April 1st saw the release of the single “Your Last Kiss” from VVMPYRE, which features both the vocal and lyrical talents of Boston based musician, Maverick.
Maverick is going to beguile you with her vampiric touch, which may be your last. Her vocals drip promise and sexual delight to an electronic backdrop of beats and synths, with that occasional interlude of horror inspired organ/harpsichord.
VVMPYRE are threatening us soon with a good time in the form of an album. With the connections he seems to have in the industry, I can see it being a blood suckers favourite dance track.
There is a lot of deathrock out there and not all of it is good, but LA band, Black Heroin Gallery does great gothic/deathrock and they wish to weave a tale out of the darkness for you. This year saw the unleashing of their album, Feast Of Bats, which is also a feast for the ears, Eyajo December Joseph is the founding member, main songwriter, keyboard player and lead singer, so we were very lucky to be able to talk to Eyajo about the band, the album and all good spidery things. Also a confession on my part…I too have a great love of the New Romantic music of Duran Duran and if you want to know why, then you better read on!
Welcome to the enveloping darkness that is Onyx, dear Eyajo December Joseph of Black Heroin Gallery. Join us as we have a tea party, in the moonlight of a graveyard, dusted in motes of mist.
You’ve been playing in Los Angeles glam/punk, deathrock, blackmetal and underground bands since the late 1980s. You and drummer Tony F. Corpse were both members of the brilliant Astrovamps, as well as gothic blackmetal band Willow Wisp. What was it like playing with those bands, and what was the Los Angeles scene like back then?
EYAJO: The scene was thriving and crazy for better or worse back then. Astrovamps were fun and we definitely left a mark on the deathrock scene. We played with a lot of notable bands, including opening up for Rozz’s original Christian Death for their last live album before he died. We were there for direct support. An awesome band called Praise of Folly also played and they went on before us. This was in 1993 at the Patriotic Hall in downtown Los Angeles. Tony started recording with us in 1993. And played drums for us on and off in the beginning, but soon became a more frequent/basically permanent member. Willow Wisp was his main band, so he played with us when he could. Yes, I joined Willow Wisp as keyboardist, many years later, for a short while and it was fun and crazy, but I found it hard to concentrate on both bands and besides, I think Willow Wisp needed a more classically train keyboardists and my minimalist technique with synth/keyboards probably wasn’t the best fit for them.
Does the LA scene still have the same vibe in some ways, and in what ways do you find it has changed?
EYAJO: Some of the vibe has remained, but there have been changes. Not as many goth clubs playing live bands as there use to be, but there is hope, 2022 has brought a lot of the underground out and there seems to be promoters popping up all over LA and Mexico, booking Goth, Deathrock, Metal and Post Punk bands. It’s very exciting, so we’re looking forward to playing more venues this year to support Feast of Bats.
What do you think being in Astrovamps taught you about the music industry that you have taken with you into your other musical projects?
EYAJO: Astrovamps taught me how to be a good live musician and live band, it also inspired me to write music and not just lyrics. That’s why I founded Black Heroin Gallery.
Black Heroin Gallery was originally created by you in 2007 with Tony following you soon after. What drove you to start up this project?
EYAJO: Well, Astrovamps wasn’t going as dark as I wanted it to, so I knew I had to start some kind of side project for that dark deathrock music I wanted to write and release. That manifested as Black Heroin Gallery. Even though I loved what the Astrovamps were doing and I loved co-writing some of the songs as a lyricist. I knew I had to have my own thing where I was Chief songwriter, musically and lyrically. Then Astrovamps broke up and were no more. So I had complete focus for the new project. Not as easy as I thought, many false starts, a number of member changes and a singer that didn’t work out. I knew I had to learn guitar to write the songs that I wanted to write and take over vocal duties or we might end up spending wasted years looking for a singer. Tony and my old bassist Kevin kept telling me to take over vocal duties, I’m glad I finally took their advice.
How would you describe your musical partnership with Tony?
EYAJO: Good and enduring. Tony is a very creative drum composer and I’ve been lucky to have him stay the test of time and stick it out with me. Tony is the metal influence in the band, so sometimes we butt heads, because I’m a minimalist with music and songwriting and Tony likes more detailed Drum compositions. So over the years, we’ve come to a creative compromise on the drums. I let him go off the rails sometimes and for me, he pulls back sometimes. Perfect. My favorite drum styles are the classic deathrock tribal sound. And this style will always be part of our sound in one variation or another. Not every song, but still a favorite color of mine on the palette.
You have three other band members, so can you introduce them to us please?
EYAJO: Krystal Fantom is our guitarist and he also co-wrote two songs on the album with me. Dracul Grotesque is our Bass player and he joined a few months ago, just in time to record on Feast of Bats with us. Lastly, we have Sky Lee Vague, our new live keyboardist.
In Astrovamps, Eyajo, you were the keyboard player and now with Black Heroin Gallery you are not only the keyboardist but also the lead singer. How much of a change was this for you, and do you find vocals easier or harder?
EYAJO: The change was needed, I’m glad I never looked back. I played a little keyboard live on stage, but mostly focused on the vocal performance, but we are grateful now to have Sky take over and play keyboards live, now for the first time in years, we’re gonna be able to perform with our full sound. I will still always write and record the synth parts, but Sky brings it to life for the band on stage and from time to time he adds a little of his own fills. I’m ok with a little improv from the guys on the songs live, as long as the main sound and chords that make the song are there.
Your new album has the unusual title, ‘Feast of Bats’, can you tell us the story behind that name?
EYAJO: It’s actually the name of a short dark fairytale that I wrote and was illustrating. I loved the title, so I thought it would work well for the album. And the cover art I drew is from the illustrated story as well.
Many of the song titles, while obviously inspired by gothic horror themes, also have a quirky playfulness about them, reminiscent of Tim Burton in some ways. Is Burton a source of inspiration, and is there an element of tongue-in-cheek dark humor, having fun with tropes of the goth genre?
EYAJO: Yes, I would say that there were some of those influences in my writing. My main influences are fairytales and poetry. I like dark and tragic romantic themes. Dark things in general, Dark humor or satire does also play a part in some of my writing and lastly myths, witchcraft and philosophy I find very inspiring too.
There are a lot of references to death and her darkness in the lyrics. Do you find comfort in the beauty of the macabre and grotesque?
EYAJO: Yes, I most certainly do, it’s a recurring theme in all my arts. Poetry, Music, filmmaking and illustration. Death is my loudest muse.
There are also multiple mentions about God and demons. Is this for lyrical effect or something deeper?
EYAJO: Oh, it’s definitely not for any effect. I would say, deeper is probably a better description. Most of those references are from parts of the bible that the church removed or banned from the public. These stories inspire some of my work and the others are just my own mythos that I create.
As the lyricist and composer for the band, is that an added pressure and do you find writing music easy or a heartache?
EYAJO: Yes it can be both, but it’s very rewarding as well. Especially when you’ve reached that moment where the song is done. Krystal co-wrote two songs with me on this album and Tony added his drums and Dracul the bass. Then I added keyboards and Synth after the song had the basic instrumentation recorded. I usually write with guitar, then show it to the band and they learn it and then we work out all the little arrangement issues that may or may not come about. I’m lucky to have such talented and creative musicians working with me. Of course, I have to mention that this album would not have come out as great as it did, if it were not for the producing/mixing/recording and engineer artistry of Roman Marisak.
The band has been around since 2007 but this is your third album. I also noticed that some tracks have been around for a few years, often found in live videos. Do you like to try and test songs before you commit them to an album?
EYAJO: Yes, there were some formative years to say the least. Actually, Feast of Bats is our second album. My Rotting Flower was an EP. I have learned that it does help us out if we play the song live for a few shows. But that’s not always the case. I can say with almost certainty that our future albums are gonna be closer together in release times, probably every 2 years. For as long as it makes sense to me. I’m already working on the art and music for those future releases.
Do you find the acts of writing music and live performance a catharsis of sorts?
EYAJO: Yes, most definitely.
I do adore your version of “Hush, Hush, Hush, Here Comes The Bogeyman”. Do you have a favorite track off the album at all?
EYAJO: Thank you, that little gem was arranged and brought to us as a potential cover song by our guitarist Krystal Fantom. I loved his guitar arrangement on the song, so it made the album cut. For my favorite? Well It’s hard to choose, because I definitely put my heart and soul into all of the songs in one capacity or another. So if I have to pick, I would say, “I cover her horns.” There are many reasons why I like that song, but the main one from me is the story it’s telling and the very haunting musical arrangement.
When the young Eyajo was getting into darker music, what or who were your gateway drugs?
EYAJO: Well it was Duran Duran, who inspired me to make music and get into a band, but the dark path with me started after I heard Depeche Mode’s “Blasphemous Rumours” for the first time. I fell in love with the song and then the band. Then I continued to find more dark gems, like Skinny Puppy, Gene loves Jezebel, Bauhaus, Alien Sex Fiend, Tom Waits, Leonard Cohen, Sisters of Mercy and Virgin Prunes to name a few.
Are there new acts you’re really getting into now?
EYAJO: Not really, but it’s not because I don’t like them, it’s more like, I just haven’t paid too much attention to new bands this year. Because I was working on Feast of Bats. Ask me that question a year from now and I’m sure I will be listening to some then.
If you could have a lovely tea party in a cemetery and the option to bury someone there and bring them back, Pet Cemetery style, would you do it and do you know who that would be? 🙂
EYAJO: The tea party sounds like fun, but I would probably pass on burying someone to bring them back. Because it more than likely wouldn’t end well.
Onyx symbolizes renewal, change and more than likely, my little black heart. What do you feel in your little dark heart, is next for Black Heroin Gallery?
EYAJO: Oh Hell, where do I start…Let me see, oh yes… We’ll be headlining a World Goth Day festival, May 14th in Mexico City, Mexico. Then we will concentrate on some music videos by June and continue to play as many live shows as we can. Also, remix and master the first album. Record 2-3 new songs for Feast of Bats vinyl release. Write and prepare songs for the third album. So needless to say, we’re going to keep busy.
Thank you Eyajo for joining us and chatting as we dance between the graves, like there is no tomorrow.
EYAJO: Thank you very much, it has been an honor to talk with you.
In 1872, Charles Gounod, wrote the piece, Funeral March of the Marionette and now in the modern era, we have the Illinois band, The Funeral March Of The Marionettes and I wonder if the name is borrowed from this piece (apparently this is a yes as I never read the press releases first – derp!) . They also released on March 13th, their latest single “Slow (Trapped In This Moment)” which will be on their new EP, when it comes out soon.
A stream of sound in the background, a graduation of vocal intensity due to an overwhelming sadness. The guitars wail in their loss as the electronics cover all like a death shroud. A constant reminder of what never can be again.
The band have been around since 1987 and their current configuration is Joseph Whiteaker (Vocals, Bass, Synths), Mark Tenin (Drums, Percussion), and Wayne Thiele (Guitar), with F. Love on this track providing additional guitars. So, if you are in need of gothic inspired post-punk of the morbid kind (and honestly, is there any other type?!), then you should have a listen to “Slow (Trapped In This Moment)” by The Funeral March OfThe Marionettes.
We here at Onyx have already given our opinion of Australian band, Sea Lungs’ single “Lighthouse Noir” – which was that it is a sterling piece of deathrock/post-punk. I am pleased to say that the band, who are with Mantravision, have created a video with the help of Bruce Nullify of Orcus Nullify and Sequential Zero. A psychedelic experience, so get your dark yo-ho-ho on with a bottle of rum.
The Dreadful Dead of Hoop Snake Hollow was the last album we heard from LA deathrockers, Black HeroinGallery, in 2016, but fear not. As of February the 20th, 2022, they released their third album, Feast Of Bats, on Pestilent WindFolk Records. Founding member and lead vocalist/writer/synths, Eyajo December Joseph, created this project in 2007 and was joined by drummer, Tony F Corpse, both having previously been part of the seminal deathrock group, Astrovamps. Over time, they have cemented the positions of lead guitar in 2015 with KrystalFantom and most recently, Dracul Grotesque in 2021 on bass and live keyboardist, Skye Lee Vague.
“I Cover Her Horns” kicks off the album, with a carnival in the distance with an off kilter mayhem. There is almost a genuine pain in the vocals for what maybe the love for a demon girl with her devilish horns. A lament to an unreasonable God that won’t keep his promises. The guitar work is just gorgeous in “Gargoyle Projekt“, a pulsating medieval hell of the black death that overtakes your senses in the eagerness to away from the victims of the plague.
There is a “Taste Of Worms“, a vortex of clashing drums and guitars, that whirls like a hurricane dragging you in with a sound of a siren. The classical elements are beautifully presented, giving this track gleaming facets. The track “Dreadful Wish” reminds me a hell of a lot of early Christian Death in the tone and tempo, about spiritual death. The guitars are often purposefully and yet then seem to almost meander in a psychedelic dream.
A tale of a demon who wished to see more than he should is told in “His Beautiful Darkness“. Grated out vocals from December Joseph, give you the sadness in finding a new world and losing it all again.”As She Slumbers” is dramatic and epically huge, images of a girl gone mad, who dreams of murdering her family and eating them. The guitars drop with the drums giving the effect of chopping into soft bodies. Even though there is a barrage of guitars and vocals, with the drums, tearing their way into your eardrums, “TheBoy Who Married The Spider-Face Girl” is actually a song for a girl that the world does not understand but is beloved by a boy.
Honestly, has there ever been a bad song written about the bogeyman? For the track “Hush, Hush, Hush, HereComes The Bogeyman“, this is no exception. Written originally in 1932 this cover version of the track is haunting, violent and wicked funny all at the same time. There is a wonderful heaviness that pervades. Expressive spoken word about the adventures of the “Twig Skeleton“, which sadly is only an interlude as I wanted to hear more about this character. A shamanistic atmosphere to “Take This Rose“, the last track on the album and rather than being romantic, a litany of what can never be.
There are black metal elements to the music that cannot be overlooked. It is in the use of classical aspects which is far more commonly used in black metal and crafted beautifully into the tracks on this album. Those elements indeed, enhance rather than detract from the overall sound. A Feast Of Bats is undeniably deathrock though with those angular, shredding guitars and tortured vocals. Stories of love, loss, death, decay and murderous intent….could one ask for anything more from an album? For me it is perfect gothic fare. You might have to venture in for yourselves and see if you get hooked on this release from Black Heroin Gallery.
Thieves are those that steal from others. Possessions, jewels or maybe even a life. VAZUM also have a double single out called “Thief“, which was released on March 25th, 2022. The dynamic and prolific duo of Zach Pliska and Emily Sturm have given you two versions of this track for your listening pleasure.
The original is full of those lovely post-punk twanging guitars and soaring vocals with Emily in the lead. She is going to take your all and everything because she is the undead and in the end you will willingly let her thieve everything. The second version is an electronic affair, where “Thief” the Dagger mixis maybe, and more so, a much darker creature that seems a little unhinged as it crawls to you for your (un)dying love.
It is always an interesting proposition to hear a song performed in two different ways by the same band. You can tell VAZUM get a bit of kick out of this experimenting in variation. So you get a goth track with a creepy electronic track which is well worth checking out. And the best thing, you can get this for a steal on Bandcamp as it is name your price!
The end of last year saw the Athenian’s, Siva Six, release DeathCult, their fifth studio album, which came out on the label, Alfa Matrix. There were two years poured into the creation of this stunning album and the tracks are amalgamations of synths and beats with classical elements, all tied up with Z’s guttural vocals. It is a truly beautiful opus on the dark delights that await those that pass the veil. The lovely Z spoke to us about DeathCult and what makes Siva Six tick.
Welcome to the downward spiral that is Onyx! Please ignore the harpies, as they are grumpy because we put them on a diet.
You released your first album, Rise New Flesh, back in 2005. Did you ever think Siva six would still be releasing albums in 2022?
Z– Hell no… we thought we could have a good ride for approximately 10 years but as always, making plans is a part of reality. The other parts are a complicated equation, nevertheless I feel proud of what we have achieved so far. I assure you, it was not easy starting an Industrial/Dark Electro band in 00’s in Athens /GR
Can you tell as how the band started back then in Athens?
Z– We where just a couple of youngsters full of dreams and love for music, we had a hunger for life, to explore, to create, to do it our way. We started very young, we should have been around 15 years old when we had our first gig, trying to play some hardcore/punk/metal stuff. As soon as we got into Goth and EBM a whole new great world appeared and we wanted to be part of it. Since then we spent countless hours on the project and with faith, love and will, we made it happen.
You guys are also involved in the Greek metal scene as well, so when the band first started, what was the industrial/metal scene like back then and do you think it has changed?
Z– Along the way and more precisely, during our demo days, we were offered to play keyboards in 2 of the biggest Greek bands, me with SepticFlesh and Noid with Rotting Christ. Although our skills were not that great, I guess they loved our looks lol…Seth from SepticFlesh, once said that you guys look like pinheads son’s…,as for the Industrial /Metal scene, it was great back then, everyone wanted a piece of it in their music. Rob Zombie, Manson, NIN, Rammstein, that was the heydays of that scene and sure we were enjoyed it as well. Yes, its not a trend anymore, you hardly hear the good stuff with the exception of 3Teeth and a few more I guess…
Photo – VAIA
November 2021 saw you release your fifth studio album, DeathCult. It took 2 years for you to give life to brilliant album, so what took so long?
Z– Thank you for the compliment! I have been hearing it a lot about “DeathCult” and honestly puts a smile on my face. It always takes too much time to do an album that I am happy with. It takes me more than a month to do the pre-production for 1 track. I was into some deep personal shit, living in Leipzig at the time and it was hard for me to focus. We changed producer and that was not an easy one to deal with, especially when you work with a certain producer for 15 years
The 2 year wait was well worth it. You said in an interview that you enjoyed the work of Erik Saite. What was it about Gnossienne No 1 that inspired you to incorporating it into the mesmerising track Ghost Dance?
Z– I love Satie’s work, its utterly unique. His works are simply haunting, so..all in all, I was obsessed with his track, “Gnossienne No1”. I wanted to do a cover of it and here you go…. It was the hardest track to deal with and it took me 2 and half months to finish the pre-production. From a point and on, I started to be delusional, thinking that Satie is punishing me because he was still not happy with my outcome. I was desperate hearing it over and over again and for many hours per day. I was stuck, hearing his piano theme in a loop, it was killing me mentally until I found a way out and finished the song. Totally happy with the final result and hopefully with Satie’s blessings. Definitely a track that has a great feedback and brought many on our ship
The album is all about death, from serial killers to the after life. Can you tell us more about this?
Z– Death and Life, that’s the total balance and opposition at the same time, although both part of the whole that is existence. In this album I chose to focus on Death, it felt more like kin at the time… so I dove into its ocean, tried to understand a bit more. I twisted the angle. I watched and I asked to learn more. I think I did. Death is vital. Death is a path. Death is the transition. Death makes life unique. Death is all around us. Our societies, since day one, worshiped Death, not in a good way….its easy to understand that if you look carefully. Which is the god we mostly obey to?…it’s Death. We hate, we take advantage of others, we step on our friends, lovers, colleagues, we will do anything it takes to fulfill our desires and twisted plans. We think we control our lives but we are mostly nothing more than just the pathetic servants of Death’s lowest quality…the vain and ignorant, close minded tourists of life’s miracle.
What is it about the grotesque and macabre that inspires you and your music?
Z– More or less that’s what has always attracted me in music, The grotesque and the Macabre. My music heroes were drug addicts, alcoholics, outcasts and dangerous, damned and the tracks that I was turned on, listened to, were always the one’s that made me feel otherworldly. I cannot really put it in a frame, as a music and lyric creator, its just a feeling and when I hear it, it rings in me, I know that I am where I want to be.
You recorded the album with Dinos Prassas, also known as Psychon, who mixed and mastered DeathCult. Can you tell us about working with Psychon and what he brings to the Siva Sixalbums?
Z– Psychon has also done the production on this album besides Mix/Mastering. We have known each other since the early 00’s. We met at the rehearsal studio that Siva Six and his band was rehearsing at the time. He is a great guy, very talented, easy going and skillful sound design wise. Meanwhile, the timing to do another album with our ex producer was not a good one, so I talked with Psychon. I asked him to do a couple of demos and when I heard with what he had come up with, I heard the ringing in my ears….Psychon brings all of his positive and artistic aura in our music, working along side with his big orchestras, guitars, basses and the rest of the weird stuff he is into. We love his work and final touch he did in “DeathCult”.
George Klontzas of Teknovore spoke to me about how much admiration he has for Siva Six and was super proud of the cover you guys did together of Save Me God. This seems like a close friendship.
Z– Its an honor and I am glad to hear George’s feelings about us! We have met a couple of times in Athens & Edinburgh. I don’t really get excited by collaboration offers, my time is limited but when he offered to me the singing position in his Dark Soho cover, which is one of my all time favorite bands, I immediately accepted! I am happy and proud at the same time for the final outcome.
Photo – VAIA
Which song do you think you are going to really enjoy playing live?
Z– I will totally enjoy to play live again dear, since it has been 2 years and a half since our last gig, so all in all at this time, what really matters to me is to get back on the stage which I feel the urge to do so but “Ghost Dance” is the one I really can’t wait to experience on stage.
Talking of live music, how has covid affected the band as far as touring and are there any plans to do so soon?
Z– Some gigs in Germany & Greece were cancelled or postponed, we had no gigs for the last 2 and a half years. Lets face it…it’s a disaster. A ray of light has come in at the moment, so we will take the chance to do 4 live shows in Greece and hopefully our agent will sort out some gigs in Europe but its way too much complicated at the moment, since the line up bills and tours are full with the 2020 schedules. It’s sad but at least, since we get this feedback on a daily basis, that “DeathCult” is our best album so far but unfortunately the doors are not opened as wide as it would probably be pre-covid era.
You have toured with some legendary acts, so who was the most fun?
Z– We have shared the stage with some really great bands indeed. Tuske Ludder are great and funny people. We have became good friends with Hein from Theatre of Tragedy. Type o Negative were such a good people and Clan of Xymox are very cool and funny, I love Ronnie and we used to hang out a lot.
What music and bands got you into the EBM/industrial scene?
Z– I think it was mostly Ministry in the very early 90’s, Aphex Twin, Front 242, Einsturzende Neubauten but at the time the whole scene was on a launch and so many new bands were going out with a bang!
Who really gets you excited now about music?
Z– Without a doubt NIN and Trend Reznor projects, Chealsea Wolfe, 3TEETH, Wulfband, Perdubator, Soundtracks
Right at this moment in time, you have the ability to teleport to a beautiful sunny beach with blue waters or a gloomy cemetery full of mausoleums and famous artists……. where do you choose to go and why?
Z– If the cemetery would be the resurrection spot of a few of my favorite artists…. I would definitely wanted to be around and chat with them…. if not I would rather enjoy the sea thinking of them.
What is in the future for Siva Six?
Z– Our contract with Alfa Matrix is over and we have started some demo’s but as usual, it will take time to finish the pre-production. To be totally honest with you….I have no idea. There is too much mental strain all around us and the times we live in seem relentless. Hardships and setbacks are on the daily menu on everyone’s table. We will do some shows hopefully…and we will take it as it comes, you know..thinking a lot about the future does not really make sense, good things or bad things will happen or they will not.
Thank you for the dance while Chaos has her way with the world and thank you for your exquisite music!
Z– It was my pleasure and honour dear Adele ! Thank you.
It has been a little while since we heard a brand new Christian Death album, but all that changed with the May 6th release of Evil Becomes Rule, on the French record label, Season Of Mist. Valor and Maitri gave you a taste by dropping the first single “Blood Moon“ and it was a taste of something very warm and familiar. Most of the new album is like that, like the smell of heady incense that takes back to another time and place. Indeed, Evil Becomes Rule is very reminiscent of the mystical, swirling late 80s Christian Death vibe. Valor Kand was gracious in answering a few questions for me and I found I had made a faux pas. I had not realised that they had toured Australia in around 2008….and sadly my only defense is that I was spawning at the time. However, no time for regrets, as time and tide wait for no man, and there is only Christian Death.
Welcome to the darkside of the moon where Onyx has the occasional beach holiday!
Your last new studio album, The Root Of All Evilution came out in 2015. Is it a good feeling to have Evil Becomes Rule finished and what prompted you to create the album?
“The Root of All Evilution” is the story of “EVIL on Earth” from the time of and as mentioned in the Emerald Tablets and as referred to in the Book of Enoch (one of the sacred books NOT included in the Bible, by decree of the newly formed Roman Church’s Council Of Nicea in 325AD) then up to the present time. “Evil Becomes Rule” on the other hand, is the story of Evil on Earth from the present and on into the future.
It is seven years between studio albums. Was it an unconcious thing or planned to have that break?
“The Root of All Evilution” was actually released in the latter part of 2015 as I remember. We had a late start on getting to work on “Evil Becomes Rule”, actually 3 years later, in the latter part of 2018, due to touring and other commitments, however, we did not get to finish most of the tracks until a year later. At the end of 2019 we were still laying the final tracks a month later, then the Plandemic hit. Then all our plans fell apart, touring, the record release, etc. It was not until The Spring of 2021,another year and a half later, that we and the label were in a position to roll out new plans. But then we were confronted by massive delays with the pressing plants of vinyl’s and CDs around the world. First we were told September 2021, then December and then finally January 2022 before manufacture could begin, ultimately leading to a Spring 2022 release.
So please tell us what is “Evil Becomes Rule” is…… or rather what it means to you.
Originally we were calling and announcing the album with the title “Evil Become You” a double entendre. Albeit how Evil on Earth has consumed “YOU” the individual and that also how the elite wear their Evil proudly like a fashion statement and how very becoming they feel they look.
Although the album lyrics actually predicted the world of plight we now exist in, we were caught by surprise at how soon it happened. So, as our story had then morphed into the past tense and the rule of law in the world had also morphed into MORE rules, we then morphed the title into Evil Becomes Rule.
Who played on this album?
Myself (Valor) Male vocals and multiple instruments
Maitri Female vocals bass guitar
PAO (of the band Kaonashi) ON drums
Guest guitar: Chuck “Chains” Lenihan (of the bands CarnivoreAD, Genitorturers, and The Crum Suckers)
Guest male vocals: KWA B (a West African artist)
You have already announced a US tour for the album. Will you be extending this to other countries as well?
Other than the Spring 2022 USA tour, we also have a European tour in August/ September 2022 then we directly jump back to a USA & Canada September/October 2022
Last year was pretty big for you guys as well, what with collaborating with the label Season Of Mist and releasing the four volumes called The Dark Age Renaissance Collection. What prompted you to collate the Christian Death albums?
Our catalogue has been spread out over dozens of labels, around the world, over the years. We decided it was time to consolidate, re-group, re-master and re-package it all into one label “SOM”, one of the few a labels we have come to trust and love.
Christian Death have a huge fan base across the globe that just seems to keep growing. Do you find that both amazing and humbling at the same time?
I have been both amazed and humbled since the very first album and the very first tour.
Valor, you were born in Australia. Have you ever thought about bringing the band out to play to the tropical goth?
In 2008 or maybe 2009 we played shows in Sydney, Melbourne and Brisbane, as well as New Zealand. We had a great time, thoroughly enjoyed the shows and the people. We sat with kangaroos and were offered roo tail meat. We hung out at the home of and spent time with a poisonous snake handler/reptile keeper and drunk tea with several deadly Aussie poisonous species within feet of us, free roaming. We took pictures with Koalas. We got high with fans back stage in Melbourne and I filmed exotic birds in Brisbane, we also did other fun but unspeakable things.
You did an unplugged version of David Bowie’s Quicksand from Hunky Dory in honour of his passing.
Yes we did but it was not unplugged, it is a full on studio recording. It was fun and as of today we finished the video for that song which you can find here:
What impact did Bowie have on you?
I always admired how everything David Bowie did was different from the next thing he did, always something new. That is the legacy I have inherited from him.
I always ask, who were your musical heroes and bands that made you decide to get into music scene?
Having been born into a family of musicians, grandparents down to parents and other family members, I started playing multiple instruments at the age of 4 or 5. Family members were and still are my heroes.
I like too many artists to mention and despise even more.
Who or what inspires you or you enjoy listening to?
Usually, I do not listen to anything in particular, except in passing, or as it passes by my ears. The entire world is my inspiration, mentally, physically and spiritually. So when I need to hear something, I create it.
So if you were able to look into the murky depths of a crystal ball, what would you see in the future of Christian Death? Eight balls are also acceptable but not runes because that’s cheating.
Firstly, as I understand it, soothsaying with runes is non practical, as it is told in the ancient European traditions; the future can take many paths thus any prediction can be only relative to the path. Secondly, I hardly think many people are able to draw an image of events to come, other than those who manipulate and steer the world at large where they want us to go and d,o or those who see behind the veil, past the smoke and mirrors and the gifts of bread and circus
Thank you for your time and thank you for the music.
Schatten Muse is the bastard child of German and Greek origin and they bring to you their album Vergänglichkeit (translation Transience), which was released 28th of March, 2022. Simon Shelmerdine is a founding member of the Greek project Dark Awake and is Schatten while Sylvia Fürst is the Muse.
Just about the whole album is in German (funny that) and with that in mind, with me not having much of a grasp of the language means not delving too deeply. This is more an overview of what is on offer but being death art, the word tod or death comes up…..a lot. That has to very much on target.
The bells toll in “Zurück“, with emotions growing with the rising synths and rhythm changes. “Enditchkeit” has the dramatic organ. The cover of Goethes Erben’s “Das Schwarze Wesen” is quite delightful in it’s simplicity and I had not realised that it was the 30th anniversary for this track. “Leere” is ominously dark and forbiddingly cold in its classical repose, while “Scherbenwelt” is a whirl of electronics with the vocals echoing through it. Do yourself a favour and check out the track, “Shadowsphere“. It is in English and is a Sopor Aeternus cover in the medieval style that they are so very famous for and it is brilliantly executed..
Done in the style of Neue Deutsche Todeskunst or New German Death Art which became popular starting in the later half 1980s, it spawned such bands as Goethes Erben, Sangius et Cinis and Illuminate but also the mistress of darkness, Anna Varney and her most beloved, Sopor Aeternus. The use of classical/medieval musical styles, with prose from doomed romantic poets and citing the works of critcal thinkers of the human condition, such as Freud, Nietzsche and Lung, all poured into this musical form. Schatten Muse have taken this all on board and created their own Death Art, both beautiful and terrifying, a true gothic experience where all are ruled by death and we can become unhinged by that that very premise alone. All is found and lost, in an album that will show you the love of the divine dance of wonderful madness.
Eric Oberto hit the industrial/electro scene recently with two singles, with one spawning a remix release. Add to that, the fact that both were picked and used for both a horror TV series and horror movie, which Oberto also had roles in. Eric is no stranger to the music world either. In the early 90s, he was a member of the very successful industrial group Tungsten Coil. As you can imagine, the singles are dark and filled with gritty electronics, so with that in mind, we bunkered down for a nice chat, a cup of tea and waited to see if our time had come.
Welcome to the secret panic room here at Onyx Eric, where we like to rock ourselves to sleep after a day of dealing with the bright outside world. Do you like our fairy lights with nightmarish decor?
Thanks for having me! The fairy lights are a nice touch, and the nightmarish décor reminds me of my lair. It’s important to have the comforts of home when doing an interview. I must say that I do try to avoid the bright outside world as much as possible- that’s where you run into all those damn humans! LOL!
You have had synesthesia all your life, a condition that causes people to see music as colors. How has this impacted on your creating music? Does it enhance, impede or both?
Yes, it’s had a major impact on my music and life in general. First, I need to explain the degree of my synesthesia. For many people it’s an association of colors to characters, like if they hear the number 9- they see the color green (or something like that). My particular case is considered extreme; I see sound as moving three-dimensional colors, shapes, and patterns as I hear it (in real-time). It’s like having a second vision that’s going on in my mind simultaneously with the vision I process through my eyes. It’s a lot of input to handle at once!
Synesthesia is what really made it possible for me to write music. I don’t really understand music theory, the math of music, or anything like that. I paint animated musical pictures/films with the vibrant color-drenched pallet of mentally generated insanity. I know that’s a mouthful, but that basically how it works. It definitely enhances my music-making process.
As far as impeding goes, that falls onto the rest of my life. It has made traditional classroom style learning almost impossible for me. I also have dyslexia, and when you combine those two conditions together it’s almost impossible to concentrate long enough to input (and retain) information. Reading, taking tests, studying- all of it is a challenge for me. The reason that music works for me is because that kind of data input seems to take over my brain and it blocks out all the outside distractions. It’s as if the music and synesthesia combine into one euphoric experience that instantly becomes more important than anything else in that moment.
You have been in industrial bands since you were 16 years old, which lead to you being in Tungsten Coil, your first successful band. Can you tell us about your time with Tungsten Coil and how it affected your music?
Those were crazy times for sure! I was 18 when Tungsten Coil was formed, which was right after my first band- Reign of the Coven had broken up. It’s also at the tail end of my fight with cancer (synovial chondrosarcoma), which almost cost me my left leg and nearly my life. When you combined those elements together it created the perfect storm of drive and determination, maybe even obsession. I was an angry young man with nothing to lose! So, Tungsten Coil really became the vehicle to drive my message of “FUCK YOU” to the world. My future was uncertain, so I knew I needed to make my mark as loud and as fast as possible. I teamed up with John Miller and Tungsten Coil was born- Detroit style!
We took an aggressive approach by playing a bunch of shows right out of the gate, which included partaking in some big festivals and showcases (which included two major events @ at Club X in the historic State Theatre (now Fillmore Theatre) – Xtasy ’94 & The Nocturnal Fest, by Nigel Productions. Our efforts shook up the Detroit Industrial/Goth music scene and gained us a solid fanbase! The following year we made a surprise move to the live music capital of America- aka Austin, Texas. By 1996, we played our first Texas show at the infamous heavy metal club- The Back Room. This show put Tungsten Coil on the Austin, Texas music scene map overnight and launched us into the spotlight. Tungsten Coil became a staple of the Austin Industrial/Goth music scene. We showcased multiple years at the famous South by Southwest (SXSW) Music Festival. We gained a strong regional following through a relentless touring schedule over the years.
Tungsten Coil was featured in numerous music compilations, released multiple EPs, and two full-length albums- REACTIVE and ALPHA & OMEGA. Along the way we were nominated for and won multiple awards, including an AUSTIN MUSIC AWARD for BEST INDUSTRIAL BAND! Our final performance was a SXSW showcase at Elysium in 2008, where we shared the stage with Goth legend- Peter Murphy of Bauhaus. It’s a shame that Tungsten Coil’s heyday was before the current social media frenzy, because a lot of those great memories were never captured on film. Which also might not be a bad thing too, because of all the crazy/excess partying we did! We were just as hardcore off stage as we were on stage! My adopted saying was: “Born in sin, come on in!”, big props to Andre Linoge (my favorite villain!) from Stephen King’s- Storm of the Century. Anyway, it’s probably a good thing that some of those incriminating memories, stay memories! LOL!
You gave away music for a while to *checks notes* eventually create your own financial management company….. that seems awfully different to writing music. Did you enjoy the financial hustle?
It was a completely different life, and one I had never considered prior to living it. Yes, I did enjoy it! It was exactly the kind of life change that I needed at that time. I was 100% the underdog- I barely graduated high school, only went to a semester of collage, and had absolutely no experience in the financial industry. However, I did have a ton of common-sense life skills and business savvy because of my tenure in the music business. Money always made sense to me and once I understood the lay of the land, there was no stopping me. I really enjoyed the challenge of overcoming all the odds that were against me, it was a rush! I also liked being one of the good guys in an industry full of dishonest greedy pricks! I’m happy to report that during my career (which lasted over a decade), I never had one filed complaint of any kind! That’s rare in the financial industry!
I had my own financial management firm with a beautiful office in a high rise, and an awesome city view. I had the cars, the house, the suits, the money, and all that stuff. But after a while I lost my affinity for the business. I remember exactly when those feelings hit me. One day I’m looking out of my office window at a storm rolling in over the Dallas skyline, and I realized that I wasn’t happy anymore. I had already achieved all the goals I had set my sights on, and I had nothing left to prove to myself. I knew that I had to find my way back to music and find it fast! So, I sold the company to my business partner and never looked back.
You had the onset of Sudden Sensorineural Hearing Loss which affected your synesthesia. How have you overcome this obstacle?
In 2021, I finally found a path to create music using my one good ear and filled in the gaps of the broken ear by making use of several modern computer software tools. These tools allow me to visually identify frequencies that I can no longer hear, and I’m now able to visually see the stereo field where sounds reside in it. I also discovered a device that allows me to independently EQ the left and right sides of my headphones. This device gives me the ability to boost all the lost hearing frequencies in the right ear; to fill in the missing gaps. The right ear is broken, completely distorted, and plagued with massive tinnitus. However, by amplifying all the frequencies independently, it tricks my brain into thinking that the correct hearing information is being received (even though it isn’t). The end-result is that it allows my synesthesia to kick back in somewhat, and I use my previous songwriting experiences to fill in the gaps. These amazing tools didn’t make me whole again, but they do provide a new path forward to pursue my musical dreams. Now, against different odds and obstacles, I’m writing the best music of my career (at least I think so). This hearing loss handicap has pushed me to continually prove to myself that I can create art no matter what obstacles get in my way!
Has this changed the way to listen to music, the way you compose or even the style of music?
Everything has changed! It’s been hard for me because I blindly relied on my ears for so much. One of my favorite things to do before I went deaf was to sit in the dark and listen to music with headphones on; the images that my synesthesia created were more exciting to me than any film I’d ever seen! Unfortunately, that wonderful experience is no longer a part of my life (so depressing). I can’t process the info in the same way anymore and my heart is breaking as I’m answering this question. Sigh… Let’s move on…
Your first solo single was the atmospheric Darkness Never Lies, which is also featured in the movie Amityville Cult. What is the premise behind this track and how does it feel having it in a movie?
It’s about the inner voice inside each of us, the voice of truth that attempts to thwart the lies we tell ourselves and others. Fear is the basic emotion that gives birth to lies. It’s about people going through their lives and telling people what they want to hear to avoid confrontation. Not taking risks for fear of failure, injury, or death, and not going against the grain for fear of rejection (you get the point). In daylight (or while living life), so many people just go through the motions, find meaningless distractions, and convince themselves that they are really living. However, at the end of life, in their final darkness, all lies will become final regrets- Darkness Never Lies!
It’s an awesome feeling to have a song in a film, especially when you get the entire credit scroll! People’s perception/treatment of musicians and bands can be a strange thing. You tell someone that you have a new song or album and the say “cool man”. You tell them that you have a song in an internationally distributed film that’s also available in Walmart, then they say “congratulations, I’m so proud of you”! Weird, right?
Eric, you are also a cast member in that same movie, and I read you are writing scripts and looking to produce/direct. Why have you decided to pursue these artistic directions?
An absolute yes! Now that I’ve proven to myself that I can compose music again, I’m climbing every Mt. Everest I can get my boots on! I’ve always wanted to do some acting and I love movies. So when that opportunity came up I jumped on it. Now I’ve thrown my hat into the ring in several aspects of the film industry and I’m loving it! I even started my own production company- Tungsten Coil Productions. I’m just about finished with the script for my upcoming film- Sleep. I’m so excited about this film, it’s a crazy mindbender of a trip! I’ve got my work cut out for me on this project though, I’m playing three roles, directing, producing, editing, and composing the score. We are hoping to start filming in the fall.
Erik Gustafson of Adoration Destroyed did an up-tempo remix of Darkness Never Dies. What was it like hearing your work through someone else’s ears so to speak?
It was awesome! Erik and I go way back; we played a bunch of shows together back in my Tungsten Coil days. He was in Terminal 46 and Lust Murder Box. I already knew firsthand what Erik brought to the table, so I had total confidence in his abilities. It was fun going through the process with him and I mastered the song with my producer- John Robert Craig. I’m very proud of the final outcome, it’s a banger for sure!
Closer Than Ever Before is your latest single release and again it is going to feature in a movie. I feel the theme for the track is about aging and getting closer to the end of expiration. Can you tell me about this track?
Yes, I’m stoked to have this song in the upcoming theatrical release film- Malibu Horror Story! It’s a badass horror film and it’s truly an honor to get placement for the entire credit scroll again. I love this film so much that I jumped on board the project as an executive producer as well.
Yes, you’re on the right track with your interpretation of the song. I’ve always been focused time passing by and running out ever since I had cancer as a kid. Facing your mortality as a kid will do that to you, and now being in your forties and starting over in the entertainment industry will make you hyper-focused on what time you have remaining as well. The message I wanted to convey in that song was this: Every second of every day, we’re closer to death. What are you doing with the time you are given and are you living your life to the fullest?
Are there plans for an album?
Right now I’m focusing on singles; it just makes sense to me at this point in time. The music industry today doesn’t appear to have the attention span for an entire album. Hell, it’s hard to get people to listen to an entire song without them being distracted by their fucking phones!
I do want to release some albums on vinyl after I build up my catalog with some more songs. I want to put out a series of vinyl with a few songs and a bunch of remixes on each release. Maybe a full album in the future, you never know.
If you were in a horror movie, what character would you want to be? The screaming victim but ultimate hero, the wise elder who knows the backstory but now is earmarked to die, or the evil stabby killer?
That’s easy, The Evil Stabby Killer!
What is next for Eric Oberto?
Right now I’m going to continue to release new songs and music videos every few months. I’m also going to keep pushing my way into the film industry in the forms I mentioned before. Finally, I’m going to focus on doing music for video games. I’ve got a few other tricks up my sleeve, but that’s enough of a workload for now!
Thank you for joining me in the room where no cursed things happened ever…. I think 🙂
Thank you for having me, I had a bloody terror of a time! As a final parting thought, I do think some things may have been cursed in this room. Just saying…
Onyx Music Reviews 