Monday, April 27, 2015

Article: A Tribute To Leonard Nimoy and Star Trek by Joseph A. Zuchowski

A Tribute To Leonard Nimoy and Star Trek

Article conceptualized and written by Joseph A. Zuchowski
Edited and revised by Dave Wolff



When I learned Leonard Nimoy passed on last March, I cannot say I was surprised. I had known his health was bad and he was elderly so it was only logical that the end of his life would be near.  As a boy I loved science fiction, and as an adult I still do; the old Republic series, the various invasion films of the 50's and 60’s. They were all pretty much the same: aliens invade; usually evil aliens; square jawed American hero defeats them. It seemed that these films brought us only messages of xenophobia, fear of anything strange or different. Yes there were exceptions, the most notable being "The Day The Earth Stood Still". But by and large they were all formulaic. But then in 1967 came Star Trek. It was intended by creator Gene Roddenberry to be a "Wagon Train to the stars." Star Trek was timely; shortly after the signing of the Civil Rights bill it gave America the first interracial kiss on TV.

The 1930's to the 1960's was called The Golden Age Of Science Fiction, originally called "pulp fiction" because of the cheap quality paper many stories were printed on. Science fiction was seen as a sub-genre of horror. When most people think of science fiction from that period, serials such as Flash Gordon or Buck Rogers come to mind. In print there was Weird Tales and Amazing Science Fiction. The horror writer H.P. Lovecraft wrote his only true science fiction story towards the end of his life. It was called In The Walls Of Eryx and it was based on an experience he had in a funhouse full of mirrors. The story is of an astronaut captured by Venusians and put into a mirrored maze. He dies just several feet shy of the exit. But the Haige Commission with its restrictive rules regarding what could and could not be shown would constrain horror and science fiction for decades.
Going back to Star Trek, Trek was very much a show for its time. There were plenty of other TV shows like Twilight Zone, Outer Limits, One Step Beyond and The Invisible Man. There was even an attempt to make a television show out of The Fantastic Four with Russell Johnson (Gilligan's Island) and Elizabeth Montgomery (Bewitched). There was also Lost In Space which was loosely based on The Swiss Family Robinson, a takeoff of Robinson Caruso by Daniel DeFoe. Lost In Space lasted about two seasons and never had the impact Star Trek did.
Star Trek gave us hope for our future, hope that we would survive long enough to colonize space and become players in an intergalactic game. One of the reasons the science fiction convention scene is bigger than ever and has broken into the mainstream, and longtime fans in their thirties and older can go and connect with like-minded fans the world over.
But what made Star Trek work was the characters. They have become iconic; their personalities were all unique with their own unique traits. De Forest Kelley (Dr. McCoy), James Doohan (Scotty), and now Leonard Nimoy (Spock) have gone on to that undiscovered country from whose boundaries no one returns. Nimoy’s Spock was special; his father was a Vulcan ambassador, his mother a teacher. This was important to many mixed race children, something that was rare back in those days as most states still had laws against interracial marriages on the books. It was this tolerence of difference or as Spock would have said "Infinite Diversity In Infinite Combinations”. I want to wrap this up by saying “thanks” to Leonard Nimoy. I'm sorry there is no Genesis Project to restore you to us, but you will live on in the celluloid world, and mostly in the hearts of those who knew you. Even years from now we will still hail your name. You have been and always will be our friend. “Hailing frequencies out.”

Friday, April 17, 2015

CD review: MY SON THE BUM Follow Me, Like Me

MY SON THE BUM
Follow Me, Like Me
Wig City

http://www.facebook.com/mysonthebum
Follow Me, Like Me by My Son The Bum is a self-fulfilling prophecy. While each song starts out strong, the listener anticipating something of worth, about the only thing the listener can take away from this is the mind-consuming mantra of the hook line on loop. The lyrics are contemporary in subject, but I really don't want to listen to how someone texts and drives to their death, the co-dependency of a cell phone addict or Youtube University (it say it all in the title). The lyricist is good with a hook but the rest of the production is for the kindergarten demographic; those who don't want anything more complicated than a commercial jingle. If they could write with more complexity and challenge us with something deeper, or adopt the writing of someone more complex, they could actually be contenders. The music itself is not bad... but once the lyrical part kicks in, the musical gifts fall from grace. -Teresa Clayton

CD review: OCEANS OF NIGHT Midnight Rising

OCEANS OF NIGHT
Midnight Rising
Allaroundniceguy Music

http://www.facebook.com/OceansOfNight
Midnight Rising, Oceans Of Night's fourth album, is refreshingly timeless, retrospective of the sounds of ELP, Yes, Uriah Heep, et al. A splendid blend of rock and trippy' ambience, along with a beautiful golden thread of synthesizer tying it all together.
The guitar rifts are magnificent and reminiscent of some of the biggest names in rock (did I hear hints of David Gilmour?). Scott Mosher gives a perfectly executed performance throughout the album, leaving no doubt to his incredible talent. Mosher does a fine job of coming to the front with a wall of sound that never overpowers the pitch-perfect surreal vocals of Scott Olivia. To maximize the adventure of this rock/electronic/ambient/ethereal journey is the driving rhythms of Alan Smithee on drums and percussion.
As a writer/lyricist, I listen to the words and the way they are expressed within the melody and emphasized within the harmonies. As the author of their own stories, these musician/lyricists let go of conventional school-book rhymes and paint the canvas of the cerebral cortex with colorful metaphors and subliminal textures.
I am excited about this band. I look forward to hearing more from them and highly recommend sitting down and losing yourself in midnight’s rising. -Teresa Clayton

CD review: OCEANS OF NIGHT Domain

OCEANS OF NIGHT
Domain
Allaroundniceguy Music

http://www.facebook.com/OceansOfNight
Oceans of Night’s third album - Domain - compels the listener to participate in the rite of passing from this world of monotony and the mundane and into worlds of endless possibilities. The bewitching musical incantations of Scott Mosher on Guitar, Bass and Keyboards have no need for words, however, when the vocals of Scott Olivia are added, the depth and breadth of the spell is impossible to ignore; one gets caught up in the magic. Once the last note is heard, you cannot deny its hold on you. This is a monster debut of two well seasoned artists, each casting their own special ingredients into the cauldron. You cannot deny your hunger any longer, this is where rock and fantasy are reborn - thank the gods for the undeniable presence of Oceans of Night - Domain. -Teresa Clayton

CD review: OTHERS Heart of Darkness (Tales of Dracula)

OTHERS
Heart of Darkness (Tales of Dracula)
Independent
Heart of Darkness (Tales of Dracula) was captivating. I found myself listening to the lyrics and being drawn into the story. The hypnotic vocals accompanied by the looming ambience of the background instrumentals gives this collection a perfect coupling - subject and storyteller. The music is narrative. I found myself listening to the lyrics and being drawn into her story. The lyrics are narrative and very well written. The music, balancing her strong vocals, was exemplary. When listening to just the music without her vocals, I am all the more entranced. A beautiful elixir of sound, vocals and lyrics; The alchemy is pure silver! -Teresa Clayton

CD review: ARTEMORTIFICA Logarithmic Spirals 2

ARTEMORTIFICA
Logarithmic Spirals 2
Holographic Universe Productions
Wow. The beauty and soul of this collection of ethereal music is perfect for those who want a retreat from the pounding sensations of other dark and mysterious goth rock. It is haunting and yet the sound is executed to perfection and slowly pulls you into a realm of darkness and light. The music weaves around your mind like a mist crawling over the ground. It enters in and removes all the negativity one carries day in and day out. In its place it opens doors to rooms filled with possibilities. A very inspirational collection. I would certainly add this one to my own library of sound. Not your run-of-the-mill dark musical reveries, but still holds true to the title by wrapping ethereal notes and otherworldly melodies around your subconscious mind. The result is a melding of your own cerebral journey through the bewitching musical landscapes. The sound is executed to perfection. For meditation, day-dreaming or your own personal transmigration through the various realms of being. High on my list of inspirational and transformative music for those in artistic mode. -Teresa Clayton

Tuesday, April 14, 2015

CD review: RELENTLESS Souls Of Charon

RELENTLESS
Souls Of Charon
Do Or Die
This is another release currently available from Chicago’s Do Or Die records. As opposed to the material I reviewed from Nocturne, Relentless lean closer toward doom metal bands like Trouble and Candlemass. This band boasts a frontwoman whose style is quite good; genuinely chilling and creepy. It took a couple listens to Souls Of Charon to begin appreciating their motif but now I’m growing progressively hooked. On this six-track EP is dark atmosphere, solid songwriting, strong progressions and effective Tony Iommi-like solos that often got my attention. I am consistently drawn towards Carlee Jackson whose ethereal voice seems to hauntingly vibrate beneath the songs or soar above them like a dark angel. Her delivery is almost goth-like next to the music, and the contrast between her and the band presents many opportunities for growth. With her delivering the vocals for the band, each track is like a visit from a different demoness coming to take you on journeys from which there might be no return. This formula is more effective in hypnotic cuts like Trapped Underground, United By Darkness and Forever Damned, but overall I can imagine it professionally produced on a full length recording and see their potential to entrance audiences on much larger scales. The artwork designed by Erik Pertl fits the material on a primal level somewhat akin to the artwork that graced Burzum albums in the 90s, and there is an eight page booklet that features the lyrics to each song. The band’s page on Do Or Die’s official Bandcamp site includes a demo track for a song called Night Terrors. This song differs from the EP as it features a thrashy opener followed by a traditional metal feel. -Dave Wolff

Thursday, April 9, 2015

Band Interview: SHALLOWPOINT

Photo by Toria Lawson
Interview with Heather of SHALLOWPOINT

Since I interviewed you for the print zine of AEA (issue #17), Shallowpoint was on an extensive search for a new drummer. How many drummers did you try out, who is the new drummer and how well does he work with you?
We have unfortunately been through several drummers. There is a lot of time and dedication that goes into doing this; not many people really understand it until they are a part of it. It's not all fun and games; it is a lot of work. So for various similar reasons most of the previous guys did not work out. And I’d like to note several of them were fill-ins until we found someone more permanent, which was super awesome of them to do! We have worked with some excellent drummers and have been very fortunate in that regard! The drummer is the backbone of the band. Somewhere around the end of September of last year Landon Best joined us. He came right in and played all of our songs to perfection. He has an awesome personality and we all get along really well. We are thrilled to have him on board!  We have a few upcoming shows in Knoxville, Tennessee; after those shows we intend to get down to the serious business of writing new material and trying to go on tour. I'm looking forward to seeing what all Landon will bring to the table for our new stuff. He is an outstanding drummer so I have no doubt that it will be killer! So be on the look out!

How much effort did you discover a working band requires? How much resilience have you maintained?
Wow, the hard work and effort we put into this is unimaginable at times! We are solid DIY at this point; we book our own shows, we advertise our own shows, we do almost all of our own graphics, videos and promoting. We have been lucky to have many good friends and fans who offer their help with things from time to time. Several fans run our Facebook street team pages! All of that plus band practice and day jobs, yes, it's hard. You really have to be tough in this business, I know without a doubt we have proven we are!

Has doing the band grassroots helped you forge your own path, so to speak?
Being in a total DIY band I have learned so much: promotion, social media, how some of the music industry works. It is all amazing and a big huge interconnected web. We have no management at the moment so we are pretty much on our own and always have been, other than help from family, friends and fans.

So the band is essentially self-managing at this point? Who in the band is making decisions as to your next show or promotion campaign, or is it more of a collective decision?
I do most all of the social media and Internet work. Most all of the major decisions are made collectively. I always ask the guys if they want to/or can play a show; I don't just take them without asking. I try to always be considerate.

Describe your tryout of Landon Best and how you decided he was the drummer to fill the spot.
I actually met Landon on Facebook. A mutual friend heard we needed a drummer and connected with us. I talked to him quite a bit about the band, our goals and such. He seemed interested and had similar goals. After a week or two he wrote me and told me he had all of our songs down. To be quite honest, I was not sure I believed it! (laughs) We had him come in and try out, and the whole band was quite impressed with him, so needless to say he got the job on the spot.

Did Landon have to relocate to work with Shallowpoint full time? I think you mentioned he traveled from another state?
Landon lives in Maryville, approximately a forty minute drive to where we practice. Which is still quite a drive with gas prices the way they are. But he makes the drive with no complaints. We live kind of far out in the country.

Are Landon’s musical tastes similar to the rest of the band’s? What drummers does he admire and draw influence from?
Landon likes a lot of the same stuff the rest of us like. His biggest influences are the Rev from a7x and John Bonham. Two of his favorite bands are Ghost and Demon Hunter.

Describe how Landon handled your material the day he tried out? On which of your songs did he most shine? Where does the band usually practice and how often?
Landon handled our material like a pro! He shines on everything he does, no complaints with this guy at all! The band practices at my house and we always try to practice once a week. Sometimes more when preparing for a show.

Were any of the drummers who filled in before you settled on Landon contenders for a permanent position?
All of them were worthwhile; they just did not work out for various reasons. One had huge musical differences and liked a totally different genre. But why would anyone come and play with a band of which they did not like the musical genre to begin with? I don't know. (laughs)

From what I have seen the band has had some successful performances over the past year. Cite a few of them here?
The latter part of last year was really good for us!  We got to play a festival with Sevendust and a multitude of awesome bands! We got to play with Fuel and Saliva, both of which were awesome shows! A few of those shows have opened even more doors for us, as we have made new friends and connections.

What was your festival performance with Sevendust like? What festival was this and many bands appeared with you? Did you meet Sevendust or the other bands in person at this fest?
Sadly Sevendust actually got rained out of playing that night. It was a monstrous storm!  We did get to meet LaJohn, and hung out with him and Tantric for quite some time.

Where was the show you played with Fuel and Saliva? Are these local Tennessee bands or did they come from elsewhere?
We played with Fuel at The Warehouse in Clarksville, Tennessee. I don't believe they are from here. And we played with Saliva in Jackson, Tennessee at the Emporium. They are, or at least some of them are from Tennessee. I am friends with their guitar player Wayne Sweeney on Facebook.

How many new connections and friends have you made from the performances discussed above?
The guy who booked us for the Saliva show also booked us for the Wayland show we played recently. He is a super awesome guy and I am glad to have met him.

Are there any new bands from the Knoxville scene you consider worth mentioning?
Knoxville has a multitude of up and coming bands! The scene is interesting to say the least; way more bands than there are venues to play. That has always seemed to be the biggest concern within the scene. But new venues are opening here and doing well. All are happy about that.

Name some of the new bands coming from Knoxville and the older bands that are gaining more popularity. Do you have the same amount of venues you did five years ago? Any new places to play these days?
Really and truly, there are mostly the same bands around here as there were five years ago. There are Divided We Stand, Vankale, Deconbrio, Imprint, Tears To Embers and Omega Down. There is only a small amount of new bands to the scene, at least so few that I am unfamiliar with their names as of yet, or they are a different style of music that I don't listen to much. The venue numbers seem to stay about the same; some come and go, and come and go again.

What new venues have opened in Knoxville of late? How are the turnouts at your recent shows?
There is a new venue called Whiskey River Wild. We played there with the band Dope; it is a nice establishment run by nice people. There is another new venue called Open Chord, another excellent establishment with superior sound and sound guys and lighting. It is a neat venue because it is also all ages. I've always thought it important that the younger generation is able to be exposed to live music. We also have the Bowery back! They are starting to do once a month rock shows there! We only played there once when it was open the first time.

How long have Whiskey River Wild and Open Chord been open now? Do these clubs draw when bands appear?
Both of those clubs opened real close to the same time. I want to say both of them have been open approximately six months now. We played at both of them and both nights had good crowds. They are both located in a little different area than the other two venues here, they are located more of what I would call West Knoxville. Near the mall, the more traveled area. Some of the others are a little more off the beaten path.

Did the Bowery close down for a while? How excited was the band upon hearing the venue was reopening?
They did stop doing live rock shows at the Bowery for a while. We were excited to hear they were going to start doing rock shows again! That venue just has a lot of charm, a really good vibe there. Also they have a courtyard which is nice to hang out in the summertime.

I’ve heard a couple of songs by Dope and have seen their videos and live clips; from what I saw they seem like down to earth people. How was your experience playing with them?
Dope was awesome! They were one of the best live shows I have seen in quite some time! They played at Whiskey River Wild, which is a new venue in Knoxville. The venue used to be a Japanese restaurant and we used to eat there all the time, so it was so strange to be standing there watching Dope in the place that we used to eat at for years! (laughs) The members of Dope all had great personalities. There was a lit sign of us and them; they changed the wording around, switched lettering to say something like Nope and Shallowpointed. I have a picture of that somewhere! (laughs)

I think it was you who introduced me to Twisted Hillbilly’s online zine and record label. Their interview with me can be viewed at their official site (http://www.thmag.us). Do you know if they are still active today? When you first heard of Twisted Hillbilly, were they the first major label/fanzine/webzine to come from your area, or were there others?
From what I can tell of them these days they seem to be more into modeling and photography with models. I rarely see much music stuff coming from them anymore. I am not in contact with any of them, so I truly have no idea to what extent they are still involved/or not involved in music. As far as I know they are the only one located locally.

The band has filmed promotional videos for a few songs. Discuss each of them for those who don’t yet know about them?
All of our music videos were filmed and produced by the band itself! To us this allows for more creativity, which we love! Our first one we did was for the song "Nothing Left." It was our first time filming and producing a music video; so much trial and error was made. Even had to go out and buy a whole new computer with huge storage capabilities because we were working with such large files. After a few small learning curves we came about with a very satisfying and quality product, most especially for the first one ever. Our second music video was for the song "Self Inflicted." At that time we had a whole lot of super creative friends hanging around with us, and we were bored, so a whole lot of time was spent contemplating ideas for this video. There is a story behind that video as well, which includes actually running from the police! (laughs) NONE of us will ever forget the making of that video, ever. There were about thirteen people involved, whereas the first video was band members only. We are currently in filming for our third self-filmed and self-produced video. This one will be for the song "Broken Life." We are about halfway through filming. We hope to have it out in the next few months.

What’s the story with the band running from the police during the filming of Self Inflicted?
Self Inflicted was filmed at an old abandoned water treatment plant; the place was not even fenced in. We went down there during the night to film the video; to make a long story short and without much further detail, the police got called on us! (laughs)

Did you have to explain to the police you were filming a promotional video, or did you have to avoid them completely?
They eventually caught up with us; we explained what we were doing and no harm or damage was done. They really could not say too much to us because there were no "no trespassing" signs anywhere on the property and it was only partially fenced. But they had to investigate.

Is the band producing the video for Broken Life independently or with a professional company? Why did you choose this song as the basis?
We are producing and filming our new video independently; Chuck Shallowpoint is the producer. He always has a vision in mind and knows how he wants it. Lots of thought and creativity go into the making of our videos; we obviously do not have the most top quality cameras available but we make the most of what we have to work with. Some of the shots in the videos are extremely thought out while others just happen spontaneously; we will see a perfect shot and take it!  We are selective of the shots and scenes in the videos, and many do not make the cut. It is amazing how much time it takes to do a music video. Sometimes there are a hundred clips of what would appear to be virtually the same thing, but there will be ONE take that is better than all of the rest. It is why it takes us so long to make them; the filming for the money shot takes time, and then editing takes a lot of time. We wanted to do a video for one of our older songs, and Broken Life is an older song. We just happened to think of the perfect theme for the video and just started shooting it. I would say that is why we chose that particular song. We just roll with things as ideas come to us.

What ideas does Chuck have in mind for the Broken Life video? Is there anything you can reveal in advance?
Not much I can reveal at the moment, we kind of keep our ideas on lock down. So it will be a "wait and see".

Without revealing ideas thought up for it, is the video for Broken Life going to reflect the lyrics in some way?
It will somewhat. Broken Life can have many meanings. All sorts of things can cause a Broken Life, but we do have a good idea in mind for it. Hoping to complete this video in the next month or two.

What filming equipment is Chuck using to produce your next promotional video? Has he gotten any new equipment lately?
We have several different video cameras. One is a Nikon Camera, the other one is a Zoom, and we have even used clips from cell phones. Most all video cameras these days are good enough quality to shoot your own video; it's not really so much about the cameras as it is being creative.

How has the band learned to be creative with the equipment they currently have?
I guess I have learned through life to make the most with what I have been given. Sure you can always wish for more, but when it comes right down to it sometimes things would never get done if you sat waiting for everything to be "right”. Sometimes you just have to go with it.

Has social media had a hand in bands independently producing promotional videos? How much have you noticed this happening and how are most of the videos you’ve seen quality-wise?
I think the digital age has helped bands to be able to do a lot of things on their own that in the past they were not able to do. Ten years ago we would never have known how to even begin to make our own music video. But there is so much information on the web these days, you can pretty much learn to do anything you want to do. It is amazing really. I have seen several bands produce their own videos, but not very many, and this is surprising to me because it is really not that hard nor that expensive. Cell phone videos are even amazing quality these days.

Which of the videos currently on your Youtube channel best represent the band live at this point?
I think the answer to this one would most likely be Self Inflicted. We all love that song and love playing it, it's a fun song.

A few people I have interviewed have commented on the feud between Metallica and Napster over the free downloading issue. What are your thoughts on this and which side had more valid points in that feud?
I am not really sure how I feel about this. I grew up on and loved Metallica. I believe they had enough foresight to see the harm and damage the digital world could cause musicians and bands. I don't believe anything could have changed what was to come with the digital world. It was just meant to be.

Do you think more bands should produce their records and videos independently to have more creative control over their material?
I think a lot more bands and musicians are producing their own music these days. Obviously it is something to feel good about if you produce your own music and/or videos. It is not easy to do, so if it comes out good you have an added talent!

Many independent labels are releasing their band’s recordings on their own sites to halt illegal streaming, which seems to be helping the bands a little. Are there copyright issues you will have to consider so your material is not pirated in the future?
We copyright all of our own songs, so we own our material. No issues there. The onset of streaming has definitely hurt record sales even more. First it was illegal downloading and now no one even bothers to illegally download when you can pretty much listen to anything on any digital device anywhere. To me this brings back the desire for the CD. Because it is still something "physical" in hand for your money and a lot of people really like to have them signed and put them up on their walls.

The internet program Deviants Underground Radio was a major voice for independent and unsigned bands. Do you miss it since it folded?
I do miss Deviants and will always be thankful for the time they spent helping bands. I used to visit the chat room quite frequently and enjoyed chatting with everyone there. I rarely have time to chat these days. There is a new radio show that is locally owned here. In fact I just recently sent them our music. They are called 2 Loco Radio. We have also been fortunate to hook up with Rock Rage Radio! Check them out!

One song Deviants aired frequently was DJ Clay’s Fuck The Radio, in response to radio stations that overplay the same songs as part of their program. Do you think it was time for people to break the mold of what people could listen to on air?
I have personally never heard that song. But radio needs to let up more and play new music and music from all bands not just signed bands. As of now it is the only power there is over unsigned bands. We cannot compete with FM radio at all. Don't get me wrong, we are very fortunate and receive some fb airplay. We have our local station 95.7 the X "Local X" with Oz! It's a two hour block of local music along with who is playing where!

How many new contacts did you meet through Deviants? Where can 2 Loco Radio and Rock Rage Radio be found on the internet? Discuss the exposure Shallowpoint has gotten from those programs?
There are a few contacts I made through Deviants that are still with us. I don't know exactly how many, but a few. 2 Loco Radio can be found on Facebook at www.facebook.com/stripclubchoppersradio.show.2loco and on the web at www.2locoradio.com. Rock Rage can be found online at www.rockrageradio.com.

If I recall, Deviants was the first online program to promote Knoxville bands. How much did it open doors for other net programs to follow suit?
I do believe Deviants was paving the way for what was to come. I see digital radio getting more and more popular now. Many of them are even making some money off of advertisements and ad space on their websites.

How often are your songs aired on 2 Loco Radio and Rock Rage Radio since you hooked up with them?
I just in fact sent our songs to 2 Loco Radio recently, so I’m not exactly certain we have even been aired yet. On Rock Rage Radio I would say it is safe to say we are played at least once a day. They have many different shows and show hosts. Each hour is a different DJ. A friend of ours also has a station called echo Asylum Radio. http://www.echo-asylum.com/radio

Do you still keep in touch with the DJs and staff of Deviants? Has the band submitted material to Asylum Radio?
I do still talk to Pryj, but not as much these days. Her life has changed so much; she seems so much happier and I am glad for her. Asylum Radio does rock our music from time to time. He is getting interviews with big bands and stuff, so I am happy for him.

As there are more independent radio stations surfacing on the net, will more unsigned bands have opportunities to be heard in the U.S. and other countries?
There are a few I think, but I cannot recall them right off. We are played on several college FM stations one of them being Flint Michigan. There are many Internet radio stations; to many to mention. But my favorite at the moment is Rock Rage Radio. They are becoming huge fast!

Are any of your live performances broadcasted on the internet? How do you see the idea of live streaming performances so people in neighboring states and other countries can watch them?
We have several live videos on Youtube, but we have not to date done a streaming performance. So much involved with doing that and getting it to sound right. We have talked about doing it; it's just finding the right venue and the time to really set up for it.

Does Shallowpoint have an official Youtube channel where your live videos can be viewed? How many of your shows have your live clips been collected from? Are most of them amateur or professional quality?
We do have an offiicial channel. We video almost every single show we do, so we can see how we are progressing with our live performances. Most of them we keep private. I am usually more interested in how the band "sounds" but we actually take notes on our movement and our stage presence.

Which of the videos on your Youtube channel best represent the band live at this point?
I would still say the Self Inflicted video does. We are very into theatrics and that one was our first experimentation with theatrics and makeup. We really like the dark creepy stuff! (laughs)

How soon does Shallowpoint plan to compose new material and how do you suspect it will sound? Do you plan to record and release a full length in the future?
We do have a current new album concept in the works. The first song is already written. It is very melodic and heavy to, very much the Shallowpoint sound which makes me happy because we want to still sound like Shallowpoint and bring people the same style of music they are liking from us currently. So far the new song is awesome! I can hardly wait for everyone to hear it! We will most likely be playing it live soon enough, as far as recording goes we still need more songs to make an entire album. So it will be awhile on that. But it's in the works. Thanks for taking the time to interview us!  You have been a longtime friend and we sincerely appreciate you!


-Dave Wolff

CD review: NOCTURNE Ave Noctem

NOCTURNE
Ave Noctem
Do Or Die
Nocturne, a solo project from Chicago, continue the tradition of US black metal with Ave Noctem. Founding member Dan Klein cites black, death and traditional metal as chief influences. While listening I mostly heard the black metal elements, and it could have just been me but a few elements reminded me of folk metal bands like Primordial. At first I didn’t see this heading in new directions but a degree of professionalism demonstrates how seriously Klein is taking this project. The musicianship is tight, with a solid grasp of the atmosphere and attitude a black metal band needs to leave an impression. Inside your thoughts you’ll see ancient unholy magic and inside your soul you’ll feel as if you’re being taken to this distant past. That Klein plays all of the instruments, writes all of the lyrics and composes all of the material proves that one-man black metal bands can produce quality material. Klein is also the sole driving force behind the recording, mixing and mastering so he has a clear vision of what he seeks to accomplish. A recurring theme I found in the lyrics was of escaping from perdition after what had seemed like ages of imprisonment. Famed underground artist Christophe Szpajdel designed the logo with Norgith Demonrace. Juha Vuorma designed the front and back cover art. Do Or Die Records, also from Chicago, is a new label with three releases out: Nocturne’s Ave Noctem, Deathcult’s The Test of Time and Relentless’ Souls of Charon. Updates are on the label’s Facebook community page that they’re planning more releases and will be releasing material on vinyl. Distribution is limited to three figures for each of their releases, which shows they’re building a fan base on a grassroots level from the ground up. Some new releases from early this month include Sons Of Famine and Alleyway. -Dave Wolff

Wednesday, April 8, 2015

CD review: BLASPHERIAN Allegiance To The Will Of Damnation

BLASPHERIAN
Allegiance To The Will Of Damnation
Blood Harvest
Crushing, sacrilegious death metal from these Texans who have been active together since 2004. I am reminded of old Blasphemy; specifically the first time I listened to Fallen Angel Of Doom. The production is different but the motif is similar. The atmosphere here suggests the monsters you suspect lurking behind the scenes might be real. This is what first struck me about Blaspherian; the early 90’s feel, that mystery and foreboding you perceive from horror in which ancient forbidden rituals are performed in isolated castles. I remember the vibe from albums like Beherit’s The Oath Of Black Blood and Mystifier’s Wicca. I also should note Allegiance To The Will Of Damnation is among Blaspherian’s earliest releases from 2007. They have since appeared on some splits and compilations, and released a full length recording. This EP has been in my possession for a while; I don’t even remember who mailed it to me but I finally got a chance to check it out. Die Todesrune Records re-released this in 2008 with two bonus tracks and a live video from Houston recorded in April of 2007. In 2010 it was re-released a second time by Deathgasm and in 2013 it was re-released yet again by Death Division Rituals (a limited edition of 200 copies). The first release of Allegiance contains five tracks and a brief introduction sampled from the movie Omen III: The Final Conflict. The Omen trilogy is a favorite series so it’s a plus to hear Sam Neill’s soliloquy as the son of darkness in his private chamber. The intro sets the tone for the tracks that follow, which personify a hellish soundtrack to lyrical blasphemy leaving no room for doubt as to the band’s position on organized religion. In many places there’s a mid 90s feel with the deeper aspects here, with traditional crunch and double bass. Morbid Angel would be an obvious comparison, but the occult themes added provides a fitting balance just when they’re needed to come to the surface. -Dave Wolff

Saturday, April 4, 2015

Interview with Dave Wolff for Crossing Darkness zine

The editor/staff team of Crossing Darkness interviewed me for their zine. The article below is posted with permission. -DW

Damiana: Tell me when your zine was formed? Why the name? Who are the demons who run your zine?
Autoeroticasphyxium zine (AEA for short) ran as a print zine from 1997 to the present day. The zine became an online blog in 2015. I (Dave Wolff) have been editor and publisher; to date several staff writers have contributed reviews, interviews and articles. I named the zine after a song title I thought up some years earlier. I thought it was a unique name for a zine that would grad attention.

Mysteria: Do you think people are actually interested in reading and bio or full history of a fanzine these days?
You mean print zines? If so, there are still many circulating around the States and overseas, and I’ve heard of fanzine conventions being held on a regular basis here in New York and elsewhere, so I would imagine there is still a substantial demand for them.

Hypatia: How many issues did you put out? How can “fans to be” gain access to it?
From the beginning to the present I’ve released 24 issues of AEA altogether. Unfortunately only a few print issues are still available at the time of this writing since I started the blog. If interested you can contact me for purchase or trade information.

Mysteria: What important writings do you have in your zine and who wrote them?
Several contributing writers have had articles published in Autoeroticasphyxium; Will Lovelaw, Joe Zuchowski, Goddess Rosemary, Jade Amazon and Billy Metts to name a few. One piece by Joe Zuchowski was about the life and times of HP Lovecraft and another dealt with the pagan origins of the Christmas holidays, with special attention to the legend of Krampus.

Damiana: What ideas do you aim for? What’s the weirdest thing you uncovered when researching material for an interview or release review?
Originality and creativity are what I consider most important when it comes to seeking interviewees. One friend who I interviewed works in a funeral home and another constructs art made from the bones of deceased animals he collects on the highways.

Hypatia: If a tornado hit and the funnel captured seven copies of one of your issues, whose hands would you want them to land in?
Really, the hands of anyone who would get the most out of reading each of those seven issues and walk away thinking.

Damiana: What bands have been your biggest influence? Any album from your teen years that made you say, “Fuck, one day I am going to do this”?  What instrument do you play or are you air musician at shows, in your car and at home?
Venom’s “Black Metal” was the first thrash album I heard, and at fourteen years of age it shaped my taste in music from my teenage years until today. That album had a profound effect on me and I can still listen to it without ever growing bored. Toward the late 80s I found there were too many bands copying Metallica and Slayer so I gravitated to more obscure bands like Carnivore and Prong and started listening to lots of punk, hardcore and grindcore (GG Allin, Sheer Terror, Sore Throat). I played drums for a few local bands in the late 80s and early 90s, but since I started a career in music journalism I haven’t played in a long time.

Mysteria: How important do you think the visual part of a fanzine is?
Good artwork and a healthy amount of photos are important for a zine, but content is most important to me. I prefer articles that are well thought out and the result of extensive research to fluff pieces that only say “this band is cool” or “this CD is awesome.”

Hypatia: Any future releases coming out demos, splits, EP or album you are looking forward to listening to this year?
I just heard Iron Maiden has a new release coming out soon; I’d be interested in checking it out since I have been a fan for more than thirty years. Other than that, just the new releases coming out from bands I correspond with on a regular basis.

Damiana: What would be your main claim for the fanzine?
Autoeroticasohyxium currently covers bands, fanzines and reviewers of horror films in interviews; also included are articles, reviews of fanzines, full length CDs and horror movies. Staff and contributing writers are Frank Garcia of Metal Album Reviews, Victor Varas of Zombie Ritual zine, Tony Reborn of Reborn From Ashes zine, Lady Kat Chaos of Obscure Chaos zine, Reggae, Joe Zuchowski, Goddess Rosemary, The Angry Princess of I’ll Slash Thru The Rest To Get To The Best, Baron of Baron’s Crypt and Christina Bergling of Movepilot.com. Winston Blakely and Alexander Kautz did the cover art when it was still in print. Cerebral Agony covers art, fiction, poems and photography. Contributing their work are Rich Orth, Kaya Chaos, Armand Madji, Abyss Forgottentomb, Sky Claudette, Lioness De Winter, Sarah McKellar, Daina Lewis, M Teresa Clayton, Jerry Langdon, Eric Forsberg, Fury, Corvo Sahjaza, Johnny Hellion, Laura Pettelal-Entiwsle, Skitz J. Fitch, Debbie Dixon, Heather Dawson, Chris Chaos and many others.

Mysteria: Talking about magic, how can art be a form of ritual?
In the sense that art is intended as a form of expression designed to encourage people to think, especially if some find it offensive. If it is used in this context and the artist is not hurting anyone or breaking any laws, he can express himself as he chooses and defend his work if it is taken out of context, whether unintentionally or deliberately (if someone criticizing it has a hidden agenda).

Damiana: Do you think an aura of magic and mystery would shape ones identity?
When it comes to bands, it has worked for many old school bands including Venom, Bathory, Sodom and many of today’s death and black metal bands such as Acheron, Immortal etc. Inventive stage names help set the tone when you check a band out.

Mysteria: Do you think some bands are accused of being in league with infernal forces, but truly are not?
I think this a common occurrence with metal bands in general. In many cases many bands who are accused of using demonology or summoning malignant forces with their lyrics are simply using their imagination much as a horror author would.

Mysteria: What do you think about Global Warming and how do you take care of the Earth? Do you use recycled paper for your fanzine?
Not entirely certain about the global warming part but I do think there is a need for us to stop overusing our resources. The copiers where I went to have the zine printed used recycled paper, and I would make a point of buying it there.

Hypatia: Have you ever seen “shadow people”?
I can’t say I’ve seen a shadow entity in person, nor can I say what they are or from where they originate. I’ve done a small amount of research about them but haven’t gathered enough information to formulate an opinion either way.

Verdantia: Have you ever felt chills going up and down your spine or cold spots around your house or at a club (and not talking about winter drafts)? Does that freak you out?
I haven’t had these experiences at home as much as the location I’m getting to in the next couple of questions.

Mysteria: While walking around in darkness which would you say is more spiritually, a cemetery, railroad tracks, a forest?
From these three choices, I would have to say a forest feels most spiritual to me.

Mysteria: What are some of the most bizarre experiences you have had?
When I was living in Massachusetts I had some experiences that could have been described as paranormal. The place where I lived was reputedly haunted and I saw a few things you could say would have confirmed this. Curtains would move on their own and once a piece of tape peeled halfway off the wall and started moving up and down.

Verdantia: Is crying is a weakness or a powerful emotion?
Anything that helps to release negativity from your system, whether it’s sadness or anger can be a good thing. Especially if the negativity in question comes from others (drama queens and psychic vampires). If people transfer their shit to you, it’s because they are weak and unable to deal with life. People like that you don’t need.

Damiana: If you had to write your own headstone what would it say and how would you design it?This isn’t something I have put much thought into at this point.

Verdantia: What do you think is the strongest Fire, Water or Air and which do you feel is more destructive when it comes to Blaming Mother Nature?
I gather each element is equally beneficial or destructive, depending on the location and circumstance.

Mysteria: What does our zine name, Crossing Darkness mean to you?
The name sounds appropriate for a zine for subjects related to underground metal and the occult.

Mysteria: Any last haunting words?
Thanks for your interest and sorry for the relatively brief answers. This interview was somewhat spur of the moment. Interested parties can contact me at
AEAzinedw@aol.com. Check out the zines online at aeafanzine.blogspot.com and cerebralagonyzine.blogspt.com.

Friday, April 3, 2015

Interview with Dave Wolff for Printed Fanzine Legenda Arising

Lady Kat Chaos of Obscure Chaos zine and Printed Fanzine Legends Arising zine sent me these interview questions and granted permission to post the article here. -DW

Metal Hails Brother! For the readers who don't know you or your zine Cerebral Agony Zine please introduce yourself.
I’m Dave Wolff, editor and publisher of Cerebral Agony, a zine featuring art, poetry, fiction, articles and photography. As many of you know, I also publish Autoeroticasphyxium featuring extreme/underground music, performance art and horror cinema. Both of these are former print zines which became blog zines.

When did you start to check out fanzines and what were some of the first ones you read? What fanzines recently caught your attention?
I first started reading fanzines in the 80s when I picked up issues of Nightmare and Metal Core in a local Long Island mom-and-pop record outlet, Slipped Disc Records (it closed in 2007 but the owner still makes show appearances; visit slippeddiscrecords.com for info). Before that, a high school friend showed me a copy of Kick Ass Monthly; as I recall it had Raven on the cover and reviews of Corrosion Of Conformity, Hellhammer and Sodom. Those were the first zines I read dedicated to metal. As for punk/hardcore zines, I obtained my first copy of Bullshit Monthly at a CBGB hardcore matinee, from editor/publisher Mike Bullshit who was the vocalist for S.F.A. BSM was the first DIY publication I read; it usually went for 50 cents. It featured lots of news about the hardcore scene and I was a regular reader from 1986 to 1990. BSM is still active; back issues can be read at mikeslobs.blogspot.com. Another punk zine that is still active is Maximum Rock N Roll, the largest I ever read with interviews, reviews, news and scene reports from the world over. In the early to late 90s there was the punk/metal zine Under The Volcano and the metal/occult zine Endemoniada. Webzines and fanzines that have my attention of late include Brutalism, Arte Mortifica Reviews, Reborn From Ashes and Soulgrinder.

What was it that got you interested in writing for zines in the first place? Who were some of the zines you were a writer for? What fanzines are you still contributing to these days?
My first paper job was as staff writer for The Angle, a local paper based in Flushing. After it folded in 1994 I hooked up with the local Long Island paper Good Times, and wrote for them from 1994 to 2009. As I was the only staff member covering underground music, I was given a regular column (The Dungeon) exclusively featuring metal, punk and hardcore. As far as fanzines, I was inspired to publish one of my own by reading a NYC zine known as Endemoniada. This zine is no longer in print but it can be viewed online at angelfire.com/ny3/ENDEMONIADA. I corresponded with Lucifera one of the editors. I liked this zine immensely because she and the other editors made no secret of their enthusiasm for cutting edge bands and the left hand path. While I’m not a full-on practicing Satanist that integrity inspired me to support the underground with a similar kind of unapologetic dedication. I have written reviews for Endemoniada, Jen’s Metal Page, Brutalism, Transylvanian Forest, Taste Of Khaos, Reborn From Ashes and Obscure Chaos.

You are also the editor and publisher of Autoeroticasphyxium Zine, which used to have an art, fiction, photography and poetry section, what made you decide to take these sections out and make it a new fanzine, Cerebral Agony Zine which is strictly an art, fiction, photography and poetry zine?
It just felt like the time had come to expand into two publications. I was receiving a great deal of material and it seemed like a logical progression. I thought it would be a good idea to have a zine entirely dedicated to art, fiction and written verse. The two issues I released in print received a favorable response, admittedly more so than the art/poetry issue of AEA (issue #24). I still cover horror and performance art in AEA along with coverage of extreme bands. Another reason I started online zines was I was being ripped off too much. I sent promos to contributors who agreed to review them and never got the reviews. I traded zines out and didn’t receive any trade material. And some people walked out on email interviews with no explanation. This happened with several writers for months. Sometimes there was good reason, other times not. It was draining putting thought and preparation into interviewing and networking and getting nothing back. I was rightly annoyed by those delays and for a time I considered retiring the zine altogether. But in the end I thought I should continue. Since starting online I have been reaching more readers in less time.

What types of artwork interest you the most? What is your philosophy about the art world in general? What dark artistic passions or obsessions do you see in some of your contributors’ work? What are your limits in your expression of the dark side?
I like most of the art that’s related to sci fi, superheroes and vampires. When I was young I read Marvel and DC comics (Spiderman, Batman), and was a huge fan of Planet Of The Apes, Star Trek, Space 1999 Logan’s Run and Star Wars. I had a certain affinity for such comics as Ripley’s Believe It Or Not for the supernatural tales. In one I remember an old woman’s ghost returns to haunt the young woman who accidentally killed her. The character of Vampirella held a certain interest for me, she was creepy yet fascinating. I was taken with the tales of Dracula and Frankenstein; I remember two graphic novels published in the early 80s that I read from beginning to end inside the bookstore; I liked those for the storyline and the atmosphere captured in the panels. The material being published in Cerebral Agony entails dark romance, insanity, paganism, the left hand path, alternative modeling, remembrance of pre-gentrification era New York City and the like. The creation of art from these sources and where the inspiration comes from. I’m open to publish almost anything in the zine, as long as there is something to say beneath the surface.

Do you feel the artists were inspired by the music of metal, or by the album covers and other imagery we associate with the genre? What album covers have inspired you over the years? Do you draw or paint but keep that side of you hidden?
I think it depends on the contributing artist. From what I gather many of them have been inspired by the same horror movies but they are inspired by them in different ways and have different interpretations of what they see. Album covers that spoke to me or inspired me through the years include Mercyful Fate’s “Melissa” and Celtic Frost’s “Emperor’s Return” for their haunting imagery. The covers of Bathory’s “Blood Fire Death” and “Hammerheart” were majestic in scope and did well to interpret the ideas Quorthon had in mind for the material within. The back cover and inner sleeve of Carnivore’s debut album tied the songs into a post-apocalyptic concept that could have easily been made into a movie. Personally I have drawn a few pieces and written some fiction but nothing full time.

How did you choose which artists and artwork to include? Did all of these artists already have work ready that fit in with your theme? Or did you ask some of them to produce work specifically for Cerebral Agony Zine?
Before I started Cerebral Agony, I published an issue of Autoeroticasphyxium dedicated to art, fiction, verse and photography. Some who contributed to it contributed said material to previous issues; others were interviewed. From then on I became acquainted with new contributors who lent their work. For the most part I gave them free reign to submit anything they thought would fit the special issue of AEA and both issues of CA. Each submission provided something individual and unique in its own way.

Have you written fiction stories in the past and are you currently working on any fiction pieces?
I wrote several fictional pieces and a few poems for a fiction zine from Mississippi called Gatekeeper from 1998 to 2000. One of the latest fiction pieces I wrote, entitled Touen, was published in the Infernal Dreams anthology Blood From The Underground which has been available for several years. This piece was loosely based on The Blair Witch Project, ran in Gatekeeper and was posted at an online fiction site, Ross’ Blair Witch Page. I don’t that site still exists online but the anthology can be purchased at Amazon.com.

If any artists, photographers or poets might be interested, are you looking to work with anyone new? What styles of art photos, fiction and poetry are you looking for within Cerebral Agony Zine? If one is interested how can they contact you?
I am always looking for new talents to contribute their work to Cerebral Agony, and be interviewed for CA and Autoeroticasphyxium. Interested parties can drop me a line at my email address or Facebook profiles linked below.

Many printed fanzines have stopped due to a rapidly declining interest and rising printing costs. It’s hard to come up with money to do it properly besides adding envelope and postage costs. Cerebral Agony had two "print" issues before going to the net. Do you still have printed issues left? What gave you the idea to go from a print zine to a web-zine? Are you happy with how things have progressed so far? What can people expect when they check out Cerebral Agony Zine’s blog?
There are presently still copies of Cerebral Agony #1 and #2, and the art and poetry issue of AEA. A few other back issues of AEA are also still available for trade or purchase (readers can contact me to see which ones). As much as I wanted to continue releasing both zines in print, the financial issue was beginning to get in the way and I eventually decided it would be less costly to do the zines online. Since starting the blogs I’ve reached more readers in less time which is a plus. I’m currently posting fiction and poems from longtime contributors including Rich Orth. Steven Michael Pape, Heather Dawson, Abyss Forgottentomb, Alexander Kautz, Lioness De Winter and M Teresa Clayton. I am also posting new interviews with Troy Acree, Kaya Chaos, Johnny Hellion, Christina Bergling (for her recently released novel Savages) and Joe Zuchowski and Roger Letizia (about their stage production/independent film Cabaret Diabloque). You can read this material and more at the Cerebral Agony blog which I’m including the address to below.

You miss the old days. I am sure we can utilize and enjoy certain aspects of the internet such as email to our advantage to conduct interviews. But the camaraderie, brotherhood’/sisterhood, and feeling you are part of this special thing together seems to be lacking these days. The scene to me feels less of wanting to help each other succeed whether you’re doing a fanzine, a band or a venue. Now it is more like ‘what can you do for me and how fast can you do it’ instead of ‘how can I help you out and how can I return the support’. You are like me and have been part of the scene for thirty plus years, I am curious of your opinion. How do you feel the printed fanzine scene has changed over the years? Do you think it has gotten better with all the progression and technology or worse?
In the 90s I would hear a lot about bands stabbing each other in the back in relation to shows and whatnot, here in Long Island, New York and other areas. Also if you were from Long Island and into death metal, you were almost obligated to hate black metal and not even give it a chance. I was one of the first Long Islanders to support black metal (along with a local band The Forgotten), but aside from that I have always made an effort to avoid drama and work with people who were for real about mutual support in the scene. I am still one of those who think print zines are important; there are still many of them circulating. They might be a little harder to find but if you look you can come across them. Again, webzines and social media sites are beneficial to the scene as they help fans from different countries connect more readily and there are more opportunities to exchange information about scenes across the seas.

I have said many times over the years but I’ll say it again, your interviews and reviews are some of the most well-written, in-depth I've read. When you start work on an interview or review how long does it usually take you to complete it?
It depends on the feedback I get from interviewees. I interview by a round of questions at a time, basing each subsequent round on answers from the previous round. This process began by accident but developed on its own and results in a thorough article giving the reader a complete impression on where the interviewee is coming from. Examples include interviews I have conducted with Alan Lisanti of Dying Eyes Of Sloth, Haniel of Markradonn, Damien LaVey of Three Sixes, Erik Martin of Critical Dismemnermet, Baron’s Crypt reviewer Baron and many others. Reviewing takes less time since I’ve been in practice for so long (twenty-plus years).

Is there any artist, poet or fiction author interview that sticks out as a favorite of yours? Who are some legendary artists, poets or fiction authors you have yet to interview that you would like to get the chance to?
Poets I have interviewed for AEA whose work is worth checking out include Rich Orth, Abyss Forgottentomb and Jillanna Babb who have always been supportive of the zine. Rich Orth is a fan of Edgar Allan Poe, something we have in common since Poe’s writings likewise speak to me. Alexander Kautz is an active author and artist whose work has appeared in AEA more than once. I wouldn’t mind intervewing Stephen King at some point in the future though I’m aware t’s a long shot at this point.

How do you market and what has worked for you in your marketing efforts?
Advertising the zine on a grassroots level and by word of mouth has always worked best for me. And agai, doing both zines online is helping me to reach more readers in a briefer amount of time.

You are clearly passionate about your fanzines. What is it that you believe to be the motivation for you to continue pursuing your passion? What is the root cause? Do you have any advice for anyone who is reading this is who is thinking of starting their own zine blog or printed fanzine? In your eyes what makes a good zine?
Before I indicate what motivates me, I’d mention my distaste for hypocrisy. I learned people who preach the most about being open-minded are the least tolerant of differing viewpoints. Some try to change you and badmouth you when it doesn’t work. Others look down on punk and goth models dancing at fetish themed events as “sluts” but rave about how hot a blonde at a strip club is. That being said, originality and creativity are most inspirational, especially where extreme music is concerned. Bands like Emperor and Nile have pushed those boundaries taking metal in new directions. That, to me, is far more open-minded than writing something off because it’s not “popular” or rehashing formulaic pop for more money or recognition (because someone is not in this for money, and only for money, does not mean they prefer being broke, but the actual work is as important as making a living from it). I don’t make a big deal out of being “open-minded”; I just listen to what I like; whether it’s metal, goth, Celtic, ska and reggae, what have you. What makes a zine worthwhile to me is information, especially information you wouldn’t find anywhere else. My advice to aspiring publishers is to avoid writing fluff articles, and instead of summing up bands with a few words explain the reasons a band speaks to you, whether reviewing or interviewing them.

Can you also give some advice to people that have a hard time dealing with their time and responsibilities?
My advice there would be to focus on one thing at a time instead of multitasking and not to be concerned with the competition that exists between bands and zine editors since that can be draining and your energy is better spent into being creative with your work.

I would like to thank you for taking the time to fill this interview out, for all the help you have offered many throughout the years. Keep up your blasphemous work! Continued good luck to you and Cerebral Agony Zine! Do you have any final comments for the readers?
Check out the zines online at aeafanzine.blogspot.com and cerebralagonyzine.blogspot.com, and thanks for your support! Contact me at AEAzinedw@aol.com.