Coffin Mulch - Spectral Intercession

Labels: At War With False Noise/Darker Than Darkness Records/Dry Cough Records/Gurgling Gore/Memento Mori

Formats: Vinyl/CD/Tape/Digital

Release Date: 30 Jun 2023

Tracklist:

1. Spectral Intercession

2. Into The Blood

3. Mental Suicide

4. In The Grip Of Death

5. Fall Og Gaia

6. Gateway To The Unseen

7. Infernal Mass

8. Eternal Enslavement

When a death metal band comes along featuring members/ex-members of bands from outside of the genre, there's reason to be intrigued and excited. Gathering musicians from doom/sludge bands Age Of Taurus (previously reviewed here), Backstabber, Forever Machine, as well noisecore act Seppuku and Tetsuo (whom I don't know much about), you'd be forgiven for not knowing what to expect. Spectral Intercession was released in mid-2023 and is the band's first full-length, following a demo, an EP and two singles since their formation in 2018. They landed on my radar thanks to Dry Cough Records, who released the album on tape.

The weirdness starts straight off the bat thanks to the intro of opener ‘Spectral Intercession’, which after bizarre screams and noise descends into a whirlwind of old-school death metal of the thicc riff variety. Not overly fast tempo-wise and with a solid low-end, it grabs your attention with ease. Coffin Mulch carry the momentum of their album opener forward with ‘Into The Blood’, which doesn’t break for breath until the mid-way point when it flips from driving up-tempo death metal to sluggish doom/death. It’s absolutely glorious and the screeching guitar mini-solo towards the end caps the listening experience off perfectly.

Being a huge fan of doom/sludge and powerviolence, I like those low riffs that shake everything right to the core. The sort of riffs that open up ‘Mental Suicide’ then! They set the scene for what’s to come, even if that is unexpectedly blasting. The percussion is much more prominent here, providing not just a backdrop but a lead for the rest of CM to follow. ’In The Grip Of Death’ closes out the first half of the album with some truly epic OSDM that refuses to hang around. It’s over very quickly but there’s still plenty of musicianship throughout it’s sub two-minute playing time. 

The second half of Spectral Intercession rolls around with ‘Fall Of Gaia’ and it couldn’t be better. A constant barrage of top-tier UK death metal is all that’s required and Coffin Mulch deliver in spades. The buffeting intensity of ‘Gateway To The Unseen’ and the occasional use of vocal reverb (if I’m hearing things correctly) give this song a much more crusty feel, though it is subtle. Obviously, I get that how we hear and interpret music is subjective (I’ve said it enough times here before already), so you definitely should decide for yourselves. 

Penultimate song ‘Infernal Mass’ gives off complete doom/sludge vibes early on before Coffin Mulch once again launch into hyperspace, without the need for a drum machine(!), while allowing the lead guitar to shine once more amongst the chaos is perfect this late on in the album. Closer ‘Eternal Enslavement’ is the lengthiest song by some margin on Spectral Intercession and it’s everything you hoped it would be. Stark spoken-word samples, slow/low riffs, upbeat percussion and those now customary harsh vocals come together to offer an even greater old-school feel.

As the current “new wave” of UK old-school death metal grows it’s tentacles, Coffin Mulch stand out in the darkness. Expertly performed throughout, this album is both visually and musically up there with the very best in the genre right now.

You can stream and purchase Spectral Intercession digitally, as well as on limited edition vinyl from Coffin Mulch below:-

Coffin Mulch - https://www.facebook.com/coffinmulch

Physical copies can also be purchased on tape from Dry Cough Records below:-

Dry Cough Records - https://www.drycoughrecords.com/product/coffin-mulch-spectral-intercession-cassette-dc73

At War With False Noise - https://awwfn.bandcamp.com

Darker Than Darkness Records - https://www.facebook.com/profile

Dry Cough Records - https://www.facebook.com/DryCoughRecords

Gurgling Gore - https://www.gurglinggore.com/

Memento Mori - https://www.facebook.com/memento.mori.label

Visions From Beyond - Portal To Inertia

Labels: Brutal Cave Productions/Dry Cough Records/Self-Released

Formats: CD/Tape/Digital

Release Date: 02 Jun 2023

Tracklist:

1. The Crossing

2. Portal To Inertia

3. Second Sight

4. Into Hell

Portal To Inertia is the second and latest EP to come from Bristolian (UK) death/doom entity Visions From Beyond (if you don't count the debut demo that is). It was released digitally by the band in June of last year, while at the same time seeing a CD release via Portuguese label Brutal Cave Productions, alongside a tape pressing from the ever-dependable UK death/doom label Dry Cough Records. I can't remember whether I've mentioned this before but the sole member of Visions From Beyond also forms part of grindcore trio Fetus Christ (and is also a member of new death metal band Ritual Execution, which has recently released it's first tape via Dry Cough).

It’s been a lot of fun tracking the trajectory of Visions From Beyond since the band’s 2021 demo Eternally Bound, Whipped By Time. Grabbing the latest EP Portal To Inertia last year and jamming it alongside other (Dry Cough approved) UK death/doom bands has been an absolute joy. It feels like it’s been an age but I feel it’s time to write about these four tracks properly. 

Starting with ‘The Crossing’, Visions From Beyond deliver raw and hellish death metal with a huge helping of funeral doom for good measure. There’s always a limitation to being a solo project but it doesn’t hold Visions From Beyond back at all here. Gnarly yet oddly cosmic extreme metal more than hints at what’s to come.

The EP’s title-track ‘Portal To Inertia’ is all blasts and mesmeric guitar work, coupled with disturbingly low guttural vocals. Additional progressive lead guitar flutters amongst the heaviness, providing something close to relief. ‘Second Sight’ delivers at a much slower tempo to begin with, as if it’s paying tribute to the early Dry Cough output of sickening doom/sludge. The instrumentation takes absolute control throughout the song’s four+ minute playing time, as the vocals resemble some kind of sporadically tortured beast from another realm.

Leaving the best till last, Visions From Beyond delivers a near eight-minute monolith called ‘Into Hell’, which is very aptly named. The bass guitar provides such a rumbling low-end that it’s hard for the rest of the instrumentation to keep up (which is a strange thing to say given the slowness), but you’ll get what I mean as you get deeper into it. Subtle vocals, exquisite percussion and whale song-like lead guitar textures call time on what is a harrowing yet euphoric body of work.

I’ve already written plenty of positive words about Visions From Beyond here and this EP proves why that’s the case. For me, it’s important to support and encourage bands that are starting out, looking to build an audience of their own. I can’t wait to continue following the journey and if you’re new to Visions From Beyond, get on board too.

You can stream and also buy Portal To Inertia on all three formats directly from Visions From Beyond below:-

Visions From Beyond - https://www.facebook.com/visionsfrombeyond.official

Physical copies are also available from the labels below:-

Brutal Cave Productions - https://brutalcaveproductions.bandcamp.com/album/portal-to-inertia

Dry Cough Records - https://www.drycoughrecords.com/product/visions-from-beyond-portal-to-inertia-cassette-dc71

Beutal Cave Productions - https://www.facebook.com/brutalcaveproductions

Dry Cough Records - https://www.facebook.com/DryCoughRecords

White Nights - Into The Lap Of The Ancient Mother

Labels: Iron Bonehead Productions

Formats: Vinyl/CD/Tape/Digital

Release Date: 24 Apr 2020

Tracklist:

1. Litha

2. Drift From Irminsul

3. Bölthorn

4. -

Nobody really knows much about mysterious black metal/doom/death rock band White Nights, apart from that they (or it) are from the US, maybe. Steeped in psychedelia, Into The Lap Of The Ancient Mother was the first recorded material to come from White Nights in 2020. The fact that it was released by Germany's ever consistent Iron Bonehead Productions shows that it was and still is worth a lot of attention.

This evening calls for something a little on the weirder side. White Nights follow their own path on opener ‘Litha’, where austere German sounding spoken-word vocals join instrumentation that’s part black metal and part martial industrial, to my ears anyway. I was expecting more psych but one can’t be too choosy.

Given Iron Bonehead’s connection to the likes of Pa Vesh En, Aparthiva Raktadhara and Rope Sect, this release shouldn’t come as a surprise. ‘Drift From Irminsul’ isn’t necessarily a reflection of the aforementioned bands but it does have some similarities, while also having a much greater psych/rock influence.

‘Bölthorn’ is the EP’s longest song and it begins in a subtly anthemic way, containing more melody and brightness than expected given the coldness of White Nights as a whole. It’s an otherworldly mix of euphoria and dread all at the same time.

EP closer ‘-‘ is a looping-sample filled outro that kind of cuts through the mesmeric momentum gained throughout. If you were expecting a release with more noise you’ll be disappointed but if you hit play because you’re adventurous and appreciative of the art that’s put into extreme music, then this is for you.

You can stream and purchase the EP digitally below:-

CD and vinyl copies are still available from Iron Bonehead Productions below:-

https://shop.ironbonehead.de/

Black Wound - To The Endless Depths

Labels: Dry Cough Records

Formats: Tape/Digital

Release Date: 04 Aug 2021

Tracklist:

1. Absence Of Will

2. From Eternity And Beyond

3. Unending Labyrinth

4. Lurker Of The Threshold/Dweller Of The Depths

5. Traitor

The band I'm reviewing this evening have a bit of a complex history. The Swedish death/doom band (now known as Black Wound) released three demos in 2021, two of which predated To The Endless Depths. The first being Planetary Holocaust, which was originally recorded and released when they were known as Odium and Christ Betrayal, when they were known as Rotten Incarnation. With the current line-up being formed of three members from both of the aforementioned bands, they went on to release To The Endless Depths via UK label Dry Cough Records last August. Metal Archives-based semantics aside, Black Wound are another exciting new death/doom band hailing from the fertile shores of Sweden, which can only be a good thing,

Bass-heavy, low-slung death/doom with utterly filthy gutturals. That’s what you’re greeted with on EP opener ‘Absence Of Will’. A lot more death than doom from Black Wound but the atmosphere’s a lot gloomier than it might first appear. The lo-fi recording and production of this tape really helps with the aforementioned atmosphere. On ‘From Eternity And Beyond’, Black Wound ratchets up the doom with lumbering riffs and plenty of crash cymbal madness. It shows just what they can do with longer songs. Not so much devastating, more devouring in it’s intensity.

The groove of the bass that kicks off ‘Unending Labyrinth’ is an unexpected addition to the grim layers within Black Wound’s music and it leads the way through the whole song. Yes it’s still an extreme number but it’s one filled with catchy tempos and innocent old-school values. I’m not sure if this is two songs rolled into one but ‘Lurker Of The Threshold/Dweller Of The Depths’ is the most oppressive addition to the EP. Even more oppressive than this mini heatwave we’re experiencing in the UK right now. It’s also much better with the volume turned way up, as it reveals all of the band’s instrumental nuances, of which there are plenty if you dedicate time and energy too them.

Final song ‘Traitor’ follows on with an instant percussive wake-up call. The kick drum here is loud! It adds massive heft to the crawling death/doom that flutters around it. The vocals are pretty frightening at times and raspy at others. About a third of the way through they change direction, becoming melodic and almost mystical for a moment, before switching back to their already ploughed furrow. This release is not for the faint of heart. You can’t just dabble in it’s darkness, you have to immerse yourself in it and move far below the surface world. Black Wound is hell personified and all the better for it. 

For Fans Of: Incantation, Skaphe, Abstracter, Malignant Altar and Fossilization

You can stream and purchase To The Endless Depths as a name-your-price download from Black Wound below:-

There were two runs of tapes released via Dry Cough Records. Both runs are sold out.

Black Wound - https://www.facebook.com/Black-Wound

Dry Cough Records - https://www.facebook.com/DryCoughRecords

Sewer Fiend - Echoes From The Cistern

Labels: Black Legion Records/Dry Cough Records/Sewer Rot Records/Obliteration Records

Formats: Tape/Digital/CD

Release Date: 30 Jun 2021

Tracklist:

1. Writhing In Stagnant Water

2. Pulsating Mass Of Worms

3. Echoes From The Cistern

I'm getting back round to reviewing another tape I've had for a while. Echoes From The Cistern, the debut EP from Manchester, UK death/doom band Sewer Fiend, was released in mid-2021. It saw the light day via UK label Dry Cough Records and US label Sewer Rot Records, who both released their own tape versions. It proved very popular and was given the repress treatment after the original run sold out, before later being picked up for a run of tapes in South America via Peruvian label Black Legion Records. The band features members from Cryptic Shift, Slimelord and previously of UK thrash band Exiled, to name a few.

The duo of John Riley (bass) and Sam Robinson (vocals and guitar) make up Sewer Fiend and they’re joined on Echoes From The Cistern by drummer David Lanas. What they deliver as a unit is murky death/doom with thrash and melody thrown in too. EP opener ‘Writhing In Stagnant Water’ shows off the bizarre and original sound of Sewer Fiend in a way that I wan’t expecting. The vocals are made up of typically gnarly old-school growls and the low-end/percussion both read from the doom/death blueprint, but it’s the melodic guitar work that sets a different tone. More akin to Voivod (maybe) and more experimental/cosmic death metal bands like Skelethal or Blood Incantation.

Though I’ve tried with the above comparisons, they don’t do Sewer Fiend justice. ‘Pulsating Mass Of Worms’ is more urgent in tempo yet is equally as progressive too, but not in a noodling way. I guess using the term avant-garde would be a bit too much. Either way, it’s not the gutter-crawling death metal that you might have expected, if you were completely new to the band.

It’s left to the sprawling title-track ‘Echoes From The Cistern’ to provide a suffocating end to the EP. Suffocation was probably a slightly misleading term to use though, as Sewer Fiend’s groove is put to full effect on a song that at times is the slowest of the three here. The vocals are used more sparingly, with the instrumentation taking the reins for the majority, making it a much more mesmeric listen.

It’s amazing to see and hear the amount of variation that currently exists within the death metal genre at the moment. Each country seems to have it’s own take on the sound and the UK is starting to truly excite those who enjoy the murmurings coming from the underground. Sewer Fiend are only just beginning, but what a Start!

You can stream and purchase Echoes From The Cistern via bandcamp below:-

Sewer Fiend - https://www.instagram.com/sewer_fiend_dm/

Tape copies have long since sold out from both Dry Cough Records and Sewer Rot Records, but you can still buy copies from Black Legion Records via the link below:-

https://blacklegionrecs.bandcamp.com/album/echoes-from-the-cistern

There will also be a CD release coming in late-March 2022 via Japanese label Obliteration Records.

Black Legion Records - https://www.facebook.com/blacklegionrecs

Dry Cough Records - https://www.facebook.com/DryCoughRecords

Sewer Rot Records - https://www.facebook.com/sewerrotrecords

Obliteration Records - https://www.facebook.com/obliterationrecords

Plague Patrol - Demo 2021

Labels: Dry Cough Records/Psychocontrol Records/Gutless Productions

Formats: Tape/Digital

Release Date: 26 Nov 2021

Tracklist:-

1. Taxidermia

2. Bennings Bonfire

3. Oort Cloud

4. Xenogenesis

After head-banging a bit too hard last night to Lentic Waters, I realised what my evenings have been missing, so I've been perusing my inbox and I came across this demo from new Czech death/doom band Plague Patrol. Their 2021 demo is due for release towards the end of November via fellow Czech label Psychocontrol Records, Indonesian label Gutless Productions and the ever awesome UK label Dry Cough Records. I've been a follower and purchaser of Dry Cough releases since the label's first breaths (I think the only release I need to complete my collection is the War Wolf 'Crushing The Ways Of The Old' tape). In terms of Plague Patrol, I don't know that much about them other than that their sound is a mix of US/Finnish death metal with doom elements too. I think I might have to reintroduce the 10 Questions interview series in order to learn more about them (what do you think?).

After a longer than usual intro paragraph, I’m getting down to it with Plague Patrol’s demo. It’s the trio’s debut release and it’s everything you’d expect from a death/doom band. Opening song ‘Taxidermia’ is a sea of gloomy, slow riffs and raging death metal percussion, with vocals that sound like they were made for the underworld. For a trio, they’re immense and sound way louder volume/production-wise than expected. 

Plague Patrol also does atmospheric though, as demonstrated by the opening bars of ‘Bennings Bonfire’, which descends into a much more doom orientated death metal song a few moments later. Much more old school in delivery but with the modern edge we’ve come to expect from the likes of Mortiferum, Void Rot and Wharflurch. I’m not sure there are too many Czech bands that I can compare them to, but if there are please let me know!

‘Oort Cloud’ contains those thick riffs that just rip the flesh from your bones, while the vocals sound completely otherworldly. In fact the entire band sounds unbelievably tight and fiendish, which is a good thing! If doom is too slow for you and death metal is too fast, there’s always a middle ground and taking cues from scene legends like Incantation can do no harm.

Demo closer ‘Xenogenesis’ is Plague Patrol’s longest song, but don’t think it’s going to be a lumbering doom number because it’s not. Not by a long shot! It has it’s slower, murkier moments but in essence it’s just a slightly lengthier version of what’s come before on this tape. It’s a fantastically dirty take on death/doom with thrashing elements and awesome production qualities. 

Another great find from the consistently brilliant Dry Cough Records and a reason to checkout both Psychocontrol Records, and Gutless Productions, as underground and upcoming labels need more support now than ever. Plague Patrol have just laid down the soundtrack to the grim, dark months ahead. Truly amazing and harrowing at the same time. 

This demo isn't out till November 26th (meaning there's no sneak peak up yet), so you'll have to keep an eye on the below label pages for news and song premieres (I'd love to do one if those involved are interested!):-

Dry Cough Records - https://www.facebook.com/DryCoughRecords/

Gutless Productions - https://www.facebook.com/gutlessasia/

Psychocontrol Records - https://www.facebook.com/PSYCHOCONTROL-records

Sumeru - Blood Ordinance

Labels: Brilliant Emperor Records

Formats: Vinyl/Digital

Release Date: 21 Jan 2021

Tracklist:

1. Cold Chamber

2. Foundry Of Dread

I'm fitting in a quick writing session this morning and delving back into my ever growing digital review pile. Blood Ordinance is the latest EP release from Australian death/doom metal band Sumeru and it was released via fellow Australian label Brilliant Emperor Records back in January. Sumeru have been active for well over a decade now and have released two full-lengths, as well as two EPs in that time. 

Sumeru’s music on EP opener ‘Cold Chamber’ is made up of stellar death/doom with a leaning towards more technical music than their Metal Archives description would suggest. I was expecting some groovy and chilled out stoner/doom from that, but I’m not complaining at all! Sumeru are very adept song-writers and they prove that with the ability to switch between tempos, going from fast death metal to pensive doom with ease. The atmosphere created by the slower second half of ‘Cold Chamber’ is spine tingling.

Second song ‘Foundry Of Dread’ is delightfully deathly, with percussion taking the lead with a proper bouncing tempo, while the guitars and vocals drag you deep into the sub sewers. It’s a little more on the thrash side in places, while the guitar solo midway through just screams pure heavy metal! This is my first introduction to Sumeru and it’s the perfect one. I really enjoyed this and while this review is late compared to others, time doesn’t matter in the age of being able to instantly stream music (unpopular/controversial opinion I’m sure). With a more than decent back catalogue already, now is the best time to discover Sumeru.

You can stream and purchase Blood Ordinance on vinyl and digitally below:-

Physical copies are also available via Brilliant Emperor Records here - https://brilliantemperor.bandcamp.com/merch

Sumeru - https://www.facebook.com/sumeruband

Brilliant Emperor Records - https://www.facebook.com/BrilliantEmperorRecords

Mortiferum/Hyperdontia - Split 7"

Labels: Carbonized Records/Me Saco Un Ojo Records

Formats: Vinyl/Tape/Digital

Release Date: 07 Dec 2020

Tracklist:

1. Mortiferum - Abhorrent Genesis

2. Hyperdontia - Punctured Soul

This split 7" was one of most heavily talked about splits of the closing months of 2020, not least because it contained a song each from US death/doom band Mortiferum and Turkish/Danish death metal band Hyperdontia. It was released early December via both rising US label Carbonized Records and ever-growing UK label Me Saco Un Ojo Records. Both bands are helping to lead the charge of old-school death/doom metal from the last decade and into this one. 

Please excuse me for switching the bands around in the title. I always put the opening band at the start, irrespective of where the first letter of their name appears in the alphabet. Mortiferum’s take of death/doom here, ‘Abhorrent Genesis’, is a gloomy and dank take on the sub-genre with low growls, guitar/bass that sit very deep in the recording at times and percussion that takes the lead. It’s a hellish image that’s created here but one that’s not without it’s charm. Definitely leaning further towards the old-school.

Hyperdontia’s side of this split also presents a gloomy outlook, but with a bigger slice of groove. They are more technical and ‘Punctured Soul’ contains many tempo-changes and more pronouced melody, whereas Mortiferum ploughs a much deeper furrow. There’s a sort of controlled-chaos element to the instrumentation here, especially when the drums and guitars up the pace. The vocals again are low growls but are much more dominant within the mix. 

This is a filthy split release that single-handedly reflects the harsh slog that was 2020. Both Mortiferum and Hyperdontia very much have their own sounds and they deliver death/doom that’s as dark and terrifying as you’d expect. 

You can stream the respective tracks below via both Mortiferum's and Hyperdontia's bandcamp pages:-

Mortiferum - https://www.instagram.com/mortiferum.official/

Hyperdontia - https://www.facebook.com/hyperdontia

Tape copies of the split can be purchased from Carbonized Records here - https://carbonizedrecords.bandcamp.com/merch

Carbonized Records - https://www.facebook.com/carbonizedrecords

Me Saco Un Ojo Records - https://www.facebook.com/mesacounojo

Sadgirl in the Abyss: An Interview with Isserley (by Mikey Ortega)

My introduction to Australia’s Isserley was from a previous incarnation called Girlflesh. It was an electronic/experimental project that was dark, raw and uncomfortable. It was the music equivalent of extreme/transgressive cinema – similar to the likes of Baise Moi and Melancholie der Engel.  Later, Girlflesh started to go through a transformation and became Isserley – an even more aggressive sound than her previous work.

 

On this interview, I got to chat with Isserley about music - especially her new direction to Doom Metal.  Also chatted about her work doing soundtracks, horror films and plans for 2021. It was a blast to do this interview and hope you guys will enjoy it.

  

Mikey:  So how have things been since you started Isserley? It's a huge step from Girlflesh. Was Isserley something you've been brewing for a while?

 

Isserley: Things have been good! Though Isserley is more of a stage name than a project, I've gone under a few monikers while producing music. When I started releasing music as Isserley it was because I wanted to rebirth myself. I guess I thought I was doing a better job than what I was making in my more amateur projects, and I wanted to take a step into considering myself more professionally.

 

Mikey: I remembered a while back, you've mentioned on social media that you got some new gear and/or programs. By any chance did that help you to take that next step in being a more serious artist?

 

Isserley: Not really, but I've always been predominantly unprofessional in how I make music. It's such a raw thing for me, and honestly, I'm not a great producer in a technical sense. I like to make a mess and then arrange it into something tangible, I guess that's my thing. The gear can make it sound cooler or cleaner or whatever but my strength is chaos more than anything.

 

Mikey: Would you say "controlled chaos" or is it something more than that?

 

Isserley: Probably something less really, there's minimal method to whatever I'm doing. It comes from how I feel. I make my worst music when I go in trying to make it sound like something specific, and my best music comes from just doing whatever comes natural.

 

Mikey: Totally understand that. In pro wrestling, there's a saying: "less is more". When it came to making INSIDES, was Doom Metal's minimalism sound made you feel like you can do well in the genre?

 

Isserley: I had no idea if I'd do well, but I knew I wanted to try. I love metal, doom especially, so just having the opportunity to make that album was something I couldn't pass up. Insides was really exciting, I worked with my close friend Ripley Sterling on it, and we put so much time into it. I spent most of the album doubting myself, since I'd never worked in that genre, I always felt like I was just cosplaying or something, but we pulled it off and I'm really proud of the end result. Doing that gave me the confidence to work even more in that genre, and a lot of my best work is metal now.

 

Mikey: So how did Ripley get involved? Were there some bands that you used as references?

 

Isserley: I can't remember it too clearly now but I'm pretty sure it was just me being like "Hey, wanna do a doom metal album?" and he was like "Yeah, sure" and then we just kinda did it. Jucifer and Chelsea Wolfe came up a lot during production.

 

Mikey: TAPEWORMHOLE sounds like your early work with a heavier (even darker) approach,  What was the idea behind this album?

 

Isserley: The main idea was to embrace anger and aggression. I think if you spend enough time being disappointed, that disappointment becomes so familiar that it inevitably turns into frustration and anger. TAPEWORMHOLE was my way of exploring those feelings and giving myself permission to just to just be angry, be misanthropic, be all of those aggressive things and take it out on the music.

 

Mikey: This past December you put out SADXMASS, which was a nice gift for the fans.  It was a perfect album for us who spent Christmas alone because of lockdown. Was doing a Christmas/Holiday album something you've wanted to do? I see a song title like "Gingerbread Housefire" and it sounds like it's a title you've had for a while.

 

Isserley: I love Christmas so much! I used to hate it more than anything, and It'd send me into a several month long depression. We're meant to celebrate family, love, togetherness, all this stuff that a lot of people just don't have, and for most of my life Christmas was the most isolating and painful part of every year. I've learned to look at things differently, and I have a really different outlook on it now, but I thought it would be really fun to do a Christmas album that embraced all those darker parts of the holidays. I wanted to make Christmas music for people who still feel that alienation and isolation at that time, and I don't think I could do anything genuinely festive if I tried.

 

Gingerbread Housefire was the first title I had written down for the project too, so good guess!

 

Mikey: When doing soundtracks for movies, is it a different approach to when you're working on an album?

 

Isserley: Absolutely, my albums are always about me or an idea I've had, some kind of concept or allegory for what I've been going through during that time. When I do a score or soundtrack, It's usually for someone else's vision. It's something I have to compliment, and it isn't really about me at all. Usually I'll ask the creative director a lot of different questions to figure out where everything is at, and then I try to create something that I see fitting into their world. Since I work almost exclusively in horror, I still get to embrace all that noise and darkness, and it never feels like much of a stretch, but my mind is in an entirely different place.

 

Mikey: So, when a filmmaker asks you to do a score, do they give you creative freedom - most of the time? Or do they try to give you an idea of what they want? 

 

Isserley: It really depends on the project. Sometimes they know exactly what they want, other times they need someone to help them figure out what the vision is before trying to achieve it.

 

Mikey: Does it make things easier when they know what they want the score to sound like, compared to helping to find the right sound? Or does someone like you, also enjoys that challenge?

 

Isserley: I usually prefer having more control. I think I conceptualize things well and create something that fits and tells a story alongside the film or game. Much like all my other music, I work better with less restraints or external guidelines.

 

Mikey: After those questions, I would like to ask if there’s been any horror/extreme films that’s caught your radar? Anything you’re anticipating?

 

Isserley: I haven't seen any recent extreme cinema that was super impressive to me, but I have been rewatching some of the classics like the Guinea Pig series. Stephen Biro just released a new cut of A Serbian Film which I'm curious to check out too. I watch like at least one movie every day, and It's almost always horror, but I've been on a bit of a losing streak. I did discover Doom Asylum for the first time late last year and I'm absolutely in love with it!

 

Mikey: The Unearthed Films release of A Serbian Film looks really good. I ended up getting the blu-ray.  There’s no added “violent” scenes in the new uncut version.  Just some flashbacks when Milos was trying to figure shit out. But it’s worth getting for the special features and commentary, which weren’t in the first release.

 

Did you get a chance to check out any of the American Guinea Pigs and have any thoughts on it?  Or their Too Extreme For Mainstream library?

 

I don’t think I’ve come across Doom Asylum. Any chance you can tell me about that flick?

 

From what I heard, some extreme cinema that has been creating a buzz is Truama (from Chile), The Painted Bird and 29 Needles.  Have those films caught your attention?

 

Isserley: It's so cool that you're into that stuff! I barely know anybody who is..

 

I've seen all the AGP movies! I think Bloodshock was my fave, it was kind of like a weird combo of Tetsuo and some of the older Guinea Pig movies.

 

Doom Asylum is an 80's slasher that embraces all the goofy 80's slasher stuff, It's super funny and cheesy, but It's really brutal and gory as well, which is super fun. There's a blonde girl in it that basically plays harsh noise music in a band, which was rad.

 

I've heard of 29 Needles, and I'm really excited to see Trauma! I'll have to check out The Painted Bird though, I haven't heard of that one

 

Mikey: I’ll definitely have to look up Doom Asylum (and hopefully anyone that’s reading this when the interview gets published). Not sure if you’re familiar with a Russian war film called Come And See, but from what I read, The Painted Bird shares that bleakness. I haven’t seen Trauma, but it is on my watchlist on Tubi. Heard a lot about the beginning, the rape scene and the baby in the end.

 

I’ve heard stories about how tough it is for extreme cinema to make it’s way to Australia. There was a incident where someone got arrested for ordering August Underground, that Fred Vogel flew over there to support the guy in court. Then there was that film festival, where the organizer got arrested for showing Bruce LaBruce’s LA Zombie. And I’m not sure if A Serbian Film is banned or they just cut out a lot of scenes. So I have to ask, does Australian censorship laws make it hard to hunt down extreme cinema? Does this make things even harder to make extreme cinema in Australia? I would think you can find many people into extreme cinema online or is it you don’t come across interviewers who are into extreme cinema? Are there extreme cinema Facebook groups or message boards that you are in? How do you stay in touch on upcoming horror films and extreme cinema?

 

Isserley: A lot of the time now, extreme cinema is super indie, so you can usually find region free DVDs or Blus from their official stores, if not Ebay or something similar to that. Unless It's super rare, It's only as hard to get as the movie itself is. I generally don't know many people who enjoy extreme cinema, but I do follow some on Letterboxd, and I'm Facebook friends with a lot of people involved with all that stuff. I really badly wanna do the soundtrack for extreme cinema so that's something I'm super interested in right now, so if anyone has a lead on that..

 

You'll pretty much never natively find extreme cinema unless it was something with major cultural impact, like Salo or something like that. You're definitely not gonna find August Underground or Nekromantik on the shelves here

 

Mikey: Would you know if a Australian filmmaker were to do a movie like A Serbian Film or The Guinea Pig series in Australia, will there be any legal trouble?

 

Isserley: As far as I know, censorship only becomes a thing if the ratings board gets involved, so if you release stuff completely indie, I doubt they'd have trouble.

 

Mikey: Yeah, after hearing about that August Underground story, it did make me curious.

 

So, how was 2020 for you? Other than your music, did you have any big plans, but got ruined because of the pandemic?

 

Isserley: I'm a total recluse with very little ambition, so the pandemic barely impacted me at all. I do everything from my house, and I'm pretty happy just doing what I do. 2020 was fine for me, maybe even slightly better than a normal year since everyone else was online all the time. Weirdly, it made my year less lonely.

 

Mikey: For someone that doesn't do live shows and just keeps to themselves, what has been your thoughts on the people in the music industry getting called out by women, for abuse and sexual harassment?

 

Isserley: I don't really have a specific opinion on that. If someone wrongs someone, they should absolutely say or do something about it.

 

Mikey: I guess I kinda wanted to know if you feel like not playing live shows and being involved in your scene was probably for the best? I’m not sure how often you get shit from creeps online, but would those events have discouraged you in getting involved with music, when starting out?  Do you see the #SpeakingOut movement getting women even more involved in their music scene?  Hope these questions don’t seem too personal.

 

Isserley: I'd like to be more involved in any scene really, but I'm not really close to anything and even if I was, I don't think I'm really ready for that stuff. It's never really been a choice but whenever I've been asked to play live I've shied away. I think just existing publicly on the internet is enough to draw in negativity from other people, so dealing with that is another day to day tool you pick up, like spelling or how to make a mean sandwich. It's never made me reconsider music at all.

 

I'm not really sure what anybody's motivation for getting into music is, but my own was an emotional outlet. There was a lot of anger and pain in my earliest music, so I suppose It's possible that people will use whatever anger they have from those kinds of situations to fuel some form of art.

 

Mikey: So what do you have planned for 2021?

 

Isserley: I'm working on a new album at the moment, as well as a few side projects and remix compilations. I don't really plan ahead, so I have no idea what will come out of 2021, but hopefully people dig whatever I end up doing.

 

Mikey: Awesome. I was gonna ask if you ever interest of doing a side project. Any details you can give and when will we be able to hear it? On the new Isserley album - did you just started working on it or do you have some of it completed? Do you have a title for it? And how are things with your remix work?

 

Isserley: It's all still Isserley stuff, but I have some scoring and smaller EPs I'm working on, as well as physical merch. I'm not sure when the new album will be done, I'm chipping away at it whenever the mood strikes, but I'm not very good at forcing myself into it, I don't work well that way. A few songs are finished already though, and I think I have a working title but I don't wanna announce it yet since I change my mind a lot. As for remixing, I don't have anything planned right now, but always open to it if the song resonates with me.

 

Mikey: And finally - is there a subject/concept and genres you would like to explore? Also, is there anything you’d like to add about your creative journey?

 

Isserley:  I'm definitely wanting to get more into rap! I love doing it but I'm not really that great at it, even the production for it is kinda tricky for me, but I'm really determined to do a pop and rap thing at some point! I don't think I have anything to add, but I really enjoyed this interview!

 

Isserley’s latest album, SADXMASS, is available now on Bandcamp for “Name Your Price”. 

Be sure to follow Isserley and stay up to date on releases and future projects. You can find her on the links below:-

 

Facebook - https://www.facebook.com/IsserleyIsHome

Twitter - https://twitter.com/Isserley_OwO

Bandcamp - https://isserley.bandcamp.com

Soundcloud - https://soundcloud.com/isserleyishome

YouTube - https://www.youtube.com/channel/UCn9uUETm8XfdGXoK7apMVFA

Spotify - https://open.spotify.com/artist/5FLTsO6QmFfyr9InzfFFAw