From the Dark Past: Beer Reebs of Hod, August 2010

I have definitely seen Hod more times than any other band.  I lost count years ago, but up to the point they split (mid-2015), it might even have been in the triple-digits.  One of those times was at the old Emo's in Austin in August of 2010.  This was before I knew any of the band members other than TA (bass), who invited me to my first Hod show in March of 2010.  I was standing outside a Motorhead show after they played hoping to meet Lemmy, and I remember I was wearing my Kreator "Pleasure to Kill" shirt.  Up walks TA, who handed me a flyer for another show taking place a few blocks over.  I still have the flyer, and although UtS alumni Nosferion played, I didn't actually see them (womp womp).  

But Hod fucking slayed that night, and a few months later, I interviewed their singer, Beer Reebs after a ripping set.  Again, pardon my interviewing ability as I was still learning the ropes, especially with in-person interviews.  Anyway, here's the text with some minor editing for clarity.

1. JH: I understand Hod has undergone some lineup changes since "Serpent" was released last year. Would you like to introduce the new band members?

Beer Reebs: Well, honestly, we got T [Trans-Am] on bass and that's pretty much all that needs to be said. The [previous] bass player [Derek Rivers], he had some cancer problems. As far as the second guitarist, we're working a session person right now.  [7/13/2015 - At this time, this was Dustin, formerly of Khringe, Doom Siren, and more.  He also books plenty of awesome shows]

2. JH: How is the recording process for the new album going?

BR: The recording process for the new album is still going. We're doing the drum tracks first, and it's still going, we've had a couple of minor setbacks in the fucking recording process, but it's running smoothly.

3. JH: What can fans of "Serpent" expect from the newer Hod material?

BR: Better shit. We've got nothing bad to say about "Serpent", but with the new album, we've all come together as one single unit as opposed to five motherfuckers that just killed everybody on their own anyway. So now we're five motherfuckers that kill everybody acting as one single unit killing everybody.

4. JH: Do you have any song titles planned out for the new album that you'd be able to share?

BR: We got "Walking Wounded", which is an FBI term about people who are abducted and sexually tortured, mentally abused and tortured, and you don't know what's going on. We've got "In the Den of Wolves", which is basically, "you're in the wrong place at the wrong time"...

JH: It's a very Destroyer 666 kind of vibe I'm getting.

BR: You can do that, yeah.

5. JH: Your vocals are very distinct, they seem to vary from a putrid growl to a devilish croak. What are some of your influences, and how did you develop that style?

BR: Well, fuck, man, I'm a firm believer in "if you can't do it, don't do it." We've worked with the same producer, engineer, whatever you want to call that shit, I don't know, I'm not a professional guy. We've worked with the same guy, he's worked with me in my other bands, my metal bands, and he knows how to do my vocals. Like I said, again, "if you can't do it, don't do it", but it's...[Beer was distracted and lost his train of thought here]...What was the question?

JH: Basically, what are some of your vocal influences?

BR: Vocal influences, I'd have to say Jeff Clayton from ANTiSEEN, John Tardy from Obituary, Michael D. Williams from Eyehategod, you know, any of the dead horse guys, I mean, it goes on, you know.

6. JH: How are Hod's lyrics usually written, like, [how does] the process usually go?

BR: I write all of the lyrics and vocals, and in my opinion, the lyrics and the vocals are the last thing that matter, so until I get the song down, I don't write lyrics until I feel what the song feels. It'll always be nasty, it'll always be ugly, it'll always be the bad guy, always being on the wrong side of the tracks. It'll always be fucking metal. But, the lyrics are the last thing that will be involved in any song. I may not have anything to do with the music outside of arrangement, telling them to do this or that, but the music comes first, and the music puts me in the mood for what it is I sing about.

7. JH: Texas is proving to be the home of a ton of up-and-coming true extreme metal bands, would you like to tell us about some of your favorites?

BR: Oh, I'd have to give a shout-out to Hexlust from Kileen, those motherfuckers, those are our little brothers.

JH: ...Who happen to be playing a show tonight in San Antonio, but unfortunately, we couldn't be in two places at once.

BR: We can, but we just can't let the rest of ya'll know about it.

JH: [Laughs] If we told you, we'd have to kill you.

BR: We'd have to kill you. Actually, we're gonna kill you anyway. [Laughs before returning to the question] Hexlust, Butchered Saint's a good band, Engaged in Mutilating really puts themselves out there, and they work it. Doom Siren from Austin are good friends of ours, you know, we can go on.

8. JH: On that note, you play a lot of local shows. What are some of your favorite venues to play in Texas?

BR: Houston has always done us good, Walter's, and their promoters. In San Antonio, the Ten Eleven is awesome, it's a venue run by guys that are in a van, no, a band, not in a van, they tour, they respect everything. That's a good venue. In Austin, we've been taken care of at Emo's, we've been taken care of at Room 710 lately, we always played at...no, no, we got taken care of at Red 7, we were always taken care of at Room 710, we miss that place. It just depends on who's booking the show.

9. JH: Thank you very much, for the interview, Beer! Any last words you'd like to throw out in order to conclude this interview?

BR: Support real fucking metal!  If you do not go out to shows, they're not gonna come back!  [7/13/2015 - Truth, see Lethal Aggression: "No Scene".]

Proclamation: An Interview with Ciaran McCloskey of Vex, Nosferion, and In Oblivion:

Ciaran McCloskey has been kicking around the Texas metal scene for years as a guitarist and songwriter in several different bands of note.  He’s also one of the few people I know who can talk about violent black metal and English prog rock gods Gentle Giant with equal enthusiasm (the riff in “Wreck” >>>>>>>> ) .  McCloskey took the time to answer a few questions about his bands, which are divided into sections below:

Vex:

1.  Vex has undergone several lineup changes over the years before settling into the present incarnation.  Describe your thoughts on the current lineup and what the future holds for it.

We've never had a better lineup than we do right now. This is true in a musical sense and down to the intricacies of personality and drive. Everyone understands without anyone having to declare it that Vex has evolved into its own entity that supersedes our own egos or any sort of conventions outside of the band. I also dig the fact that everyone brings a sense of personality into their playing that helps give our music a distinctive flavor.

Parting ways with Bill in 2013 was very difficult for us, especially Eoghan and I after roughly 14 years of the three of us serving as the creative core of the band, but it was mutually acknowledged that it was the only way to reconcile his decision to start a family with us wanting to move forward with writing and recording at a more aggressive pace. Bill is a phenomenal bass player whose sense of melody and aesthetics played a strong role in forging our musical identity. It worked out well in the end in that his replacement, Joel from Batcastle, has an innate sense of exactly the kind of playing that our current style requires; rhythmic and colorful in a way that enhances the dynamics of the arrangement.

Nothing in music is permanent so I've really no idea what the future holds, but at least in the immediate future I can easily see more songwriting and arranging contributions across the board, and as much touring as our convoluted lives will allow for, since everyone seems to dig being on the road. There's a real surge of creative energy in the band right now that is very exhilarating.

2.  Amongst the uninitiated, progressive metal can have a connotation of meandering, overlong “epics” with an overabundance of self-indulgent instrumental showboating at the expense of songwriting ability.  What separates Vex from the bands that fit that stereotype?

Great question. We were all a bit shocked when “Memorious” was released and we started to be universally hailed as a progressive metal band. This is mainly because with a few notable exceptions, none of us really have much interest in what tends to fall in that category these days, for exactly the reasons you mention, plus we're very far from technically advanced in an extreme metal sense. I'll resist the urge to name names, but it seems to me that most progressive metal bands use that label to justify overtly dissonant and disjointed explorations that are maybe interesting from a musical perspective but are almost completely unlistenable. The song should always reign supreme – it should be the reason for the sonic exploration, not the other way around. Kayo Dot is an all too rare example of a modern group that brilliantly exemplifies this principle.

I see progressive music as more of an approach then a sound, as Robert Fripp defined it some years ago, that effectively ignores any kind of musical restriction. I would say what separates us is that our progressive side is really just an inherent sense of musical curiosity, of letting our songs decide where they should go, rather than a specific influence derived from a band like Dream Theater. We do love Fates Warning though, so make of that what you will.  [The previous two paragraphs are fully backed – Ed.]

3.  What would you say are the highlights of your career with Vex, live or recording?  

The short tour we did with Agalloch last summer was not only the highlight of the band, but also the musical highlight of my life. The opportunity to share multiple stages with a band of such extraordinary magnitude, both in a general sense and to us as listeners, was an incredible experience that won't be forgotten. The crowds were much larger than what we'd become used to on the road, so it was a bit terrifying but I really felt that we all stepped up to a level of performance that exceeded what we were previously capable of. The response and encouragement that we received from the crowd and from the headliners themselves really helped to solidify our sense of confidence about what we're trying to go after musically. Directly supporting Morbid Angel for the Austin date of the “Covenant” anniversary tour was pretty incredible as well.  [That Divine Eve show in ’11 ruled too – Ed.]

The studio highlight would definitely be the recording of “Memorious.” We'd gone through hell in the three years prior trying to track the first album “Thanatopsis” and the “Circular Ruins” EP in a timely manner, and in doing so had learned many valuable lessons about how to work efficiently on our own. We'd also been turned down by three of the most prominent labels in extreme metal prior the recording, all of which gave us a variation on the line that now is the worst possible time for melodic death metal, in that it couldn't be farther removed from the type of  revivalist metal that was selling so well. This created a sense of drive and urgency that still comes through on the recording I think. The raw production was a deliberate middle finger to the industry that had made us feel so marginalized at the time. We've since signed a very rewarding deal so it's good to know that remaining firm in our conviction was the right decision.

4.  If a younger fan who was new to metal and prog discovered Vex and wanted to go back and get into your roots, what are five metal albums and five prog albums you would recommend to them?

Another great question, Lord Jake – definitely had to mull over this one a bit. First metal, then prog, each list in no particular order:

1. Garden of Shadows – Oracle Moon
2. Ved Buens Ende – Written in Waters
3. Dark Tranquility – The Mind's I
4. Iron Maiden – Piece of Mind
5. Bathory – Blood Fire Death

5.  I understand that Vex is experimenting with a three-guitar lineup for certain sections of newer songs.  How does this change affect the structure of the songs that use it, and are there any plans on adding additional instrumentation in Vex (live or otherwise)?

To be honest, when JJ picked up the guitar it didn't really affect the structure of the songs, it just gave me a lot more freedom with the harmony and layering for each section. It was almost by accident that we realized it really wasn't necessary to have to choose the two best guitar parts live for a three-guitar section when we have a perfectly capable third guitarist within our ranks. You can definitely expect to see more robust instrumentation in the future; JJ seems to handle guitar and vocals just fine so I've only now started writing with the specific intention of having three guitars live. We'll also continue experimenting with sampling different kinds of ambient and synth backing tracks to intensify the atmosphere a bit live.



Nosferion:

6.  Nosferion’s debut album has been recorded, mixed, and mastered (please feel free to correct me if this is inaccurate).  What is the status on the album’s release as of January 2015?

This is correct, Lord Jake. We finished tracking it around the fall of 2011 but then went on indefinite hiatus during Seth's exile to Colorado. That probably would've been the end of the band had Melissa not stepped in last year and offered to help us get back onto the stage. The shows with her have been incredible and have inspired us to meet back up with Lord Odin to give the album a proper mix. I feel that the sound is finally right where it needs to be but the status is unfortunately questionable since we can't seem to find a label to release it. The first EP, “Burning Lifeless Eternity” was released through the UK label Blackthorne productions which to my understanding is long since defunct. There wasn't much of anything that followed the release of the EP, short of an appearance at the 2002 Sacrifice of the Nazarene Child festival – with Alex from Thornspawn filling in on drums – that was canceled for reasons that escape me right now.

7.  Nosferion seem to have a diverse set of influences ranging from the chaotic to atmospheric.  What would some of these influences be, and how to they affect the songwriting in Nosferion?

Nosferion works from a very limited palette. This was the intention when Tyler and I started demoing songs in the early 2000s, as a sort of exuberant response to all the great underground USBM that was thriving at the time, stuff like Black Witchery, Judas Iscariot, Blood Storm, Grand Belial's Key, etc. – these groups helped to ignite our own love of Hellhammer and Darkthrone and mold it into some sort of nihilistic self-expression. It was intensely liberating at the time and it still is. Since then our sound has evolved into all kinds of strange places that I honestly can't account for. It probably has something to do with the influence of Rory Gallagher, Hill Country Landscapes and 16 Horsepower records.



8.  Nosferion is associated with the phrase “Feel the Hate”.  Is this a hatred towards the self (i.e. “Inner War”), a hatred towards others (i.e. “I Hope You Die”), or is it open to personal interpretation?

Our hatred is all encompassing. Our work precedes from a sort of scorched-earth policy that spares no one. We hate ourselves as much as we hate the depraved souls who for whatever reason are choosing to lap up what we're vomiting onto the stage. Shitty venues, inadequate sound systems and small-to-nonexistent crowds are encouraged, but not necessary. Our product is not meant to be enjoyed by one, or accepted by any community or scene.

In Oblivion:

9.  Since In Oblivion is a fairly new band, please provide a brief explanation of the music, origin, and band members.

In Oblivion is the brainchild of Justin Buller, mainly known for his work with the local death metal band Manifestation since about 2005. He and I shared a few stages during the mid 2000s and began bonding over mutual worship of Shape of Despair, Skepticism, Evoken, Thergothon, etc., during which time I was thrilled to learn that he had written several funeral doom albums of his own. This style is very much on the fringes of the underground, so I don't think he ever expected to find a band that could perform these songs live, but we've gradually making that happen since then. Andy is a bassist from South Texas whom I've known since about 2003, when he was gigging around the state with the thrash band Hammerwhore, and Shane is originally a guitarist/singer whom I met through gigging with his death/grind band VBT around 2011. It was awesome to find out that both of these cats harbored a fondness for doom metal, because they each come from the sort of vastly different backgrounds that makes playing together so much fun. We are all very busy with our jobs and our other bands, so unfortunately progress has been about as slow as the riffs are, but we've recently recorded a debut EP that will hopefully be unleashed very soon along with a few debut performances.

General:

10.  Do you agree with the following sentence?  If not, please explain:  “Art is what one creates in order to prevent going insane?”

I can certainly stand behind that. Songwriting is essentially my of way to trying to process and understand both the world and the strange people who inhabit it. More significantly, it's also my bridge away from the mundane into something much more significant and transcendental. I need this, and I think everyone else does as well. I really can't even fathom what kind of strange spiritual path my life would've taken had music not afforded me this opportunity.

There have been periods in my life – grad school for example – that didn't allow for much time to write or perform music, and the result was something that felt a lot like insanity. The songs didn't stop coming in; in fact they only came through with more urgency in my attempt to silence them. I felt a bit like a raving lunatic with all of this nonexistent music keeping me awake and knocking against the hinges of my skull.



11:  Along those lines, do you think that obscurity is a positive or negative (or a combination of both) fate for an artist?  Please explain.

This is a very intense question that tends to weigh on my mind a bit these days. I think obscurity is a very liberating path, but it can certainly feel very negative to see an artist fall short of proper recognition for what they do, especially if it affects their ability to continue performing. On the one hand, discovering an artist like this on your own can be very exciting, but on the other hand you can't help but wonder if more recognition would've granted them the resources that they would have needed to continue and thrive. Personally I'd be fine with obscurity as long as it allows me to keep shoveling coal into the engine without pawing my guitars.

12:  Now that the philosophy examination is over, please rank your favorite Bathory albums in order.

Blood Fire Death, Under the Sign of the Black Mark, Hammerheart, The Return, Twilight of the Gods

13.  As this publication is focused on Texan bands, what are some of your favorite bands from this state to see and listen to?

When I think of Texas Metal as a whole, my mind always harkens back to high school when I first discovered Divine Eve, Absu, Necrovore and Solitude Aeternus, all of which left a very strong impression. It was an incredible thing to discover these groups and to learn that extreme metal was not a strictly European phenomenon, that it could be produced here in Texas with a sense of pride and distinction. They remain my favorite Texas Metal groups to this day.

14.  Any final words for the readers of Under the Sign of the Lone Star?

Onward and upward.

Symbolic: An Interview with A.R. Mendez of Id:

As I mention in the reviews section of this zine, I don’t care for most tech-death, but whenever a band comes around that happens to do it exceedingly well, I pay attention.  Id is one of those bands who bring a furor to intricate riffs and actually sound like four human being playing complicated music instead of soulless machines programmed to noodle.  I scored an interview with “The Goat of Mendez” himself, bassist/vocalist A.R. Mendez.  Mendez has played and plays in multiple bands, however this interview will only focus on Id.  Think you can shred?  Sit back and get schooled.

1.  Since Id is a relatively new entity in the Texas scene, would you mind giving some background as to how the band formed and got off the ground?

Sure. It was sort of a coincidence with Bert Morin from Belligerency facilitating everything by chance. Most of us actually gigged in bands from the Rio Grande Valley in South Texas, but we had never jammed.  Bert and I used to be in a band, and when I moved up he linked me up with his drummer and long time buddy Sterling from Harlingen. We hung out for a while but never really jammed until Bert linked Sterling up with the other RGV transplant Jason. Jason and Mando worked at the same place and started riffing out the Id stuff with Sterling in early 2011 if I recall. Sterling hit me up one day and said "Dude, you gotta check these riffs out. Bring your bass". At the time, I was already in two other band, but I went out anyway to listen. As soon as I heard the first songs, I signed up immediately.

2.  How often does Id practice?  I would imagine pretty often give how precise the band is onstage.

We practice as a band weekly for the most part. Really, a lot of our practice comes from independent homework. We all have self discipline to make progress in our spare time, and that leads to a better workflow that has really made the "work" part flow.

3.  From one bass player to another, do you prefer playing with your fingers or a pick?  Feel free to use this space to discuss any other bass tips, tricks, or trivia you’d like to mention.

Haha. I have a few bands that call for either a pick on a 4 string, fingers on a 4 string, or fingers on a 6 stringer. My "t-shirt and jeans" is playing finger style on a 6 string. I love the tactile connection with the instrument. As far as bass tips: get your compressor working for you! I have spent hours on configurations with my compressors to make sure that I can keep a good balance in violent, digging-in finger playing while retaining dynamics.

4.  All three of Id’s stringed instrumentalists do lead vocals.  Did the band form with that intention, or did Id start with only one singer and evolve to have three?

We all wanted to do them, so we all did! I don't think it was a decision made decisively at any point, but we all had some skill. It was by total coincidence that our ranges spanned across influences. Sort of a death metal harmonizing with highs, lows, and mids.

5.  Your debut album, “Philosofia” was released in 2014 and the reception has been very positive ‘round these parts.  How do you feel about the finished product and its response?

We have all been incredibly happy with the response, and we couldn't be more proud of the outcome. Our producer Mike Garrison is a huge reason the final product turned out the way it did. He is a one man audio engineering army, and his workflow really made the recording process a breeze. We made it from click tracking to guest vocals in under 15 hours total work time, and that is normally an agonizing process in my experience.

6.  You’ve play multiple instruments in multiple bands, what is your favorite instrument and why?

Bass! It is the most fun, if you don't mind getting shat on in every musician joke. I am pretty sure the subreddit r/bass is 50% inferiority complex.  [Guilty as charged – Ed.]





7.  What does the future hold for Id as far as shows (local or otherwise) or touring?

The sky is the limit. We had a successful first tour all over Southwest US with Blast Perversion out of Edinburg, TX, and we are in the works of getting something ready soon. Next up is a show at West Texas Death Fest in Amarillo at the ex-Wreck Room. Jess and Ramon are some of the coolest cats in Texas extreme metal, and they are kindly having us back on that Saturday night. There are some other events that have yet to be announced as of this response, but it will be SICK.

8.  I think it’s safe to say that you guys are the only death metal band that has ever appeared on “The Price Is Right”.  How on earth did that happen?

Oh man! That was one of the coolest things. We ended up with a day off on our tour through California with Blast, and we spent the hangover watching The Price is Right in the morning. Totally forgot it was filmed in Hollywood, but Sterling called that out. Tough luck we didn't come on down, but it was a great time.

9.  What are some of your favorite Texan bands to play with or go see live?

Jeez. The scene in this state is fucking amazing, so it is hard to narrow it down. We loved sharing the stage with Blast Perversion on tour, and might get more of that happening soon. Vex, Clit Eastwood, Images of Violence, Cleric, Giant of the Mountain, ya'll in Morgengrau, Severance, Whore of Bethlehem, Desecrate the Faith, Oceans of Slumber... I could sit here listing the amazing fellow musicians of Texas extreme music for hours.

10.  It seems as if the band Death is a significant influence on the entire band, so please rank your favorite Death albums in order:

 For me, you got your albums with Steve Digiorgio playing, and then the rest. Individual Thought Patterns is my all time favorite but Human is a close second. Everything else, it really depends on the time of day it is.

11.  You have this space to give any shouts and hails to anyone you’d like.  So, shout and hail!

Cheers to everybody that has supported Texas metal! Whether it is going out to a show, buying a disc from a band, or putting a sticker in the shitter of some dive, let people know that local extreme music is alive and well.

Unchain the Wolves: An Interview with Joseph Merino of Škan:

The lycanthropic horde Škan hail from Austin and play a feral fusion of black and death metal.  I was able to secure an email interview with guitarist/vocalist Joseph Merino that provides some insight into the band’s music and message.  Take a seat at the throne of The Old King…

1.  We can start with an introduction:  How did Škan form, and would you mind explaining the significance of the band name?

JM•  Škan was conceived in 2011 as a solo project.  I was writing music to form a band.  It was difficult to find other people to work with on this music.  After repeat attempts with others, I gave up trying to find people and decided to do this more or so as solo art.  I began writing and recording in solitude.  I met the bassist, Dan A., during this time.  Dan would come into the studio to lay bass tracks down for the songs that were being recorded (These are the songs from the EP, “The Old King”).  Dan was in another band at the time, and I was asked to join the band, Skrew.  I continued to work on Škan, and Dan would come to track bass on the songs that were recorded.

 Things begin to change within Skrew, and I decided to part ways with the band after certain commitments were fulfilled.  At that time, David B. (Drums), and William A. (Guitar) also decided to part with Skrew.  We all wanted to continue live music, so we decided to bring Škan out as a live band.  Škan was birthed into a live band November 2nd of 2013.  The first EP was released November 11th 2013.

 The word, Škan, comes from the Lakota Sioux language.  It has various meanings, but more or less can thought of as the motion of the universe.  I have my own personal definition off this word.  I am not a Lakota Sioux, nor do I represent the people of their tribes.

2.  The name of the band is officially Škan, however you often refer to yourselves as The Wolves of Škan.  What traits of the wolf do you find applicable to the band?

JM•  Ferocity, fearlessness, and freedom.  Action with conviction.  To carve one’s own path, straying  from the path societies are conditioned to tread .  The endless hunger for knowledge, and understanding through experience.  The nature of beauty and brutality.  Yes, freedom.

3.  The Škan sigil associated with the band is instantly identifiable and visually striking.  How did this sigil come to creation?

JM•  The design was manifested through the artist Norot, also known as Robert Cook.  I asked him for a design, and shared with him personal thoughts, philosophies, and concepts.  He took these things into consideration along with the music, and through him this design did emerge.  He is an extraordinary artist on many levels, and not just as a graphic artist.  I encourage others to explore his works.
( http://www.norot-art.com/ )



4.  Škan has already played several festivals, such as the Housecore Horror Film Festival in Austin and the third installment of the Day in the Valley of Death Festival in the Rio Grande Valley.  How would you describe your experiences at these festivals, and are there any other notable live experiences you would like to talk about?

JM•  These festivals, overall, were a positive experience.  I was able to meet some people that have now become friends.  The presentation we held was received rather favorably.  It was an honor to see some of the bands that came from great distances to take their part in these festivals.  As far as notable live experiences in Škan, I do not have much to express about it.  Often, during our presentations, things are blurred so bits and pieces of the experience are missing here and there.

5.  Škan is music that can be identified as a fusion between black metal and death metal.  What are some artists that influence you musically?  Also, are there any particular lyrical influences?

JM•  There are so many.  We listen to many types of music within the band.   As far as lyrical content, it is influenced from direct experiences in this existence.  If I am to name some early influences, the would include early Metallica, Blue Oyster Cult, Zeppelin, Sabbath of course, Skinny Puppy, Samhain, and there is much more than just these. Lots of classical, old blues, and old country music, and the list goes on and on.  Visual artist also have influence, as well as photography and other forms of art.  All these things have a way of stoking the fire within so to speak.  In these days, I personally listen to music that is rich with the convictions of the artist.  It is a rare thing to hear and see in music, or in art, in general.  To manifest one’s vision, thought, idea, or emotion into material form is truly an art on it’s own.

6.  Given as how the focus of this zine is on Texan bands, what bands from Texas do you enjoy listening to and/or going to see?

JM•  As far as metal, Hod, Headcrusher, Plutonian Shore, Special Guest Satan.  I also like Deadly Reign and Kriegblast.  Again, there are is a lot of music from Texas that is great.  There are many forms of music here (Texas) that is pleasing to the ear.

7.  When I saw your set at Beerland in December of 2014, there was a strong element of ritual that was present in the performance.  How important would you say that ritual is to the music (live or recorded) of Škan?

JM•  That is a subject difficult to elaborate upon for the sake of an interview.



8.  This is more of an open-ended question, so feel free to provide any answer that makes sense to you:  What does the phrase “To The Death” mean to you?

JM•  It’s a phrase I’ve heard on and off in life, and often in Watain’s literature.  It provokes thoughts of committing actions with complete attention and focus.  With all essence of one’s will, with out hesitation or second though.  Without fear.

9.  What does the future hold for the wolves of Škan?

JM•  Who is to say?  Tomorrow holds no promises.  As long as we are breathing, one will find much going on within our work.

10.  Are there any last words you would like to leave our readers with?

JM•  Keep your eyes and ears sharp.  When we come to your territories, come out and join us.  There are illusions to burn, and hell to raise.

Inverted Cross: Interview with Roger Gallardo of Hellpreacher:

This interview was conducted in 2010 for a publication I wrote for as a youngun.  To my knowledge, it is the only Hellpreacher interview ever conducted, or at least the only one on the internet.  This interview was conducted with Hellpreacher guitarist Roger Gallardo.

1. Me:  To start things off, how did Hellpreacher form?

Roger Gallardo:  We were just a group of friends that wanted to jam. We all went to the same High School (Thomas Jefferson), and that was basically it. We were not the most talented, but we just wanted to jam and have fun. Actually Danny Martinez was a great guitarist. Rest In Peace brother.

2. JH:  Hellpreacher’s style of music often blurred the line between death, thrash, and black metal. What were some of the band’s key influences?

RG:  Onslaught (Power from Hell), Hellhammer, Destruction, Kreator, Bathory, Sodom, and L.A. Slayer. I think we did a cover tune by all the bands mentioned.

3. JH:  How was “Resurrection” received by Texan metalheads at the time of its release? For early ‘86, that was some incredibly heavy stuff.

RG:  We only made and sold a handful of Demos, maybe 50-60. They flew off the shelf, we also shipped a few to other states. We really should have put Bloodbath on that demo. That song was just organized chaos. I just wish we could have played more shows.



4. JH:  Now, there were three songs on the “Resurrection” demo. I’m going to name them, and I want you to say a few words about each song. Just some memories of how they came to be written, certain influences on the songwriting, trivia, etc.

RG:

Resurrection: Were were [sic] just messing around at Javier's and I came up with the intro, next thing you know we're thrashing away. I think this song definitely has some Onslaught influence. People really enjoyed the end, after the solo (by Danny) the song keeps on thrashing for a few more seconds.

Parricidal: Once again, I came up with the intro, and then Javier would just start jamming along. I think most of our songs were created in the same manner. Once again, some more Onslaught influence.

Inverted Crosses: Danny actually wrote this one. I am not sure if he had this one with Deathtripper or not. You can tell it is not like the other songs. Great tune overall though.

5. JH:  There are also apparently some unreleased live bootleg Hellpreacher songs floating around the internet, according to a Hellpreacher fan page on Facebook. Have you heard these bootleg recordings, and if so, what are your thoughts on them? 

RG:  Yes, I have. There is a song on there called Bloodbath. This song is by far my favorite. Rick's vocals fit the song perfectly and Danny had a very catchy solo. We played this in Arlington, Texas at the Radiation Dump. We opened up for Rotting Corpse, and after the last chorus, Rick Chavana (singer, a.k.a. Dog) jumped into the crowd and was moshing in the pit with the crowd. The crowd and other bands really got a kick out of that. That was probably our best show. I used to have that live recording, but who knows what happened to it.

6. JH:  What were some of your favorite local bands that were playing in Texas around the time of Hellpreacher? 

RG:  Some of my favorites were Militia (1st demo only), Valkyrie, Morbid Termination, Syranax, Angkor Wat, and Rotting Corpse.


7. JH:  You were also in Rotting Corpse for a while. What was your time in the band like, and what are your thoughts on the band’s recent reunion? 

RG:  I think it is pretty cool those guys are still jamming. We had some good times. The Dark Angel tour was cool. We had some great shows in Houston, Austin, and San Antonio. I still talk to Steve Murphy (bassist) every once in awhile, but it has been years since I have talked to Walt. I hear he got a sex change.

8. JH:  When Hellpreacher disbanded, did you ever think that the “Resurrection” demo would still be listened to by Texan (and more) metalheads almost twenty-five years after its release?

RG:  No, I still can't believe it. I have talked to people in Brazil, Germany, France, Spain, and they know the demo like it came out yesterday. They talked about specific influences heard in the demo. It is really cool that people still talk about it after all these years.

9. JH:  Are there any newer bands that you’ve been listening to lately, metal or otherwise?

RG:  I listen to everything still. Some of my favorite bands now are In Flames, As I Lay Dying, Trivium, Carnal Forge, Devil Driver, All Shall Perish (Day of Justice is the best song ever composed), and to lighten it up a bit some Chevelle (Editor’s Note 1/19/2015:  I can‘t say I like any of these bands, but to each his own). Of course I still listen to S.A. and L.A. Slayer, Pantera (Far Beyond Driven, Reinventing the Steel, Great Southern Trendkill), and and of course Mercyful Fate.

10. JH:  Do you have any upcoming musical projects coming up?

RG:  I still play and record riffs here and there. My 99 song digital recorder is almost full.  It is hard to find time now, especially since I am going to school full time and raising a two year old. If I really like one of my songs, I will record the bass and maybe another guitar. Once those tracks are laid down, I crank it up on the big speakers, get behind the drum set, and play along. If I can find some time, I would love to re-record the Ressurrection demo, with Bloodbath on there of course.

11. JH:  Thanks for agreeing to this interview! Do you have any last words you’d like to throw out?

RG:  To James Hetfield and Lars Ulrich - F- YOU!!!!  [sic]  Music is not about making money, it is about sharing your thoughts, ideas, and musical inhibitions with others.  Ed .12/30/2014:  Five years later this is still my favorite part of the interview.