me, held up what looked like an old-fashioned TV remote, and pressed a blue button in the center. All the patrons waiting in line ahead of us disintegrated, turning into pale dust. A café employee appeared with a broom and dustpan and swept them up while Bug and I strolled up to the counter and placed our orders. Moments later we were seated in a cozy window booth.

I took a sip of my piping hot drink and asked Bug how he’d recognized me in the line.

“Because of your official Horror Addicts toxicity and chemical rain resistant cloak,” he replied.

I then remembered that my black cloak has the words HORROR ADDICTS STAFF emblazoned in huge red letters across the back.

“Oh, yeah, that makes sense,” I said with a chuckle.

The rain intensified, pelting the layered safety glass of the café. Another Seeker sped by on a hyper bike. The sight of two of them in such a short time rattled my nerves. I looked at Bug. “We better get started.”

He nodded. “Alright, then…”

After retrieving my digital recorder and a pad and pen from my satchel, I hit the record button and set out to learn the dark secrets of this most elusive creator of dismal worlds of sound.

I cleared my throat and began. “According to your Bandcamp bio, the albums Revelations of the Nintendo Generation (Vol. 1 & 2) were created using the KORG DS-10 program, which is the same software used to create music for the Nintendo DS. Could you please explain a bit of this seemingly mystical process to the uninitiated?

Bug shrugged and answered. “The DS-10, which is the name of the program, was developed by a software company called Xseed games and it’s a digital model of the KORG MS-10. It gives you creation leeway to where it gives you two synthesizers, 4 drum sounds, and a pattern editor to compose the sounds into a musical form. Technically it is a video game, but it is made so well that is a watered down version of a modern day DAW (Digital audio workstation). I created 9 songs on the Nintendo Game alone, and then I imported each instrument into my studio and added guitars, drums, vocals, and extra effects. It is great for beginners as it is a tool to help them learn how an analogue synthesis works. When you sign up for a VIP membership on my Bandcamp, you actually get the original files that came from the DS before I manipulated everything in my main computer.”

“Very intriguing technique”, I said.

Bug took a sip of his soda. An explosion echoed from the third floor of the City Records building across the street. The toxic rain fueled the flames and caused them to leap high into the sky.

“Looks like it’s happening again,” Bug remarked.

I nodded in silent agreement and scribbled a note to myself to check my will if I made it home later that afternoon.

Bug squirmed against the imitation leather seat of the booth. “Next question please, um… what did you say your name was.”

I frowned. “I didn’t, and I won’t; it’s part of my mystique as a distinguished Horror Addicts journalist and I would appreciate it if you wouldn’t ask me again.”

I felt my fingers gripping my cup tight. I could feel the rage building inside.

Bug grinned. “Just kidding, man, I used to write for The Dark Prints. I know all about the mystique.”

I laughed and a female scream tore through the air outside, perfectly complimenting the harmonious atmosphere that Bug and I were cultivating in our café booth. I cleared my throat, took another sip of my espresso, and began again.

“What inspired you to create dark industrial music using the same equipment that was used to create music for Nintendo DS games?”

“I always thought to myself that, for my first big release, I wanted it to be something interesting where not just fans, but industry as well would look at it and think, ‘What did he do with it? What? A Nintendo DS…?’ I always felt that the story behind the way the sounds are made is more interesting than what is on top of them or comes what after that, and I wanted to capture that element with those albums,” Bug explained.

He seemed so fixated on this Nintendo, an antiquated video game system, one of a handful played by our old-world ancestors that I was vaguely familiar with. Considering his class status as a Neo-Tech, I didn’t quite understand how this obsolete game system seemed to inform his identity. I needed to know more.

“Who is the Nintendo generation and what are their revelations?” I inquired.

Bug fixed me with a serious, contemplative glare. “Throughout history, there has always been this gentleman complex in society as far back as the 1800 to about the 1960s, and scraping by on the 70s. By the time the 80s hit, life was more culturalized because we were becoming more connected by technology and the average man had a lot more different complexes due to the social down turn of society and what was going on throughout the global community. With that in mind, the Nintendo generation is made up of kids that grew up with the original Nintendo, playing games like Mario, where you are always the hero trying to save the princess. It is the hero complex within us -where all that is wrong- we want to change. It is embedded into our subconscious through the video games. That was my revelation.”

Fascinating! An entire philosophy gleamed from a gray and black electronic box. Maybe there were ghosts inside the primitive circuitry that subconsciously communicated these messages to the young artist? I scratched these ponderings onto my notepad while Bug graciously awaited my next question. Outside, the rain poured down even harder. I was beginning to feel nervous.

I looked up at my subject. “Bug, what is the inspiration behind SINthetik Messiah? Is there a meaning behind the band name?”

“SINthetik Messiah, to me, is an avant-garde art project that started out in 1996 and it was based on the theory of using gorilla tactic promotional ideas in the art community to help inspire others to strive better in their art form. I would describe Gorilla Tactic promotion as promotional material that involves stationary positions in society where it can be seen clear as day. Sometimes put there illegally such as graffiti. Then years later, I fell in love with music and it kind of just evolved after that,” Bug explained.

“A philosophy, a visual statement, and all leading up to an auditory exploration…?” I pondered out loud, my words trailing off.

My interviewee offered no response as he stared out the window, riveted by the raging fire across the street. He trained his eyes upward. “The sky’s turning purple,” he whispered. “I wonder if the Seekers will make it in time.”

Seeing Bug’s expression turn dour, I quickly made my best effort to turn the conversation back to the subject at hand.

“Tell me, please,” I began. “Are there any key influences on SINthetik Messiah, musical or otherwise?”

Bug turned back to me, a slight smile across his face. “In the beginning, it was acts like Portishead, Nine Inch Nails, Wumpscut, and many other acts in those experimental genres that really helped the sound I had always wanted or felt that I needed to create myself. But as of lately, playing with a lot of local Louisiana acts has influenced me in a sense of what kind of musical direction I want to get into for the time being, that being Southern Rock. I just picked up a new guitarist, Mr. Suede Wilson, who has been helping me implement southern rock for the past 9 months into our current style. It blends really well musically when we play with rock/metal based acts. The next major album we release I will be featuring him on the album.”

I made a mental note to remind myself that, if I was alive tomorrow, to ask Bug what Southern Rock actually is, and proceeded straight into the next question. “Do you have an all-time favorite Nintendo game?”

“My favorite Nintendo game has to be BattleToads because they were the first punk rockers/goth looking characters in the Nintendo franchise,” Bug said.

As I brought my demitasse espresso cup to my lips, an eardrum shattering explosion rocked the street, shaking the café and causing me to spill the last of my drink down the front of my favorite sweater. Cursing, I reached for a napkin. Another explosion rumbled somewhere in the distance. A café employee appeared at our table and, with terror-filled eyes and a shaky voice, informed us that things didn’t seem to be working out that well on this particular afternoon and that The Metroid would be closing early and that we should probably continue our conversation elsewhere.

I noticed the dreaded red light begin to shine down from the sky, seeping in through the windows, and Bug and I found ourselves agreeing with the frightened food service worker. After gathering our personal items and throwing on our protective cloaks, Bug and I headed out the door. I still had an interview to finish, however, and I wasn’t giving up anytime soon.

“What kind of function do you see electronic-based music performing within horror culture?” I asked.

He skipped over the half-melted body of an Unclass sanitation worker, still in uniform, and replied thoughtfully, “Considering the fact that when Bob Moog first made the full functioning polyphonic synthesizer, musicians weren’t picking it up, due to price and not understanding what can actually be done with it. It was the film industry that was using synthesizers to create sound effects because they could afford it and by that it helped further advance sound design as a whole.  So I feel it has even a bigger role now days because most of the sounds on a film are more recreated than actual sounds.”

Having witnessed first-hand the influence that film has had on our culture, I didn’t press the issue any further. Besides, there was a gang of What-Nots approaching fast on their motor machines, all thirteen of them crowding the width of the street. We ducked into an alley just before the group sped past, toxic rain bouncing off their armor, their shouts rising into the air. Seeming a good time to take the questioning in a darker direction, I asked, “What is the best type of curse?”

Bug laughed out loud. “Being that you guys are a horror program, the ones that make you bleed from your eyeholes and your assholes until the person who is cursed completes what needs to be done in favor of the one who cast it.”

Another explosion tore through the city. I looked at Bug. He wore concern across his face.

“I don’t think the Seekers are gonna make it,” he lamented.

“They’ve failed in their quest on their last three tries,” I added with a sigh.

“And the city will burn down, again…”

“Well, it’s not forever,” I said with a smile. “When the Seekers start a new quest, everything will be bright and new once again, and the Unclass will be melting in the streets and we’ll be smiling and having our coffee and it will be a brand new day.”

Bug grinned, appreciating my optimism. “Yeah, you’re right. But still, that’s what sucks about life as a video game extra; your day could just end at any moment, even when you’re right in the middle of something cool, like an interview for Horror Addicts.”

Upon hearing Bug’s soliloquy, I was gripped by a deep and sudden urgency. I had to finish the interview before our world came to an end.

The sirens started to wail. The countdown had begun.

“What’s it like being a socially conscious Goth in the Deep South?” I shouted, holding my recorder out to Bug.

Raising his voice, he replied. “Given the fact that a lot of the people I work with aren’t Goth at all, I’ve learned to get out of my shell and be more open to people who really aren’t on the same level as me as far as style goes, and I can certainly appreciate the cultural differences. Those differences show up in my work quite often. Sometimes it can be really hard though, because most of population in the south has that Christian judgement thing going on, and sometimes it is not so positive. I like to prove them wrong though, how’s the saying go? Kill them with kindness? Haha…!”

The pavement cracked and dark red blood bubbled up at our feet. This was the sign that the Seekers were on their last remaining lives, and that their life force was terminally low; time for one last question.

“How has your benefit work been received?  Does anyone ever express the attitude of, “Hey, you’re this dark band, what in the eff are you doing benefit work for? Aren’t all you people supposed to be existential, nihilistic, misanthropes?”

Bug shook his head, knowing the stereotype all too well. “It’s been received quite well since I’ve gotten quite a few articles about me on the internet and in newspapers of my band doing benefit work. I never really got negative attention from anybody about that. However, I’m not the only one that is doing benefit work in the Goth scene. I have come across 50-100 bands in the goth/industrial scene alone, but I don’t think they put in as much time and effort as I do in helping their own community even if it’s not Goth. There is a lot of stuff about benefit work I do that I do not put in the public, why? Because it’s not about press to me, it is about helping the ones in need, the best way we can without going broke. That is just my personal opinion on the subject. Also, if there is someone that did hate on my act or any other act that does benefit work, I would personally tell them they can go suck a dick, they are a terrible person and should just stay inside and keep their opinion to themselves.”

The red sky above us began to glow.

“Any closing words or news on upcoming plans or releases,” I asked as the ground shook beneath my feet.

Cyberpunks of New Tokyo is a book/album/animation that im working on that’s set to be released sometime 2019. I had to push the date back because there are like two/three other albums I wanna put out before that one is released,” Bug said. “And… Thank you, much love and respect.”

I smiled. “Thank you, Bug, and-

I never finished my sentence. The sky exploded and we both disappeared, an obvious sign that the Seekers had failed in their quest once again. When I regained consciousness, I was seated at my kitchen table, watching the toxic rain fall from the sky, waiting for my next writing assignment to arrive in the mail.



Terror Trax: Stagefright

Stagefright is the first band I’ve ever heard of to blend musical genres such as Ska / reggae with Goth and hip-hop with darkwave. How did this come about? Is it something that evolved over time or was combining these different genres an idea that you pursued?

We started out with the concept of a crossover gothic band that incorporated African American styles such as R&B and hip-hop with gothic and darkwave. However, as we evolved, it quickly shifted towards reggae and ska because of the line-up. Don Geron and Pruda Bass, our long-time drummer and bass player, were both in popular local ska bands in the 80s as well as gospel and R&B bands. Our rhythm guitarist at the time, Don Schrieber, came from a rock band, and my brother Scott Saulson and our mother Carolyn Saulson and I were all from a punk/goth background. I’d been in a punk band called Poetic Justice in Hawaii in the 80s. I think Don Schrieber was the only white person in the band at that time – my brother and I are biracial, but we’re black identified. Everyone else in the band was black.

How has your unconventional blending of styles been received?

We have been warmly received on the local fair and festival circuit, playing in a lot of shows like Soupstock, National Homeless Day at Dome Village, Juneteenth, The California Blues Festival, and other community and Afrocentric circles. We had the same sort of following as bands like Spearhead then, and probably appealed to punk and ska fans more than the Goth community; however, we’re very active on the Goth scene and have played with a lot of Goth bands, particularly Protea, Galaxxy Chamber, and Apocalypse Theater.

What is Stagefright’s connection to the horror community?

I (Sumiko) am a horror writer, and a horror blogger, best known for my horror blog series on black women who write horror. I put together 60 Black Women in Horror, and then 100+ Black Women in Horror, reference guides based upon the blogs. They contain biographies of and interviews with black women in horror. And HorrorAddicts blogger David Watson wrote an article for it on LA Banks and Octavia Butler. We also have had a public access television program called Stagefright on and off since 1993. It often showcases horror films and horror directors. We used to put on the San Francisco Black Independent Film Festival, also known as the Iconoclast Black Film Festival. We received a lot of great independent Afrocentric horror works which we aired in theaters like ATA and the Koret as well as on public access.

How important, if at all, is horror, or, dark material –books, music, film, etc- to the creation of music within Stagefright?

Given that horror music is intrinsically connected with the gothic aesthetic and gothic music. I would say very important. Even when I was in a punk band horror was important, and I had songs about The Evil Dead and we tended towards horrorcore and horrorbilly like the Cramps. My brother, my mom, and I were all from the old school Death Rock eighties foundation for Goth, and gravitated towards darkwave when that became a thing. My brother loves Skinny Puppy. My mom loves The Cure. I love Switchblade Symphony. All of those bands have songs about horror. Heck, even Kate Bush writes about horror. I think Kate Bush was the first alternative act I fell in love with. My mom was listening to her when I was 9.

What kind of role do you see dark music playing within our society?

People have to process their anger, fear, grief and other raw emotions in some way. Dark music helps people to get in touch with, process, and get on the other side of things that they might otherwise unhealthily repress. The blues and country music also help people deal with grief. Repressed and at-risk populations often have a deep affinity for music that relays their struggle. Gothic and darkwave music resonates a lot with people who have mental health struggles, letting us know that we aren’t alone and that other people have and do experience depression, grief, and anxiety and that it is okay to feel and face these things. Otherwise, people get very apathetic and numb and quash it all down. I think sometimes we have to face those emotions head on.

Being a multi-cultural group, have you had to deal with any prejudice within the scene?

Somewhat, as we can’t really get airplay in Goth clubs or and are not perceived as gothic by people who don’t see interviewing African Diaspora and African American influences into gothic music as valid. We have gotten a lot of support from general alternative rock stations like KUSF used to play us, for example. Goths let us play in Goth clubs but they never seem to want to actually play our music, because it is too ethnic. My rants and railing against the Eurocentric white skin and pallor obsession within the gothic community are well known. Back in the 80s it wasn’t like that but, then something people call “traditional” Goth emerged later on, which involves wearing white clown make-up. Most African Americans have a negative association with skin bleaching.

Sumiko, as a musician, author, and visual artist, could you please tell us how these three expressions play off, influence, and support one another.

I’ve become quite popular lately as a cartoonist, and ironically, my multiethnic, kinky, poly, queer anthropomorphic mouse cartoon Mauskaveli seems to be getting a lot of airplay on the Goth scene and very little anti-black or anti-multicultural flashback. I think that’s because it is kink centered, and has a lot of queer characters. Multiculturalism is a lot more evident in kinky, queer corners of the Goth scene, and honestly, queer gay folks aren’t terrified of being spotted wearing some color that isn’t black at all. My band often plays at book readings. I think my friend, Serena Toxicat, one of my best friends and oldest friends, best epitomizes this. She’s in Protea now, but she used to be in Apocalypse Theater. We have been supporting each other as artists, authors, and musicians for 25 years now. We both turned 50 this year. After a while, you start to make your friendships circle around your creative interests and vice versa.

Sumiko, do you ever incorporate your written works into a Stagefright performance?

I have been reading my books at Stagefright performances, and recently I did a show with Serena called Kat and Maus. We had two different fashion shows. The first one, my models wore Mauskaveli mouse themed fashions I created, and danced, modeled, and posed to Protea’s Catwave music. At the second one, her cat-themed clothing was worn by her models and she played Stagefright. It was this sort of perfect cultural exchange. Her clothing was modeled by a very, very queer but predominately white crowd, while my clothing was modeled by a multiethnic, body-positive crowd that was not as obviously queer as hers. She did something for the first day of Pride that embraced Trans* identity, it was great! But at the end, she talked about my involvement in the black community. I think us working together is more interesting, frankly.

What is the Stagefright origin story? Is there any particular inspiration behind the band?

The band name actually came from a band I was in when I was in Kerista Commune. It was a punk band, can’t remember if we actually named it Stagefright or if that was my name suggestion but Dune and Revery were the other band members and we only had one song, Ned Was A Nipple Head.  My mom loved that name, so when we started our band she adopted it. She had really bad Stagefright and strongly identified with Jim Morrison, who was so introverted he sang with his back facing the audience at early Doors performances. She did that at first as well.

Stagefright has performed in settings as varied as L.A.’s renowned Whisky A Go-Go, to street fairs, to bookstores. Do you have a preferred type of venue? Is there anywhere you wouldn’t play?

We’re kind of great at street fairs, and sometimes our political content gets a strong crowd reaction. One time we were doing a show at the African American Art and Culture Complex for a Unity in the Community event that had a very large African immigrant population in the audience. A man became offended and started to get angry, even jumped on the stage and grabbed the microphone because he thought our songs were too feminist and a challenge to him. Specifically, we were covering Feels Blind by Bikini Kill. So we impromptu talked back to him. I can rap, and my mom can jazz improvise so we both ripped him in two different very African music styles. Then we started covering Cursed Female by Porno for Pyros. When we were done, every single woman in the audience stood up and applauded, while most of the men were sitting in the audience with their hands folded, glowering and pouting. To me, that’s what we are all about – empowerment for black women.  My mom and I are the lead singers. We usually perform duets. Sometimes, Scott sings. But this is us! Once my brother got mad at me and mom and called us The Violent Femmes.  So yeah, that’s us.

What makes for the ideal Stagefright show?

Some sort of political cause we believe in, like uplifting the African diaspora, elevating black women, narrowing the generation gap, helping prisoners, showing a thug some love, assisting those with disabilities, and raising money for the homeless and marginally housed. We are essentially a very political act.

What are some fun activities that one can do while listening to Stagefright?

Playing Dragon Age 2. Slam dancing, aerobics, twerking, and the gothic spiderweb removing wavy hand dance, political protest rallies, and long road trips on I-5.

Poison cupcakes or very, very sharp knives?

Very, very sharp knives…

If you were booked to play the apocalypse, what would be some highlights of your set?

A large sheet spread in the background with a projector airing artsy horror films, Taaka Vodka, Faygo and Four Loco Jell-O Shots, Chucky, Bride of Chucky, and Seed of Chucky cosplays, and Warhol Starlet Ivy Nicholson.

If I’m going to San Francisco and I don’t want to wear a flower in my hair, what could I do instead?

Write bad poetry in an independently owned and operated coffee house.

Terror Trax: Protea

Oh Heka! Is that a cat in your head or are you just happy to see me?

Serena Kefira Leclerc, Sonic High Priestess of the darkly cat-tastic ambient/noise/soundscape/magical wonder-sound project known as Protea, casts a spell over the listener with her otherworldly sounds. Recently, she was kind enough to emerge from her trance temple to answer a few questions about the creepy sounds she makes and what inspires her to make them. Please read on for a glimpse into this sonic sorceress’ mind.

What is Protea and what is the motivation behind it?

It’s my place in space to indulge my idiosyncatic ways, my feline “fetish,” and my odd-assed humor–you know, in case anyone else gets it–and some folks actually do!

What is Black Catwave? What is the essence of Black Catwave?

Well, my mewsic isn’t goth/industrial, purr se, it’s weirder than that, but it is dark and feline, which is why it has appealed to that crowd at times. It’s electronic, sometimes with theremin, which is the first electronic instrument–think Star Trek. Protea features Asian and Albanian string instruments, if I’m lucky. I sing and compose soundscapes. Sometimes I play the gu zheng, which is a Chinese harp, but I’m mostly a singer who seems to have a knack for creepy soundtrack-esque compositions.

Tara Ntula, the bassist from Vague, was one of my electronic composers. He’s a serious cat lover, too. Kat Karsecs played strings, but he moved to Wales. He’s a genius in his own right. Joey D’Kaye from the reunited SF punk band, Crime, plays theremin and does sound, and Baron Rubenbauer from NY punk band, The Nuns, has also done sound. Baron and I formed a band called Ephemeral Orchestra. It was wonderful, (other)worldly and deep, but not cat-obsessed like Protea.

I thought my invented genre name fit the meows, hisses, growls and purrs that come out of my weird head via my mouth (meowth?) quite well.

Your studio recordings have a very free flowing sound and feel. Are the songs planned out and practiced or is it all improved during the recording sessions?

On The Osiris Tree, Black Xmas and Lyttl Drummr Boi were mostly improvised. I did those along with a member of Apocalipstick, which was a performance-art-heavy band with whom I worked for a year or two. Anything featuring screams or Chinese harp on that album was likely improvised.

On the next Protea album, Going Forth By Night, sound engineer and drone artist Matt Azevedo improvised on his Arp, and his friend contributed a touch of improvised guitar. I also improvised some of the vocals on partial as well as full tracks. (This is original music inspired by the ancient Egyptian pantheon, as opposed to cattified Christmas carols.)

Festum Beati Osirim is Protea’s latest holiday album. I worked solo on that one. It’s the lighter counterpart to The Osiris Tree. The ancient Egyptian or solstice songs on Festum are heavily improvised. Anything involving getting the cats to meow is a risk involving improvisation, of course!

On my new cat head-shaped 10” vinyl record with 30 minutes of new music and a couple of remixed tracks, which is aptly named ‘My Love Lies On Cat-Shaped Vinyl,’ the track Pet the Manul, Bitch! was fully improvised, with vocals on my end and Chinese harp played by Kat Karsecs, who was originally my teacher. There are also partially improvised tracks.

What is your recording process like?

I’ll record on anything, anywhere. I’ve recorded on a dinosaurian four-track with an effects pedal, and I’ve recorded at the world-renowned Studios Ferber in Paris, where I used to live. I’ve recorded at home on my laptop and mixed at Philz Coffee. I have recorded in sacred spaces around the world. The track from Going Forth by Night that was done in the Great Pyramid of Khufu in the King’s Chamber was recorded on a phone, and that likely didn’t compromise much in terms of sound and the 16 seconds of profound natural delay. I have made GarageBand my bitch. It doesn’t have to be a fancy feast! That said, I comb everything over like I’m picking nits (or fleas, or ticks…)

Why the use of lyrics from traditional Christmas songs or carols?

Originally, it was intended to spell out the ancient Egyptian origins of Xmas, which is why some of the lyrics are modified in that direction. I was working out my discomfort and conflicts with Catholicism, mostly. Scorsese does the same via his (much larger) platform.

I think Halloween and Christmas mix quite well!

Is Christmas secretly the most horrific holiday of all?

Yes, which is why I have such a push-pull relationship with it. I do Catmas, which is inspired by Christmas, and celebrate the Winter Solstice! Obviously, many of us have a bone to pick with commercialism and obligations around that holiday. For many, family conflicts come to the fore.

What are your personal feelings about Christmas?

Honestly, as long as the ancient origins (Mithras, solstice, Osiris’ day, etc.) are given their due and I can sit home and record, I’m good.

Do you come from a religious background?

I was raised Catholic, practiced Tibetan Buddhism from high school through my mid-twenties, and am now a Bast priestess. I was ordained by Loreon Vigne and Lady Olivia Robertson at Isis Oasis and have my own temple in Oakland, which has been open to the public and is now private, due to my cat’s lymphoma.

Do you practice any particular faith?

I guess you would call it ancient Egyptian-focused neo-Paganism.

In the future, will cats take over the world and make all of humanity their slaves?

They already have, in my book. I used to joke that if cats took over the world, they’d eat us. They are the Illuminati and inteligencia factions of extraterrestrial society, don’t you know?

As a woman making dark noise music, how have you been received in the scene?

The only thing I’ve really noticed is that everyone asks me if I’m the singer. Yes, I am the singer, but I do other things as well. I had a Lyft driver the other day act shocked that I mixed my own music. Like what?! Do you need a penis to mix music now? (Not that men alone have penises.)

How effective do you see dark ambient / noise music when used in the incidental scores for horror films?

It is very effective, and is literally what everyone on ReverbNation tells me my music sounds like.

Have you scored any horror films or, if not, do you have any aspirations to do so?

Terrence McKelsey used Protea in spek.ter, and James Leon utilized it for his film, Dropping Like Flies. Those are a couple examples I can think of offpaw. I also acted in those films.

Who are some of your favorite artists?

Nina Hagen, Diamanda Galas, Aghast, This Mortal Coil, Bowie, Coil and many more.

I just finished making a feline-focused Tarot deck called ‘The Incredible Psychic Meow,’ and there are many visual artists I love, as well. One the world knows is H.R. Giger. Have you seen his cat piece? It’s a famous work. I also love Bosch, who featured cats in his triptych, and I appreciate many of the cat artists of all genders, stripes and purrsuasions throughout history.

Hell, there’s a book called Why Cats Paint that was more famous than the Bible in the 90s. I loved that book. The painters were cats, themselves!

What are your plans for the end of the world?

I can’t even think as far ahead as breakfast tomorrow!

Thank you for giving me this spot and this interview! I’m looking forward to our show and the other pawesome episodes, as well.

Meow, meow! 

Please follow the links below, open your heart, mind, and imagination, and experience the dark magic of Protea. We promise, you’ve never heard anything like this before!


Terror Trax: Ornamenti d’Oro

It happened several days ago. I was walking home from my job at the International Wish Fulfillment and Time Travel Device Repair Center when I decided to detour from my usual route along the fairway and take a short cut through the city’s most beloved underground tunnel. As I descended, the warm, humid spring air gave way to dry cold and the golden sunset was erased by bleak, consuming darkness. I Heard voices howl from deep within the void, spiraling and encircling me. I walked on, my feet moving in a sparse, unsure shuffle. A cold rhythm fixed itself in my mind. I began to move faster through the dark. Fog rolled in at my feet. I felt the tunnel spin. A crack appeared in the tunnel wall and a man crawled out and stood in front of me. There was music in his eyes and on his skin and I knew that he was the source of the voices and the rhythms. I wanted to understand what this sound was so I asked him questions. He spoke backwards and with my eyes closed, I wrote it on the wall in purple blood. I never saw it but, there in the lonely dark, I knew it. And so it was, and now here it is.

What does the name Ornamenti d’Oro mean?

It’s Italian for “Ornaments of Gold”, the name of a beloved Siouxsie & The Banshees song from an album that was instrumental to my conversion to Gothness in the mid-90s. When I started this project in 2013 one of my intentions was combining the Italo Disco tradition with Darkwave and Goth, so there you go.

What prompted the decision to release Mater Tenebrarum on the cassette format? What are your thoughts on the underground cassette movement? Do you feel that physical media will always be with us or will everything be digital one day?

Greta and Jamie, the guys at the label Tensión Ritual, had the idea for a cassette release. They’ve been doing shows here in Madrid for ages and they wanted to start a tape label, so they approached me to be the first release. Personally I love cassettes mainly because I grew up with them in the 80s-90s, but also I love physical formats in general, I always try to get my hands on the albums I like on physical formats if I can. Honestly I don’t know if the cassette scene is going to last (of the rest of the formats for that matter) but for the moment they definitely serve the purpose of documenting this particular moment in music history.

Do you see an intersection between Goth, Darkwave, and Horror culture or are all three inseparable parts of one whole?

Ha, that’s an awfully difficult question to answer. On one hand I think they’re definitely parts of a continuum that we could loosely call “the Gothic imagination in contemporary pop culture” or something like that. And on the other hand, they are clearly separate traditions, sometimes they don’t even intersect with each other in any way.

That’s also very personal, for some people they are all part of the same thing, for others not at all, and I think this diversity is wonderful, one of the aspects that makes this tradition (for lack of a better word) very special and unique. In the case of Goth/Darkwave and for the same reason, I think our obsession with constantly gatekeeping Goth and trying to define its scope is counterproductive in the long term.

Does reading weird fiction influence the music you make? If so, how?

Oh yes, absolutely! Apart from my musical influences, weird fiction and literary horror in general are my main influences for sure. I’ve been an avid reader of classic horror since I was a teenager and it’s proven to be a long-lasting interest. I have a weakness for classic Victorian/Edwadian ghost stories, authors like Joseph Sheridan Le Fanu, Amelia B Edwards, Edith Wharton, MR James, and dozens more. I just love a well written, traditional ghost story.

And of course everything connected to Weird Fiction is my favourite type of literature, although let’s admit it is a pretty loose term. Also, sometimes the authors are so obscure it gets difficult to find their material; for example, I’m currently trying to find information and stories by an elusive writer called Jane Rice. Still, probably my favourite authors ever are Arthur Machen, Gustav Meyrink, and Pilar Pedraza. I’m also a reader of Black Static Magazine from the UK, I discovered it about a year ago when I moved to Spain and it’s brilliant.

My music is influenced by this type of literature not when it comes to the lyrics though, I’m terrible at writing lyrics; but I do want to convey a similar atmosphere. And just as lot of times Weird Fiction uses contemporary, even mundane settings to create that sense of unease, my idea is to use contemporary electronic music, and relatively simple and familiar song structures, to do that as well. Also I actually used some specific short stories as influences for some of the tracks (more on that later).

From the perspective of a reader, do you see the role of reading, and of literature, diminishing in our society at large? In Europe? In America?

Well I guess I can only talk about the reality I know best, which is that of Latin America, and more specifically my own country Argentina. What I see over there and concerns me the most, is that there seems to be a widening gap socially speaking, as if the social and economic mobility we started to gain during the XX century had started to fade again. In that sense, I feel like we are allowing for entire generations of middle and working class children to grow up believing that reading is a waste of time, I’m worried that those kids are being raised to be docile and ignorant. On the other hand, I see a lot of kids waking up to issues of social and economic injustice, engaging in arts and science, and being definitely more active than my generation or the previous ones. So I guess we have to stay vigilant about it.

What are your general feelings about mainstream, “normal” society?

I grew up in a left-wing household that was pretty elitist in a lot of ways, and I was made to believe that mainstream culture was terrible by definition. Thankfully as I got older I realised that nobody is above anybody else. When it comes to culture I think it’s crucial to respect other people’s interests if I want to demand the same respect from them. I actually love a lot of products from mainstream pop culture, I don’t see a clash between enjoying a Rihanna song and the most obscure Darkwave band in the world. Now when it comes to the social and economic system, then yeah, humanity is doomed.

Did you use any older synths or keyboards on the recording of Mater Tenebrarum? The opening keys on “Puente Peatonal” sound reminiscent of an old Casio.

Close enough, that’s a Yamaha PSR-200. It was the keyboard I used with a band I had in my hometown Córdoba called Ad-Nemo when I was 16 to 18, in the mid-to-late 90s. It was a great band, the product of the tension between our different teenage interests. In the end it sounded like a mix between 90s Noise Rock and 90s Darkwave or something. Not the most popular sound in town.

Actually for “Puente Peatonal” I played the exact part from one of Ad-Nemo’s songs using that exact keyboard, sampled it, and built the rest of the track from that. The rest of the sounds are mostly from that or similar 90s keyboards, also sampled and sequenced to interact with the beats. As much as I love analogue synths and all, I always prefer using those MIDI keyboard sounds as raw material.

What’s happening with the Goth/Darkwave scene in Madrid these days?

The scene is decent but small. One really cool record store (Rara Avis), a couple of parties and promoters that put together great events (one of those are my friends from Tensión Ritual), and that’s about it. Unfortunately there are very few bands, and I think a scene can’t thrive without bands, no matter how many cool artists play from other countries. My favourite part of the scene is not exactly muscal though, it’s this wonderful event called Semana Gótica de Madrid (Madrid Gothic Week), a series of lectures and academic conferences on all things Gothic, especially literature and arts, but also pop culture, films, etcetera. Also a couple of years ago they started their own award for writers, named after Le Fanu, how cool is that?

Was there any specific inspiration behind the songs collected on Mater Tenebrarum?

This goes back to the question about Weird Fiction. Half of the songs are direct references to specific short stories. “Great God” is pretty obvious, although the lyrics changed a lot from the early versions and the only connection to Machen now is the title (another song had the working title “Treff Loyne” by the way). “Una Advertencia a los Curiosos” is the Spanish translation of “A Warning to the Curious”, one of my favourite MR James stories and an example of how I’m constantly trying to translate that “what the hell is going on?” atmosphere from paper to sound. And the songs “Artículos de Piel” (roughly “Leather Goods”) and “Mater Tenebrarum” are both the titles of stories by Pilar Pedraza, a Spanish author who is still publishing and has this amazing body of work. As far as I know there are no translations of her work to English and that’s such a shame. The rest of the tracks are pretty much based on personal stuff, real or imaginary.

Musically speaking, all the tracks come from different moments in time so they are very different from one another, sometimes too much if you ask me. Some of them existed previously in one shape or another even before the existence of this project; “Humedad 72%” for example is a song I wrote when I was 16 for Ad-Nemo and was never used by the band.

Can you describe your process for making a record?

Well this album is the result of five years of playing live, writing and discarding a lot of material in that process. During that period of time I changed equipment, moved to a different city and then to a different country, changed my life completely as well, so it was bound to end up being a bit scattered. I had a lot of half-recorded material from different moments, so I re-recorded most of the instruments and the vocals trying to come up with a more cohesive sound. The worst part was recording the vocals, I had a problem with my vocal cords at the time but I wanted to finish the thing, so in the end I had to record the main vocals and the endless overdubs like a million times, it was extremely time-consuming. In the end, this project is mostly about beats and vocals, so I had to try and get it right. I spent a lot of time working on the tiny details, trying to clean up the songs, and then I sent them to my friend Sergey Kolesov (aka Astrosuka) who did some additional mixing and mastering. That was it. Anyway, I’m already working on new stuff and the process is proving to be completely different, which is always a good thing of course.

If you could become a ghost after you die, what kind of ghost would you be?

I guess I’d love to haunt a house in the middle of nowhere, getting to move the furniture around and all that stuff. The other possibility is becoming one of those weird little MR James ghosts, locked up in some tomb, or fulfilling the bureaucratic duty of guarding some half-forgotten relic.

Do you have dinner plans for the apocalypse?

Maybe getting together with friends to have a drink and watch the end of the world broadcast live on Democracy Now. Nothing fancy.

If you could either frighten or comfort people with Ornamenti d’Oro, which would you prefer?

That’s a great question! I guess … both? I don’t think they’re mutually exclusive. Maybe that could be my goal for the next album: being able to comfort and frighten at the same time.

Do you prefer working alone or in a group /collaborative setting?

Actually I have two ongoing collaborations, a duo called Dimensión Maldita with my old time friend Manuel Osorio (aka Epiref), and a music/dance/performance art project with Ofelia Jarl Ortega. They’re both projects at a distance though, I’m not sure I could make music with someone else on a regular basis, rehearsing every week and such. I’m much too used to working alone after all these years.

How can we keep up with what’s going on in the world of Ornamenti d’Oro?

My album is on the Tensión Ritual Bandcamp page, and I released two EPs some years ago on my label Mun Discos from Argentina. I mostly use Facebook and Instagram to post news and stuff, and Soundcloud to post songs every once in a while. I have an old Tumblr account somewhere on the internet too. I also write some stuff, I had a couple of music blogs (in Spanish), and now I write music reviews for Peek-a-boo magazine, a Goth music blog from Belgium.

Super special thanks to Gustavo of Ornamenti d’Oro for taking time out to do this interview!  Please check out the amazing new album, Mater Tenebrarum, and let your feet do a spooky shuffle of joy!  You can get there from  here:


The 2 previous EPs (one track plus several remixes)

Dimensión Maldita (collaboration with Epiref)

A clip from “Valquiria” a collaboration with Swedish dancer/performance artist Ofelia Jarl Ortega

Also, get your gloom on with this wonderful live performance from  2013!

¡Mantente escalofriante! 


Terror Trax: Harry Husbands

Late on a dark and stormy Friday evening, when I should have been at home cuddled up eating curds and whey and watching Tales from the Darkside, I was kidnapped from my hovel and taken to an undisclosed, grimy yet pleasantly scented location, where I was told that one Harry Husbands, international bearded man of minor notoriety, would be joining me shortly, at which time I would conduct an exhaustive yet informative interview to be submitted to the esteemed HorrorAddicts.net website. My blindfold was removed and I was given pen, personalized stationary, and a triple espresso. As is apparently his custom, Mr. Husbands arrived by helicopter three minutes early. I was delighted by his friendly demeanor and earthy charm, and he smelled like blueberry muffins, which are my favorite. After our conversation was concluded, I was knocked unconscious with a fossilized luffa and returned to my home. Two days later I discovered this transcription sitting on my desk. According to a note I wrote to myself in Pig Latin, it was typed while I was in a trance. My hopes are that you enjoy it as much as I hope I did! 

Dear Mr. Husbands, let me begin by saying what an inspiration you are to all of us here on planet Earth! Your music captures the yearning of the angels, lost amongst the cosmos, afraid to stop at the intergalactic Pump-n-Go to ask for directions, heading directly into an asteroid belt, then getting tangled in spider webs and waking up and realizing it was all just a terrible dream but still feeling relieved and hopeful that one day we can soar through the dark galaxy just like when we are safe inside the sonic bubble of your music!

– Bless you.

In your bio you state that you are a “full-time imbecile”. I myself once had aspirations of a career in the imbecilic arts but, after years of struggle, even with my Doctorate in Imbecilism, I was unable to find steady work and was forced to move into the much less prestigious field of puppet colonics. Please tell us; in such a highly competitive and cut-throat occupation, what is the secret to your success?

I didn’t have a choice. My Mum once told me, while ironing, not to put my hand on said iron because it would burn me, but I high-fived that steaming lump of metal like it had just won gold in the Olympics of removing difficult creases. And guess what? Correct, I got burnt. From that moment on, I knew I was destined to be an imbecile.

The instrumental track, “Bring This Hex”, is vastly different from the folky “Hey God!” Is there a certain style that you prefer?

It depends when you ask me. My wife calls me a ‘music slut’ because I have this tendency to become obsessed with a different band, artist, or style of music every month or so. There’s too much great stuff out there—in every genre—and it’s all more accessible than ever. So when I was really into comedy folk songs, I penned “Hey God!”, and when I couldn’t stop listening to horror soundtracks, I recorded “Bring This Hex”.

Does the writing of music support the writing of fiction and vice versa?

In the writing of lyrics, absolutely. Stories are everywhere in song (especially those smash hits from olden times when people would strum lutes and poop in the street) and many of my own favourite tunes tell a tale. The first scrappy and out-of-time collection of recordings I put together, in fact, was “Barry the Spider”—a concept album based on folklore from my insect upbringing. It tells the woes of Barry (May he rest in peace), the radioactive spider who once bit Peter Parker and subsequently created Spiderman. The newest album soon to drop from my head and onto the internet is also a story. It’s called “An Ant’s Dream” and details the hopes, love and loss of an ordinary worker ant. “An Ant’s Dream”, by the way, like all of my music, is free to listen to and download.

What attracts you to the macabre?

– Same as most other HorrorAddicts regulars, I suppose. As a child, I was intrigued by what frightened me; the fascination grew from there.

“Bring This Hex” sounds like it could be from the incidental score of a horror film. Do you have a favorite original horror film score?

– There are too many to name but I was heavily into Goblin’s “Suspiria” soundtrack when I put together “Bring This Hex”.

Who are your favorite composers and/or songwriters?

As per my ‘music slut’ tendencies, there’s an endless list, but Bob Dylan, Leonard Cohen, Nick Cave, Tom Waits, and Alex Turner would be up there.

Do you have an all-time favorite horror book, and, if so, why is it your favorite?

– “The Exorcist” by William Peter Blatty is my favourite horror book because it’s still the scariest I’ve read. I was in my early teens when I first devoured it under the duvet with wide eyes. I’m still trying to find another novel that can keep me awake like “The Exorcist” did.

What are your goals as a horror writer and as a musician?

My intention is only to keep writing and keep playing/recording music. I do it for the joy and immediate satisfaction it gives me; anything that comes as a result is only a bonus.

Is it true that if your beard is fed after 7:32 p.m., it will turn into a bloodthirsty Justin Bieber fan and go on an all-night killing spree?

No, that’s absurd, it’s after 7:30 p.m., and any atrocities carried out in my beard’s name are pure rumour. It does nothing more than keep entirely to itself and listen to Bieber’s discography while crying into chocolate ice-cream and repeatedly refreshing his Twitter page.

How do you respond to the rumor that there are clones of you impersonating government agents in several undisclosed locations and that said clones are on top secret missions of grave national importance and that there are also clones of clones in case the original clones are discovered?

– If there are clones of me out there, I doubt very much they would be trusted with anything of any importance whatsoever. I imagine instead they would be fulfilling their full potential as no good layabouts. And also, where’s my clone? I mean, I’m here mowing my own damn lawn and washing my own dishes like a sucker.

Do the clones also play guitar?

– It would be nice to think there are other versions of me out there irritating everyone in the surrounding area with bad versions of Jimmy Page solos.

Does that last question validate the rumor of the existence of the clones?

– No, it has only served in making me ponder this whole clone situation for longer than I should have.

Who is the real Harry Husbands?

– Go to your town/city centre. Find a spot where a pigeon has defecated on top of an older, drier piece of pigeon shit. That is the real Harry Husbands.

Please provide a general response to the statement, “Hey, that doesn’t go there.”

– Then why does it taste like it should?

The people of planet Earth, and me, thank you for your bravery and for your time to answer these few questions!

– You’re most welcome. Thank you for this awesome interview.

Terror Trax: I-Def-I

by Russell Holbrook

Buzzing guitars slash across your soul. Pounding drums pummel your brain. Wildly fluctuating vocals tunnel through your flesh and into your heart.  You feel your spirit move. You aren’t sure what to do. You might destroy something. Take heart- You are not having a break down; you are listening to an I-DEF-I record.

Hailing from Manchester, England and formed at Salford University in November 2001 by Tom Clements and Kev Gaffney, I-DEF-I brought their horror infused noise to the underground’s attention in the middle of the first decade of the new millennium with the release of an EP, one full-length, and one mini-LP, before calling it a day near the end of the decade. However, the band’s music and legend have gone on, continuing to receive airplay and gain fans around the world. This has led the band to re-release their mini-LP, Bloodlust Casualty, and their full-length, In The Light of a New Day. To my recent delight I was able to shoot out a few questions to Tom, Paul, and Kev in regards to what the band is up to these days. Here’s what they had to say.

How important do you consider music to be to the horror culture and community? What role does it play?

It’s very important. I think you could culturally draw comparisons between the metal community and the horror fan community – often seen as outsiders, against the norm or whatever, at least in past decades when society was less diverse as a whole. Both heavy music and horror culture often touch on and cover ‘taboo’ subjects, the darker side of life and society and the darker side of fantasy situations. They go hand in hand a lot of the time with music providing the soundtrack to films, music being used to enhance tension and emotions in film and so on and forth.

What do you love about dark music? What attracts you to it?

As with the previous question, dark music often touches on subjects that aren’t as mainstream as some others, or subjects that are taboo, against the grain, graphic, violent, sexual, more for an ‘adult’ audience and such like. It attracts ourselves as we are all fascinated with the darker side of life and big fans of genres such as horror, thriller and zombie films. Dark music fits well with any kid of dystopian or apocalyptic imagery and a love for each one can help enhance the other. It also often contains the best riffs, drum beats and bass lines coupled with addictive breakdowns.

How do you respond to the prevalent belief that listening to this type of music is unhealthy?

Is it still prevalent? I know in the past that metal was oft maligned by mainstream society but I think over the last decade a lot has changed. Here in Manchester it is now officially a hate crime to verbally or physically abuse someone for being of ‘metal/emo/goth’ culture and society as a whole seems to be more tolerant after tragic incidents like the murder of Sophie Lancaster. I guess people just assume, on a surface level at least, that the dark lyrics and image can translate to a real world association with these things, but music 90% of the time, with the odd exception like say, Burzum or something, is mostly just entertainment and some sort of marketing package designed to shock and even exploit these stereotypes and reputations – Lordi, Cradle Of Filth whoever. I think people are more aware of that nowadays and a bit of face paint, some piercings and tatts etc get less of a ‘second glance’ than in years gone by.

What inspires you to create?

General life. Relationships. The news. Things we’ve experienced in the past, both recently and in years gone by. The music industry. ‘Normal jobs’. We like to absorb as much as we can and elements of all of it are squeezed in to our sound.

What is your favorite type of horror media?

Film, definitely. We all grew up on the first few Halloween films with stuff like H20 coming out in our late teens and early twenties, early Jason Vorhees, early Freddie, Critters, Arnie movies like Raw Deal and Predator, early Die Hard and Lethal Weapon (granted those are action not horror but still….), Blair Witch, Candyman, Jacobs Ladder, IKWYDLS, Event Horizon…..The Exorcist and Amityville being passed down to us by friends a few years older…all the great original stuff. Our Manager Noz likes a lot of old vampire stuff and western stuff too. In more recent times we’ve loved the Resident Evil franchise and tv shows like The Walking Dead.

What are your goals as a band? As individuals?

As a band is a tough one to say as we actually split in 2008. Since then we’ve re-released a few things digitally and still get fresh radio play and coverage – a few ‘Track of the Week’ awards in 2013 from places like Amazing Radio and in late 2017/early 2018 we’ve had a few news pieces, reviews and interviews published. We lived in each others back pockets for most of our career, management included so we tend to re-emerge on to social media and digital retailers every few years, have some drama or other kicked off by some comment or other after a few weeks of peace, then go back underground again.

People ask about reunion shows, not in the hordes, we’re realistic, literally a few here and there, we got offered a couple of gigs in Switzerland circa Xmas 2017, but to be honest we exist primarily as a cult, underground, nostalgia, I guess ‘archive’ act for a handful of loyal die hard fans nowadays.  Jobs, kids, life changed etc.

We covered a lot of goals in our time – a slot at Download Festival in 2006, tours and gigs with Stone Sour, Fear Factory, Mindless Self Indulgence, Breed 77, Viking Skull, One Minute Silence, Dry Kill Logic and many more. Recorded a BBC Maida Vale live Rock Show session in 2005. Had interest from a few major labels and A&R’s. Had the fastest selling and something like 3rd or 6th biggest selling releases on Copro/Casket with ‘Bloodlust Casualty’  – first thousand copies flew out, although Forever Never, Panic Cell, Vacant Stare and a couple more did more units over time on the label.

I guess the one thing we didn’t follow through on fully which we would’ve liked to would be more touring in Europe and touring in the USA or Australia.

We played in France in 2008 and had some good press and radio there, but split before we “fully” pushed it out there. Always had good press in Italy, Germany, Holland and more too. Had some interest from festivals like ‘Rock En Seine’ but by the time we called it quits in November 2008 only really a major label deal would’ve saved it, if that even. We were tired and it was time to move on in life. Had a blast 2001 – 2008 though and it’s wicked to still hear tracks on new podcasts in Spring 2018 – shouts to Horror Addicts, Heavy Metal Horrorcast and more!!!

Do you consider I-DEF-I a horror metal band? If not, how would you classify yourselves, if at all?

I’d say more ‘horror influenced’ – tracks like ‘Red Light On The Murder’ which was is hugely influenced by Saw and movies of that ilk. Not sure if we’re a ‘horror band’, overall though, I’d put that tag more on bands like Wednesday 13, Gwar, Green Jelly, Marilyn Manson or that kind of thing. Our image and fashion is more urban/street even though we use a lot of gothic fonts and very styled artwork and logos etc, we’re not really a face paint and blood kind of band.  Necro, Insane Clown Posse, Twizted, Gravediggaz and hip hop stuff gets called ‘horrorcore’ too but again, lyrically we generally move in a different way to those kinds of bands, much as we probably share some fans. Our lyrics tend to be more personal / reflective than gore orientated. We have a song called ‘The Horror’ but that’s more about the industry and stuff, a similar vibe to that Chimaira concept – ‘The Dehumanizing Process’. I’d say we’re just contemporary / modern alternative metal that could crossover to audiences of stuff like Horror, wrestling, true crime, 1%-ers, whatever.

Was Mrs. Voorhees a model single mother?

Not really but was she any worse than Mrs Myers? Tough question. She definitely shouldn’t be supervising kids swimming classes any time and doesn’t like she knew the value of a well balanced, nourishing diet. Or being strict about homework before play time.

Would you rather have coffee with Slayer or tea with King Diamond?

DEAD SKIN MASK. Gotta be Slayer. One of the ‘big 4’ and we love a bit of South Of Heaven and ‘Reign In Blood’.

Where do you see the band headed in the future?

For the moment just YouTube lol There are a few historical clips of us on Tom’s personal channel – acoustic at National Record Store day in 2008 and a few more, currently no plans for shows but that may or may not change, but right now we have some very recent newborns to deal with. It’s humbling and great to still get interview requests and we had a few news pieces from different webzines in all of UK, USA, Canada, Italy, Australia and France in 2017 which was wicked. Some old stuff is out there if you search though – fan recorded tracks from gigs, Angel Of Metal interviews and other bits.

Tom, Paul, and Kev- Thank You so much for talking with me and answering a few questions for the fans and readers!

Many thanks for your time and questions Russell and huge thanks to HORROR ADDICTS!!