Monday, June 20, 2011

June 2011 Issue of Cryptic Inscriptions

Once again another issue of Cryptic Inscriptions.We were really stoked to interview the bands for this issue especially Beyond Sensory Experience.So without further a do here's what's in the June issue of Cryptic Inscriptions:

Interviews:Beyond Sensory Experience,The Eaters of the Dead,Syphilic,Blasphemation

Reviews of: Intestinal Disgorge "Depravity",The Eaters of the Dead "Dead they Shall Remain",Syphilic "Behind Bars" and Beyond Sensory Experience "No Lights in our Eyes"

The July and August issues are in the works for now enjoy this and the previous issues.

Joe and Ashley

Beyond Sensory Experience "No Lights in our Eyes" LP Review

Beyond Sensory Experience “No Lights in our Eyes” LP

Depression, melancholy, and loneliness these are the distinct vibes that surge from Beyond Sensory Experience’s 2008 opus “No Light in our Eyes”. From their inception in 2001 the duo comprised of M.Drakh(Mz412) and K.Meitzer(scientist/artist) goes above and beyond on every release they create, managing to mix the emotions of the albums theme with the soundscapes they create; on “No Lights in our Eyes” the third album released off of Cold Meat Industry it’s no different. The album paints a perfect portrait of the inescapable and long sought questions of death and what goes through the mind of the dying. From the opening track “Funeral” to the closing track “The End has no Beginning” this is a masterpiece one must listen to from start to finish. The other tracks on the album “From One Dream to the Next”, “Long the Night”, “Standing Silent”, and the title track help build momentum and keep the listener in a trance. It also will make you sit and wonder about the theme that I drew from listening to the album. I feel that on this album Beyond Sensory Experience is almost putting out a statement that death is final and that nothing comes of it afterwards except being in a state of eternal darkness. The idea of a light at the end of the tunnel is very infantile and almost imaginary just keeping the human in a dreamlike state that they will never awaken from. That’s just my opinion though. The best way to draw your own conclusion is to pick up the release and take a listen yourself. Also check out their prior work and be on the lookout for their new album that’ll be coming out in 2011 trust me you won’t be disappointed. As far as dark ambient is concerned BSE is at the forefront of the genre making their message heard through dark and abysmal soundscapes.

Syphilic "Behind Bars" LP Review

Syphilic “Behind Bars” LP:

Brian Forgue who is noted for being the vocalist in underground bands such as: Gutrot, The Mutilated, Mulch, Saprogenic and many more. Spews out another sick release with his solo project Syphilic entitled “Behind Bars” (for anyone that doesn’t know the album itself was actually written while Brian was in jail hence the title). This offering has to be the sickest production and music wise as far as Syphilic is concerned. Not trying to bash Erotcic Shock Therapy or Symphony of Silt Throats, but Behind Bars far surpasses both of those releases. Not saying that their bad, but Syphilic has progressed and will keep progressing as time goes on. The alcohol induced death/grind madness opens up with “Wombhead” and right from the start you can tell this release is going to kick you in the teeth. Superb drum programming mixed with technical and sickening riffs topped with the disgusting guttural assault provided by Forgue this release already kicks you in the teeth before it ends. On Robalni the guitar bass trade off is done with excellence (on another note the bass tracks were recorded by Brian Baxter (Reguritation/Henious Killings/Gorgasm) this is followed by other great works such as the instrumental track Miscarriage Mouthful, the bestial abomination Canine Creampie, the vile Cannibalisdick and Vegetable at Best and a cover of Metallica’s Leper Messiah which is thrown in for good measure. As usual there are several guest vocal spots courtesy of Angel Oehoa (Cephaltripsy), Clay Lamanske(Cemetery Rapist) Captain Shitbeard (Sikfuk),Rob Solberg(Digested Flesh) and Conner Bond(Envenomation) which really showcase the embodiment of disgust and perversity on this release. I see Syphilic getting better and making more original sick death grind in the near future. He’s currently working on a new record that’ll be slated for release in 2011. The alcohol induced brutality continues!

The Eaters of the Dead "Dead They Shall Remain" LP Review

The Eaters of the Dead "Dead They Shall Remain" LP

The night is dark and a shrill cry is heard from a victim whose been awaiting certain death in the dungeon of the Pharaoh. The actual depiction of execution, death and the journey that follows is what I got after listening to The Eaters of the Dead LP Dead They Shall Remain. These audio depictions of death and what happens afterwards are all conceived by different sounds and instruments courtesy of Travis Simmons (The Leviathans Mandible). From “The Pharaoh’s Wrath” which to me depicts a soundscape of a prisoner being executed by order of the Pharaoh, on “Tombs” it resembles a march of the body being taken to its final resting place. While on “Bathe Me in Flames” depicts the soul being immersed in a fiery pit of hell, “ Kingdom Come” and “No Tears Fall” resemble the soul yearning for a paradise which he will never have. The last track (the title track) really solidifies that death is for some the end of all things pleasurable and satisfying. There are more tracks on this release that are good, but these tracks really caught my attention. This is an experimental noise/dark ambient release so it might not be for some; I do recommend giving this one a listen. The souls of the departed are seeking refuge from damnation if there is even salvation after death?

Intestinal Disgorge "Depravity" LP Review

Intestinal Disgorge "Depravity" LP

Intestinal disgorge has been making peoples ears bleed since their formation in 1996. The band started out more on a noise/grind attack which for some might be quite annoying, but if you like noisy disgusting music( that most people hate) then Intestinal Disgorge is the band for you. The band changed it up in their mid period and started making more structured punk grind oriented material that still had a noisy side to it, but not so much as the early material. Here the band is still going with their latest release “Depravity”. This goes somewhat back to their glory days of noisy ridden chaos, but it’s nothing like “Whore Splattered Walls” or “A Cockwork Whore Binge”. The album opens with Slurping Rancid Pus from her Festering Wounds and from the get go you pretty much see this is a filth laden release for the sick and depraved. A lot of the songs are very short in length and hit you in the face faster than you know it. All the music/noise on the album courtesy of Ryan is pretty well done from his drumming, guitar and bass playing and the noise excerpts. Don’t let the fact that I said noisy give you the impression that their shitty cause they surely aren’t that. The vocals done collectively by Ryan, Jacob and Pissy are a combination of growls, screams, pitch shifted gutturals and we can’t forget the notorious bitch screams courtesy of Pissy definitely bring forth the term utter chaos when it comes to describing the band. Now for the few people I’ve played IxDx for they don’t take a liking to the bitch screams, but I think they make the band unique separating them from the usual porno/gore grind bands with the addition of samples mainly porn related, this release is not for the uptight PC motherfucker. Only the sick and deprived will understand this piece of filth.

Interview with Beyond Sensory Experience

Beyond Sensory Experience:

Ashley /Joe:Cryptic Inscriptions: I want to thank you guys for taking part in this interview. For anyone who doesn’t know give a brief history on Beyond Sensory Experience, why did you choose the name and was there another name before this, and discuss your previous endeavors ie: Mz412, and your solo projects?

Drakh/Meizter:The foundation of Beyond Sensory Experience was formed only a few weeks after the two of us (Drakh and K. Meizter) first met. This was in 2001 and the name was set later that year to reflect our musical and thematic vision for the project. We then embarked on a long recording session that in the end became the 2003 Old Europa Cafe trilogy. After the compilation Korrelations in 2004 we moved on to the legendary Swedish Cold Meat Industry label to release another set of 3 albums over the years 2005-2008. Now BSE have just signed with Cyclic Law and will embark on a new journey starting with the album Modern Day Diabolists out in late 2011.

Before BSE - from the 90’s and onwards - Drakh has been involved in several Swedish acts such as MZ.412 and Nordvargr/Drakh. In 2010 his first solo release as Drakh (Bethlehem) came out on Essence Music. K. Meizter’s early music projects were based around experimenting with digital sounds using Atari and Amiga computers. Since BSE formed, he has released 3 solo albums (the latest on Old Europa Cafe in 2009) and collaborated with the Polish industrial nostalgic Horologium.

Ashley /Joe:Cryptic Inscriptions: All of your albums are based on different themes, what was the message behind your first three releases (Tortuna, Urmula and Ratan) do they all correspond and why did you decide to record and release them in such a short period of time?

Drakh/Meizter:These albums make up the 2003 Trilogy which is based on BSE’s three cornerstones – Music/Life/Numbers – and was part of our initial plan for BSE.

Ashley /Joe:Cryptic Inscriptions: I read that “Tortuna” was created during the Nordic absence of sun. Please elaborate on how that helped with the creative process of the record?

Drakh/Meizter:The absence of light promotes focus and creativity. This could perhaps be hard to imagine without having experienced this type of cold darkness.

Ashley /Joe:Cryptic Inscriptions: How did the idea come to make the DVD “Dimension Upsaliensis”? Was this your idea, the labels idea or someone else’s idea?

Drakh/Meizter:Dimension Upsaliensis was recorded in 2004 to add a visual dimension to the 2003 trilogy and is also a tribute to the town we lived in at the time, Uppsala. The film was screened at The Uppsala Short Film Festival the same year.

Ashley /Joe:Cryptic Inscriptions: With the “Pursuit of Pleasure” is the idea behind that album about the animal instinct of the sexual experience, the emotions that lie beneath, or both?

Drakh/Meizter:Pursuit of Pleasure is not meant to be an explicit album, it’s dealing with the concept of pleasure which of course is very diverse and individual. The album is the first in our CMI trilogy concerning life.

Ashley /Joe:Cryptic Inscriptions: On the album “The Dull Routine of Existence” the album basically describes life as being mundane and repetitious. Do you guys still feel the same way about life now or have opinions changed since then?

Drakh/Meizter:The Dull Routine of Existence is the second part of our Life Trilogy moving from pleasures to mundanities which we believe is an equally important ingredient of life.

Ashley /Joe:Cryptic Inscriptions: The album “No Lights in our Eyes” seems very sullen and dark. Was the album based upon death, loneliness and the notion that there is no life after death?

Drakh/Meizter:No Lights In Our Eyes is the third and final part of the CMI trilogy and deals with the ultimate end point of life that we all share – the way to it, the event itself and what comes/don't come after it.

Ashley /Joe:Cryptic Inscriptions: All of your albums were either recorded during the absence of light or have to do with light being nonexistent. What does the absence of light represent and what does it mean to you guys as artists and individuals?

Drakh/Meizter:Through empirical studies we have discovered that when Sweden goes from perpetual darkness to a few months of light, creativity makes a halt.

Ashley /Joe:Cryptic Inscriptions: You guys have done several different collaborations with Nordvargr, Kenji Siratori, and Moljebka Pvlse. Do you feel that collaborating with different artists adds a different depth and opens you guys up to new ideas as artists?

Drakh/Meizter:Collaborations are a way for us to extend the BSE platform in new directions – sometimes it works, sometimes it doesn’t.

Ashley /Joe:Cryptic Inscriptions: What do you guys all use when recording your albums? Do you rely on synth programs and keyboards or do you use some guitars and bass on the recordings as well?

Drakh/Meizter:We use a very broad spectrum of audio tools; from Albanian two-string Çiftelias to state-of-the-art software.

Ashley /Joe:Cryptic Inscriptions: Is it hard to recreate your recordings in live shows? Do you guys use a lot of visuals in your live shows?

Drakh/Meizter:Backtrack plus improvs using keyboards and computers make up the foundation of the show, and we always use a video backdrop to try and capture the general atmosphere of the show.

Ashley /Joe:Cryptic Inscriptions: I know you guys are working on a new album. What is the title and when is it coming out?

Drakh/Meizter:It’s entitled Modern Day Diabolists and will be out on Cyclic Law in Nov/Dec this year.

Ashley /Joe:Cryptic Inscriptions: Anything else you want to say to the reader as far as shows, recordings etc?

Drakh/Meizter:Keep a regular eye on for the latest developments.

Interview with Brian Forgue of Syphilic

Syphilic Interview:

Joe/Cryptic Inscriptions: Just want to thank you Brian for taking the time to do this interview. Give a brief history of Syphilic, the origin of the name,what makes Syphilic different from all the other bands you’ve been in, how’s the progress of the new album and what’s the title for the new album?

Brian:The new album is 'A Composition Of Murder". Syphilic started as a hobby when I was drunk and then one day I just decided to start recording stuff after I'd written about twenty songs just to listen to midi of them. Right now I have 49 songs and am putting out my 4th album. I write it all shitfaced and it's rarely in a 4/4 time signature, I think that's how it would be most different from other projects

Joe: Your latest full length “Behind Bars” was actually written while you were in jail. How did you manage to write all the material with no guitar or access to equipment? Did you feel that your musical ability was put to the test?

Brian:I don't consider it musical ability, rarely will I have a riff in my head before I write it. It's all patterns and mathematical numbers to me. This is how I was able to write out tab on lined paper without hearing it.

Joe: All of your recordings have gotten better with time, but your debut album “Erotic Shock Therapy” was still a killer release! What do you hope to achieve with the next release that your recording?

Brian:I don't know, mainly a better sound than the last, but that's a constant goal. Erotishock will be redone with real bass and better drums in the future.

Joe: You have superb production as far as your albums are concerned, and it really shines out on “Behind Bars”! What equipment set up do you use, do you record, produce, mix and master the albums all yourself, and what’s the best advice you can give as far as having a superb recording is concerned?

Brian:I record the whole thing myself and mix with Nick Morris at Cloud City studios. Behind bars was recorded with a direct box and reamped, and bass reamped. Vocals were on a shure SM-58. If you're gonna do something you have to do it right, or at least wrong to the extreme.

Joe : All the previous releases have synthesized bass on it, but the recent has actually bass tracks courtesy of Brian Baxter (Regurgitation/Heinous Killings).Did switching to a real bassist do more justice for the album in your opinion, and will Brian be on the next record or will he ever play live bass for you?

Brian:He was on the 2nd album as well. It was just another step in making it sound better as a whole, it did take a lot of extra work though. I doubt anyone will play live with me. Hell, I don't even like playing live with me.

Joe: I know you’ve been using a drum machine on all the recordings, was there ever a time you thought of getting a session drummer to play drums on your album?


Joe: You listed Classical music, Pink Floyd, and Dream Theater as influences on your band page. Has listening to different types of music inspired you to become a better musician?

Brian:Not really, I don't really consider myself a musician. I think it gives my writing a little something different than people that 'only' listen to 'brutal shit'

Joe: I know in the previous bands you were in i.e.: Gutrot, The Mutilated, Saprogenic you just did vocals. Do you prefer to just play instruments just for Syphilic or was there a time that you did play guitar or another instrument in another band?

Brian:Syphilic for live shows id rather just play guitar, but that can't be the case. With a full band I'd rather just do vocals cause, well, its more fun. I can get way drunk at shows that way.

Joe: Are all your lyrics based on concepts or personal experiences or are they just fictions incidences that you come up with in your head?


Joe: You have various guest vocalists on your albums even back to “Erotic Shock Therapy” are their plans for guest vocalists on the new CD?

Brian-Yes, there's I think 6 guests on this 4th album. They will be listed in the book, which I completed the layout today.
Joe: In the wake of all the crappy scene and slam bands, what do you believe makes Syphilic stand apart from all the crap that infiltrates the scene?

Brian-Slam usually sucks and has as much creativity as a piece of paper with no pencil. Sometimes it takes longevity to make a name for yourself, which isn't my goal, but I'm not going anywhere. You have to weed out the shit to get to the good. It's all preference anyway; I write my stuff for me so I like it, other people think it sucks.

Joe: When is the new album scheduled for release? Any last words to the readers?

Brian-June 28th. Pick up the book Killer: A Journal Of Murder. And a 5th album will come out soon. Thanks for the interview.

Interview with The Eaters of the Dead

Eaters of the Dead Interview:

Joe- I want to thank you Trickie for taking the time to do this interview. Explain to the readers a little bit about Eaters of the Dead? Why did you choose this name?

Trickie-The Eaters of the Dead is a ambient/dark noise project I started a few years ago. Mostly it’s an excuse to allow me to create music on a variety of topics, since it’s just me, I don’t have to wait for practice or other people, I can trance out in my room and just create. The name comes from the Necronomicon, just happened to be flipping through it and saw the chapter on Eaters of the Dead and thought it was a great name for a project. It really was not until I heard the project Gnaw Their Tongues that I decided to pursue Eaters full time.

Joe- Does every album tell a story or do the range on a variety of topics?

Trickie-Sometimes the albums tell stories, sometimes not. The first couple albums were all based on ancient Egypt, but I have since broaden and now draw influence from everything from popular forms of entertainment to philosophy to time and space.

Joe- Do you like to categorize Eaters as a trance ambient band or do you see it as something else?

Trickie-I tend to see Eaters as a ambient/dark noise project. Though in some of the newer songs, I used actual instruments and the songs are more up-beat then in years past; Eaters really is whatever I need it to be, to whatever the muse is calling to me at the time.

Joe- Do you see Eaters as the natural disaster that wipes out civilization or the gruesome after math of the disaster itself?

Trickie-Eaters is everything and nothing. It is the sun, the moon, the stars and the ocean. It can be the greatest creation or it can be the destroyer. No matter how much time I spend trying to perfect the sound to get it to sound exactly like I hear in my head, you or any other listener will add their own flare to it. That is what I like about the project, is that everyone will take away something different from it.

Joe- Do you use any synths or keyboard to create ambience or does it come from another source?

Trickie- I use a variety of synths, a keyboard, guitar, bass, samples, and various other things to make each song. I’ve even gone so far as to record some vocals and manipulate them so much so that you could not even tell they were human.

Joe- Are most of the releases net releases or do you actually have CDs or any other type of audio format that you’ve released in the past as far as Eaters is concerned. Do you feel that net releases give more of a chance to distribute the music to new listeners?

Trickie-Almost all of the Eaters release are free downloads. I feel with so many artist and bands out there, that giving away the releases are the best way to drive up some interest. I think more people are willing to take a chance on something if it’s a free download. Today’s culture is so fast paced that most people don’t have time to go look through a CD store to find new music. I will be doing one pressed CD and it will be the split with Gaels, which is the project of my best friend/TLM guitarist Fred. I will still be offering my side of the split for download but if you buy the CD, you get some extra tracks that you cannot get anywhere else.

Joe- When I listen to Eaters I have two different takes on it. When I listen to it I can almost see it as a funerary incantation of one being taken to his final resting place, or I can also take it as the journey of one’s soul to the next dimension. Is that they way you see it or do you have a totally different take on it?

Trickie- As I mentioned earlier, everyone draws something different from the music and that is the goal I wanted to accomplish. With each album having a different influence, there will never be just one sound, I see the sound continuing to evolve and change with each album.

Joe- On the “Faith Healer” album who is the man with the bird mask and the cloak? Does he pose some kind of symbolism for the album itself or is he just something you just choose out of your own interest?

Trickie-Its is actually a mask worn by plague doctors in Italy, the nose was supposed to hold a collection of spices to ward off the plague. I always found the plagues to be interesting and while doing some research, I came across the picture on the cover I believe it originally was a wood carving so I felt it fit well with the title of the album.

Joe- You also do vocals in a grind band called The Leviathans Mandible (to anyone who hasn’t heard them I recommend checking them out). I remember off some of the earlier releases like “Dead Verses” having noise/ambient interludes in between the actual songs. Did this have some impact on you going on to form Eaters or were you already doing Eaters when that album was created?

Trickie-Actually I was doing ambient interludes and such on TLM albums all the way back to the first one "Only a Ghost of a Smile". I never really had thought of branching off and doing something with just that until I heard Gnaw Their Tongues and decided I wanted to try something on the noise side of things. With TLM I have fred and jays input but with Eaters, it’s all me. I’m currently taking a break from Eaters, I don’t want the project to get stale and burn out on it so a break is what I think will help me find the muse again.

Joe- If someone were put under hypnosis under the music of Eaters of the Dead, and were told to dream what kind of dream do you think they would have? Would it be awful and gruesome or would it take them off to a dream state that they would not want to return from? I

Trickie-I really think that will depend on the person. Everyone is different so while some might have violent dreams, some might have pleasant ones. I actually would like to try that experiment to see the results, though I cannot help but think of the Nietzsche quote "And if you gaze for long into an abyss, the abyss gazes also into you"

Joe- Thanks for doing the interview Trickie anything else to add as far as Eaters or TLM is concerned?

Trickie-Thanks for the interview be sure to check out both projects.

Interview with Eric of Blasphemation

Blasphemation Interview:

Joe/Cryptic Inscriptions: First off I want to thank you Eric for doing this interview. Give a brief history of Blasphemation, why did you choose the name and what is the message behind the band?

Eric- I started this project in 2000, after getting burnt out with working with other people and compromising my music. I chose the name Blasphemation because I thought it sounded unique. I wouldn't say that I have a message, more just a goal to make the most disgustingly disturbing music I can create.

Joe- Do you consider the Blasphemation more of an aggressive industrial/power electronics band or do you go by a different tag or do you just disregard tags all together?

Eric- I would say the most fitting tag for Blasphemation would be industrial death metal. I have picked up other influences over time (grindcore, goregrind, black metal), but even the latest stuff is still industrial death metal.

Joe- What do you all use to come up with the soundscapes for the band? Is it all electronic based or do you use other instruments?

Eric-I will use just about anything to make noise and effects, not so much live instruments even, samples, digital drums and so on. I'll manipulate anything until it sounds completely different, a lot of effects and filter distortions.

Joe- Are the lyrics on the albums based around concepts or do you just write about different subjects and put it on a record?
There are some recurring concepts on all the albums. I prefer to write track by track and generally don't carry ideas from one song to the next.

Joe- I know you’ve played live several times with Blasphemation when was your last gig? How did the crowd respond and what’s the best word you can use to describe a Blasphemation live show?

Eric-The most recent show was about six months ago, I played the Brass Mug in Tampa at a battle of the bands. That show was kind of awkward for me because there were of underage kids who were not really familiar with the concept of musicians working outside the typical band format. I have found this every time I've played to an audience, people either get it or they don't.

Joe- Have you always done the band as a solo project? Or have you had help of others on the releases? Do you plan on getting other members for the band in the future?

Eric- I've gotten help from friends and family on every release, especially my wife Kelly, she's been the probably been the biggest help over the years. In the end, it's my project. I come up with all the track concepts, track arrangements, volumes, and I do a lot of sampling. When I do feel it's necessary, I like working with guest musicians one on one and incorporate them on a track or two. I feel that it helps to round out the music.

Joe- You’ve done several releases a lot of them downloadable. What’s your opinion on the music becoming more digital and less hardcopy? Do you think it’s ruining the scene helping It out per say?

Eric- It's helping out from my perspective. Weather we like it or not, the world is becoming more digitized, and less tangible, so albums being available for download is a sign of the times. I'll admit I prefer having a CD or cassette copy of an album over a digital album, but when there are no other options, digital is fine. I do admit through, there is a certain rush to getting a new CD, opening it for the first time and listening to it that I miss with a digital album, but is it hurting the scene? No, digital is normally much cheaper, and more available, so I think it helps the music in the end.

Joe- If you could pick a literary piece of art to describe Blasphemation what would it be i.e.: Graphic novel, comic, sonnet, poetry?

Eric- I'd compare it to "Tales From the Crypt" comics

Joe- If you could do a live collaboration with a band what band would it be? Also would you prefer to do a collaboration with a band in the same genre or completely different?

Eric-Blasphemation is an almost entirely digital project, so I really couldn't say, live musicians don't fit into my vision for the project. Now as far as playing with a different band, I would really enjoy doing a kind of splatter/crusty grindcore. I think it would suit me, and would be a new challenge.

Joe- Do you have any other musical projects that you’re involved in? What do you hope to achieve musically as far as Blasphemation is concerned?

Eric- . I'm going to treat this as two different questions: As far as other projects go, there are a few things I am currently considering and working on at present, but nothing I have committed to discussing at this time. As far as what do I hope to achieve musically, it's just this simple: to never ease up or sound weak, continuing to become more and more over the top as I go.

Joe- Any last words for the readers? What’s up and coming as far as Blasphemation is concerned?

Eric- I'm just starting working on a new album, but I am currently working on printing up physical copies of what's already released from my label, Torn Flesh Records. These releases are meant for my die-hard fans.