Live Report: Psycho Las Vegas Day 3
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Sunday started much like the previous two days. I needed the same movements and gestures to prepare me for one last onslaught of noises, both musical and otherwise. I was confronted with both relief of having made it this far and sadness that it would soon be over. I would never have come to the Hard Rock Hotel and Casino unless it was for something of this magnitude, so it would make complete sense for me to be pretty well burnt out on my temporary home.
But it was quite the contrary. I had found my own reason to be in Las Vegas — my own way to have an expensive, borderline self destructive vacation even without booze. To be honest, I was in a decent amount of pain and discomfort from the sheer amount of walking, running, and standing over the previous two days. My realization, though, helped me to wear the pain as a badge of honor instead of a burden. This spurred me on for the rest of the day… and what a day it was.
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The first offering of the day started at noon with Windhand at The Joint. The simple, yet massive riffs alongside Dorthia Cottrell’s haunting and soulful singing was like a large train leaving the station — steady and determined — but still slow and accessible for the those who wanted to take the ride. Looking around at the crowd, I could plainly see the toll that had been taken from the past two days. But it began to melt away as Windhand’s set moved on, acting as a bloody mary of doom curing their headbangovers.
Seeing and hearing Zeal and Ardor for the first time was quite an experience. Two things stuck out: black metal-inspired tremolo-picked guitar and extremely soulful blues-based singing. Well-executed and dismal riffs danced around powerful melodies inspired by spiritualistic hymns and chain-gang chants, cutting right into your core. For a project started on an online comment thread, Zeal and Ardor’s small spark of inspiration ignited into an amazingly well-written collection of music. It is a clear testimony to Manuel’s creativity that he basically created a modern metal version of Robert Johnson.
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Upcoming Metal Releases: 1/21/2024-1/27/2024
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RHÛN -- Conveyance in Death | House of Inkantation | Black Metal | United States (Portland, Maine) From Jon Rosenthal's track premiere of "Bone Ornament":Moving outside both their perceived comfort zones, RHÛN's debut album is a chunky, heavy bout of black-and-death metal psychedelia, forged deep within the Maine wilderness.
...
Olhava -- Sacrifice | Avantgarde Music | Atmospheric Black Metal | Russia (Saint Petersburg) The longest album from the Russian duo is as insistent as anything they’ve done. The 86-minute (!) runtime alternates between stunning blackgaze that shimmers with the optimism of a sunrise and ASMR-esque, nature-inflected ambient soundscapes. Sacrifice is clearly meant to be listened to in a single sitting—a difficult ask if this isn’t your thing. Still, there’s a certain euphoria in that achievement. Best enjoyed on headphones, so the record can envelop you like a blanket.--Steve Lampiris
...
Exocrine -- Legend | Season of Mist | Technical Death Metal | France (Bordeaux) One of the most agile bands in tech-death, Exocrine continue to dazzle with astonishing musicianship on their sixth outing. With each album, the French quartet gets a little weirder. This time, they bring back the jazz and electronic experimentation from 2020’s Maelstrom and expand on it. It’s all paired with metal ay-eff lines like “I want to feel his wet flesh yielding under my sword / In this tentacle orgy, cathartic violence” amidst the mostly-coherent narrative. So, yeah: Legend sounds like Exocrine.--Steve Lampiris
...
Knoll -- As Spoken | Independent | Grindcore + Death Metal + Noise | United States (Tennessee) Tennessee’s premier “funeral grind” troupe build on the successes of 2022’s all-devouring Metempiric, putting distance between themselves and that lazy, no-good Full of Hell Jr. tag by fermenting an absurdist Portal-like nightmare cankered with scabrous ooze- crust, generously marinated in the band’s customary seethe and brio.--Spencer Grady
...
Lucifer -- Lucifer V | Nuclear Blast | Hard Rock + Doom + Heavy Metal | International Lucifer's fifth chapter isn't too dissimilar from the band's past work, but there's definitely more of an emphasis on the vocals here. While I liked the indulgent delivery and the bolder song structures that let them shine, they're sometimes backed up by riffs that aren't quite as sharp as we've seen from the veritable supergroup before. That being said, Lucifer is still unimaginably far ahead of the pack when it comes to capturing their specific strain of proto-metallic, hard-rock-leaning doom.--Ted Nubel
...
Blood Red Throne -- Nonagon | Soulseller Records | Death Metal | Norway Blood Red Throne sound as fresh as a new-born baby on their 11th album Nonagon, released 26 years into their career. Jesus, that's a long time. Thankfully, tracks like "Seeking to Pierce" are as timeless and welcome as a preserved baggie of loud, upon whose opening your senses are struck with nostalgia and ecstasy. It's slick, heavy, and groovy; death metal as the One Above All intended.--Colin Dempsey
...
The Internal Sea -- Hellfenlic | Candlelight Records | Black Metal | United Kingdom The Infernal Sea's black 'n' roll continues to succeed on their fourth full-length album. Hellfenlic is catchy as hell yet never veers into pop territory, balancing rawness with a swagger that more black metal bands should emulate.--Colin Dempsey
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Cognizance -- Phantazein | Willowtip Records | Technical Death Metal | United Kingdom (Leeds) As we stated in our premiere of Cognizance's "The Towering Monument," the band's strength lay in their ratio of technicality to grooves, which stand in near equilibrium. Thanks to this equation, their knotty death metal is approachable without pandering to those who fear non-4/4 time signatures.--Colin Dempsey
...
Rituals of the Dead Hand -- The Wretched and the Vile | Immortal Frost Productions | Doom Metal + Black Metal | Belgium (Limburg) Black metal and doom metal hybrids should, in theory, eviscerate the listener, whether through crushing heaviness or outright maliciousness. While both elements are present on Rituals of the Dead Hand's third album, there are also welcome melodies and diversity among the tracks that deepen the group's repertoire. It's still chunky black metal played with doom metal's tuning, but with an attractive sense of forward momentum that keeps everything zesty.--Colin Dempsey
...
Dissimulator -- Lower Form Resistance | 20 Buck Spin | Thrash Metal + Technical Death Metal | Canada (Montreal, Quebec) As a technically inclined thrash metal band from Quebec, Dissimulator easily conjures comparisons to Voivod, the main technically inclined thrash metal band from Quebec. Fortunately, on their debut album, the younger band stakes their claim as merely being influenced by their progenitors instead of outright emulating them by combining Voivod's peculiar vision with old-school death metal. Think Possessed death metal rather than Morbid Angel, and you'll get the idea.--Colin Dempsey
...
Kalt Vindur -- Magna Mater | The Circle Records | Black Metal | Poland Some black metal albums benefit from clear production as they embolden a group's strengths. Magna Mater is one such album. It's a marble slab of black metal with a hefty rhythm section that Kalt Vindur put to the test. They're always moving between riffs, solos, and bridges as if challenging their drummer and bassist to catch up. These nuances might've gone ignored on a record with lower-fidelity recording, but Magna Mater puts them in plain sight.--Colin Dempsey
...
Vitriol -- Suffer & Become | Century Media Records | Death Metal | United States (Portland, Oregon) The chaotic death metal cohort get even weirder and more chaotic on their latest albumSuffer & Become. While Vitriol are now signed to Century Media, they definitely haven't turned down the volume, as the entire album is a solid blast of destruction and aggression. Fans of outside-the-back extreme music should take notice.--Addison Herron-Wheeler
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Cosmic Void -- Subterranean Rivers | Independent | Death Metal | Germany (Dresden) European death metal is at its finest with Cosmic Void's latest, Subterranean Rivers. While there isn't much on this record that we haven't heard before, it still manages to do the job and nail the sound perfectly. It's also incredibly catchy.--Addison Herron-Wheeler
https://www.youtube.com/watch?v=De21ohjusVk&ab_channel=CosmicVoid...
Mega Colossus -- Showdown | Cruz del Sur Music | Heavy Metal | United States (Raleigh, NC) Jam-packed with both insanity and killer riff, Mega Colossus's new record is another deep-end plunge into high-speed metal that's delightfully odd.--Ted Nubel
...
Mountain Caller -- Chronicle II: Hypergenesis | Church Road Records | Progressive Post-Metal | United Kingdom Mountain Caller craft engaging, near-incomprehensibly huge-sounding post metal that's stuffed to the brim with adventure. Each song opens up to the listener like a verdant plain unfurling or a thorny jungle revealing its secrets. I've been following this band for a while now and this new release is another immense step forward for the group.--Ted Nubel
...
Upcoming Metal Releases: 1/21/2024-1/27/2024
...
RHÛN -- Conveyance in Death | House of Inkantation | Black Metal | United States (Portland, Maine) From Jon Rosenthal's track premiere of "Bone Ornament":Moving outside both their perceived comfort zones, RHÛN's debut album is a chunky, heavy bout of black-and-death metal psychedelia, forged deep within the Maine wilderness.
...
Olhava -- Sacrifice | Avantgarde Music | Atmospheric Black Metal | Russia (Saint Petersburg) The longest album from the Russian duo is as insistent as anything they’ve done. The 86-minute (!) runtime alternates between stunning blackgaze that shimmers with the optimism of a sunrise and ASMR-esque, nature-inflected ambient soundscapes. Sacrifice is clearly meant to be listened to in a single sitting—a difficult ask if this isn’t your thing. Still, there’s a certain euphoria in that achievement. Best enjoyed on headphones, so the record can envelop you like a blanket.--Steve Lampiris
...
Exocrine -- Legend | Season of Mist | Technical Death Metal | France (Bordeaux) One of the most agile bands in tech-death, Exocrine continue to dazzle with astonishing musicianship on their sixth outing. With each album, the French quartet gets a little weirder. This time, they bring back the jazz and electronic experimentation from 2020’s Maelstrom and expand on it. It’s all paired with metal ay-eff lines like “I want to feel his wet flesh yielding under my sword / In this tentacle orgy, cathartic violence” amidst the mostly-coherent narrative. So, yeah: Legend sounds like Exocrine.--Steve Lampiris
...
Knoll -- As Spoken | Independent | Grindcore + Death Metal + Noise | United States (Tennessee) Tennessee’s premier “funeral grind” troupe build on the successes of 2022’s all-devouring Metempiric, putting distance between themselves and that lazy, no-good Full of Hell Jr. tag by fermenting an absurdist Portal-like nightmare cankered with scabrous ooze- crust, generously marinated in the band’s customary seethe and brio.--Spencer Grady
...
Lucifer -- Lucifer V | Nuclear Blast | Hard Rock + Doom + Heavy Metal | International Lucifer's fifth chapter isn't too dissimilar from the band's past work, but there's definitely more of an emphasis on the vocals here. While I liked the indulgent delivery and the bolder song structures that let them shine, they're sometimes backed up by riffs that aren't quite as sharp as we've seen from the veritable supergroup before. That being said, Lucifer is still unimaginably far ahead of the pack when it comes to capturing their specific strain of proto-metallic, hard-rock-leaning doom.--Ted Nubel
...
Blood Red Throne -- Nonagon | Soulseller Records | Death Metal | Norway Blood Red Throne sound as fresh as a new-born baby on their 11th album Nonagon, released 26 years into their career. Jesus, that's a long time. Thankfully, tracks like "Seeking to Pierce" are as timeless and welcome as a preserved baggie of loud, upon whose opening your senses are struck with nostalgia and ecstasy. It's slick, heavy, and groovy; death metal as the One Above All intended.--Colin Dempsey
...
The Internal Sea -- Hellfenlic | Candlelight Records | Black Metal | United Kingdom The Infernal Sea's black 'n' roll continues to succeed on their fourth full-length album. Hellfenlic is catchy as hell yet never veers into pop territory, balancing rawness with a swagger that more black metal bands should emulate.--Colin Dempsey
...
Cognizance -- Phantazein | Willowtip Records | Technical Death Metal | United Kingdom (Leeds) As we stated in our premiere of Cognizance's "The Towering Monument," the band's strength lay in their ratio of technicality to grooves, which stand in near equilibrium. Thanks to this equation, their knotty death metal is approachable without pandering to those who fear non-4/4 time signatures.--Colin Dempsey
...
Rituals of the Dead Hand -- The Wretched and the Vile | Immortal Frost Productions | Doom Metal + Black Metal | Belgium (Limburg) Black metal and doom metal hybrids should, in theory, eviscerate the listener, whether through crushing heaviness or outright maliciousness. While both elements are present on Rituals of the Dead Hand's third album, there are also welcome melodies and diversity among the tracks that deepen the group's repertoire. It's still chunky black metal played with doom metal's tuning, but with an attractive sense of forward momentum that keeps everything zesty.--Colin Dempsey
...
Dissimulator -- Lower Form Resistance | 20 Buck Spin | Thrash Metal + Technical Death Metal | Canada (Montreal, Quebec) As a technically inclined thrash metal band from Quebec, Dissimulator easily conjures comparisons to Voivod, the main technically inclined thrash metal band from Quebec. Fortunately, on their debut album, the younger band stakes their claim as merely being influenced by their progenitors instead of outright emulating them by combining Voivod's peculiar vision with old-school death metal. Think Possessed death metal rather than Morbid Angel, and you'll get the idea.--Colin Dempsey
...
Kalt Vindur -- Magna Mater | The Circle Records | Black Metal | Poland Some black metal albums benefit from clear production as they embolden a group's strengths. Magna Mater is one such album. It's a marble slab of black metal with a hefty rhythm section that Kalt Vindur put to the test. They're always moving between riffs, solos, and bridges as if challenging their drummer and bassist to catch up. These nuances might've gone ignored on a record with lower-fidelity recording, but Magna Mater puts them in plain sight.--Colin Dempsey
...
Vitriol -- Suffer & Become | Century Media Records | Death Metal | United States (Portland, Oregon) The chaotic death metal cohort get even weirder and more chaotic on their latest albumSuffer & Become. While Vitriol are now signed to Century Media, they definitely haven't turned down the volume, as the entire album is a solid blast of destruction and aggression. Fans of outside-the-back extreme music should take notice.--Addison Herron-Wheeler
...
Cosmic Void -- Subterranean Rivers | Independent | Death Metal | Germany (Dresden) European death metal is at its finest with Cosmic Void's latest, Subterranean Rivers. While there isn't much on this record that we haven't heard before, it still manages to do the job and nail the sound perfectly. It's also incredibly catchy.--Addison Herron-Wheeler
https://www.youtube.com/watch?v=De21ohjusVk&ab_channel=CosmicVoid...
Mega Colossus -- Showdown | Cruz del Sur Music | Heavy Metal | United States (Raleigh, NC) Jam-packed with both insanity and killer riff, Mega Colossus's new record is another deep-end plunge into high-speed metal that's delightfully odd.--Ted Nubel
...
Mountain Caller -- Chronicle II: Hypergenesis | Church Road Records | Progressive Post-Metal | United Kingdom Mountain Caller craft engaging, near-incomprehensibly huge-sounding post metal that's stuffed to the brim with adventure. Each song opens up to the listener like a verdant plain unfurling or a thorny jungle revealing its secrets. I've been following this band for a while now and this new release is another immense step forward for the group.--Ted Nubel
...
The Two-Pronged Approach to Thief’s “Cinderland” (Video Debut)
It is immediately apparent that LA-based electronic rock band Thief are a bit outside of Invisible Oranges' purview. With synthesized textures and percussion, pseudo-pop sensibilities, and, most importantly, infectious melodies, this project challenges the metal scene from whence they came; mastermind Dylan Neal is a Botanist expat, and yet Thief's approach is completely unlike his previous act.
Thief's new single "Cinderland," from the upcoming album Bleed, Memory, can be dissected into two distinct pieces: 1) a driving, cinematic, and digital rock dissociation, and 2) doomed, synthetic plod. Starting off as a driving, captivating rock piece with unique beats, "Cinderland" suddenly explodes into something funereal, thick, and all-encompassing. In these two halves, Thief manifests as something different when compared to their Prophecy Productions labelmates, and "Cinderland," whose video (featured below) features terrifying visuals from the classic Onibaba film, is as exciting as it is memorable. Listen to "Cinderland" below.
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From the artist:
"Cinderland" is a moody, industrial dark electronic banger about finding strength and meaning in the rubble of a troubled past. Manipulated sacred chant samples run throughout the track which climaxes in a triumphantly heavy doom metal catharsis woven in between a Greek Orthodox sermon.
In this music video, edited from the 1964 Japanese horror film Onibaba, our subjects are struggling to survive in their own Cinderland. The scared child deeply knows the fear that speaks, “What if my caretaker can’t take care of themselves?” But this realm of the Cinderland is reached through the path of individuation where everything is destroyed and the truth that nothing is ever as bad as the mind makes it out to be is discovered.
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Bleed, Memory releases April 19th via Prophecy Productions.
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I have never had the chance to see Abbath or Immortal, so I was well happy to stay put after Zeal and Ardor. Being one of Black Metal’s most recognizable figures, Abbath continues to retain a fervent following after leaving Immortal in 2015. The setlist consisted of several originals with blocks of Immortal covers, as well as a cover of “Warriors” by I. In between songs, Abbath would bless us with his best Elvis impersonation or several lines from Motorhead’s “Ace of Spades” (with a hauntingly accurate Lemmy impression). He was clearly smitten by the Las Vegas atmosphere. On multiple occasions, Abbath would hoist up a banana brought on stage — as if to raise a glass to the festival and those in attendance — before plunging back into another frigid song.
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The Two-Pronged Approach to Thief’s “Cinderland” (Video Debut)
It is immediately apparent that Bay Area electronic rock band Thief are a bit outside of Invisible Oranges' purview. With synthesized textures and percussion, pseudo-pop sensibilities, and, most importantly, infectious melodies, this three-piece band (important to specify that this is the work of multiple people) challenges the metal scene from whence they came; member Dylan Neal is a Botanist expat, and yet Thief's approach is completely unlike his previous act.
Thief's new single "Cinderland," from the upcoming album Bleed, Memory, can be dissected into two distinct pieces: 1) a driving, cinematic, and digital rock dissociation, and 2) doomed, synthetic plod. Starting off as a driving, captivating rock piece with unique beats, "Cinderland" suddenly explodes into something funereal, thick, and all-encompassing. In these two halves, Thief manifests as something different when compared to their Prophecy Productions labelmates, and "Cinderland," whose video (featured below) features terrifying visuals from the classic Onibaba film, is as exciting as it is memorable. Listen to "Cinderland" below.
…
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From the artist:
"Cinderland" is a moody, industrial dark electronic banger about finding strength and meaning in the rubble of a troubled past. Manipulated sacred chant samples run throughout the track which climaxes in a triumphantly heavy doom metal catharsis woven in between a Greek Orthodox sermon.
In this music video, edited from the 1964 Japanese horror film Onibaba, our subjects are struggling to survive in their own Cinderland. The scared child deeply knows the fear that speaks, “What if my caretaker can’t take care of themselves?” But this realm of the Cinderland is reached through the path of individuation where everything is destroyed and the truth that nothing is ever as bad as the mind makes it out to be is discovered.
…
Bleed, Memory releases April 19th via Prophecy Productions.
The Two-Pronged Approach to Thief’s “Cinderland” (Video Debut)
It is immediately apparent that Bay Area electronic rock band Thief are a bit outside of Invisible Oranges' purview. With synthesized textures and percussion, pseudo-pop sensibilities, and, most importantly, infectious melodies, this three-piece band (important to specify that this is the work of multiple people) challenges the metal scene from whence they came; member Dylan Neal is a Botanist expat, and yet Thief's approach is completely unlike his previous act.
Thief's new single "Cinderland," from the upcoming album Bleed, Memory, can be dissected into two distinct pieces: 1) a driving, cinematic, and digital rock dissociation, and 2) doomed, synthetic plod. Starting off as a driving, captivating rock piece with unique beats, "Cinderland" suddenly explodes into something funereal, thick, and all-encompassing. In these two halves, Thief manifests as something different when compared to their Prophecy Productions labelmates, and "Cinderland," whose video (featured below) features terrifying visuals from the classic Onibaba film, is as exciting as it is memorable. Listen to "Cinderland" below.
…
…
From the artist:
"Cinderland" is a moody, industrial dark electronic banger about finding strength and meaning in the rubble of a troubled past. Manipulated sacred chant samples run throughout the track which climaxes in a triumphantly heavy doom metal catharsis woven in between a Greek Orthodox sermon.
In this music video, edited from the 1964 Japanese horror film Onibaba, our subjects are struggling to survive in their own Cinderland. The scared child deeply knows the fear that speaks, “What if my caretaker can’t take care of themselves?” But this realm of the Cinderland is reached through the path of individuation where everything is destroyed and the truth that nothing is ever as bad as the mind makes it out to be is discovered.
…
Bleed, Memory releases April 19th via Prophecy Productions.
The Two-Pronged Approach to Thief’s “Cinderland” (Video Debut)
It is immediately apparent that Bay Area electronic rock band Thief are a bit outside of Invisible Oranges' purview. With synthesized textures and percussion, pseudo-pop sensibilities, and, most importantly, infectious melodies, this three-piece band (important to specify that this is the work of multiple people) challenges the metal scene from whence they came; member Dylan Neal is a Botanist expat, and yet Thief's approach is completely unlike his previous act.
Thief's new single "Cinderland," from the upcoming album Bleed, Memory, can be dissected into two distinct pieces: 1) a driving, cinematic, and digital rock dissociation, and 2) doomed, synthetic plod. Starting off as a driving, captivating rock piece with unique beats, "Cinderland" suddenly explodes into something funereal, thick, and all-encompassing. In these two halves, Thief manifests as something different when compared to their Prophecy Productions labelmates, and "Cinderland," whose video (featured below) features terrifying visuals from the classic Onibaba film, is as exciting as it is memorable. Listen to "Cinderland" below.
…
…
From the artist:
"Cinderland" is a moody, industrial dark electronic banger about finding strength and meaning in the rubble of a troubled past. Manipulated sacred chant samples run throughout the track which climaxes in a triumphantly heavy doom metal catharsis woven in between a Greek Orthodox sermon.
In this music video, edited from the 1964 Japanese horror film Onibaba, our subjects are struggling to survive in their own Cinderland. The scared child deeply knows the fear that speaks, “What if my caretaker can’t take care of themselves?” But this realm of the Cinderland is reached through the path of individuation where everything is destroyed and the truth that nothing is ever as bad as the mind makes it out to be is discovered.
…
Bleed, Memory releases April 19th via Prophecy Productions.
The Two-Pronged Approach to Thief’s “Cinderland” (Video Debut)
It is immediately apparent that Bay Area electronic rock band Thief are a bit outside of Invisible Oranges' purview. With synthesized textures and percussion, pseudo-pop sensibilities, and, most importantly, infectious melodies, this three-piece band (important to specify that this is the work of multiple people) challenges the metal scene from whence they came; member Dylan Neal is a Botanist expat, and yet Thief's approach is completely unlike his previous act.
Thief's new single "Cinderland," from the upcoming album Bleed, Memory, can be dissected into two distinct pieces: 1) a driving, cinematic, and digital rock dissociation, and 2) doomed, synthetic plod. Starting off as a driving, captivating rock piece with unique beats, "Cinderland" suddenly explodes into something funereal, thick, and all-encompassing. In these two halves, Thief manifests as something different when compared to their Prophecy Productions labelmates, and "Cinderland," whose video (featured below) features terrifying visuals from the classic Onibaba film, is as exciting as it is memorable. Listen to "Cinderland" below.
…
…
From the artist:
"Cinderland" is a moody, industrial dark electronic banger about finding strength and meaning in the rubble of a troubled past. Manipulated sacred chant samples run throughout the track which climaxes in a triumphantly heavy doom metal catharsis woven in between a Greek Orthodox sermon.
In this music video, edited from the 1964 Japanese horror film Onibaba, our subjects are struggling to survive in their own Cinderland. The scared child deeply knows the fear that speaks, “What if my caretaker can’t take care of themselves?” But this realm of the Cinderland is reached through the path of individuation where everything is destroyed and the truth that nothing is ever as bad as the mind makes it out to be is discovered.
…
Bleed, Memory releases April 19th via Prophecy Productions.
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Corrosion Of Conformity were running through their last line-checks as I entered The Joint. Mike Dean started priming the sludge pump with the ominous opening bass line to “Bottom Feeder,” soon being joined by Reed Mullen on drums, and eventually getting the signal from Pepper Keenan to sink into the main riff of the song. This led to a slick transition into “Paranoid Opioid” with a considerable uptick in tempo and energy. The rest of the set was heavily laced with tracks from Deliverance, a fitting and well-received choice considering this was the lineup responsible for that record. This set served as a reminder of what Corrosion of Conformity have done in terms of inspiration and influence to a good number of the bands on the bill.
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Acerus The Caliginous Darkness
The Two-Pronged Approach to Thief’s “Cinderland” (Video Debut)
It is immediately apparent that Bay Area electronic rock band Thief are a bit outside of Invisible Oranges' purview. With synthesized textures and percussion, pseudo-pop sensibilities, and, most importantly, infectious melodies, this three-piece band (important to specify that this is the work of multiple people) challenges the metal scene from whence they came; member Dylan Neal is a Botanist expat, and yet Thief's approach is completely unlike his previous act.
Thief's new single "Cinderland," from the upcoming album Bleed, Memory, can be dissected into two distinct pieces: 1) a driving, cinematic, and digital rock dissociation, and 2) doomed, synthetic plod. Starting off as a driving, captivating rock piece with unique beats, "Cinderland" suddenly explodes into something funereal, thick, and all-encompassing. In these two halves, Thief manifests as something different when compared to their Prophecy Productions labelmates, and "Cinderland," whose video (featured below) features terrifying visuals from the classic Onibaba film, is as exciting as it is memorable. Listen to "Cinderland" below.
…
…
From the artist:
"Cinderland" is a moody, industrial dark electronic banger about finding strength and meaning in the rubble of a troubled past. Manipulated sacred chant samples run throughout the track which climaxes in a triumphantly heavy doom metal catharsis woven in between a Greek Orthodox sermon.
In this music video, edited from the 1964 Japanese horror film Onibaba, our subjects are struggling to survive in their own Cinderland. The scared child deeply knows the fear that speaks, “What if my caretaker can’t take care of themselves?” But this realm of the Cinderland is reached through the path of individuation where everything is destroyed and the truth that nothing is ever as bad as the mind makes it out to be is discovered.
…
Bleed, Memory releases April 19th via Prophecy Productions.
Acerus Champion Unfettered Heavy Metal on “The Caliginous Serenade” (Early Stream + Daniel Corchado Interview)
Despite producing some of the past three decades’ finest works in death metal and traditional heavy metal, multi-instrumentalist and songwriter Daniel Corchado remains an enigmatic, if not perennially underrated, figure in heavy metal. The mastermind behind The Chasm and Acerus relocated to the United States after cutting his teeth as the bassist and vocalist of Mexican death metal pioneers Cenotaph, with whom he released 1992’s foundational The Gloomy Reflection of Our Hidden Sorrows.
Six short years and an international relocation later, he turned down John McEntee’s offer to permanently join Incantation, with whom he wrote and recorded 1998’s Diabolical Conquest. Focusing on his own projects became his sole priority as The Chasm began making waves internationally. For those not already familiar, I’d recommend cutting your teeth with 2000’s Procession to the Infraworld. You're welcome.
An integral part of North American death metal from very close to its impetus, Corchado continues to consistently unleash unusual, engaging heavy metal that refuses to conform and challenges genre expectations. His most recent offering is Acerus’ best album yet, The Caliginous Serenade. While many recent traditional metal outfits favor straight-forward recreations of greater works from decades past, Acerus does anything but. Formed in 2012 during a quiet period for The Chasm, the band have slowly evolved into its current form, bolstered by drummer Mario Hernandez, lead guitarist Ed Escamilla, and vocalist Esteban Julian Pena.
Featuring unusual, big vocals and aggressive incessant leads and solos that weave amidst an engaging blend of U.S. power metal and speed metal that could easily pass for death metal if only the tuning changed, The Caliginous Serenade is a riff-laden monster. Closing tracks "Prevail," "Fourth Pentacle," and title track "The Caliginous Serenade" are its apex. Casual listening is not the purpose here: This is heavy metal to get utterly lost within. Every single listen opens new dimensions.
To learn more, I caught up with Corchado, who agreed to grant us an exclusive interview for the release. He revealed many secrets of steel. Plus, we're streaming the whole album in full before it releases this Friday.
-Sarah Kitteringham
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First up, hey Daniel. I appreciate you interviewing with me today, as I know you rarely grant interviews. Indeed, you don't seem to bother to conform to the same cycles many commercial metal artists get caught up in–interviews, single premieres, "content creation" (whatever that means), touring comprehensively.
You don't quite do any of those things, and yet you're quite a revered figure within both underground death metal circles and underground heavy metal circles for your work in the Chasm and Acerus. Can you speak to why you've opted to forgo these standard practices? What does it mean to be an artist who can create without succumbing to commercial pressures? Do you think it impacts your creation and your ability to evolve and experiment as an artist? Can you speak to how that freedom manifests within your bands Chasm, Acerus, and your atmospheric synthwave project Magnum Itiner Interius?
I want to express my gratitude for your time doing this interview, and I truly appreciate your support for Acerus. It's been quite some time since I engaged in discussions about my musical projects, and your insightful questions brought back some valuable reflections.
As you rightly pointed out, I've distanced myself from the "standard practices" of music promotion. This shift has been a gradual process, influenced not only by a loss of interest in traditional promotional methods but also by my evolving perspective on the dynamics within the metal community.
The burnout from years of following the conventional cycle of promotion was a pivotal moment for me. The routine of interviews, advertisements, and the relentless effort to spread the word about my music began to feel like a futile exercise. It's a valid approach to present and promote music, particularly for record labels looking to sell records. However, I found myself uninterested in the commercial aspects, especially considering The Chasm’s identity as an underground death metal band.
The seeming contradiction of selling music rather than offering it for free arises from my primary identity as a musician rather than a business or label owner. Over time, my mindset has evolved to embrace the ideology of letting the music speak for itself. I believe in the authenticity and power of the music we create, and I've chosen to prioritize that over conforming to conventional promotional practices.
I've genuinely lost interest in sharing my opinions and perspectives with the public. It's not a role I feel inclined to play, and it doesn't captivate my interest. Rather than considering myself an artist, I view myself as a simple musician. If I release my music for others to hear, that, for me, is the only recognition I seek. This might not be the most business-savvy approach, but personal satisfaction takes precedence over monetary gain. That's why I maintain a regular, well-paid job—My music is a deeply personal endeavor.
While it's gratifying to have people pay for my creations, it has never been my primary goal. My perspective has evolved over time, influenced by aging, maturing, and growing , somewhat disheartened by the developments in the metal scene. Change is inevitable, and I accept that, but sometimes I feel very disconnected from the current state of the music circle. Nevertheless, I'm at peace with my decisions, continually moving forward.
Looking to the future, I remain grateful and fortunate to continue creating the music I love. Despite my age, I'm still learning and eagerly anticipating what comes next, whether music-related or not. I no longer feel the need for interviews or attention-seeking tactics to validate my presence in the metal scene—Those days are behind me. Embracing isolation has become crucial and welcome, contributing to healthier and more focused musical outputs.
I'm not seeking validation through social media metrics like likes, views, or comments. In my view, such pursuits are a waste of time, especially at my age. Social media, by its nature, implies a level of social engagement, which I don't resonate with. I engage in playing, composing, and creating to fulfill my inner existence and maintain a sharp and healthy mind. While I do share announcements related to releases, I aim to keep it minimal and devoid of unnecessary hype.
I believe I did achieve “Artistic freedom” a while ago, mainly by the time I decided to release everything by myself, independently, and with a full DIY commitment. It gave me this liberty to express myself without external constraints, opinions, or pressure from others. I can explore and experiment with different ideas, sounds, moods, and visions without “fear” of reprisal or backlash from "label people" or just external opinions. I know this implies the self determination to make creative decisions and take risks, but it allows me to push my boundaries and try to innovate. Granted, this principle is mostly applied towards The Chasm and MII, but obviously it reflects a lot on Acerus (that’s why I call it unorthodox molten heavy metal).
The root of your artistic work is heavy metal, but the Chasm are rooted in the death metal lineage, while Acerus are traditional heavy metal. For me, the unifying theme between both projects is hooks and dynamics. Both bands are focused on building atmosphere, and rather than relying on consistent repetition, you just churn out riff after riff after riff after riff. Can you speak to how your writing and creation process differs between your two projects? What commonalities and threads would you say unite your heavy metal bands, and what areas would you say are intentionally and exclusively exorcized in each band?
I’m truly pleased that you've highlighted the atmospheric aspect of my music, as I believe it's the essence of creating a unique auditory experience. My deep passion and connection to the authentic, old-school metal formed a crucial pillar in shaping my musical style, evident in both bands. In essence, my goal is straightforward—to craft meaningful songs that transport me beyond the mundane, on small journeys through the inner and outer realms.
The inspiration for my approach lies in the way I felt when I first discovered this music many years ago. Back then, the most vital factor for me was the sense of meaning and exploration within the songs. While I acknowledge the technical aspect's importance, I firmly believe that technique alone, devoid of genuine feeling, aura, and spirit, amounts to nothing in my ears.
Regrettably, the sense of introspection and exploration in music seems to be fading.
Consequently, I create what I want to hear and feel, perpetually in search of those elusive notes and moods. Additionally, though not a deliberate choice, I find myself naturally gravitating against the current trends. This inclination is particularly evident in the latest albums from both The Chasm and Acerus, where even the production reflects an intentional departure from the nowadays recordings, to sound distinct, possessing personality and character.
My unique personal style, for better or worse, has evolved into a form entirely my own. I take comfort in this journey of exploration within my compositions, a craft that unfolded over years without me fully realizing it, and then this realization brings a profound personal satisfaction. While The Chasm leans towards introspection, darkness, and oppression, Acerus embodies pure heavy metal riffing—straightforward, yet powerful with speed, heaviness, and a profound passion for the music that shaped my upbringing. It's an unapologetic embrace of the classic elements, devoid of groundbreaking innovations, but rich in the essence of what I love.
Let’s speak more specifically about Acerus and The Caliginous Serenade. Caliginous is defined as "dark, misty, or night,", but it also evokes potential references to Emperor Caligula, the cruel and sexually perverse Roman emperor. Indeed, I poured over your liner notes and throughout your lyrics and saw illustrations of night creatures engaging in Faustian delights; lyrically and conceptually, it seems to be much the same. Can you speak to the overarching concept of the band itself, the theme of The Caliginous Serenade, and your penchant for seemingly dark erotic/romanticism?
From the inception of this project, now evolved into a band, my lyrical inspiration has consistently drawn from the pervasive sense of doom and hopelessness that has been a constant presence in my life. It seems that no matter what, there's always something crude, raw, unexpected, and ugly lurking on the horizon. This profound feeling of perdition and loss, forged through life's experiences, continues to fuel my creative endeavors.
As we embark on this new chapter, I find myself delving even deeper into the same thematic vein. In my perspective, we are now witnessing, more than ever, the beginning of the end for humanity—a triad of mental, physical, and spiritual demise. It marks the unraveling of the world as we know it, a loss of salvation that, while sounding dramatic and perhaps overreaching, is the lens through which I perceive this fantasy in my head.
Despite its fantastical nature, this perspective has remained a steadfast source of inspiration for me over the years. Indeed, I draw motivation from dark, old Renaissance/dark times era imagery and art. Exploring the minds of those true artists who were inspired to paint and draw such exceptional pieces is a captivating experience. The sense of dark dread and atmospheric occult horror that permeates these works, though nearly extinct in contemporary times, continues to ignite a spark of influence and inspiration within me. I've been fortunate to witness several authentic pieces in various museums, thanks in large part to my wife's passion for ancient art. Seeing the genuine pieces of true art face-to-face is an incredible and humbling experience, contributing to moments of meaningful inspiration.
The Caliginous Serenade is more than just a collection of songs; it's a dedication to all those, including myself, who harbor the belief that we are descending down the path of grand perdition and ultimate demise. It encapsulates the essence of our collective apprehension and foreboding, offering a musical reflection of the challenging realities that surround us.
Once again, your guitar work in The Caliginous Serenade is stunning. You have a long history of playing guitar in Cenotaph, Incantation, the Chasm, and several other projects. Your ability to play leads is simply hard to match: for example, the galloping leads in "Prevail" that act as a counterpoint to the vocal lines simply blew me away. You seem to approach your instrument more dynamically than most, favoring both solos and leads, and almost using it as a replacement for backing vocals, which has really amplified the power of this record. Can you speak to your relationship with the guitar, how you approached songwriting on this record, and what it means to be a self-professed music snob? Who would you say are your biggest influences as a guitarist, and what exercises do you engage in to continuously improve as a musician?
Thank you sincerely for your thoughtful comments; they mean a great deal to me. I identify much with the venerable Heavy Load hymn “The guitar is my sword.”
From the outset of my journey into the realm of playing guitar, my primary focus and ultimate goal have centered around creating memorable music, grounded in powerful riffs. This encapsulates what I mean by letting the music do the talking. Describing the process of how these creations come to be is challenging, as it's a state of mind that eludes easy explanation. I prefer to let listeners draw their own conclusions as they immerse themselves in the music.
Two crucial factors contributed significantly to my approach. Firstly, being self-taught has been a defining element of my musical journey. I started by playing it by ear and absorbing as much as possible to what I was discovering/hearing; I never placed excessive emphasis on technique, skills, notes, or arpeggios. While this may have limited my abilities in some aspects, it fostered self-sufficiency. I endeavored to bring forth what resided in my mind with my limited knowledge, drawing from my own unique musical training and “theory,” honed through years of practice. Additionally, my deep appreciation and immersion in diverse music genres, particularly old German/European electronic, soundtracks, and obscure progressive bands, have greatly influenced my musical sensibilities. I believe this is what you might have referred to as being a "music snob.”
Now, turning to the lead guitar work on this album (and 2020’s The Tertiary Rite), I must credit Edward Escamilla with it, a remarkably talented guitarist from the area. Recognizing his top-notch technical proficiency and being significantly younger than me, I entrusted him with the task. Similar to the collaboration with Esteban, I provided Edward with the song demos, outlined my thoughts on where I needed his touch, and allowed him the freedom to express himself. When he returned with his takes, we were collectively satisfied and astounded by how seamlessly his style integrated with the songs. His contribution brought a new layer of class and atmospheric, true metal feeling to the album. No doubt being able to have the participation of people with talent and will to do things have made the Acerus way stronger and more coherent.
To be honest, I've found myself gradually losing interest in the routine of guitar practice. My playing reached a plateau long ago, and I stopped the pursuit of actively "becoming better." While this might sound somewhat on the mediocre side, it paradoxically strengthens my resolve to delve deeper into my limited arsenal. I rather exercise the mind in order to come up with new ideas and explorations….
And as for those maestros who became my inspiration and influence back in the day, I can mention icons like Iommi, Blackmore, Malmsteen, Moore, Smith/Murray, Downing/Tipton, Kasparek, Weikath/Hansen, Hoffman, Petrozza, Tom G., Piggy, Mike, Hanneman/King, Hetfield, Mustaine, plus a bunch more….
Your vocalist Esteban appears to have become an important collaborator for you. He writes lyrics and has sung on both this album and your 2020 album The Tertiary Rite. I reckon these two albums have exposed Acerus to a whole new audience, and Esteban's contributions have certainly assisted with that—He's a stunning, unusual, strong vocalist.
That said, there was a period in the 2010s that it appears that you've been favoring doing almost everything in music production yourself. You were the sole creator of Acerus' 2016 The Clock of Mortality; additionally, it was you and drummer Antonio who solely created the previous two albums by the Chasm. What encouraged you to open up Acerus' lineup once more? What does Esteban bring to the table that you are unable to deliver? Do you see him as a long-term contributor? Will there be any chance for people to see Acerus live with its current lineup?
The unique aspect of The Clock of Mortality is that it emerged as a solo project out of necessity. The lineup for the debut album disintegrated for various reasons, leaving me alone but determined to press on. At that point, rather than seeking to assemble a full band, I embraced the idea of going solo. The experience turned out to be immensely rewarding, and I have no regrets about the final results. However, I was fully aware of the inherent limitations, particularly in the vocal department.
In 2018, when The Chasm returned to the live arena, I envisioned incorporating Acerus to the stage too. This led to the formation of the first real band incarnation. We did a few shows with a different lineup that eventually fell apart, only with Mario on Drums still strong and being the longest-standing member. His performance revitalized the original vision for the band, emphasizing punch, power, and simplicity. By fate, Esteban joined just before we began recording The Tertiary Rite. His addition has been tremendous, infusing a unique style that brings a new layer and dimension to the songs. He plays a crucial role in shaping the sound of the band today.
With The Tertiary Rite, I provided Esteban with more guidance and input on how to approach and sing the songs. Although he had a significant amount of autonomy, it was his first time recording heavy metal, especially of this unorthodox kind. For The Caliginous Serenade, I simply gave him the demos and let him practice independently, without offering input or opinions. He took the songs to a different level, showcasing his talent and class. I trusted him to bring his own fire to the project, and he delivered with excellence. He also played a significant role in crafting the lyrics, offering valuable assistance at a time when my lyrical creativity was waning. This was one of the main reasons I temporarily stepped away from singing with The Chasm.
(I’ve) got to mention that the recording of this new album was done in the most DIY manner possible; no studio was used at all in any of the parts. Each one of us recorded independently at our own places, a very raw and crude way, but since there was no budget at all, that was the only option. I think it is very noticeable on the final sound, but we are very satisfied with the final outcome and proud of what we accomplished.
We have a record presentation show scheduled for early February here in Chicago, sharing the stage with High Spirits and Bear Mace. Beyond that, the future is uncertain. We're essentially "open for business." If there's interest from promoters and fans in having us play live in their cities, we're more than willing to explore those opportunities. Our desire is to present this music in its rawest and liveliest form. However, the decision ultimately lies with the fans and people—Their interest and response will determine whether they want to see Acerus live or not. We won't be pushing for it; instead, we'll let the organic interest and demand guide our live performances.
I've read some of the interviews you've done in the early 2000s, and the main takeaway that I've seen from them is that you've been robustly jerked around by labels. I know you've heard from numerous people over the years that your bands should be huge, and yet, that's been a sticking point for the Chasm and for Acerus. Fast forward to today, and you've now got your own label with Luxinframundis Productions, and you're working with Brandon's emerging label Nameless Grave Records. What made you decide to work with Nameless Grave, and do you see any future with either band being signed to a bigger label?
Certainly, labels, much like many other things, held a significant meaning in the past. (I'm 52, "back in the day....") but reflecting on it, I realize that labels, in essence, are simply businesses, and the majority really don’t have much of a clue of what it means to compose and create honest ,tue music, but anyway, throughout the years, I've had both positive and negative experiences with them, and looking back, I have no complaints. Each experience was part of the overall journey and learning process.
However, as I've grown and evolved, I've come to view being signed to a label, especially concerning The Chasm, as somewhat pointless in the current landscape. With Acerus, I maintain a slightly more open-minded approach and am willing to engage with the industry to some extent. The primary reason I sought Brandon's help for this release is because he has been a staunch believer in Acerus' music since the beginning. His consistent support and honest perspective in my music have been invaluable, and I appreciate and respect that.
Another factor influencing my decision is that I've become somewhat, once again, burned out with my own label business, while Nameless Grave is growing and doing an excellent job in their domain, so their help and support is more than welcomed. I don't see a big label in our future, nor is it a goal for us. We don't fit the mold of what is traditionally considered "big label material," and I'm perfectly fine with that. The authenticity and connection we have with our music and audience are more valuable than conforming to industry standards.
Trends in heavy metal come and go, but both of the genres that you are currently playing with the Chasm and Acerus are currently experiencing surges in popularity: old-school death metal (OSDM) and traditional heavy metal. Has the NWOTHM (New Wave of True Heavy Metal) trend and leap in interest in Acerus encouraged you or anyone in Acerus to take the band more seriously?
The same question applies to The Chasm and the huge leap in interest this past decade in OSDM, which I'd argue isn't particularly relevant to The Chasm, particularly with your more recent shift into a more progressive and transcendental space. However, the question still applies. How does—or doesn't—surging interest in the art you're already making impact your creative process?
Any kind of music I create, I take 100% seriously, yet, it is not a priority in my life anymore… To be honest, I find myself somewhat detached from the current happenings in the music scene. I tend to stick to my classics, revisiting albums from bands that held significant meaning for me back in the day. Interestingly, there are periods—sometimes extending for weeks or even months—where I don't engage with music at all. Occasionally, I'll listen to non-metal genres, showcasing the diversity of my tastes. Whatever unfolds in the actual, broader music landscape out there, it doesn't exert any direct influence at all on my creative process; the isolation remains a powerful force.
Over the years, I've been fortunate to carve out my own personal style and, to some extent, a unique sound. Whether for better or worse, it has become an integral part of how I craft songs. I've long recognized that The Chasm, Acerus, and MII maintain a low-key presence compared to today's standards, and I'm content with that. This subtlety doesn't warrant complaints; rather, I appreciate the fortune of having a dedicated yet small audience that supports and listens to my creations.
At this juncture, I'm not actively seeking more followers, fans, or listeners. My focus lies in the music's inherent quality, trusting that if it resonates, people will take notice, and the notes will find the right listener. It's not a goal I'm trying to force or change; instead, I aim to remain creatively engaged and continue exploring new avenues to express the thoughts within my mind. The pursuit is ongoing, a continual search for answers.
In parallel, my interests have shifted over time, reflecting an evolution in my creative journey. This shift is a natural part of the exploration and adaptation inherent in my personal way of expression.
Thank you once again for the opportunity to discuss these aspects of my journey.
…
The Caliginous Serenade releases January 26th via Lux Inframundis and Nameless Grave.
Acerus Champions Unfettered Heavy Metal on “The Caliginous Serenade” (Early Stream + Daniel Corchado Interview)
Despite producing some of the past three decades’ finest works in death metal and traditional heavy metal, multi-instrumentalist and songwriter Daniel Corchado remains an enigmatic, if not perennially underrated, figure in heavy metal. The mastermind behind The Chasm and Acerus relocated to the United States after cutting his teeth as the bassist and vocalist of Mexican death metal pioneers Cenotaph, with whom he released 1992’s foundational The Gloomy Reflection of Our Hidden Sorrows.
Six short years and an international relocation later, he turned down John McEntee’s offer to permanently join Incantation, with whom he wrote and recorded 1998’s Diabolical Conquest. Focusing on his own projects became his sole priority as The Chasm began making waves internationally. For those not already familiar, I’d recommend cutting your teeth with 2000’s Procession to the Infraworld. You're welcome.
An integral part of North American death metal from very close to its impetus, Corchado continues to consistently unleash unusual, engaging heavy metal that refuses to conform and challenges genre expectations. His most recent offering is Acerus’ best album yet, The Caliginous Serenade. While many recent traditional metal outfits favor straight-forward recreations of greater works from decades past, Acerus does anything but. Formed in 2012 during a quiet period for The Chasm, the band have slowly evolved into its current form, bolstered by drummer Mario Hernandez, lead guitarist Ed Escamilla, and vocalist Esteban Julian Pena.
Featuring unusual, big vocals and aggressive incessant leads and solos that weave amidst an engaging blend of U.S. power metal and speed metal that could easily pass for death metal if only the tuning changed, The Caliginous Serenade is a riff-laden monster. Closing tracks "Prevail," "Fourth Pentacle," and title track "The Caliginous Serenade" are its apex. Casual listening is not the purpose here: This is heavy metal to get utterly lost within. Every single listen opens new dimensions.
To learn more, I caught up with Corchado, who agreed to grant us an exclusive interview for the release. He revealed many secrets of steel. Plus, we're streaming the whole album in full before it releases this Friday.
-Sarah Kitteringham
…
…
First up, hey Daniel. I appreciate you interviewing with me today, as I know you rarely grant interviews. Indeed, you don't seem to bother to conform to the same cycles many commercial metal artists get caught up in–interviews, single premieres, "content creation" (whatever that means), touring comprehensively.
You don't quite do any of those things, and yet you're quite a revered figure within both underground death metal circles and underground heavy metal circles for your work in the Chasm and Acerus. Can you speak to why you've opted to forgo these standard practices? What does it mean to be an artist who can create without succumbing to commercial pressures? Do you think it impacts your creation and your ability to evolve and experiment as an artist? Can you speak to how that freedom manifests within your bands Chasm, Acerus, and your atmospheric synthwave project Magnum Itiner Interius?
I want to express my gratitude for your time doing this interview, and I truly appreciate your support for Acerus. It's been quite some time since I engaged in discussions about my musical projects, and your insightful questions brought back some valuable reflections.
As you rightly pointed out, I've distanced myself from the "standard practices" of music promotion. This shift has been a gradual process, influenced not only by a loss of interest in traditional promotional methods but also by my evolving perspective on the dynamics within the metal community.
The burnout from years of following the conventional cycle of promotion was a pivotal moment for me. The routine of interviews, advertisements, and the relentless effort to spread the word about my music began to feel like a futile exercise. It's a valid approach to present and promote music, particularly for record labels looking to sell records. However, I found myself uninterested in the commercial aspects, especially considering The Chasm’s identity as an underground death metal band.
The seeming contradiction of selling music rather than offering it for free arises from my primary identity as a musician rather than a business or label owner. Over time, my mindset has evolved to embrace the ideology of letting the music speak for itself. I believe in the authenticity and power of the music we create, and I've chosen to prioritize that over conforming to conventional promotional practices.
I've genuinely lost interest in sharing my opinions and perspectives with the public. It's not a role I feel inclined to play, and it doesn't captivate my interest. Rather than considering myself an artist, I view myself as a simple musician. If I release my music for others to hear, that, for me, is the only recognition I seek. This might not be the most business-savvy approach, but personal satisfaction takes precedence over monetary gain. That's why I maintain a regular, well-paid job—My music is a deeply personal endeavor.
While it's gratifying to have people pay for my creations, it has never been my primary goal. My perspective has evolved over time, influenced by aging, maturing, and growing , somewhat disheartened by the developments in the metal scene. Change is inevitable, and I accept that, but sometimes I feel very disconnected from the current state of the music circle. Nevertheless, I'm at peace with my decisions, continually moving forward.
Looking to the future, I remain grateful and fortunate to continue creating the music I love. Despite my age, I'm still learning and eagerly anticipating what comes next, whether music-related or not. I no longer feel the need for interviews or attention-seeking tactics to validate my presence in the metal scene—Those days are behind me. Embracing isolation has become crucial and welcome, contributing to healthier and more focused musical outputs.
I'm not seeking validation through social media metrics like likes, views, or comments. In my view, such pursuits are a waste of time, especially at my age. Social media, by its nature, implies a level of social engagement, which I don't resonate with. I engage in playing, composing, and creating to fulfill my inner existence and maintain a sharp and healthy mind. While I do share announcements related to releases, I aim to keep it minimal and devoid of unnecessary hype.
I believe I did achieve “Artistic freedom” a while ago, mainly by the time I decided to release everything by myself, independently, and with a full DIY commitment. It gave me this liberty to express myself without external constraints, opinions, or pressure from others. I can explore and experiment with different ideas, sounds, moods, and visions without “fear” of reprisal or backlash from "label people" or just external opinions. I know this implies the self determination to make creative decisions and take risks, but it allows me to push my boundaries and try to innovate. Granted, this principle is mostly applied towards The Chasm and MII, but obviously it reflects a lot on Acerus (that’s why I call it unorthodox molten heavy metal).
The root of your artistic work is heavy metal, but the Chasm are rooted in the death metal lineage, while Acerus are traditional heavy metal. For me, the unifying theme between both projects is hooks and dynamics. Both bands are focused on building atmosphere, and rather than relying on consistent repetition, you just churn out riff after riff after riff after riff. Can you speak to how your writing and creation process differs between your two projects? What commonalities and threads would you say unite your heavy metal bands, and what areas would you say are intentionally and exclusively exorcized in each band?
I’m truly pleased that you've highlighted the atmospheric aspect of my music, as I believe it's the essence of creating a unique auditory experience. My deep passion and connection to the authentic, old-school metal formed a crucial pillar in shaping my musical style, evident in both bands. In essence, my goal is straightforward—to craft meaningful songs that transport me beyond the mundane, on small journeys through the inner and outer realms.
The inspiration for my approach lies in the way I felt when I first discovered this music many years ago. Back then, the most vital factor for me was the sense of meaning and exploration within the songs. While I acknowledge the technical aspect's importance, I firmly believe that technique alone, devoid of genuine feeling, aura, and spirit, amounts to nothing in my ears.
Regrettably, the sense of introspection and exploration in music seems to be fading.
Consequently, I create what I want to hear and feel, perpetually in search of those elusive notes and moods. Additionally, though not a deliberate choice, I find myself naturally gravitating against the current trends. This inclination is particularly evident in the latest albums from both The Chasm and Acerus, where even the production reflects an intentional departure from the nowadays recordings, to sound distinct, possessing personality and character.
My unique personal style, for better or worse, has evolved into a form entirely my own. I take comfort in this journey of exploration within my compositions, a craft that unfolded over years without me fully realizing it, and then this realization brings a profound personal satisfaction. While The Chasm leans towards introspection, darkness, and oppression, Acerus embodies pure heavy metal riffing—straightforward, yet powerful with speed, heaviness, and a profound passion for the music that shaped my upbringing. It's an unapologetic embrace of the classic elements, devoid of groundbreaking innovations, but rich in the essence of what I love.
Let’s speak more specifically about Acerus and The Caliginous Serenade. Caliginous is defined as "dark, misty, or night,", but it also evokes potential references to Emperor Caligula, the cruel and sexually perverse Roman emperor. Indeed, I poured over your liner notes and throughout your lyrics and saw illustrations of night creatures engaging in Faustian delights; lyrically and conceptually, it seems to be much the same. Can you speak to the overarching concept of the band itself, the theme of The Caliginous Serenade, and your penchant for seemingly dark erotic/romanticism?
From the inception of this project, now evolved into a band, my lyrical inspiration has consistently drawn from the pervasive sense of doom and hopelessness that has been a constant presence in my life. It seems that no matter what, there's always something crude, raw, unexpected, and ugly lurking on the horizon. This profound feeling of perdition and loss, forged through life's experiences, continues to fuel my creative endeavors.
As we embark on this new chapter, I find myself delving even deeper into the same thematic vein. In my perspective, we are now witnessing, more than ever, the beginning of the end for humanity—a triad of mental, physical, and spiritual demise. It marks the unraveling of the world as we know it, a loss of salvation that, while sounding dramatic and perhaps overreaching, is the lens through which I perceive this fantasy in my head.
Despite its fantastical nature, this perspective has remained a steadfast source of inspiration for me over the years. Indeed, I draw motivation from dark, old Renaissance/dark times era imagery and art. Exploring the minds of those true artists who were inspired to paint and draw such exceptional pieces is a captivating experience. The sense of dark dread and atmospheric occult horror that permeates these works, though nearly extinct in contemporary times, continues to ignite a spark of influence and inspiration within me. I've been fortunate to witness several authentic pieces in various museums, thanks in large part to my wife's passion for ancient art. Seeing the genuine pieces of true art face-to-face is an incredible and humbling experience, contributing to moments of meaningful inspiration.
The Caliginous Serenade is more than just a collection of songs; it's a dedication to all those, including myself, who harbor the belief that we are descending down the path of grand perdition and ultimate demise. It encapsulates the essence of our collective apprehension and foreboding, offering a musical reflection of the challenging realities that surround us.
Once again, your guitar work in The Caliginous Serenade is stunning. You have a long history of playing guitar in Cenotaph, Incantation, the Chasm, and several other projects. Your ability to play leads is simply hard to match: for example, the galloping leads in "Prevail" that act as a counterpoint to the vocal lines simply blew me away. You seem to approach your instrument more dynamically than most, favoring both solos and leads, and almost using it as a replacement for backing vocals, which has really amplified the power of this record. Can you speak to your relationship with the guitar, how you approached songwriting on this record, and what it means to be a self-professed music snob? Who would you say are your biggest influences as a guitarist, and what exercises do you engage in to continuously improve as a musician?
Thank you sincerely for your thoughtful comments; they mean a great deal to me. I identify much with the venerable Heavy Load hymn “The guitar is my sword.”
From the outset of my journey into the realm of playing guitar, my primary focus and ultimate goal have centered around creating memorable music, grounded in powerful riffs. This encapsulates what I mean by letting the music do the talking. Describing the process of how these creations come to be is challenging, as it's a state of mind that eludes easy explanation. I prefer to let listeners draw their own conclusions as they immerse themselves in the music.
Two crucial factors contributed significantly to my approach. Firstly, being self-taught has been a defining element of my musical journey. I started by playing it by ear and absorbing as much as possible to what I was discovering/hearing; I never placed excessive emphasis on technique, skills, notes, or arpeggios. While this may have limited my abilities in some aspects, it fostered self-sufficiency. I endeavored to bring forth what resided in my mind with my limited knowledge, drawing from my own unique musical training and “theory,” honed through years of practice. Additionally, my deep appreciation and immersion in diverse music genres, particularly old German/European electronic, soundtracks, and obscure progressive bands, have greatly influenced my musical sensibilities. I believe this is what you might have referred to as being a "music snob.”
Now, turning to the lead guitar work on this album (and 2020’s The Tertiary Rite), I must credit Edward Escamilla with it, a remarkably talented guitarist from the area. Recognizing his top-notch technical proficiency and being significantly younger than me, I entrusted him with the task. Similar to the collaboration with Esteban, I provided Edward with the song demos, outlined my thoughts on where I needed his touch, and allowed him the freedom to express himself. When he returned with his takes, we were collectively satisfied and astounded by how seamlessly his style integrated with the songs. His contribution brought a new layer of class and atmospheric, true metal feeling to the album. No doubt being able to have the participation of people with talent and will to do things have made the Acerus way stronger and more coherent.
To be honest, I've found myself gradually losing interest in the routine of guitar practice. My playing reached a plateau long ago, and I stopped the pursuit of actively "becoming better." While this might sound somewhat on the mediocre side, it paradoxically strengthens my resolve to delve deeper into my limited arsenal. I rather exercise the mind in order to come up with new ideas and explorations….
And as for those maestros who became my inspiration and influence back in the day, I can mention icons like Iommi, Blackmore, Malmsteen, Moore, Smith/Murray, Downing/Tipton, Kasparek, Weikath/Hansen, Hoffman, Petrozza, Tom G., Piggy, Mike, Hanneman/King, Hetfield, Mustaine, plus a bunch more….
Your vocalist Esteban appears to have become an important collaborator for you. He writes lyrics and has sung on both this album and your 2020 album The Tertiary Rite. I reckon these two albums have exposed Acerus to a whole new audience, and Esteban's contributions have certainly assisted with that—He's a stunning, unusual, strong vocalist.
That said, there was a period in the 2010s that it appears that you've been favoring doing almost everything in music production yourself. You were the sole creator of Acerus' 2016 The Clock of Mortality; additionally, it was you and drummer Antonio who solely created the previous two albums by the Chasm. What encouraged you to open up Acerus' lineup once more? What does Esteban bring to the table that you are unable to deliver? Do you see him as a long-term contributor? Will there be any chance for people to see Acerus live with its current lineup?
The unique aspect of The Clock of Mortality is that it emerged as a solo project out of necessity. The lineup for the debut album disintegrated for various reasons, leaving me alone but determined to press on. At that point, rather than seeking to assemble a full band, I embraced the idea of going solo. The experience turned out to be immensely rewarding, and I have no regrets about the final results. However, I was fully aware of the inherent limitations, particularly in the vocal department.
In 2018, when The Chasm returned to the live arena, I envisioned incorporating Acerus to the stage too. This led to the formation of the first real band incarnation. We did a few shows with a different lineup that eventually fell apart, only with Mario on Drums still strong and being the longest-standing member. His performance revitalized the original vision for the band, emphasizing punch, power, and simplicity. By fate, Esteban joined just before we began recording The Tertiary Rite. His addition has been tremendous, infusing a unique style that brings a new layer and dimension to the songs. He plays a crucial role in shaping the sound of the band today.
With The Tertiary Rite, I provided Esteban with more guidance and input on how to approach and sing the songs. Although he had a significant amount of autonomy, it was his first time recording heavy metal, especially of this unorthodox kind. For The Caliginous Serenade, I simply gave him the demos and let him practice independently, without offering input or opinions. He took the songs to a different level, showcasing his talent and class. I trusted him to bring his own fire to the project, and he delivered with excellence. He also played a significant role in crafting the lyrics, offering valuable assistance at a time when my lyrical creativity was waning. This was one of the main reasons I temporarily stepped away from singing with The Chasm.
(I’ve) got to mention that the recording of this new album was done in the most DIY manner possible; no studio was used at all in any of the parts. Each one of us recorded independently at our own places, a very raw and crude way, but since there was no budget at all, that was the only option. I think it is very noticeable on the final sound, but we are very satisfied with the final outcome and proud of what we accomplished.
We have a record presentation show scheduled for early February here in Chicago, sharing the stage with High Spirits and Bear Mace. Beyond that, the future is uncertain. We're essentially "open for business." If there's interest from promoters and fans in having us play live in their cities, we're more than willing to explore those opportunities. Our desire is to present this music in its rawest and liveliest form. However, the decision ultimately lies with the fans and people—Their interest and response will determine whether they want to see Acerus live or not. We won't be pushing for it; instead, we'll let the organic interest and demand guide our live performances.
I've read some of the interviews you've done in the early 2000s, and the main takeaway that I've seen from them is that you've been robustly jerked around by labels. I know you've heard from numerous people over the years that your bands should be huge, and yet, that's been a sticking point for the Chasm and for Acerus. Fast forward to today, and you've now got your own label with Luxinframundis Productions, and you're working with Brandon's emerging label Nameless Grave Records. What made you decide to work with Nameless Grave, and do you see any future with either band being signed to a bigger label?
Certainly, labels, much like many other things, held a significant meaning in the past. (I'm 52, "back in the day....") but reflecting on it, I realize that labels, in essence, are simply businesses, and the majority really don’t have much of a clue of what it means to compose and create honest ,tue music, but anyway, throughout the years, I've had both positive and negative experiences with them, and looking back, I have no complaints. Each experience was part of the overall journey and learning process.
However, as I've grown and evolved, I've come to view being signed to a label, especially concerning The Chasm, as somewhat pointless in the current landscape. With Acerus, I maintain a slightly more open-minded approach and am willing to engage with the industry to some extent. The primary reason I sought Brandon's help for this release is because he has been a staunch believer in Acerus' music since the beginning. His consistent support and honest perspective in my music have been invaluable, and I appreciate and respect that.
Another factor influencing my decision is that I've become somewhat, once again, burned out with my own label business, while Nameless Grave is growing and doing an excellent job in their domain, so their help and support is more than welcomed. I don't see a big label in our future, nor is it a goal for us. We don't fit the mold of what is traditionally considered "big label material," and I'm perfectly fine with that. The authenticity and connection we have with our music and audience are more valuable than conforming to industry standards.
Trends in heavy metal come and go, but both of the genres that you are currently playing with the Chasm and Acerus are currently experiencing surges in popularity: old-school death metal (OSDM) and traditional heavy metal. Has the NWOTHM (New Wave of True Heavy Metal) trend and leap in interest in Acerus encouraged you or anyone in Acerus to take the band more seriously?
The same question applies to The Chasm and the huge leap in interest this past decade in OSDM, which I'd argue isn't particularly relevant to The Chasm, particularly with your more recent shift into a more progressive and transcendental space. However, the question still applies. How does—or doesn't—surging interest in the art you're already making impact your creative process?
Any kind of music I create, I take 100% seriously, yet, it is not a priority in my life anymore… To be honest, I find myself somewhat detached from the current happenings in the music scene. I tend to stick to my classics, revisiting albums from bands that held significant meaning for me back in the day. Interestingly, there are periods—sometimes extending for weeks or even months—where I don't engage with music at all. Occasionally, I'll listen to non-metal genres, showcasing the diversity of my tastes. Whatever unfolds in the actual, broader music landscape out there, it doesn't exert any direct influence at all on my creative process; the isolation remains a powerful force.
Over the years, I've been fortunate to carve out my own personal style and, to some extent, a unique sound. Whether for better or worse, it has become an integral part of how I craft songs. I've long recognized that The Chasm, Acerus, and MII maintain a low-key presence compared to today's standards, and I'm content with that. This subtlety doesn't warrant complaints; rather, I appreciate the fortune of having a dedicated yet small audience that supports and listens to my creations.
At this juncture, I'm not actively seeking more followers, fans, or listeners. My focus lies in the music's inherent quality, trusting that if it resonates, people will take notice, and the notes will find the right listener. It's not a goal I'm trying to force or change; instead, I aim to remain creatively engaged and continue exploring new avenues to express the thoughts within my mind. The pursuit is ongoing, a continual search for answers.
In parallel, my interests have shifted over time, reflecting an evolution in my creative journey. This shift is a natural part of the exploration and adaptation inherent in my personal way of expression.
Thank you once again for the opportunity to discuss these aspects of my journey.
…
The Caliginous Serenade releases January 26th via Lux Inframundis and Nameless Grave.
Acerus Champions Unfettered Heavy Metal on “The Caliginous Serenade” (Early Stream + Daniel Corchado Interview)
Despite producing some of the past three decades’ finest works in death metal and traditional heavy metal, multi-instrumentalist and songwriter Daniel Corchado remains an enigmatic, if not perennially underrated, figure in heavy metal. The mastermind behind The Chasm and Acerus relocated to the United States after cutting his teeth as the bassist and vocalist of Mexican death metal pioneers Cenotaph, with whom he released 1992’s foundational The Gloomy Reflection of Our Hidden Sorrows.
Six short years and an international relocation later, he turned down John McEntee’s offer to permanently join Incantation, with whom he wrote and recorded 1998’s Diabolical Conquest. Focusing on his own projects became his sole priority as The Chasm began making waves internationally. For those not already familiar, I’d recommend cutting your teeth with 2000’s Procession to the Infraworld. You're welcome.
An integral part of North American death metal from very close to its impetus, Corchado continues to consistently unleash unusual, engaging heavy metal that refuses to conform and challenges genre expectations. His most recent offering is Acerus’ best album yet, The Caliginous Serenade. While many recent traditional metal outfits favor straight-forward recreations of greater works from decades past, Acerus does anything but. Formed in 2012 during a quiet period for The Chasm, the band have slowly evolved into its current form, bolstered by drummer Mario Hernandez, lead guitarist Ed Escamilla, and vocalist Esteban Julian Pena.
Featuring unusual, big vocals and aggressive incessant leads and solos that weave amidst an engaging blend of U.S. power metal and speed metal that could easily pass for death metal if only the tuning changed, The Caliginous Serenade is a riff-laden monster. Closing tracks "Prevail," "Fourth Pentacle," and title track "The Caliginous Serenade" are its apex. Casual listening is not the purpose here: This is heavy metal to get utterly lost within. Every single listen opens new dimensions.
To learn more, I caught up with Corchado, who agreed to grant us an exclusive interview for the release. He revealed many secrets of steel. Plus, we're streaming the whole album in full before it releases this Friday.
-Sarah Kitteringham
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First up, hey Daniel. I appreciate you interviewing with me today, as I know you rarely grant interviews. Indeed, you don't seem to bother to conform to the same cycles many commercial metal artists get caught up in–interviews, single premieres, "content creation" (whatever that means), touring comprehensively.
You don't quite do any of those things, and yet you're quite a revered figure within both underground death metal circles and underground heavy metal circles for your work in the Chasm and Acerus. Can you speak to why you've opted to forgo these standard practices? What does it mean to be an artist who can create without succumbing to commercial pressures? Do you think it impacts your creation and your ability to evolve and experiment as an artist? Can you speak to how that freedom manifests within your bands Chasm, Acerus, and your atmospheric synthwave project Magnum Itiner Interius?
I want to express my gratitude for your time doing this interview, and I truly appreciate your support for Acerus. It's been quite some time since I engaged in discussions about my musical projects, and your insightful questions brought back some valuable reflections.
As you rightly pointed out, I've distanced myself from the "standard practices" of music promotion. This shift has been a gradual process, influenced not only by a loss of interest in traditional promotional methods but also by my evolving perspective on the dynamics within the metal community.
The burnout from years of following the conventional cycle of promotion was a pivotal moment for me. The routine of interviews, advertisements, and the relentless effort to spread the word about my music began to feel like a futile exercise. It's a valid approach to present and promote music, particularly for record labels looking to sell records. However, I found myself uninterested in the commercial aspects, especially considering The Chasm’s identity as an underground death metal band.
The seeming contradiction of selling music rather than offering it for free arises from my primary identity as a musician rather than a business or label owner. Over time, my mindset has evolved to embrace the ideology of letting the music speak for itself. I believe in the authenticity and power of the music we create, and I've chosen to prioritize that over conforming to conventional promotional practices.
I've genuinely lost interest in sharing my opinions and perspectives with the public. It's not a role I feel inclined to play, and it doesn't captivate my interest. Rather than considering myself an artist, I view myself as a simple musician. If I release my music for others to hear, that, for me, is the only recognition I seek. This might not be the most business-savvy approach, but personal satisfaction takes precedence over monetary gain. That's why I maintain a regular, well-paid job—My music is a deeply personal endeavor.
While it's gratifying to have people pay for my creations, it has never been my primary goal. My perspective has evolved over time, influenced by aging, maturing, and growing , somewhat disheartened by the developments in the metal scene. Change is inevitable, and I accept that, but sometimes I feel very disconnected from the current state of the music circle. Nevertheless, I'm at peace with my decisions, continually moving forward.
Looking to the future, I remain grateful and fortunate to continue creating the music I love. Despite my age, I'm still learning and eagerly anticipating what comes next, whether music-related or not. I no longer feel the need for interviews or attention-seeking tactics to validate my presence in the metal scene—Those days are behind me. Embracing isolation has become crucial and welcome, contributing to healthier and more focused musical outputs.
I'm not seeking validation through social media metrics like likes, views, or comments. In my view, such pursuits are a waste of time, especially at my age. Social media, by its nature, implies a level of social engagement, which I don't resonate with. I engage in playing, composing, and creating to fulfill my inner existence and maintain a sharp and healthy mind. While I do share announcements related to releases, I aim to keep it minimal and devoid of unnecessary hype.
I believe I did achieve “Artistic freedom” a while ago, mainly by the time I decided to release everything by myself, independently, and with a full DIY commitment. It gave me this liberty to express myself without external constraints, opinions, or pressure from others. I can explore and experiment with different ideas, sounds, moods, and visions without “fear” of reprisal or backlash from "label people" or just external opinions. I know this implies the self determination to make creative decisions and take risks, but it allows me to push my boundaries and try to innovate. Granted, this principle is mostly applied towards The Chasm and MII, but obviously it reflects a lot on Acerus (that’s why I call it unorthodox molten heavy metal).
The root of your artistic work is heavy metal, but the Chasm are rooted in the death metal lineage, while Acerus are traditional heavy metal. For me, the unifying theme between both projects is hooks and dynamics. Both bands are focused on building atmosphere, and rather than relying on consistent repetition, you just churn out riff after riff after riff after riff. Can you speak to how your writing and creation process differs between your two projects? What commonalities and threads would you say unite your heavy metal bands, and what areas would you say are intentionally and exclusively exorcized in each band?
I’m truly pleased that you've highlighted the atmospheric aspect of my music, as I believe it's the essence of creating a unique auditory experience. My deep passion and connection to the authentic, old-school metal formed a crucial pillar in shaping my musical style, evident in both bands. In essence, my goal is straightforward—to craft meaningful songs that transport me beyond the mundane, on small journeys through the inner and outer realms.
The inspiration for my approach lies in the way I felt when I first discovered this music many years ago. Back then, the most vital factor for me was the sense of meaning and exploration within the songs. While I acknowledge the technical aspect's importance, I firmly believe that technique alone, devoid of genuine feeling, aura, and spirit, amounts to nothing in my ears.
Regrettably, the sense of introspection and exploration in music seems to be fading.
Consequently, I create what I want to hear and feel, perpetually in search of those elusive notes and moods. Additionally, though not a deliberate choice, I find myself naturally gravitating against the current trends. This inclination is particularly evident in the latest albums from both The Chasm and Acerus, where even the production reflects an intentional departure from the nowadays recordings, to sound distinct, possessing personality and character.
My unique personal style, for better or worse, has evolved into a form entirely my own. I take comfort in this journey of exploration within my compositions, a craft that unfolded over years without me fully realizing it, and then this realization brings a profound personal satisfaction. While The Chasm leans towards introspection, darkness, and oppression, Acerus embodies pure heavy metal riffing—straightforward, yet powerful with speed, heaviness, and a profound passion for the music that shaped my upbringing. It's an unapologetic embrace of the classic elements, devoid of groundbreaking innovations, but rich in the essence of what I love.
Let’s speak more specifically about Acerus and The Caliginous Serenade. Caliginous is defined as "dark, misty, or night,", but it also evokes potential references to Emperor Caligula, the cruel and sexually perverse Roman emperor. Indeed, I poured over your liner notes and throughout your lyrics and saw illustrations of night creatures engaging in Faustian delights; lyrically and conceptually, it seems to be much the same. Can you speak to the overarching concept of the band itself, the theme of The Caliginous Serenade, and your penchant for seemingly dark erotic/romanticism?
From the inception of this project, now evolved into a band, my lyrical inspiration has consistently drawn from the pervasive sense of doom and hopelessness that has been a constant presence in my life. It seems that no matter what, there's always something crude, raw, unexpected, and ugly lurking on the horizon. This profound feeling of perdition and loss, forged through life's experiences, continues to fuel my creative endeavors.
As we embark on this new chapter, I find myself delving even deeper into the same thematic vein. In my perspective, we are now witnessing, more than ever, the beginning of the end for humanity—a triad of mental, physical, and spiritual demise. It marks the unraveling of the world as we know it, a loss of salvation that, while sounding dramatic and perhaps overreaching, is the lens through which I perceive this fantasy in my head.
Despite its fantastical nature, this perspective has remained a steadfast source of inspiration for me over the years. Indeed, I draw motivation from dark, old Renaissance/dark times era imagery and art. Exploring the minds of those true artists who were inspired to paint and draw such exceptional pieces is a captivating experience. The sense of dark dread and atmospheric occult horror that permeates these works, though nearly extinct in contemporary times, continues to ignite a spark of influence and inspiration within me. I've been fortunate to witness several authentic pieces in various museums, thanks in large part to my wife's passion for ancient art. Seeing the genuine pieces of true art face-to-face is an incredible and humbling experience, contributing to moments of meaningful inspiration.
The Caliginous Serenade is more than just a collection of songs; it's a dedication to all those, including myself, who harbor the belief that we are descending down the path of grand perdition and ultimate demise. It encapsulates the essence of our collective apprehension and foreboding, offering a musical reflection of the challenging realities that surround us.
Once again, your guitar work in The Caliginous Serenade is stunning. You have a long history of playing guitar in Cenotaph, Incantation, the Chasm, and several other projects. Your ability to play leads is simply hard to match: for example, the galloping leads in "Prevail" that act as a counterpoint to the vocal lines simply blew me away. You seem to approach your instrument more dynamically than most, favoring both solos and leads, and almost using it as a replacement for backing vocals, which has really amplified the power of this record. Can you speak to your relationship with the guitar, how you approached songwriting on this record, and what it means to be a self-professed music snob? Who would you say are your biggest influences as a guitarist, and what exercises do you engage in to continuously improve as a musician?
Thank you sincerely for your thoughtful comments; they mean a great deal to me. I identify much with the venerable Heavy Load hymn “The guitar is my sword.”
From the outset of my journey into the realm of playing guitar, my primary focus and ultimate goal have centered around creating memorable music, grounded in powerful riffs. This encapsulates what I mean by letting the music do the talking. Describing the process of how these creations come to be is challenging, as it's a state of mind that eludes easy explanation. I prefer to let listeners draw their own conclusions as they immerse themselves in the music.
Two crucial factors contributed significantly to my approach. Firstly, being self-taught has been a defining element of my musical journey. I started by playing it by ear and absorbing as much as possible to what I was discovering/hearing; I never placed excessive emphasis on technique, skills, notes, or arpeggios. While this may have limited my abilities in some aspects, it fostered self-sufficiency. I endeavored to bring forth what resided in my mind with my limited knowledge, drawing from my own unique musical training and “theory,” honed through years of practice. Additionally, my deep appreciation and immersion in diverse music genres, particularly old German/European electronic, soundtracks, and obscure progressive bands, have greatly influenced my musical sensibilities. I believe this is what you might have referred to as being a "music snob.”
Now, turning to the lead guitar work on this album (and 2020’s The Tertiary Rite), I must credit Edward Escamilla with it, a remarkably talented guitarist from the area. Recognizing his top-notch technical proficiency and being significantly younger than me, I entrusted him with the task. Similar to the collaboration with Esteban, I provided Edward with the song demos, outlined my thoughts on where I needed his touch, and allowed him the freedom to express himself. When he returned with his takes, we were collectively satisfied and astounded by how seamlessly his style integrated with the songs. His contribution brought a new layer of class and atmospheric, true metal feeling to the album. No doubt being able to have the participation of people with talent and will to do things have made the Acerus way stronger and more coherent.
To be honest, I've found myself gradually losing interest in the routine of guitar practice. My playing reached a plateau long ago, and I stopped the pursuit of actively "becoming better." While this might sound somewhat on the mediocre side, it paradoxically strengthens my resolve to delve deeper into my limited arsenal. I rather exercise the mind in order to come up with new ideas and explorations….
And as for those maestros who became my inspiration and influence back in the day, I can mention icons like Iommi, Blackmore, Malmsteen, Moore, Smith/Murray, Downing/Tipton, Kasparek, Weikath/Hansen, Hoffman, Petrozza, Tom G., Piggy, Mike, Hanneman/King, Hetfield, Mustaine, plus a bunch more….
Your vocalist Esteban appears to have become an important collaborator for you. He writes lyrics and has sung on both this album and your 2020 album The Tertiary Rite. I reckon these two albums have exposed Acerus to a whole new audience, and Esteban's contributions have certainly assisted with that—He's a stunning, unusual, strong vocalist.
That said, there was a period in the 2010s that it appears that you've been favoring doing almost everything in music production yourself. You were the sole creator of Acerus' 2016 The Clock of Mortality; additionally, it was you and drummer Antonio who solely created the previous two albums by the Chasm. What encouraged you to open up Acerus' lineup once more? What does Esteban bring to the table that you are unable to deliver? Do you see him as a long-term contributor? Will there be any chance for people to see Acerus live with its current lineup?
The unique aspect of The Clock of Mortality is that it emerged as a solo project out of necessity. The lineup for the debut album disintegrated for various reasons, leaving me alone but determined to press on. At that point, rather than seeking to assemble a full band, I embraced the idea of going solo. The experience turned out to be immensely rewarding, and I have no regrets about the final results. However, I was fully aware of the inherent limitations, particularly in the vocal department.
In 2018, when The Chasm returned to the live arena, I envisioned incorporating Acerus to the stage too. This led to the formation of the first real band incarnation. We did a few shows with a different lineup that eventually fell apart, only with Mario on Drums still strong and being the longest-standing member. His performance revitalized the original vision for the band, emphasizing punch, power, and simplicity. By fate, Esteban joined just before we began recording The Tertiary Rite. His addition has been tremendous, infusing a unique style that brings a new layer and dimension to the songs. He plays a crucial role in shaping the sound of the band today.
With The Tertiary Rite, I provided Esteban with more guidance and input on how to approach and sing the songs. Although he had a significant amount of autonomy, it was his first time recording heavy metal, especially of this unorthodox kind. For The Caliginous Serenade, I simply gave him the demos and let him practice independently, without offering input or opinions. He took the songs to a different level, showcasing his talent and class. I trusted him to bring his own fire to the project, and he delivered with excellence. He also played a significant role in crafting the lyrics, offering valuable assistance at a time when my lyrical creativity was waning. This was one of the main reasons I temporarily stepped away from singing with The Chasm.
(I’ve) got to mention that the recording of this new album was done in the most DIY manner possible; no studio was used at all in any of the parts. Each one of us recorded independently at our own places, a very raw and crude way, but since there was no budget at all, that was the only option. I think it is very noticeable on the final sound, but we are very satisfied with the final outcome and proud of what we accomplished.
We have a record presentation show scheduled for early February here in Chicago, sharing the stage with High Spirits and Bear Mace. Beyond that, the future is uncertain. We're essentially "open for business." If there's interest from promoters and fans in having us play live in their cities, we're more than willing to explore those opportunities. Our desire is to present this music in its rawest and liveliest form. However, the decision ultimately lies with the fans and people—Their interest and response will determine whether they want to see Acerus live or not. We won't be pushing for it; instead, we'll let the organic interest and demand guide our live performances.
I've read some of the interviews you've done in the early 2000s, and the main takeaway that I've seen from them is that you've been robustly jerked around by labels. I know you've heard from numerous people over the years that your bands should be huge, and yet, that's been a sticking point for the Chasm and for Acerus. Fast forward to today, and you've now got your own label with Luxinframundis Productions, and you're working with Brandon's emerging label Nameless Grave Records. What made you decide to work with Nameless Grave, and do you see any future with either band being signed to a bigger label?
Certainly, labels, much like many other things, held a significant meaning in the past. (I'm 52, "back in the day....") but reflecting on it, I realize that labels, in essence, are simply businesses, and the majority really don’t have much of a clue of what it means to compose and create honest ,tue music, but anyway, throughout the years, I've had both positive and negative experiences with them, and looking back, I have no complaints. Each experience was part of the overall journey and learning process.
However, as I've grown and evolved, I've come to view being signed to a label, especially concerning The Chasm, as somewhat pointless in the current landscape. With Acerus, I maintain a slightly more open-minded approach and am willing to engage with the industry to some extent. The primary reason I sought Brandon's help for this release is because he has been a staunch believer in Acerus' music since the beginning. His consistent support and honest perspective in my music have been invaluable, and I appreciate and respect that.
Another factor influencing my decision is that I've become somewhat, once again, burned out with my own label business, while Nameless Grave is growing and doing an excellent job in their domain, so their help and support is more than welcomed. I don't see a big label in our future, nor is it a goal for us. We don't fit the mold of what is traditionally considered "big label material," and I'm perfectly fine with that. The authenticity and connection we have with our music and audience are more valuable than conforming to industry standards.
Trends in heavy metal come and go, but both of the genres that you are currently playing with the Chasm and Acerus are currently experiencing surges in popularity: old-school death metal (OSDM) and traditional heavy metal. Has the NWOTHM (New Wave of True Heavy Metal) trend and leap in interest in Acerus encouraged you or anyone in Acerus to take the band more seriously?
The same question applies to The Chasm and the huge leap in interest this past decade in OSDM, which I'd argue isn't particularly relevant to The Chasm, particularly with your more recent shift into a more progressive and transcendental space. However, the question still applies. How does—or doesn't—surging interest in the art you're already making impact your creative process?
Any kind of music I create, I take 100% seriously, yet, it is not a priority in my life anymore… To be honest, I find myself somewhat detached from the current happenings in the music scene. I tend to stick to my classics, revisiting albums from bands that held significant meaning for me back in the day. Interestingly, there are periods—sometimes extending for weeks or even months—where I don't engage with music at all. Occasionally, I'll listen to non-metal genres, showcasing the diversity of my tastes. Whatever unfolds in the actual, broader music landscape out there, it doesn't exert any direct influence at all on my creative process; the isolation remains a powerful force.
Over the years, I've been fortunate to carve out my own personal style and, to some extent, a unique sound. Whether for better or worse, it has become an integral part of how I craft songs. I've long recognized that The Chasm, Acerus, and MII maintain a low-key presence compared to today's standards, and I'm content with that. This subtlety doesn't warrant complaints; rather, I appreciate the fortune of having a dedicated yet small audience that supports and listens to my creations.
At this juncture, I'm not actively seeking more followers, fans, or listeners. My focus lies in the music's inherent quality, trusting that if it resonates, people will take notice, and the notes will find the right listener. It's not a goal I'm trying to force or change; instead, I aim to remain creatively engaged and continue exploring new avenues to express the thoughts within my mind. The pursuit is ongoing, a continual search for answers.
In parallel, my interests have shifted over time, reflecting an evolution in my creative journey. This shift is a natural part of the exploration and adaptation inherent in my personal way of expression.
Thank you once again for the opportunity to discuss these aspects of my journey.
…
The Caliginous Serenade releases January 26th via Lux Inframundis and Nameless Grave.
Acerus Champions Unfettered Heavy Metal on “The Caliginous Serenade” (Early Stream + Daniel Corchado Interview)
Despite producing some of the past three decades’ finest works in death metal and traditional heavy metal, multi-instrumentalist and songwriter Daniel Corchado remains an enigmatic, if not perennially underrated, figure in heavy metal. The mastermind behind The Chasm and Acerus relocated to the United States after cutting his teeth as the bassist and vocalist of Mexican death metal pioneers Cenotaph, with whom he released 1992’s foundational The Gloomy Reflection of Our Hidden Sorrows.
Six short years and an international relocation later, he turned down John McEntee’s offer to permanently join Incantation, with whom he wrote and recorded 1998’s Diabolical Conquest. Focusing on his own projects became his sole priority as The Chasm began making waves internationally. For those not already familiar, I’d recommend cutting your teeth with 2000’s Procession to the Infraworld. You're welcome.
An integral part of North American death metal from very close to its impetus, Corchado continues to consistently unleash unusual, engaging heavy metal that refuses to conform and challenges genre expectations. His most recent offering is Acerus’ best album yet, The Caliginous Serenade. While many recent traditional metal outfits favor straight-forward recreations of greater works from decades past, Acerus does anything but. Formed in 2012 during a quiet period for The Chasm, the band have slowly evolved into its current form, bolstered by drummer Mario Hernandez, lead guitarist Ed Escamilla, and vocalist Esteban Julian Pena.
Featuring unusual, big vocals and aggressive incessant leads and solos that weave amidst an engaging blend of U.S. power metal and speed metal that could easily pass for death metal if only the tuning changed, The Caliginous Serenade is a riff-laden monster. Closing tracks "Prevail," "Fourth Pentacle," and title track "The Caliginous Serenade" are its apex. Casual listening is not the purpose here: This is heavy metal to get utterly lost within. Every single listen opens new dimensions.
To learn more, I caught up with Corchado, who agreed to grant us an exclusive interview for the release. He revealed many secrets of steel. Plus, we're streaming the whole album in full before it releases this Friday.
-Sarah Kitteringham
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First up, hey Daniel. I appreciate you interviewing with me today, as I know you rarely grant interviews. Indeed, you don't seem to bother to conform to the same cycles many commercial metal artists get caught up in–interviews, single premieres, "content creation" (whatever that means), touring comprehensively.
You don't quite do any of those things, and yet you're quite a revered figure within both underground death metal circles and underground heavy metal circles for your work in the Chasm and Acerus. Can you speak to why you've opted to forgo these standard practices? What does it mean to be an artist who can create without succumbing to commercial pressures? Do you think it impacts your creation and your ability to evolve and experiment as an artist? Can you speak to how that freedom manifests within your bands Chasm, Acerus, and your atmospheric synthwave project Magnum Itiner Interius?
I want to express my gratitude for your time doing this interview, and I truly appreciate your support for Acerus. It's been quite some time since I engaged in discussions about my musical projects, and your insightful questions brought back some valuable reflections.
As you rightly pointed out, I've distanced myself from the "standard practices" of music promotion. This shift has been a gradual process, influenced not only by a loss of interest in traditional promotional methods but also by my evolving perspective on the dynamics within the metal community.
The burnout from years of following the conventional cycle of promotion was a pivotal moment for me. The routine of interviews, advertisements, and the relentless effort to spread the word about my music began to feel like a futile exercise. It's a valid approach to present and promote music, particularly for record labels looking to sell records. However, I found myself uninterested in the commercial aspects, especially considering The Chasm’s identity as an underground death metal band.
The seeming contradiction of selling music rather than offering it for free arises from my primary identity as a musician rather than a business or label owner. Over time, my mindset has evolved to embrace the ideology of letting the music speak for itself. I believe in the authenticity and power of the music we create, and I've chosen to prioritize that over conforming to conventional promotional practices.
I've genuinely lost interest in sharing my opinions and perspectives with the public. It's not a role I feel inclined to play, and it doesn't captivate my interest. Rather than considering myself an artist, I view myself as a simple musician. If I release my music for others to hear, that, for me, is the only recognition I seek. This might not be the most business-savvy approach, but personal satisfaction takes precedence over monetary gain. That's why I maintain a regular, well-paid job—My music is a deeply personal endeavor.
While it's gratifying to have people pay for my creations, it has never been my primary goal. My perspective has evolved over time, influenced by aging, maturing, and growing , somewhat disheartened by the developments in the metal scene. Change is inevitable, and I accept that, but sometimes I feel very disconnected from the current state of the music circle. Nevertheless, I'm at peace with my decisions, continually moving forward.
Looking to the future, I remain grateful and fortunate to continue creating the music I love. Despite my age, I'm still learning and eagerly anticipating what comes next, whether music-related or not. I no longer feel the need for interviews or attention-seeking tactics to validate my presence in the metal scene—Those days are behind me. Embracing isolation has become crucial and welcome, contributing to healthier and more focused musical outputs.
I'm not seeking validation through social media metrics like likes, views, or comments. In my view, such pursuits are a waste of time, especially at my age. Social media, by its nature, implies a level of social engagement, which I don't resonate with. I engage in playing, composing, and creating to fulfill my inner existence and maintain a sharp and healthy mind. While I do share announcements related to releases, I aim to keep it minimal and devoid of unnecessary hype.
I believe I did achieve “Artistic freedom” a while ago, mainly by the time I decided to release everything by myself, independently, and with a full DIY commitment. It gave me this liberty to express myself without external constraints, opinions, or pressure from others. I can explore and experiment with different ideas, sounds, moods, and visions without “fear” of reprisal or backlash from "label people" or just external opinions. I know this implies the self determination to make creative decisions and take risks, but it allows me to push my boundaries and try to innovate. Granted, this principle is mostly applied towards The Chasm and MII, but obviously it reflects a lot on Acerus (that’s why I call it unorthodox molten heavy metal).
The root of your artistic work is heavy metal, but the Chasm are rooted in the death metal lineage, while Acerus are traditional heavy metal. For me, the unifying theme between both projects is hooks and dynamics. Both bands are focused on building atmosphere, and rather than relying on consistent repetition, you just churn out riff after riff after riff after riff. Can you speak to how your writing and creation process differs between your two projects? What commonalities and threads would you say unite your heavy metal bands, and what areas would you say are intentionally and exclusively exorcized in each band?
I’m truly pleased that you've highlighted the atmospheric aspect of my music, as I believe it's the essence of creating a unique auditory experience. My deep passion and connection to the authentic, old-school metal formed a crucial pillar in shaping my musical style, evident in both bands. In essence, my goal is straightforward—to craft meaningful songs that transport me beyond the mundane, on small journeys through the inner and outer realms.
The inspiration for my approach lies in the way I felt when I first discovered this music many years ago. Back then, the most vital factor for me was the sense of meaning and exploration within the songs. While I acknowledge the technical aspect's importance, I firmly believe that technique alone, devoid of genuine feeling, aura, and spirit, amounts to nothing in my ears.
Regrettably, the sense of introspection and exploration in music seems to be fading.
Consequently, I create what I want to hear and feel, perpetually in search of those elusive notes and moods. Additionally, though not a deliberate choice, I find myself naturally gravitating against the current trends. This inclination is particularly evident in the latest albums from both The Chasm and Acerus, where even the production reflects an intentional departure from the nowadays recordings, to sound distinct, possessing personality and character.
My unique personal style, for better or worse, has evolved into a form entirely my own. I take comfort in this journey of exploration within my compositions, a craft that unfolded over years without me fully realizing it, and then this realization brings a profound personal satisfaction. While The Chasm leans towards introspection, darkness, and oppression, Acerus embodies pure heavy metal riffing—straightforward, yet powerful with speed, heaviness, and a profound passion for the music that shaped my upbringing. It's an unapologetic embrace of the classic elements, devoid of groundbreaking innovations, but rich in the essence of what I love.
Let’s speak more specifically about Acerus and The Caliginous Serenade. Caliginous is defined as "dark, misty, or night,", but it also evokes potential references to Emperor Caligula, the cruel and sexually perverse Roman emperor. Indeed, I poured over your liner notes and throughout your lyrics and saw illustrations of night creatures engaging in Faustian delights; lyrically and conceptually, it seems to be much the same. Can you speak to the overarching concept of the band itself, the theme of The Caliginous Serenade, and your penchant for seemingly dark erotic/romanticism?
From the inception of this project, now evolved into a band, my lyrical inspiration has consistently drawn from the pervasive sense of doom and hopelessness that has been a constant presence in my life. It seems that no matter what, there's always something crude, raw, unexpected, and ugly lurking on the horizon. This profound feeling of perdition and loss, forged through life's experiences, continues to fuel my creative endeavors.
As we embark on this new chapter, I find myself delving even deeper into the same thematic vein. In my perspective, we are now witnessing, more than ever, the beginning of the end for humanity—a triad of mental, physical, and spiritual demise. It marks the unraveling of the world as we know it, a loss of salvation that, while sounding dramatic and perhaps overreaching, is the lens through which I perceive this fantasy in my head.
Despite its fantastical nature, this perspective has remained a steadfast source of inspiration for me over the years. Indeed, I draw motivation from dark, old Renaissance/dark times era imagery and art. Exploring the minds of those true artists who were inspired to paint and draw such exceptional pieces is a captivating experience. The sense of dark dread and atmospheric occult horror that permeates these works, though nearly extinct in contemporary times, continues to ignite a spark of influence and inspiration within me. I've been fortunate to witness several authentic pieces in various museums, thanks in large part to my wife's passion for ancient art. Seeing the genuine pieces of true art face-to-face is an incredible and humbling experience, contributing to moments of meaningful inspiration.
The Caliginous Serenade is more than just a collection of songs; it's a dedication to all those, including myself, who harbor the belief that we are descending down the path of grand perdition and ultimate demise. It encapsulates the essence of our collective apprehension and foreboding, offering a musical reflection of the challenging realities that surround us.
Once again, your guitar work in The Caliginous Serenade is stunning. You have a long history of playing guitar in Cenotaph, Incantation, the Chasm, and several other projects. Your ability to play leads is simply hard to match: for example, the galloping leads in "Prevail" that act as a counterpoint to the vocal lines simply blew me away. You seem to approach your instrument more dynamically than most, favoring both solos and leads, and almost using it as a replacement for backing vocals, which has really amplified the power of this record. Can you speak to your relationship with the guitar, how you approached songwriting on this record, and what it means to be a self-professed music snob? Who would you say are your biggest influences as a guitarist, and what exercises do you engage in to continuously improve as a musician?
Thank you sincerely for your thoughtful comments; they mean a great deal to me. I identify much with the venerable Heavy Load hymn “The guitar is my sword.”
From the outset of my journey into the realm of playing guitar, my primary focus and ultimate goal have centered around creating memorable music, grounded in powerful riffs. This encapsulates what I mean by letting the music do the talking. Describing the process of how these creations come to be is challenging, as it's a state of mind that eludes easy explanation. I prefer to let listeners draw their own conclusions as they immerse themselves in the music.
Two crucial factors contributed significantly to my approach. Firstly, being self-taught has been a defining element of my musical journey. I started by playing it by ear and absorbing as much as possible to what I was discovering/hearing; I never placed excessive emphasis on technique, skills, notes, or arpeggios. While this may have limited my abilities in some aspects, it fostered self-sufficiency. I endeavored to bring forth what resided in my mind with my limited knowledge, drawing from my own unique musical training and “theory,” honed through years of practice. Additionally, my deep appreciation and immersion in diverse music genres, particularly old German/European electronic, soundtracks, and obscure progressive bands, have greatly influenced my musical sensibilities. I believe this is what you might have referred to as being a "music snob.”
Now, turning to the lead guitar work on this album (and 2020’s The Tertiary Rite), I must credit Edward Escamilla with it, a remarkably talented guitarist from the area. Recognizing his top-notch technical proficiency and being significantly younger than me, I entrusted him with the task. Similar to the collaboration with Esteban, I provided Edward with the song demos, outlined my thoughts on where I needed his touch, and allowed him the freedom to express himself. When he returned with his takes, we were collectively satisfied and astounded by how seamlessly his style integrated with the songs. His contribution brought a new layer of class and atmospheric, true metal feeling to the album. No doubt being able to have the participation of people with talent and will to do things have made the Acerus way stronger and more coherent.
To be honest, I've found myself gradually losing interest in the routine of guitar practice. My playing reached a plateau long ago, and I stopped the pursuit of actively "becoming better." While this might sound somewhat on the mediocre side, it paradoxically strengthens my resolve to delve deeper into my limited arsenal. I rather exercise the mind in order to come up with new ideas and explorations….
And as for those maestros who became my inspiration and influence back in the day, I can mention icons like Iommi, Blackmore, Malmsteen, Moore, Smith/Murray, Downing/Tipton, Kasparek, Weikath/Hansen, Hoffman, Petrozza, Tom G., Piggy, Mike, Hanneman/King, Hetfield, Mustaine, plus a bunch more….
Your vocalist Esteban appears to have become an important collaborator for you. He writes lyrics and has sung on both this album and your 2020 album The Tertiary Rite. I reckon these two albums have exposed Acerus to a whole new audience, and Esteban's contributions have certainly assisted with that—He's a stunning, unusual, strong vocalist.
That said, there was a period in the 2010s that it appears that you've been favoring doing almost everything in music production yourself. You were the sole creator of Acerus' 2016 The Clock of Mortality; additionally, it was you and drummer Antonio who solely created the previous two albums by the Chasm. What encouraged you to open up Acerus' lineup once more? What does Esteban bring to the table that you are unable to deliver? Do you see him as a long-term contributor? Will there be any chance for people to see Acerus live with its current lineup?
The unique aspect of The Clock of Mortality is that it emerged as a solo project out of necessity. The lineup for the debut album disintegrated for various reasons, leaving me alone but determined to press on. At that point, rather than seeking to assemble a full band, I embraced the idea of going solo. The experience turned out to be immensely rewarding, and I have no regrets about the final results. However, I was fully aware of the inherent limitations, particularly in the vocal department.
In 2018, when The Chasm returned to the live arena, I envisioned incorporating Acerus to the stage too. This led to the formation of the first real band incarnation. We did a few shows with a different lineup that eventually fell apart, only with Mario on Drums still strong and being the longest-standing member. His performance revitalized the original vision for the band, emphasizing punch, power, and simplicity. By fate, Esteban joined just before we began recording The Tertiary Rite. His addition has been tremendous, infusing a unique style that brings a new layer and dimension to the songs. He plays a crucial role in shaping the sound of the band today.
With The Tertiary Rite, I provided Esteban with more guidance and input on how to approach and sing the songs. Although he had a significant amount of autonomy, it was his first time recording heavy metal, especially of this unorthodox kind. For The Caliginous Serenade, I simply gave him the demos and let him practice independently, without offering input or opinions. He took the songs to a different level, showcasing his talent and class. I trusted him to bring his own fire to the project, and he delivered with excellence. He also played a significant role in crafting the lyrics, offering valuable assistance at a time when my lyrical creativity was waning. This was one of the main reasons I temporarily stepped away from singing with The Chasm.
(I’ve) got to mention that the recording of this new album was done in the most DIY manner possible; no studio was used at all in any of the parts. Each one of us recorded independently at our own places, a very raw and crude way, but since there was no budget at all, that was the only option. I think it is very noticeable on the final sound, but we are very satisfied with the final outcome and proud of what we accomplished.
We have a record presentation show scheduled for early February here in Chicago, sharing the stage with High Spirits and Bear Mace. Beyond that, the future is uncertain. We're essentially "open for business." If there's interest from promoters and fans in having us play live in their cities, we're more than willing to explore those opportunities. Our desire is to present this music in its rawest and liveliest form. However, the decision ultimately lies with the fans and people—Their interest and response will determine whether they want to see Acerus live or not. We won't be pushing for it; instead, we'll let the organic interest and demand guide our live performances.
I've read some of the interviews you've done in the early 2000s, and the main takeaway that I've seen from them is that you've been robustly jerked around by labels. I know you've heard from numerous people over the years that your bands should be huge, and yet, that's been a sticking point for the Chasm and for Acerus. Fast forward to today, and you've now got your own label with Luxinframundis Productions, and you're working with Brandon's emerging label Nameless Grave Records. What made you decide to work with Nameless Grave, and do you see any future with either band being signed to a bigger label?
Certainly, labels, much like many other things, held a significant meaning in the past. (I'm 52, "back in the day....") but reflecting on it, I realize that labels, in essence, are simply businesses, and the majority really don’t have much of a clue of what it means to compose and create honest ,tue music, but anyway, throughout the years, I've had both positive and negative experiences with them, and looking back, I have no complaints. Each experience was part of the overall journey and learning process.
However, as I've grown and evolved, I've come to view being signed to a label, especially concerning The Chasm, as somewhat pointless in the current landscape. With Acerus, I maintain a slightly more open-minded approach and am willing to engage with the industry to some extent. The primary reason I sought Brandon's help for this release is because he has been a staunch believer in Acerus' music since the beginning. His consistent support and honest perspective in my music have been invaluable, and I appreciate and respect that.
Another factor influencing my decision is that I've become somewhat, once again, burned out with my own label business, while Nameless Grave is growing and doing an excellent job in their domain, so their help and support is more than welcomed. I don't see a big label in our future, nor is it a goal for us. We don't fit the mold of what is traditionally considered "big label material," and I'm perfectly fine with that. The authenticity and connection we have with our music and audience are more valuable than conforming to industry standards.
Trends in heavy metal come and go, but both of the genres that you are currently playing with the Chasm and Acerus are currently experiencing surges in popularity: old-school death metal (OSDM) and traditional heavy metal. Has the NWOTHM (New Wave of True Heavy Metal) trend and leap in interest in Acerus encouraged you or anyone in Acerus to take the band more seriously?
The same question applies to The Chasm and the huge leap in interest this past decade in OSDM, which I'd argue isn't particularly relevant to The Chasm, particularly with your more recent shift into a more progressive and transcendental space. However, the question still applies. How does—or doesn't—surging interest in the art you're already making impact your creative process?
Any kind of music I create, I take 100% seriously, yet, it is not a priority in my life anymore… To be honest, I find myself somewhat detached from the current happenings in the music scene. I tend to stick to my classics, revisiting albums from bands that held significant meaning for me back in the day. Interestingly, there are periods—sometimes extending for weeks or even months—where I don't engage with music at all. Occasionally, I'll listen to non-metal genres, showcasing the diversity of my tastes. Whatever unfolds in the actual, broader music landscape out there, it doesn't exert any direct influence at all on my creative process; the isolation remains a powerful force.
Over the years, I've been fortunate to carve out my own personal style and, to some extent, a unique sound. Whether for better or worse, it has become an integral part of how I craft songs. I've long recognized that The Chasm, Acerus, and MII maintain a low-key presence compared to today's standards, and I'm content with that. This subtlety doesn't warrant complaints; rather, I appreciate the fortune of having a dedicated yet small audience that supports and listens to my creations.
At this juncture, I'm not actively seeking more followers, fans, or listeners. My focus lies in the music's inherent quality, trusting that if it resonates, people will take notice, and the notes will find the right listener. It's not a goal I'm trying to force or change; instead, I aim to remain creatively engaged and continue exploring new avenues to express the thoughts within my mind. The pursuit is ongoing, a continual search for answers.
In parallel, my interests have shifted over time, reflecting an evolution in my creative journey. This shift is a natural part of the exploration and adaptation inherent in my personal way of expression.
Thank you once again for the opportunity to discuss these aspects of my journey.
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The Caliginous Serenade releases January 26th via Lux Inframundis and Nameless Grave.
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It was now time for the Pool Stage to open itself up to one more night of poolside punishment, starting with Manilla Road. The setlist was a full run-through of the album Crystal Logic (1983) which has been heralded ever since. Those unfamiliar with the band had some interesting reactions: from laughter and surprise to downright confusion. Manilla Road has a more traditional heavy metal sound that apparently seemed cheesy to some, while others reveled in this aspect. I enjoyed the energy and technicality as a welcome contrast to an overwhelming amount of slow-moving music during the festival. The band played the material with a great amount of finesse and authority, and lead guitarist/vocalist Mark “The Shark” Shelton can still shred with the best of them.
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Acerus Champions Unfettered Heavy Metal on “The Caliginous Serenade” (Early Stream + Daniel Corchado Interview)
Despite producing some of the past three decades’ finest works in death metal and traditional heavy metal, multi-instrumentalist and songwriter Daniel Corchado remains an enigmatic, if not perennially underrated, figure in heavy metal. The mastermind behind The Chasm and Acerus relocated to the United States after cutting his teeth as the bassist and vocalist of Mexican death metal pioneers Cenotaph, with whom he released 1992’s foundational The Gloomy Reflection of Our Hidden Sorrows.
Six short years and an international relocation later, he turned down John McEntee’s offer to permanently join Incantation, with whom he wrote and recorded 1998’s Diabolical Conquest. Focusing on his own projects became his sole priority as The Chasm began making waves internationally. For those not already familiar, I’d recommend cutting your teeth with 2000’s Procession to the Infraworld. You're welcome.
An integral part of North American death metal from very close to its impetus, Corchado continues to consistently unleash unusual, engaging heavy metal that refuses to conform and challenges genre expectations. His most recent offering is Acerus’ best album yet, The Caliginous Serenade. While many recent traditional metal outfits favor straight-forward recreations of greater works from decades past, Acerus does anything but. Formed in 2012 during a quiet period for The Chasm, the band have slowly evolved into its current form, bolstered by drummer Mario Hernandez, lead guitarist Ed Escamilla, and vocalist Esteban Julian Pena.
Featuring unusual, big vocals and aggressive incessant leads and solos that weave amidst an engaging blend of U.S. power metal and speed metal that could easily pass for death metal if only the tuning changed, The Caliginous Serenade is a riff-laden monster. Closing tracks "Prevail," "Fourth Pentacle," and title track "The Caliginous Serenade" are its apex. Casual listening is not the purpose here: This is heavy metal to get utterly lost within. Every single listen opens new dimensions.
To learn more, I caught up with Corchado, who agreed to grant us an exclusive interview for the release. He revealed many secrets of steel. Plus, we're streaming the whole album in full before it releases this Friday.
-Sarah Kitteringham
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First up, hey Daniel. I appreciate you interviewing with me today, as I know you rarely grant interviews. Indeed, you don't seem to bother to conform to the same cycles many commercial metal artists get caught up in–interviews, single premieres, "content creation" (whatever that means), touring comprehensively.
You don't quite do any of those things, and yet you're quite a revered figure within both underground death metal circles and underground heavy metal circles for your work in the Chasm and Acerus. Can you speak to why you've opted to forgo these standard practices? What does it mean to be an artist who can create without succumbing to commercial pressures? Do you think it impacts your creation and your ability to evolve and experiment as an artist? Can you speak to how that freedom manifests within your bands Chasm, Acerus, and your atmospheric synthwave project Magnum Itiner Interius?
I want to express my gratitude for your time doing this interview, and I truly appreciate your support for Acerus. It's been quite some time since I engaged in discussions about my musical projects, and your insightful questions brought back some valuable reflections.
As you rightly pointed out, I've distanced myself from the "standard practices" of music promotion. This shift has been a gradual process, influenced not only by a loss of interest in traditional promotional methods but also by my evolving perspective on the dynamics within the metal community.
The burnout from years of following the conventional cycle of promotion was a pivotal moment for me. The routine of interviews, advertisements, and the relentless effort to spread the word about my music began to feel like a futile exercise. It's a valid approach to present and promote music, particularly for record labels looking to sell records. However, I found myself uninterested in the commercial aspects, especially considering The Chasm’s identity as an underground death metal band.
The seeming contradiction of selling music rather than offering it for free arises from my primary identity as a musician rather than a business or label owner. Over time, my mindset has evolved to embrace the ideology of letting the music speak for itself. I believe in the authenticity and power of the music we create, and I've chosen to prioritize that over conforming to conventional promotional practices.
I've genuinely lost interest in sharing my opinions and perspectives with the public. It's not a role I feel inclined to play, and it doesn't captivate my interest. Rather than considering myself an artist, I view myself as a simple musician. If I release my music for others to hear, that, for me, is the only recognition I seek. This might not be the most business-savvy approach, but personal satisfaction takes precedence over monetary gain. That's why I maintain a regular, well-paid job—My music is a deeply personal endeavor.
While it's gratifying to have people pay for my creations, it has never been my primary goal. My perspective has evolved over time, influenced by aging, maturing, and growing , somewhat disheartened by the developments in the metal scene. Change is inevitable, and I accept that, but sometimes I feel very disconnected from the current state of the music circle. Nevertheless, I'm at peace with my decisions, continually moving forward.
Looking to the future, I remain grateful and fortunate to continue creating the music I love. Despite my age, I'm still learning and eagerly anticipating what comes next, whether music-related or not. I no longer feel the need for interviews or attention-seeking tactics to validate my presence in the metal scene—Those days are behind me. Embracing isolation has become crucial and welcome, contributing to healthier and more focused musical outputs.
I'm not seeking validation through social media metrics like likes, views, or comments. In my view, such pursuits are a waste of time, especially at my age. Social media, by its nature, implies a level of social engagement, which I don't resonate with. I engage in playing, composing, and creating to fulfill my inner existence and maintain a sharp and healthy mind. While I do share announcements related to releases, I aim to keep it minimal and devoid of unnecessary hype.
I believe I did achieve “Artistic freedom” a while ago, mainly by the time I decided to release everything by myself, independently, and with a full DIY commitment. It gave me this liberty to express myself without external constraints, opinions, or pressure from others. I can explore and experiment with different ideas, sounds, moods, and visions without “fear” of reprisal or backlash from "label people" or just external opinions. I know this implies the self determination to make creative decisions and take risks, but it allows me to push my boundaries and try to innovate. Granted, this principle is mostly applied towards The Chasm and MII, but obviously it reflects a lot on Acerus (that’s why I call it unorthodox molten heavy metal).
The root of your artistic work is heavy metal, but the Chasm are rooted in the death metal lineage, while Acerus are traditional heavy metal. For me, the unifying theme between both projects is hooks and dynamics. Both bands are focused on building atmosphere, and rather than relying on consistent repetition, you just churn out riff after riff after riff after riff. Can you speak to how your writing and creation process differs between your two projects? What commonalities and threads would you say unite your heavy metal bands, and what areas would you say are intentionally and exclusively exorcized in each band?
I’m truly pleased that you've highlighted the atmospheric aspect of my music, as I believe it's the essence of creating a unique auditory experience. My deep passion and connection to the authentic, old-school metal formed a crucial pillar in shaping my musical style, evident in both bands. In essence, my goal is straightforward—to craft meaningful songs that transport me beyond the mundane, on small journeys through the inner and outer realms.
The inspiration for my approach lies in the way I felt when I first discovered this music many years ago. Back then, the most vital factor for me was the sense of meaning and exploration within the songs. While I acknowledge the technical aspect's importance, I firmly believe that technique alone, devoid of genuine feeling, aura, and spirit, amounts to nothing in my ears.
Regrettably, the sense of introspection and exploration in music seems to be fading.
Consequently, I create what I want to hear and feel, perpetually in search of those elusive notes and moods. Additionally, though not a deliberate choice, I find myself naturally gravitating against the current trends. This inclination is particularly evident in the latest albums from both The Chasm and Acerus, where even the production reflects an intentional departure from the nowadays recordings, to sound distinct, possessing personality and character.
My unique personal style, for better or worse, has evolved into a form entirely my own. I take comfort in this journey of exploration within my compositions, a craft that unfolded over years without me fully realizing it, and then this realization brings a profound personal satisfaction. While The Chasm leans towards introspection, darkness, and oppression, Acerus embodies pure heavy metal riffing—straightforward, yet powerful with speed, heaviness, and a profound passion for the music that shaped my upbringing. It's an unapologetic embrace of the classic elements, devoid of groundbreaking innovations, but rich in the essence of what I love.
Let’s speak more specifically about Acerus and The Caliginous Serenade. Caliginous is defined as "dark, misty, or night,", but it also evokes potential references to Emperor Caligula, the cruel and sexually perverse Roman emperor. Indeed, I poured over your liner notes and throughout your lyrics and saw illustrations of night creatures engaging in Faustian delights; lyrically and conceptually, it seems to be much the same. Can you speak to the overarching concept of the band itself, the theme of The Caliginous Serenade, and your penchant for seemingly dark erotic/romanticism?
From the inception of this project, now evolved into a band, my lyrical inspiration has consistently drawn from the pervasive sense of doom and hopelessness that has been a constant presence in my life. It seems that no matter what, there's always something crude, raw, unexpected, and ugly lurking on the horizon. This profound feeling of perdition and loss, forged through life's experiences, continues to fuel my creative endeavors.
As we embark on this new chapter, I find myself delving even deeper into the same thematic vein. In my perspective, we are now witnessing, more than ever, the beginning of the end for humanity—a triad of mental, physical, and spiritual demise. It marks the unraveling of the world as we know it, a loss of salvation that, while sounding dramatic and perhaps overreaching, is the lens through which I perceive this fantasy in my head.
Despite its fantastical nature, this perspective has remained a steadfast source of inspiration for me over the years. Indeed, I draw motivation from dark, old Renaissance/dark times era imagery and art. Exploring the minds of those true artists who were inspired to paint and draw such exceptional pieces is a captivating experience. The sense of dark dread and atmospheric occult horror that permeates these works, though nearly extinct in contemporary times, continues to ignite a spark of influence and inspiration within me. I've been fortunate to witness several authentic pieces in various museums, thanks in large part to my wife's passion for ancient art. Seeing the genuine pieces of true art face-to-face is an incredible and humbling experience, contributing to moments of meaningful inspiration.
The Caliginous Serenade is more than just a collection of songs; it's a dedication to all those, including myself, who harbor the belief that we are descending down the path of grand perdition and ultimate demise. It encapsulates the essence of our collective apprehension and foreboding, offering a musical reflection of the challenging realities that surround us.
Once again, your guitar work in The Caliginous Serenade is stunning. You have a long history of playing guitar in Cenotaph, Incantation, the Chasm, and several other projects. Your ability to play leads is simply hard to match: for example, the galloping leads in "Prevail" that act as a counterpoint to the vocal lines simply blew me away. You seem to approach your instrument more dynamically than most, favoring both solos and leads, and almost using it as a replacement for backing vocals, which has really amplified the power of this record. Can you speak to your relationship with the guitar, how you approached songwriting on this record, and what it means to be a self-professed music snob? Who would you say are your biggest influences as a guitarist, and what exercises do you engage in to continuously improve as a musician?
Thank you sincerely for your thoughtful comments; they mean a great deal to me. I identify much with the venerable Heavy Load hymn “The guitar is my sword.”
From the outset of my journey into the realm of playing guitar, my primary focus and ultimate goal have centered around creating memorable music, grounded in powerful riffs. This encapsulates what I mean by letting the music do the talking. Describing the process of how these creations come to be is challenging, as it's a state of mind that eludes easy explanation. I prefer to let listeners draw their own conclusions as they immerse themselves in the music.
Two crucial factors contributed significantly to my approach. Firstly, being self-taught has been a defining element of my musical journey. I started by playing it by ear and absorbing as much as possible to what I was discovering/hearing; I never placed excessive emphasis on technique, skills, notes, or arpeggios. While this may have limited my abilities in some aspects, it fostered self-sufficiency. I endeavored to bring forth what resided in my mind with my limited knowledge, drawing from my own unique musical training and “theory,” honed through years of practice. Additionally, my deep appreciation and immersion in diverse music genres, particularly old German/European electronic, soundtracks, and obscure progressive bands, have greatly influenced my musical sensibilities. I believe this is what you might have referred to as being a "music snob.”
Now, turning to the lead guitar work on this album (and 2020’s The Tertiary Rite), I must credit Edward Escamilla with it, a remarkably talented guitarist from the area. Recognizing his top-notch technical proficiency and being significantly younger than me, I entrusted him with the task. Similar to the collaboration with Esteban, I provided Edward with the song demos, outlined my thoughts on where I needed his touch, and allowed him the freedom to express himself. When he returned with his takes, we were collectively satisfied and astounded by how seamlessly his style integrated with the songs. His contribution brought a new layer of class and atmospheric, true metal feeling to the album. No doubt being able to have the participation of people with talent and will to do things have made the Acerus way stronger and more coherent.
To be honest, I've found myself gradually losing interest in the routine of guitar practice. My playing reached a plateau long ago, and I stopped the pursuit of actively "becoming better." While this might sound somewhat on the mediocre side, it paradoxically strengthens my resolve to delve deeper into my limited arsenal. I rather exercise the mind in order to come up with new ideas and explorations….
And as for those maestros who became my inspiration and influence back in the day, I can mention icons like Iommi, Blackmore, Malmsteen, Moore, Smith/Murray, Downing/Tipton, Kasparek, Weikath/Hansen, Hoffman, Petrozza, Tom G., Piggy, Mike, Hanneman/King, Hetfield, Mustaine, plus a bunch more….
Your vocalist Esteban appears to have become an important collaborator for you. He writes lyrics and has sung on both this album and your 2020 album The Tertiary Rite. I reckon these two albums have exposed Acerus to a whole new audience, and Esteban's contributions have certainly assisted with that—He's a stunning, unusual, strong vocalist.
That said, there was a period in the 2010s that it appears that you've been favoring doing almost everything in music production yourself. You were the sole creator of Acerus' 2016 The Clock of Mortality; additionally, it was you and drummer Antonio who solely created the previous two albums by the Chasm. What encouraged you to open up Acerus' lineup once more? What does Esteban bring to the table that you are unable to deliver? Do you see him as a long-term contributor? Will there be any chance for people to see Acerus live with its current lineup?
The unique aspect of The Clock of Mortality is that it emerged as a solo project out of necessity. The lineup for the debut album disintegrated for various reasons, leaving me alone but determined to press on. At that point, rather than seeking to assemble a full band, I embraced the idea of going solo. The experience turned out to be immensely rewarding, and I have no regrets about the final results. However, I was fully aware of the inherent limitations, particularly in the vocal department.
In 2018, when The Chasm returned to the live arena, I envisioned incorporating Acerus to the stage too. This led to the formation of the first real band incarnation. We did a few shows with a different lineup that eventually fell apart, only with Mario on Drums still strong and being the longest-standing member. His performance revitalized the original vision for the band, emphasizing punch, power, and simplicity. By fate, Esteban joined just before we began recording The Tertiary Rite. His addition has been tremendous, infusing a unique style that brings a new layer and dimension to the songs. He plays a crucial role in shaping the sound of the band today.
With The Tertiary Rite, I provided Esteban with more guidance and input on how to approach and sing the songs. Although he had a significant amount of autonomy, it was his first time recording heavy metal, especially of this unorthodox kind. For The Caliginous Serenade, I simply gave him the demos and let him practice independently, without offering input or opinions. He took the songs to a different level, showcasing his talent and class. I trusted him to bring his own fire to the project, and he delivered with excellence. He also played a significant role in crafting the lyrics, offering valuable assistance at a time when my lyrical creativity was waning. This was one of the main reasons I temporarily stepped away from singing with The Chasm.
(I’ve) got to mention that the recording of this new album was done in the most DIY manner possible; no studio was used at all in any of the parts. Each one of us recorded independently at our own places, a very raw and crude way, but since there was no budget at all, that was the only option. I think it is very noticeable on the final sound, but we are very satisfied with the final outcome and proud of what we accomplished.
We have a record presentation show scheduled for early February here in Chicago, sharing the stage with High Spirits and Bear Mace. Beyond that, the future is uncertain. We're essentially "open for business." If there's interest from promoters and fans in having us play live in their cities, we're more than willing to explore those opportunities. Our desire is to present this music in its rawest and liveliest form. However, the decision ultimately lies with the fans and people—Their interest and response will determine whether they want to see Acerus live or not. We won't be pushing for it; instead, we'll let the organic interest and demand guide our live performances.
I've read some of the interviews you've done in the early 2000s, and the main takeaway that I've seen from them is that you've been robustly jerked around by labels. I know you've heard from numerous people over the years that your bands should be huge, and yet, that's been a sticking point for the Chasm and for Acerus. Fast forward to today, and you've now got your own label with Luxinframundis Productions, and you're working with Brandon's emerging label Nameless Grave Records. What made you decide to work with Nameless Grave, and do you see any future with either band being signed to a bigger label?
Certainly, labels, much like many other things, held a significant meaning in the past. (I'm 52, "back in the day....") but reflecting on it, I realize that labels, in essence, are simply businesses, and the majority really don’t have much of a clue of what it means to compose and create honest ,tue music, but anyway, throughout the years, I've had both positive and negative experiences with them, and looking back, I have no complaints. Each experience was part of the overall journey and learning process.
However, as I've grown and evolved, I've come to view being signed to a label, especially concerning The Chasm, as somewhat pointless in the current landscape. With Acerus, I maintain a slightly more open-minded approach and am willing to engage with the industry to some extent. The primary reason I sought Brandon's help for this release is because he has been a staunch believer in Acerus' music since the beginning. His consistent support and honest perspective in my music have been invaluable, and I appreciate and respect that.
Another factor influencing my decision is that I've become somewhat, once again, burned out with my own label business, while Nameless Grave is growing and doing an excellent job in their domain, so their help and support is more than welcomed. I don't see a big label in our future, nor is it a goal for us. We don't fit the mold of what is traditionally considered "big label material," and I'm perfectly fine with that. The authenticity and connection we have with our music and audience are more valuable than conforming to industry standards.
Trends in heavy metal come and go, but both of the genres that you are currently playing with the Chasm and Acerus are currently experiencing surges in popularity: old-school death metal (OSDM) and traditional heavy metal. Has the NWOTHM (New Wave of True Heavy Metal) trend and leap in interest in Acerus encouraged you or anyone in Acerus to take the band more seriously?
The same question applies to The Chasm and the huge leap in interest this past decade in OSDM, which I'd argue isn't particularly relevant to The Chasm, particularly with your more recent shift into a more progressive and transcendental space. However, the question still applies. How does—or doesn't—surging interest in the art you're already making impact your creative process?
Any kind of music I create, I take 100% seriously, yet, it is not a priority in my life anymore… To be honest, I find myself somewhat detached from the current happenings in the music scene. I tend to stick to my classics, revisiting albums from bands that held significant meaning for me back in the day. Interestingly, there are periods—sometimes extending for weeks or even months—where I don't engage with music at all. Occasionally, I'll listen to non-metal genres, showcasing the diversity of my tastes. Whatever unfolds in the actual, broader music landscape out there, it doesn't exert any direct influence at all on my creative process; the isolation remains a powerful force.
Over the years, I've been fortunate to carve out my own personal style and, to some extent, a unique sound. Whether for better or worse, it has become an integral part of how I craft songs. I've long recognized that The Chasm, Acerus, and MII maintain a low-key presence compared to today's standards, and I'm content with that. This subtlety doesn't warrant complaints; rather, I appreciate the fortune of having a dedicated yet small audience that supports and listens to my creations.
At this juncture, I'm not actively seeking more followers, fans, or listeners. My focus lies in the music's inherent quality, trusting that if it resonates, people will take notice, and the notes will find the right listener. It's not a goal I'm trying to force or change; instead, I aim to remain creatively engaged and continue exploring new avenues to express the thoughts within my mind. The pursuit is ongoing, a continual search for answers.
In parallel, my interests have shifted over time, reflecting an evolution in my creative journey. This shift is a natural part of the exploration and adaptation inherent in my personal way of expression.
Thank you once again for the opportunity to discuss these aspects of my journey.
…
The Caliginous Serenade releases January 26th via Lux Inframundis and Nameless Grave.
Acerus Champions Unfettered Heavy Metal on “The Caliginous Serenade” (Early Stream + Daniel Corchado Interview)
Despite producing some of the past three decades’ finest works in death metal and traditional heavy metal, multi-instrumentalist and songwriter Daniel Corchado remains an enigmatic, if not perennially underrated, figure in heavy metal. The mastermind behind The Chasm and Acerus relocated to the United States after cutting his teeth as the bassist and vocalist of Mexican death metal pioneers Cenotaph, with whom he released 1992’s foundational The Gloomy Reflection of Our Hidden Sorrows.
Six short years and an international relocation later, he turned down John McEntee’s offer to permanently join Incantation, with whom he wrote and recorded 1998’s Diabolical Conquest. Focusing on his own projects became his sole priority as The Chasm began making waves internationally. For those not already familiar, I’d recommend cutting your teeth with 2000’s Procession to the Infraworld. You're welcome.
An integral part of North American death metal from very close to its impetus, Corchado continues to consistently unleash unusual, engaging heavy metal that refuses to conform and challenges genre expectations. His most recent offering is Acerus’ best album yet, The Caliginous Serenade. While many recent traditional metal outfits favor straight-forward recreations of greater works from decades past, Acerus does anything but. Formed in 2012 during a quiet period for The Chasm, the band have slowly evolved into its current form, bolstered by drummer Mario Hernandez, lead guitarist Ed Escamilla, and vocalist Esteban Julian Pena.
Featuring unusual, big vocals and aggressive incessant leads and solos that weave amidst an engaging blend of U.S. power metal and speed metal that could easily pass for death metal if only the tuning changed, The Caliginous Serenade is a riff-laden monster. Closing tracks "Prevail," "Fourth Pentacle," and title track "The Caliginous Serenade" are its apex. Casual listening is not the purpose here: This is heavy metal to get utterly lost within. Every single listen opens new dimensions.
To learn more, I caught up with Corchado, who agreed to grant us an exclusive interview for the release. He revealed many secrets of steel. Plus, we're streaming the whole album in full before it releases this Friday.
-Sarah Kitteringham
…
…
First up, hey Daniel. I appreciate you interviewing with me today, as I know you rarely grant interviews. Indeed, you don't seem to bother to conform to the same cycles many commercial metal artists get caught up in–interviews, single premieres, "content creation" (whatever that means), touring comprehensively.
You don't quite do any of those things, and yet you're quite a revered figure within both underground death metal circles and underground heavy metal circles for your work in the Chasm and Acerus. Can you speak to why you've opted to forgo these standard practices? What does it mean to be an artist who can create without succumbing to commercial pressures? Do you think it impacts your creation and your ability to evolve and experiment as an artist? Can you speak to how that freedom manifests within your bands Chasm, Acerus, and your atmospheric synthwave project Magnum Itiner Interius?
I want to express my gratitude for your time doing this interview, and I truly appreciate your support for Acerus. It's been quite some time since I engaged in discussions about my musical projects, and your insightful questions brought back some valuable reflections.
As you rightly pointed out, I've distanced myself from the "standard practices" of music promotion. This shift has been a gradual process, influenced not only by a loss of interest in traditional promotional methods but also by my evolving perspective on the dynamics within the metal community.
The burnout from years of following the conventional cycle of promotion was a pivotal moment for me. The routine of interviews, advertisements, and the relentless effort to spread the word about my music began to feel like a futile exercise. It's a valid approach to present and promote music, particularly for record labels looking to sell records. However, I found myself uninterested in the commercial aspects, especially considering The Chasm’s identity as an underground death metal band.
The seeming contradiction of selling music rather than offering it for free arises from my primary identity as a musician rather than a business or label owner. Over time, my mindset has evolved to embrace the ideology of letting the music speak for itself. I believe in the authenticity and power of the music we create, and I've chosen to prioritize that over conforming to conventional promotional practices.
I've genuinely lost interest in sharing my opinions and perspectives with the public. It's not a role I feel inclined to play, and it doesn't captivate my interest. Rather than considering myself an artist, I view myself as a simple musician. If I release my music for others to hear, that, for me, is the only recognition I seek. This might not be the most business-savvy approach, but personal satisfaction takes precedence over monetary gain. That's why I maintain a regular, well-paid job—My music is a deeply personal endeavor.
While it's gratifying to have people pay for my creations, it has never been my primary goal. My perspective has evolved over time, influenced by aging, maturing, and growing , somewhat disheartened by the developments in the metal scene. Change is inevitable, and I accept that, but sometimes I feel very disconnected from the current state of the music circle. Nevertheless, I'm at peace with my decisions, continually moving forward.
Looking to the future, I remain grateful and fortunate to continue creating the music I love. Despite my age, I'm still learning and eagerly anticipating what comes next, whether music-related or not. I no longer feel the need for interviews or attention-seeking tactics to validate my presence in the metal scene—Those days are behind me. Embracing isolation has become crucial and welcome, contributing to healthier and more focused musical outputs.
I'm not seeking validation through social media metrics like likes, views, or comments. In my view, such pursuits are a waste of time, especially at my age. Social media, by its nature, implies a level of social engagement, which I don't resonate with. I engage in playing, composing, and creating to fulfill my inner existence and maintain a sharp and healthy mind. While I do share announcements related to releases, I aim to keep it minimal and devoid of unnecessary hype.
I believe I did achieve “Artistic freedom” a while ago, mainly by the time I decided to release everything by myself, independently, and with a full DIY commitment. It gave me this liberty to express myself without external constraints, opinions, or pressure from others. I can explore and experiment with different ideas, sounds, moods, and visions without “fear” of reprisal or backlash from "label people" or just external opinions. I know this implies the self determination to make creative decisions and take risks, but it allows me to push my boundaries and try to innovate. Granted, this principle is mostly applied towards The Chasm and MII, but obviously it reflects a lot on Acerus (that’s why I call it unorthodox molten heavy metal).
The root of your artistic work is heavy metal, but the Chasm are rooted in the death metal lineage, while Acerus are traditional heavy metal. For me, the unifying theme between both projects is hooks and dynamics. Both bands are focused on building atmosphere, and rather than relying on consistent repetition, you just churn out riff after riff after riff after riff. Can you speak to how your writing and creation process differs between your two projects? What commonalities and threads would you say unite your heavy metal bands, and what areas would you say are intentionally and exclusively exorcized in each band?
I’m truly pleased that you've highlighted the atmospheric aspect of my music, as I believe it's the essence of creating a unique auditory experience. My deep passion and connection to the authentic, old-school metal formed a crucial pillar in shaping my musical style, evident in both bands. In essence, my goal is straightforward—to craft meaningful songs that transport me beyond the mundane, on small journeys through the inner and outer realms.
The inspiration for my approach lies in the way I felt when I first discovered this music many years ago. Back then, the most vital factor for me was the sense of meaning and exploration within the songs. While I acknowledge the technical aspect's importance, I firmly believe that technique alone, devoid of genuine feeling, aura, and spirit, amounts to nothing in my ears.
Regrettably, the sense of introspection and exploration in music seems to be fading.
Consequently, I create what I want to hear and feel, perpetually in search of those elusive notes and moods. Additionally, though not a deliberate choice, I find myself naturally gravitating against the current trends. This inclination is particularly evident in the latest albums from both The Chasm and Acerus, where even the production reflects an intentional departure from the nowadays recordings, to sound distinct, possessing personality and character.
My unique personal style, for better or worse, has evolved into a form entirely my own. I take comfort in this journey of exploration within my compositions, a craft that unfolded over years without me fully realizing it, and then this realization brings a profound personal satisfaction. While The Chasm leans towards introspection, darkness, and oppression, Acerus embodies pure heavy metal riffing—straightforward, yet powerful with speed, heaviness, and a profound passion for the music that shaped my upbringing. It's an unapologetic embrace of the classic elements, devoid of groundbreaking innovations, but rich in the essence of what I love.
Let’s speak more specifically about Acerus and The Caliginous Serenade. Caliginous is defined as "dark, misty, or night,", but it also evokes potential references to Emperor Caligula, the cruel and sexually perverse Roman emperor. Indeed, I poured over your liner notes and throughout your lyrics and saw illustrations of night creatures engaging in Faustian delights; lyrically and conceptually, it seems to be much the same. Can you speak to the overarching concept of the band itself, the theme of The Caliginous Serenade, and your penchant for seemingly dark erotic/romanticism?
From the inception of this project, now evolved into a band, my lyrical inspiration has consistently drawn from the pervasive sense of doom and hopelessness that has been a constant presence in my life. It seems that no matter what, there's always something crude, raw, unexpected, and ugly lurking on the horizon. This profound feeling of perdition and loss, forged through life's experiences, continues to fuel my creative endeavors.
As we embark on this new chapter, I find myself delving even deeper into the same thematic vein. In my perspective, we are now witnessing, more than ever, the beginning of the end for humanity—a triad of mental, physical, and spiritual demise. It marks the unraveling of the world as we know it, a loss of salvation that, while sounding dramatic and perhaps overreaching, is the lens through which I perceive this fantasy in my head.
Despite its fantastical nature, this perspective has remained a steadfast source of inspiration for me over the years. Indeed, I draw motivation from dark, old Renaissance/dark times era imagery and art. Exploring the minds of those true artists who were inspired to paint and draw such exceptional pieces is a captivating experience. The sense of dark dread and atmospheric occult horror that permeates these works, though nearly extinct in contemporary times, continues to ignite a spark of influence and inspiration within me. I've been fortunate to witness several authentic pieces in various museums, thanks in large part to my wife's passion for ancient art. Seeing the genuine pieces of true art face-to-face is an incredible and humbling experience, contributing to moments of meaningful inspiration.
The Caliginous Serenade is more than just a collection of songs; it's a dedication to all those, including myself, who harbor the belief that we are descending down the path of grand perdition and ultimate demise. It encapsulates the essence of our collective apprehension and foreboding, offering a musical reflection of the challenging realities that surround us.
Once again, your guitar work in The Caliginous Serenade is stunning. You have a long history of playing guitar in Cenotaph, Incantation, the Chasm, and several other projects. Your ability to play leads is simply hard to match: for example, the galloping leads in "Prevail" that act as a counterpoint to the vocal lines simply blew me away. You seem to approach your instrument more dynamically than most, favoring both solos and leads, and almost using it as a replacement for backing vocals, which has really amplified the power of this record. Can you speak to your relationship with the guitar, how you approached songwriting on this record, and what it means to be a self-professed music snob? Who would you say are your biggest influences as a guitarist, and what exercises do you engage in to continuously improve as a musician?
Thank you sincerely for your thoughtful comments; they mean a great deal to me. I identify much with the venerable Heavy Load hymn “The guitar is my sword.”
From the outset of my journey into the realm of playing guitar, my primary focus and ultimate goal have centered around creating memorable music, grounded in powerful riffs. This encapsulates what I mean by letting the music do the talking. Describing the process of how these creations come to be is challenging, as it's a state of mind that eludes easy explanation. I prefer to let listeners draw their own conclusions as they immerse themselves in the music.
Two crucial factors contributed significantly to my approach. Firstly, being self-taught has been a defining element of my musical journey. I started by playing it by ear and absorbing as much as possible to what I was discovering/hearing; I never placed excessive emphasis on technique, skills, notes, or arpeggios. While this may have limited my abilities in some aspects, it fostered self-sufficiency. I endeavored to bring forth what resided in my mind with my limited knowledge, drawing from my own unique musical training and “theory,” honed through years of practice. Additionally, my deep appreciation and immersion in diverse music genres, particularly old German/European electronic, soundtracks, and obscure progressive bands, have greatly influenced my musical sensibilities. I believe this is what you might have referred to as being a "music snob.”
Now, turning to the lead guitar work on this album (and 2020’s The Tertiary Rite), I must credit Edward Escamilla with it, a remarkably talented guitarist from the area. Recognizing his top-notch technical proficiency and being significantly younger than me, I entrusted him with the task. Similar to the collaboration with Esteban, I provided Edward with the song demos, outlined my thoughts on where I needed his touch, and allowed him the freedom to express himself. When he returned with his takes, we were collectively satisfied and astounded by how seamlessly his style integrated with the songs. His contribution brought a new layer of class and atmospheric, true metal feeling to the album. No doubt being able to have the participation of people with talent and will to do things have made the Acerus way stronger and more coherent.
To be honest, I've found myself gradually losing interest in the routine of guitar practice. My playing reached a plateau long ago, and I stopped the pursuit of actively "becoming better." While this might sound somewhat on the mediocre side, it paradoxically strengthens my resolve to delve deeper into my limited arsenal. I rather exercise the mind in order to come up with new ideas and explorations….
And as for those maestros who became my inspiration and influence back in the day, I can mention icons like Iommi, Blackmore, Malmsteen, Moore, Smith/Murray, Downing/Tipton, Kasparek, Weikath/Hansen, Hoffman, Petrozza, Tom G., Piggy, Mike, Hanneman/King, Hetfield, Mustaine, plus a bunch more….
Your vocalist Esteban appears to have become an important collaborator for you. He writes lyrics and has sung on both this album and your 2020 album The Tertiary Rite. I reckon these two albums have exposed Acerus to a whole new audience, and Esteban's contributions have certainly assisted with that—He's a stunning, unusual, strong vocalist.
That said, there was a period in the 2010s that it appears that you've been favoring doing almost everything in music production yourself. You were the sole creator of Acerus' 2016 The Clock of Mortality; additionally, it was you and drummer Antonio who solely created the previous two albums by the Chasm. What encouraged you to open up Acerus' lineup once more? What does Esteban bring to the table that you are unable to deliver? Do you see him as a long-term contributor? Will there be any chance for people to see Acerus live with its current lineup?
The unique aspect of The Clock of Mortality is that it emerged as a solo project out of necessity. The lineup for the debut album disintegrated for various reasons, leaving me alone but determined to press on. At that point, rather than seeking to assemble a full band, I embraced the idea of going solo. The experience turned out to be immensely rewarding, and I have no regrets about the final results. However, I was fully aware of the inherent limitations, particularly in the vocal department.
In 2018, when The Chasm returned to the live arena, I envisioned incorporating Acerus to the stage too. This led to the formation of the first real band incarnation. We did a few shows with a different lineup that eventually fell apart, only with Mario on Drums still strong and being the longest-standing member. His performance revitalized the original vision for the band, emphasizing punch, power, and simplicity. By fate, Esteban joined just before we began recording The Tertiary Rite. His addition has been tremendous, infusing a unique style that brings a new layer and dimension to the songs. He plays a crucial role in shaping the sound of the band today.
With The Tertiary Rite, I provided Esteban with more guidance and input on how to approach and sing the songs. Although he had a significant amount of autonomy, it was his first time recording heavy metal, especially of this unorthodox kind. For The Caliginous Serenade, I simply gave him the demos and let him practice independently, without offering input or opinions. He took the songs to a different level, showcasing his talent and class. I trusted him to bring his own fire to the project, and he delivered with excellence. He also played a significant role in crafting the lyrics, offering valuable assistance at a time when my lyrical creativity was waning. This was one of the main reasons I temporarily stepped away from singing with The Chasm.
(I’ve) got to mention that the recording of this new album was done in the most DIY manner possible; no studio was used at all in any of the parts. Each one of us recorded independently at our own places, a very raw and crude way, but since there was no budget at all, that was the only option. I think it is very noticeable on the final sound, but we are very satisfied with the final outcome and proud of what we accomplished.
We have a record presentation show scheduled for early February here in Chicago, sharing the stage with High Spirits and Bear Mace. Beyond that, the future is uncertain. We're essentially "open for business." If there's interest from promoters and fans in having us play live in their cities, we're more than willing to explore those opportunities. Our desire is to present this music in its rawest and liveliest form. However, the decision ultimately lies with the fans and people—Their interest and response will determine whether they want to see Acerus live or not. We won't be pushing for it; instead, we'll let the organic interest and demand guide our live performances.
I've read some of the interviews you've done in the early 2000s, and the main takeaway that I've seen from them is that you've been robustly jerked around by labels. I know you've heard from numerous people over the years that your bands should be huge, and yet, that's been a sticking point for the Chasm and for Acerus. Fast forward to today, and you've now got your own label with Luxinframundis Productions, and you're working with Brandon's emerging label Nameless Grave Records. What made you decide to work with Nameless Grave, and do you see any future with either band being signed to a bigger label?
Certainly, labels, much like many other things, held a significant meaning in the past. (I'm 52, "back in the day....") but reflecting on it, I realize that labels, in essence, are simply businesses, and the majority really don’t have much of a clue of what it means to compose and create honest ,tue music, but anyway, throughout the years, I've had both positive and negative experiences with them, and looking back, I have no complaints. Each experience was part of the overall journey and learning process.
However, as I've grown and evolved, I've come to view being signed to a label, especially concerning The Chasm, as somewhat pointless in the current landscape. With Acerus, I maintain a slightly more open-minded approach and am willing to engage with the industry to some extent. The primary reason I sought Brandon's help for this release is because he has been a staunch believer in Acerus' music since the beginning. His consistent support and honest perspective in my music have been invaluable, and I appreciate and respect that.
Another factor influencing my decision is that I've become somewhat, once again, burned out with my own label business, while Nameless Grave is growing and doing an excellent job in their domain, so their help and support is more than welcomed. I don't see a big label in our future, nor is it a goal for us. We don't fit the mold of what is traditionally considered "big label material," and I'm perfectly fine with that. The authenticity and connection we have with our music and audience are more valuable than conforming to industry standards.
Trends in heavy metal come and go, but both of the genres that you are currently playing with the Chasm and Acerus are currently experiencing surges in popularity: old-school death metal (OSDM) and traditional heavy metal. Has the NWOTHM (New Wave of True Heavy Metal) trend and leap in interest in Acerus encouraged you or anyone in Acerus to take the band more seriously?
The same question applies to The Chasm and the huge leap in interest this past decade in OSDM, which I'd argue isn't particularly relevant to The Chasm, particularly with your more recent shift into a more progressive and transcendental space. However, the question still applies. How does—or doesn't—surging interest in the art you're already making impact your creative process?
Any kind of music I create, I take 100% seriously, yet, it is not a priority in my life anymore… To be honest, I find myself somewhat detached from the current happenings in the music scene. I tend to stick to my classics, revisiting albums from bands that held significant meaning for me back in the day. Interestingly, there are periods—sometimes extending for weeks or even months—where I don't engage with music at all. Occasionally, I'll listen to non-metal genres, showcasing the diversity of my tastes. Whatever unfolds in the actual, broader music landscape out there, it doesn't exert any direct influence at all on my creative process; the isolation remains a powerful force.
Over the years, I've been fortunate to carve out my own personal style and, to some extent, a unique sound. Whether for better or worse, it has become an integral part of how I craft songs. I've long recognized that The Chasm, Acerus, and MII maintain a low-key presence compared to today's standards, and I'm content with that. This subtlety doesn't warrant complaints; rather, I appreciate the fortune of having a dedicated yet small audience that supports and listens to my creations.
At this juncture, I'm not actively seeking more followers, fans, or listeners. My focus lies in the music's inherent quality, trusting that if it resonates, people will take notice, and the notes will find the right listener. It's not a goal I'm trying to force or change; instead, I aim to remain creatively engaged and continue exploring new avenues to express the thoughts within my mind. The pursuit is ongoing, a continual search for answers.
In parallel, my interests have shifted over time, reflecting an evolution in my creative journey. This shift is a natural part of the exploration and adaptation inherent in my personal way of expression.
Thank you once again for the opportunity to discuss these aspects of my journey.
…
The Caliginous Serenade releases January 26th via Lux Inframundis and Nameless Grave.
Acerus Champion Unfettered Heavy Metal on “The Caliginous Serenade” (Early Stream + Daniel Corchado Interview)
Despite producing some of the past three decades’ finest works in death metal and traditional heavy metal, multi-instrumentalist and songwriter Daniel Corchado remains an enigmatic, if not perennially underrated, figure in heavy metal. The mastermind behind The Chasm and Acerus relocated to the United States after cutting his teeth as the bassist and vocalist of Mexican death metal pioneers Cenotaph, with whom he released 1992’s foundational The Gloomy Reflection of Our Hidden Sorrows.
Six short years and an international relocation later, he turned down John McEntee’s offer to permanently join Incantation, with whom he wrote and recorded 1998’s Diabolical Conquest. Focusing on his own projects became his sole priority as The Chasm began making waves internationally. For those not already familiar, I’d recommend cutting your teeth with 2000’s Procession to the Infraworld. You're welcome.
An integral part of North American death metal from very close to its impetus, Corchado continues to consistently unleash unusual, engaging heavy metal that refuses to conform and challenges genre expectations. His most recent offering is Acerus’ best album yet, The Caliginous Serenade. While many recent traditional metal outfits favor straight-forward recreations of greater works from decades past, Acerus does anything but. Formed in 2012 during a quiet period for The Chasm, the band have slowly evolved into its current form, bolstered by drummer Mario Hernandez, lead guitarist Ed Escamilla, and vocalist Esteban Julian Pena.
Featuring unusual, big vocals and aggressive incessant leads and solos that weave amidst an engaging blend of U.S. power metal and speed metal that could easily pass for death metal if only the tuning changed, The Caliginous Serenade is a riff-laden monster. Closing tracks "Prevail," "Fourth Pentacle," and title track "The Caliginous Serenade" are its apex. Casual listening is not the purpose here: This is heavy metal to get utterly lost within. Every single listen opens new dimensions.
To learn more, I caught up with Corchado, who agreed to grant us an exclusive interview for the release. He revealed many secrets of steel. Plus, we're streaming the whole album in full before it releases this Friday.
-Sarah Kitteringham
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First up, hey Daniel. I appreciate you interviewing with me today, as I know you rarely grant interviews. Indeed, you don't seem to bother to conform to the same cycles many commercial metal artists get caught up in–interviews, single premieres, "content creation" (whatever that means), touring comprehensively.
You don't quite do any of those things, and yet you're quite a revered figure within both underground death metal circles and underground heavy metal circles for your work in the Chasm and Acerus. Can you speak to why you've opted to forgo these standard practices? What does it mean to be an artist who can create without succumbing to commercial pressures? Do you think it impacts your creation and your ability to evolve and experiment as an artist? Can you speak to how that freedom manifests within your bands Chasm, Acerus, and your atmospheric synthwave project Magnum Itiner Interius?
I want to express my gratitude for your time doing this interview, and I truly appreciate your support for Acerus. It's been quite some time since I engaged in discussions about my musical projects, and your insightful questions brought back some valuable reflections.
As you rightly pointed out, I've distanced myself from the "standard practices" of music promotion. This shift has been a gradual process, influenced not only by a loss of interest in traditional promotional methods but also by my evolving perspective on the dynamics within the metal community.
The burnout from years of following the conventional cycle of promotion was a pivotal moment for me. The routine of interviews, advertisements, and the relentless effort to spread the word about my music began to feel like a futile exercise. It's a valid approach to present and promote music, particularly for record labels looking to sell records. However, I found myself uninterested in the commercial aspects, especially considering The Chasm’s identity as an underground death metal band.
The seeming contradiction of selling music rather than offering it for free arises from my primary identity as a musician rather than a business or label owner. Over time, my mindset has evolved to embrace the ideology of letting the music speak for itself. I believe in the authenticity and power of the music we create, and I've chosen to prioritize that over conforming to conventional promotional practices.
I've genuinely lost interest in sharing my opinions and perspectives with the public. It's not a role I feel inclined to play, and it doesn't captivate my interest. Rather than considering myself an artist, I view myself as a simple musician. If I release my music for others to hear, that, for me, is the only recognition I seek. This might not be the most business-savvy approach, but personal satisfaction takes precedence over monetary gain. That's why I maintain a regular, well-paid job—My music is a deeply personal endeavor.
While it's gratifying to have people pay for my creations, it has never been my primary goal. My perspective has evolved over time, influenced by aging, maturing, and growing , somewhat disheartened by the developments in the metal scene. Change is inevitable, and I accept that, but sometimes I feel very disconnected from the current state of the music circle. Nevertheless, I'm at peace with my decisions, continually moving forward.
Looking to the future, I remain grateful and fortunate to continue creating the music I love. Despite my age, I'm still learning and eagerly anticipating what comes next, whether music-related or not. I no longer feel the need for interviews or attention-seeking tactics to validate my presence in the metal scene—Those days are behind me. Embracing isolation has become crucial and welcome, contributing to healthier and more focused musical outputs.
I'm not seeking validation through social media metrics like likes, views, or comments. In my view, such pursuits are a waste of time, especially at my age. Social media, by its nature, implies a level of social engagement, which I don't resonate with. I engage in playing, composing, and creating to fulfill my inner existence and maintain a sharp and healthy mind. While I do share announcements related to releases, I aim to keep it minimal and devoid of unnecessary hype.
I believe I did achieve “Artistic freedom” a while ago, mainly by the time I decided to release everything by myself, independently, and with a full DIY commitment. It gave me this liberty to express myself without external constraints, opinions, or pressure from others. I can explore and experiment with different ideas, sounds, moods, and visions without “fear” of reprisal or backlash from "label people" or just external opinions. I know this implies the self determination to make creative decisions and take risks, but it allows me to push my boundaries and try to innovate. Granted, this principle is mostly applied towards The Chasm and MII, but obviously it reflects a lot on Acerus (that’s why I call it unorthodox molten heavy metal).
The root of your artistic work is heavy metal, but the Chasm are rooted in the death metal lineage, while Acerus are traditional heavy metal. For me, the unifying theme between both projects is hooks and dynamics. Both bands are focused on building atmosphere, and rather than relying on consistent repetition, you just churn out riff after riff after riff after riff. Can you speak to how your writing and creation process differs between your two projects? What commonalities and threads would you say unite your heavy metal bands, and what areas would you say are intentionally and exclusively exorcized in each band?
I’m truly pleased that you've highlighted the atmospheric aspect of my music, as I believe it's the essence of creating a unique auditory experience. My deep passion and connection to the authentic, old-school metal formed a crucial pillar in shaping my musical style, evident in both bands. In essence, my goal is straightforward—to craft meaningful songs that transport me beyond the mundane, on small journeys through the inner and outer realms.
The inspiration for my approach lies in the way I felt when I first discovered this music many years ago. Back then, the most vital factor for me was the sense of meaning and exploration within the songs. While I acknowledge the technical aspect's importance, I firmly believe that technique alone, devoid of genuine feeling, aura, and spirit, amounts to nothing in my ears.
Regrettably, the sense of introspection and exploration in music seems to be fading.
Consequently, I create what I want to hear and feel, perpetually in search of those elusive notes and moods. Additionally, though not a deliberate choice, I find myself naturally gravitating against the current trends. This inclination is particularly evident in the latest albums from both The Chasm and Acerus, where even the production reflects an intentional departure from the nowadays recordings, to sound distinct, possessing personality and character.
My unique personal style, for better or worse, has evolved into a form entirely my own. I take comfort in this journey of exploration within my compositions, a craft that unfolded over years without me fully realizing it, and then this realization brings a profound personal satisfaction. While The Chasm leans towards introspection, darkness, and oppression, Acerus embodies pure heavy metal riffing—straightforward, yet powerful with speed, heaviness, and a profound passion for the music that shaped my upbringing. It's an unapologetic embrace of the classic elements, devoid of groundbreaking innovations, but rich in the essence of what I love.
Let’s speak more specifically about Acerus and The Caliginous Serenade. Caliginous is defined as "dark, misty, or night,", but it also evokes potential references to Emperor Caligula, the cruel and sexually perverse Roman emperor. Indeed, I poured over your liner notes and throughout your lyrics and saw illustrations of night creatures engaging in Faustian delights; lyrically and conceptually, it seems to be much the same. Can you speak to the overarching concept of the band itself, the theme of The Caliginous Serenade, and your penchant for seemingly dark erotic/romanticism?
From the inception of this project, now evolved into a band, my lyrical inspiration has consistently drawn from the pervasive sense of doom and hopelessness that has been a constant presence in my life. It seems that no matter what, there's always something crude, raw, unexpected, and ugly lurking on the horizon. This profound feeling of perdition and loss, forged through life's experiences, continues to fuel my creative endeavors.
As we embark on this new chapter, I find myself delving even deeper into the same thematic vein. In my perspective, we are now witnessing, more than ever, the beginning of the end for humanity—a triad of mental, physical, and spiritual demise. It marks the unraveling of the world as we know it, a loss of salvation that, while sounding dramatic and perhaps overreaching, is the lens through which I perceive this fantasy in my head.
Despite its fantastical nature, this perspective has remained a steadfast source of inspiration for me over the years. Indeed, I draw motivation from dark, old Renaissance/dark times era imagery and art. Exploring the minds of those true artists who were inspired to paint and draw such exceptional pieces is a captivating experience. The sense of dark dread and atmospheric occult horror that permeates these works, though nearly extinct in contemporary times, continues to ignite a spark of influence and inspiration within me. I've been fortunate to witness several authentic pieces in various museums, thanks in large part to my wife's passion for ancient art. Seeing the genuine pieces of true art face-to-face is an incredible and humbling experience, contributing to moments of meaningful inspiration.
The Caliginous Serenade is more than just a collection of songs; it's a dedication to all those, including myself, who harbor the belief that we are descending down the path of grand perdition and ultimate demise. It encapsulates the essence of our collective apprehension and foreboding, offering a musical reflection of the challenging realities that surround us.
Once again, your guitar work in The Caliginous Serenade is stunning. You have a long history of playing guitar in Cenotaph, Incantation, the Chasm, and several other projects. Your ability to play leads is simply hard to match: for example, the galloping leads in "Prevail" that act as a counterpoint to the vocal lines simply blew me away. You seem to approach your instrument more dynamically than most, favoring both solos and leads, and almost using it as a replacement for backing vocals, which has really amplified the power of this record. Can you speak to your relationship with the guitar, how you approached songwriting on this record, and what it means to be a self-professed music snob? Who would you say are your biggest influences as a guitarist, and what exercises do you engage in to continuously improve as a musician?
Thank you sincerely for your thoughtful comments; they mean a great deal to me. I identify much with the venerable Heavy Load hymn “The guitar is my sword.”
From the outset of my journey into the realm of playing guitar, my primary focus and ultimate goal have centered around creating memorable music, grounded in powerful riffs. This encapsulates what I mean by letting the music do the talking. Describing the process of how these creations come to be is challenging, as it's a state of mind that eludes easy explanation. I prefer to let listeners draw their own conclusions as they immerse themselves in the music.
Two crucial factors contributed significantly to my approach. Firstly, being self-taught has been a defining element of my musical journey. I started by playing it by ear and absorbing as much as possible to what I was discovering/hearing; I never placed excessive emphasis on technique, skills, notes, or arpeggios. While this may have limited my abilities in some aspects, it fostered self-sufficiency. I endeavored to bring forth what resided in my mind with my limited knowledge, drawing from my own unique musical training and “theory,” honed through years of practice. Additionally, my deep appreciation and immersion in diverse music genres, particularly old German/European electronic, soundtracks, and obscure progressive bands, have greatly influenced my musical sensibilities. I believe this is what you might have referred to as being a "music snob.”
Now, turning to the lead guitar work on this album (and 2020’s The Tertiary Rite), I must credit Edward Escamilla with it, a remarkably talented guitarist from the area. Recognizing his top-notch technical proficiency and being significantly younger than me, I entrusted him with the task. Similar to the collaboration with Esteban, I provided Edward with the song demos, outlined my thoughts on where I needed his touch, and allowed him the freedom to express himself. When he returned with his takes, we were collectively satisfied and astounded by how seamlessly his style integrated with the songs. His contribution brought a new layer of class and atmospheric, true metal feeling to the album. No doubt being able to have the participation of people with talent and will to do things have made the Acerus way stronger and more coherent.
To be honest, I've found myself gradually losing interest in the routine of guitar practice. My playing reached a plateau long ago, and I stopped the pursuit of actively "becoming better." While this might sound somewhat on the mediocre side, it paradoxically strengthens my resolve to delve deeper into my limited arsenal. I rather exercise the mind in order to come up with new ideas and explorations….
And as for those maestros who became my inspiration and influence back in the day, I can mention icons like Iommi, Blackmore, Malmsteen, Moore, Smith/Murray, Downing/Tipton, Kasparek, Weikath/Hansen, Hoffman, Petrozza, Tom G., Piggy, Mike, Hanneman/King, Hetfield, Mustaine, plus a bunch more….
Your vocalist Esteban appears to have become an important collaborator for you. He writes lyrics and has sung on both this album and your 2020 album The Tertiary Rite. I reckon these two albums have exposed Acerus to a whole new audience, and Esteban's contributions have certainly assisted with that—He's a stunning, unusual, strong vocalist.
That said, there was a period in the 2010s that it appears that you've been favoring doing almost everything in music production yourself. You were the sole creator of Acerus' 2016 The Clock of Mortality; additionally, it was you and drummer Antonio who solely created the previous two albums by the Chasm. What encouraged you to open up Acerus' lineup once more? What does Esteban bring to the table that you are unable to deliver? Do you see him as a long-term contributor? Will there be any chance for people to see Acerus live with its current lineup?
The unique aspect of The Clock of Mortality is that it emerged as a solo project out of necessity. The lineup for the debut album disintegrated for various reasons, leaving me alone but determined to press on. At that point, rather than seeking to assemble a full band, I embraced the idea of going solo. The experience turned out to be immensely rewarding, and I have no regrets about the final results. However, I was fully aware of the inherent limitations, particularly in the vocal department.
In 2018, when The Chasm returned to the live arena, I envisioned incorporating Acerus to the stage too. This led to the formation of the first real band incarnation. We did a few shows with a different lineup that eventually fell apart, only with Mario on Drums still strong and being the longest-standing member. His performance revitalized the original vision for the band, emphasizing punch, power, and simplicity. By fate, Esteban joined just before we began recording The Tertiary Rite. His addition has been tremendous, infusing a unique style that brings a new layer and dimension to the songs. He plays a crucial role in shaping the sound of the band today.
With The Tertiary Rite, I provided Esteban with more guidance and input on how to approach and sing the songs. Although he had a significant amount of autonomy, it was his first time recording heavy metal, especially of this unorthodox kind. For The Caliginous Serenade, I simply gave him the demos and let him practice independently, without offering input or opinions. He took the songs to a different level, showcasing his talent and class. I trusted him to bring his own fire to the project, and he delivered with excellence. He also played a significant role in crafting the lyrics, offering valuable assistance at a time when my lyrical creativity was waning. This was one of the main reasons I temporarily stepped away from singing with The Chasm.
(I’ve) got to mention that the recording of this new album was done in the most DIY manner possible; no studio was used at all in any of the parts. Each one of us recorded independently at our own places, a very raw and crude way, but since there was no budget at all, that was the only option. I think it is very noticeable on the final sound, but we are very satisfied with the final outcome and proud of what we accomplished.
We have a record presentation show scheduled for early February here in Chicago, sharing the stage with High Spirits and Bear Mace. Beyond that, the future is uncertain. We're essentially "open for business." If there's interest from promoters and fans in having us play live in their cities, we're more than willing to explore those opportunities. Our desire is to present this music in its rawest and liveliest form. However, the decision ultimately lies with the fans and people—Their interest and response will determine whether they want to see Acerus live or not. We won't be pushing for it; instead, we'll let the organic interest and demand guide our live performances.
I've read some of the interviews you've done in the early 2000s, and the main takeaway that I've seen from them is that you've been robustly jerked around by labels. I know you've heard from numerous people over the years that your bands should be huge, and yet, that's been a sticking point for the Chasm and for Acerus. Fast forward to today, and you've now got your own label with Luxinframundis Productions, and you're working with Brandon's emerging label Nameless Grave Records. What made you decide to work with Nameless Grave, and do you see any future with either band being signed to a bigger label?
Certainly, labels, much like many other things, held a significant meaning in the past. (I'm 52, "back in the day....") but reflecting on it, I realize that labels, in essence, are simply businesses, and the majority really don’t have much of a clue of what it means to compose and create honest ,tue music, but anyway, throughout the years, I've had both positive and negative experiences with them, and looking back, I have no complaints. Each experience was part of the overall journey and learning process.
However, as I've grown and evolved, I've come to view being signed to a label, especially concerning The Chasm, as somewhat pointless in the current landscape. With Acerus, I maintain a slightly more open-minded approach and am willing to engage with the industry to some extent. The primary reason I sought Brandon's help for this release is because he has been a staunch believer in Acerus' music since the beginning. His consistent support and honest perspective in my music have been invaluable, and I appreciate and respect that.
Another factor influencing my decision is that I've become somewhat, once again, burned out with my own label business, while Nameless Grave is growing and doing an excellent job in their domain, so their help and support is more than welcomed. I don't see a big label in our future, nor is it a goal for us. We don't fit the mold of what is traditionally considered "big label material," and I'm perfectly fine with that. The authenticity and connection we have with our music and audience are more valuable than conforming to industry standards.
Trends in heavy metal come and go, but both of the genres that you are currently playing with the Chasm and Acerus are currently experiencing surges in popularity: old-school death metal (OSDM) and traditional heavy metal. Has the NWOTHM (New Wave of True Heavy Metal) trend and leap in interest in Acerus encouraged you or anyone in Acerus to take the band more seriously?
The same question applies to The Chasm and the huge leap in interest this past decade in OSDM, which I'd argue isn't particularly relevant to The Chasm, particularly with your more recent shift into a more progressive and transcendental space. However, the question still applies. How does—or doesn't—surging interest in the art you're already making impact your creative process?
Any kind of music I create, I take 100% seriously, yet, it is not a priority in my life anymore… To be honest, I find myself somewhat detached from the current happenings in the music scene. I tend to stick to my classics, revisiting albums from bands that held significant meaning for me back in the day. Interestingly, there are periods—sometimes extending for weeks or even months—where I don't engage with music at all. Occasionally, I'll listen to non-metal genres, showcasing the diversity of my tastes. Whatever unfolds in the actual, broader music landscape out there, it doesn't exert any direct influence at all on my creative process; the isolation remains a powerful force.
Over the years, I've been fortunate to carve out my own personal style and, to some extent, a unique sound. Whether for better or worse, it has become an integral part of how I craft songs. I've long recognized that The Chasm, Acerus, and MII maintain a low-key presence compared to today's standards, and I'm content with that. This subtlety doesn't warrant complaints; rather, I appreciate the fortune of having a dedicated yet small audience that supports and listens to my creations.
At this juncture, I'm not actively seeking more followers, fans, or listeners. My focus lies in the music's inherent quality, trusting that if it resonates, people will take notice, and the notes will find the right listener. It's not a goal I'm trying to force or change; instead, I aim to remain creatively engaged and continue exploring new avenues to express the thoughts within my mind. The pursuit is ongoing, a continual search for answers.
In parallel, my interests have shifted over time, reflecting an evolution in my creative journey. This shift is a natural part of the exploration and adaptation inherent in my personal way of expression.
Thank you once again for the opportunity to discuss these aspects of my journey.
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The Caliginous Serenade releases January 26th via Lux Inframundis and Nameless Grave.
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Having cleansed my palate with Manilla Road I was ready for something thick and heavy again. Year of the Cobra took over Vinyl. Even though the two-piece does not completely fill their area on stage, they definitely filled the room with people and sound. The music they create is maneuverable and lively, while still being able to bare the classification of doom metal. The symbiotic relationship that has been created is one of the tighter doom rhythm sections in modern times and was well favored by the audience. Johanes Barrysmith is unrelenting behind the drumkit, making up for any open space you would want to fill with guitars or other sounds and has a great musicality with his powerful playing that supports Amy Tung Barrysmith’s articulate yet fuzzed-out riffs. This is a relatively new musical endeavor, so their advancement thus far speaks to their determination and interest from fans.
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The Two-Pronged Approach to Thief’s “Cinderland” (Video Debut)
It is immediately apparent that LA-based electronic rock band Thief are a bit outside of Invisible Oranges' purview. With synthesized textures and percussion, pseudo-pop sensibilities, and, most importantly, infectious melodies, this project challenges the metal scene from whence they came; mastermind Dylan Neal is a Botanist expat, and yet Thief's approach is completely unlike his previous act.
Thief's new single "Cinderland," from the upcoming album Bleed, Memory, can be dissected into two distinct pieces: 1) a driving, cinematic, and digital rock dissociation, and 2) doomed, synthetic plod. Starting off as a driving, captivating rock piece with unique beats, "Cinderland" suddenly explodes into something funereal, thick, and all-encompassing. In these two halves, Thief manifests as something different when compared to their Prophecy Productions labelmates, and "Cinderland," whose video (featured below) features terrifying visuals from the classic Onibaba film, is as exciting as it is memorable. Listen to "Cinderland" below.
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From the artist:
"Cinderland" is a moody, industrial dark electronic banger about finding strength and meaning in the rubble of a troubled past. Manipulated sacred chant samples run throughout the track which climaxes in a triumphantly heavy doom metal catharsis woven in between a Greek Orthodox sermon.
In this music video, edited from the 1964 Japanese horror film Onibaba, our subjects are struggling to survive in their own Cinderland. The scared child deeply knows the fear that speaks, “What if my caretaker can’t take care of themselves?” But this realm of the Cinderland is reached through the path of individuation where everything is destroyed and the truth that nothing is ever as bad as the mind makes it out to be is discovered.
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Bleed, Memory releases April 19th via Prophecy Productions.
Upcoming Metal Releases: 1/21/2024-1/27/2024
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RHÛN -- Conveyance in Death | House of Inkantation | Black Metal | United States (Portland, Maine) From Jon Rosenthal's track premiere of "Bone Ornament":Moving outside both their perceived comfort zones, RHÛN's debut album is a chunky, heavy bout of black-and-death metal psychedelia, forged deep within the Maine wilderness.
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Olhava -- Sacrifice | Avantgarde Music | Atmospheric Black Metal | Russia (Saint Petersburg) The longest album from the Russian duo is as insistent as anything they’ve done. The 86-minute (!) runtime alternates between stunning blackgaze that shimmers with the optimism of a sunrise and ASMR-esque, nature-inflected ambient soundscapes. Sacrifice is clearly meant to be listened to in a single sitting—a difficult ask if this isn’t your thing. Still, there’s a certain euphoria in that achievement. Best enjoyed on headphones, so the record can envelop you like a blanket.--Steve Lampiris
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Exocrine -- Legend | Season of Mist | Technical Death Metal | France (Bordeaux) One of the most agile bands in tech-death, Exocrine continue to dazzle with astonishing musicianship on their sixth outing. With each album, the French quartet gets a little weirder. This time, they bring back the jazz and electronic experimentation from 2020’s Maelstrom and expand on it. It’s all paired with metal ay-eff lines like “I want to feel his wet flesh yielding under my sword / In this tentacle orgy, cathartic violence” amidst the mostly-coherent narrative. So, yeah: Legend sounds like Exocrine.--Steve Lampiris
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Knoll -- As Spoken | Independent | Grindcore + Death Metal + Noise | United States (Tennessee) Tennessee’s premier “funeral grind” troupe build on the successes of 2022’s all-devouring Metempiric, putting distance between themselves and that lazy, no-good Full of Hell Jr. tag by fermenting an absurdist Portal-like nightmare cankered with scabrous ooze-crust, generously marinated in the band’s customary seethe and brio.--Spencer Grady
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Lucifer -- Lucifer V | Nuclear Blast | Hard Rock + Doom + Heavy Metal | International Lucifer's fifth chapter isn't too dissimilar from the band's past work, but there's definitely more of an emphasis on the vocals here. While I liked the indulgent delivery and the bolder song structures that let them shine, they're sometimes backed up by riffs that aren't quite as sharp as we've seen from the veritable supergroup before. That being said, Lucifer is still unimaginably far ahead of the pack when it comes to capturing their specific strain of proto-metallic, hard-rock-leaning doom.--Ted Nubel
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Blood Red Throne -- Nonagon | Soulseller Records | Death Metal | Norway Blood Red Throne sound as fresh as a new-born baby on their 11th album Nonagon, released 26 years into their career. Jesus, that's a long time. Thankfully, tracks like "Seeking to Pierce" are as timeless and welcome as a preserved baggie of loud, upon whose opening your senses are struck with nostalgia and ecstasy. It's slick, heavy, and groovy; death metal as the One Above All intended.--Colin Dempsey
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The Infernal Sea -- Hellfenlic | Candlelight Records | Black Metal | United Kingdom The Infernal Sea's black 'n' roll continues to succeed on their fourth full-length album. Hellfenlic is catchy as hell yet never veers into pop territory, balancing rawness with a swagger that more black metal bands should emulate.--Colin Dempsey
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Cognizance -- Phantazein | Willowtip Records | Technical Death Metal | United Kingdom (Leeds) As we stated in our premiere of Cognizance's "The Towering Monument," the band's strength lay in their ratio of technicality to grooves, which stand in near equilibrium. Thanks to this equation, their knotty death metal is approachable without pandering to those who fear non-4/4 time signatures.--Colin Dempsey
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Rituals of the Dead Hand -- The Wretched and the Vile | Immortal Frost Productions | Doom Metal + Black Metal | Belgium (Limburg) Black metal and doom metal hybrids should, in theory, eviscerate the listener, whether through crushing heaviness or outright maliciousness. While both elements are present on Rituals of the Dead Hand's third album, there are also welcome melodies and diversity among the tracks that deepen the group's repertoire. It's still chunky black metal played with doom metal's tuning, but with an attractive sense of forward momentum that keeps everything zesty.--Colin Dempsey
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Dissimulator -- Lower Form Resistance | 20 Buck Spin | Thrash Metal + Technical Death Metal | Canada (Montreal, Quebec) As a technically inclined thrash metal band from Quebec, Dissimulator easily conjures comparisons to Voivod, the main technically inclined thrash metal band from Quebec. Fortunately, on their debut album, the younger band stakes their claim as merely being influenced by their progenitors instead of outright emulating them by combining Voivod's peculiar vision with old-school death metal. Think Possessed death metal rather than Morbid Angel, and you'll get the idea.--Colin Dempsey
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Kalt Vindur -- Magna Mater | The Circle Records | Black Metal | Poland Some black metal albums benefit from clear production as they embolden a group's strengths. Magna Mater is one such album. It's a marble slab of black metal with a hefty rhythm section that Kalt Vindur put to the test. They're always moving between riffs, solos, and bridges as if challenging their drummer and bassist to catch up. These nuances might've gone ignored on a record with lower-fidelity recording, but Magna Mater puts them in plain sight.--Colin Dempsey
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Vitriol -- Suffer & Become | Century Media Records | Death Metal | United States (Portland, Oregon) The chaotic death metal cohort get even weirder and more chaotic on their latest albumSuffer & Become. While Vitriol are now signed to Century Media, they definitely haven't turned down the volume, as the entire album is a solid blast of destruction and aggression. Fans of outside-the-back extreme music should take notice.--Addison Herron-Wheeler
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Cosmic Void -- Subterranean Rivers | Independent | Death Metal | Germany (Dresden) European death metal is at its finest with Cosmic Void's latest, Subterranean Rivers. While there isn't much on this record that we haven't heard before, it still manages to do the job and nail the sound perfectly. It's also incredibly catchy.--Addison Herron-Wheeler
https://www.youtube.com/watch?v=De21ohjusVk&ab_channel=CosmicVoid...
Mega Colossus -- Showdown | Cruz del Sur Music | Heavy Metal | United States (Raleigh, NC) Jam-packed with both insanity and killer riff, Mega Colossus's new record is another deep-end plunge into high-speed metal that's delightfully odd.--Ted Nubel
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Mountain Caller -- Chronicle II: Hypergenesis | Church Road Records | Progressive Post-Metal | United Kingdom Mountain Caller craft engaging, near-incomprehensibly huge-sounding post metal that's stuffed to the brim with adventure. Each song opens up to the listener like a verdant plain unfurling or a thorny jungle revealing its secrets. I've been following this band for a while now and this new release is another immense step forward for the group.--Ted Nubel
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By the time I had made it to The Joint, the curtains were still closed and preparations were still underway for the heavily anticipated Swans set. When the curtains finally opened to reveal a semi-circle of amps and instruments tightly packed next each other, the members of the band were just moving to take their positions. Front-and-center position was Michael Gira, analyzing lighting and placement of the other members. An imposing single-note swell filled the room and continued to sustain as the band settled in and started to add to the sound. Gira acted as the conductor, moving back and forth, keeping eye contact and gesturing communication with those on stage with him. We were then graced with nearly two hours of a living and breathing performance unlike anything else. The pictures can never do it justice.
With events of this magnitude, there can be times when you wish you were already at the finish line due to fatigue or sensory overload, but once you realize it’s done, you never wanted it to actually be over. I wanted to make sure I got everything I could out of this last performance, and thankfully Mastodon are one of my personal favorites and have been for well over a decade.
Mastodon started their set off with “Sultan’s Curse,” the opening track of their new album, Emperor Of Sand. A good portion of the crowd was already familiar with the song and responded with a decent amount of movement. The setlist was put together with the aim of interspersing the new material in and around older favorites. Seeing and hearing the fresh material live brought new appreciation to the songs I expected to be less enthusiastic about.
With the tunings and techniques Mastodon uses, it can be hard to showcase the heaviness or technicality of their songs on record. To truly give the songs a chance, you must experience them live. They of course played many of their older, more progressive and aggressive tracks throughout the 20-song setlist, making sure to show that they can still pull off some of the more difficult and impressive arrangements. Basically, Brent Hinds stole the show that night. Hinds has always done well to make sure he can fit a guitar solo into as many songs as possible. Every time one of those solos came up, he would crack a smile and put everything he had into it.
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“Negative Mass” Lurks In the Shadows of Mare Crisium’s Cosmic Ambience (Early Album Stream)
The uncanny void of late January seems like a suitable time to return to the brooding, dazzling realms of outer space that Mare Crisium resides in. Through a combination of double bass and guitar/guitar synthesizer, the Chicago duo – Stephen Reichelt of Morgue Supplier and Erik Oldman of Sons of Ra – create incredibly lush ambient music that ranges from incredibly ominous swells to imagination-stirring twinkling oddness.
Negative Mass somehow offers even more range than Mare Crisium's self-titled debut did [read our interview here] -- both guitar and double bass veer further away from the sounds one usually associate with these instruments, and even on the last record that gulf was starkly apparent. This new album finds the duo plunging into sparser and stranger abysses that feel like they could almost have been conjured up from room-sized modular synths and strange homebrewed gadgets rather than a couple of stringed instruments. But, critically, Negative Mass does keep in touch with its acoustic-ish roots, and that grounding and articulation lends an unusual weightiness to the floating, perhaps even playful threads that Oldman and Reichelt weave.
We're streaming the record here before it releases on Friday -- whether your Wednesday calls for deep space oblivion or a soundtrack for intense focus, check it out. Also, if you're in Chicago, the band is playing a release show this Friday at Cary's Lounge -- more details follow below.
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Negative Mass releases February 2nd and will be available pay-what-you-want on Bandcamp.
The band will be playing a release show at Cary's Lounge (2251 W Devon Ave, Chicago IL) on Friday, February 2nd with Clay Condon and Keith Wakefield. Show starts at 8PM, 21+. No cover.
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Mare Crisium Negative Mass
“Negative Mass” Lurks In the Shadows of Mare Crisium’s Cosmic Ambience (Early Album Stream)
The uncanny void of late January seems like a suitable time to return to the brooding, dazzling realms of outer space that Mare Crisium resides in. Through a combination of double bass and guitar/guitar synthesizer, the Chicago duo – Stephen Reichelt of Morgue Supplier and Erik Oldman of Sons of Ra – create incredibly lush ambient music that ranges from incredibly ominous swells to imagination-stirring twinkling oddness.
Negative Mass somehow offers even more range than Mare Crisium's self-titled debut did [read our interview here] -- both guitar and double bass veer further away from the sounds one usually associate with these instruments, and even on the last record that gulf was starkly apparent. This new album finds the duo plunging into sparser and stranger abysses that feel like they could almost have been conjured up from room-sized modular synths and strange homebrewed gadgets rather than a couple of stringed instruments. But, critically, Negative Mass does keep in touch with its acoustic-ish roots, and that grounding and articulation lends an unusual weightiness to the floating, perhaps even playful threads that Oldman and Reichelt weave.
We're streaming the record here before it releases on Friday -- whether your Wednesday calls for deep space oblivion or a soundtrack for intense focus, check it out. Also, if you're in Chicago, the band is playing a release show this Friday at Cary's Lounge -- more details follow below.
...
...
Negative Mass releases February 2nd and will be available pay-what-you-want on Bandcamp.
The band will be playing a release show at Cary's Lounge (2251 W Devon Ave, Chicago IL) on Friday, February 2nd with Clay Condon and Keith Wakefield. Show starts at 8PM, 21+. No cover.
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With the lights now up, I let the remainder of adrenaline run its course and watched the remnants of the crowd scour the ground for anything of value. We had made it to the end. In my three days here, I did not witness a single fight or altercation, no one got kicked out for bullshit reasons by security, and every single band I was lucky enough to see played with well above 100% effort. The spirit and vibe of this monster event has taken on its own life and is nurturing its own culture and reputation. Even though some of the branding and imagery is a bit over the top, and the “Fear and Loathing” vibe is too much gravy, it is all a part of something that heavy music fans have been hoping for. This is definitely a new high-water mark for the progression and acceptance of what we hold dear as heavy metal fans. Here’s to next year’s lineup.
–Alyssa Herrman & Guy Nelson
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