YES, IT WAS THAT GOOD!

Home of the Hits, Buffalo, NY

In the days of yore metalheads of all ages would go to an ancient institution known as a "record  store". Our first experience at those majestic places was often when we were young kids going along with a parent, older sibling, cousin or even an uncle. We'd stick by their side as they'd head to the "rock" section then watch as they slowly flipped through the vinyl and every now and then they'd grab one  piece and pull it up above the rest so they could see the cover in it's full glory then flip it over to see the track listing. Our young preteen minds were just beginning to truly discover music.  Radio (there was no mtv yet) was our biggest musical influence.

Choice finds from the early 1980's at Cavages.

On the left is European version on Bronze Records, on the 

right is the American version on Mercury/Polygram

 Ace's Records in Tampa FL, city location. Morbid Angel 'Covenant' listening party 1993. (photo - Cindy Moses)

It was the '70's and rock music was splintering into many genres. Stadium rock controlled the better part of the decade but by the end the backlash against it began to grow. As the decade ended new genres battled for a foothold in the minds of the youth....metal was bubbling up, punk exploded and the ghastly disco emerged (and just as quickly died). Our impressionable minds were exposed to the likes of Black Sabbath, Rainbow, Budgie, the Sex Pistols, the Clash, Ramones, Stiff Little Fingers and even some new English bands like Motorhead and Iron Maiden. The aural assault we faced would set the foundation for the people we were about to become. To this point the chain record stores still satisfied our needs, but that would soon change. We were content to head (with parents as we were still to young to drive) to Cavages to pick up vinyl copies of Iron Maiden and Motorhead.

Another early purchase from Cavages,
Iron Maiden's "The Number of the Beast"

We became teens and continued to seek out music beyond the realms of what our parents listened to. Mainstream radio was no long sufficient for our growing hunger for new music so we searched the dial and discovered college radio or a local station that would have a late late night show of heavier hard rock music. Suddenly we were exposed to music our parents couldn't understand. Rock music, but a little faster or heavier or experimental; all brand new to us. Like a junkie, we were always seeking our next fix, that new music that just hit us like a baseball bat to the chest. When you first hear metal you know right away if you're a metalhead,  it grabs you by the throat and affects you. Music wasn't just background noise to us it was much more...it was our friend, our escape.

Eides Records (Pittsburgh, PA)

 Original Ace's Records t-shirt front. (photo - Alan Moses)

Original Ace's Records t-shirt back. (photo - Alan Moses)

Now full-fledged teens we were discovering bands you couldn't find at the chain record stores of the day. We had to find the smaller mom and pop owned record stores who often employed college aged kids as cashiers. Upon entering the record store we would be nearly overwhelmed as our first sight would often be the big message board filled with show flyers, flyers of people looking to form bands or bands looking for members. Often as you wandered the aisles randomly flipping through the albums the guy behind the counter would offer up some wisdom, first asking what band was your favorite then saying if you liked them you should check out this other band. You had never heard of the band he suggested, but still you bought the album....of course, after first checking out the artwork and song titles. 

Insert for the Accused's 1987 album, including thanks list

We were hooked, metal had taken us over. Now, we would go to record stores without anything specific in mind, we would just go to flip through the vinyl and check the new arrivals. It became commonplace for us to buy vinyl based solely on the cover, that glorious 12" by 12" record sleeve art. We discovered bands  solely because of the impressive album art, bands that didn't get airplay on any radio station. Sometimes we were disappointed, but many times we discovered gems that took us deeper into the realms of metal. After discovering a few gems we began a routine when we would buy an album, before we even put the vinyl on the turntable we'd be reading the insert and looking over the "thanks" list to see what bands were mentioned so that the next day or the next week we could head to the record store with a list of bands to check out.

The back of Possessed's 1985 masterpiece "Seven Churches"

By this point we were metalheads, even if we didn't realize it at the time. Record stores were becoming more than just a place to buy music. Many of us discovered our first fanzine at a record store. Friendships were started at a record store. While flipping through the vinyl another kid walks in wearing an Iron Maiden t-shirt ( a rarity in those days) and you immediately felt a camaraderie with him. He begins flipping through vinyl and you eye up what he's looking at..."that sucks", "that's killer", "have you heard of these guys?"...There was an immediate friendship, outcasts banding together. In your small town school you could very well be the only one or one of a very select few who listened to acts like Motorhead, Venom, Iron Maiden, etc so whenever you stumbled upon someone else with those same musical tastes you were compelled to talk music with them.

The Cro-Mags 1986 classic "The Age of Quarrel"

Record stores had become a hangout. You could spend hours there flipping through vinyl, checking out the flyers, talking to the counter person and other metalheads from the area. The college kid working the counter now knows you and your purchase history so he points out more and more undiscovered goodies. As your hunger for metal grows you discover other bands with a fast, aggressive sound. Bands like DRI, Cryptic Slaughter, the Exploited and other punk/hardcore/crossover bands squeeze their way into your collection alongside the early thrash acts you've discovered...Slayer, Metallica, Exodus, Possessed....

Ticket stub for the Buffalo show (at Buffalo State College)

of the 1986 tour featuring Motorhead, Wendy O. Williams and the Cro Mags

 Ace's full page ad which ran in most local publications and was also sent out in official Morbid Angel C.O.D. info packs to bring people to the store on their next US visit.

Fast aggressive music had us hooked. It was all new so we weren't limited by genre or self imposed musical labels. Punk, hardcore, crossover, thrash, speed metal, and the emerging bands that would become death metal, grindcore, etc. filled our vinyl collections. Almost by necessity shows featured a mixture of genres.....and we loved it. Tours with a mix of bands that wouldn't happen these days, like the 1986 tour of Motorhead, the Cro-Mags and Wendy O. Williams. We were outcasts but at shows such as that we saw that we weren't as few as we thought. Walking amongst a mixed crowd in those days it was commonplace to see punks wearing the patches of bands such as Slayer and Metallica (pre-Master of Puppets) and it was just as common to see metalheads wearing shirts by bands such as DRI, Agnostic Front and Cryptic Slaughter.

The 1990 classic; purchased at Home of the Hits (Buffalo)

The '80's were ending and thrash was being supplanted by the more aggressive sound of death metal. The local independent record store was the only place to go to purchase albums on the emerging European labels of Earache, Century Media, Nuclear Blast and Peaceville. Death metal was gaining popularity and the record stores took note and started carrying demo tapes and releases by smaller obscure labels. Often those smaller labels would only release vinyl as CD's were still new and expensive. Record stores began to be more than just shops, they began to be involved in the scene that gave them life. Buffalo's Home of the Hits underwrote the metal show on WBNY and offered discounts to anyone who brought in a flyer or ticket stub from the previous metal concert. Stores in other cities began to sponsor the occasional concert, host meet and greets and become not just the hub for their local scene but a tourist spot for bands and fans passing through town. No trip to Pittsburgh could be finished without first stopping at Eides Records and while there visiting with counter person Rob Tabachka (Eviction) and no trip to Florida was complete without stopping at Aces Records and visiting with James Murphy (Obituary, Death, Cancer, ...and more).

 Ace's Records, Oldsmar FL Flea Market location 1991. Employee's Alan Moses & James Murphy modelling the selection of hair band hats. (photo - Derek Petrovitch)

Alternate show flyer by Home of the Hits (Buffalo),

including a discount at the store

CD's had taken hold in popular culture but metalheads still cherished their vinyl. Record stores were carrying fewer and fewer pieces of vinyl and more and more compact discs. As they were morphing into something new, the record store began to lose it's charm. Compact Discs were the prevalent form of media in the record stores by the close of the decade. We once would spend hours at record stores looking at the glorious 12" by 12" cover art, but CD's didn't hold that same appeal. Now, we found ourselves heading to the record store for specific releases instead of just going there with nothing specific in mind. Our generation was becoming adults and it was time for the next generation to move in, but along with that new generation came the internet. Soon it would be possible to discover a far away band without having to trade for the demo and without having to head to the record store. The once hallowed record stores began closing their doors signaling the end of an era. 

12" vinyl on the left, standard CD on the right.

Vinyl purchased at FBS Records (Tonawanda, NY), 

CD purchased at Home of the Hits (Buffalo)

 Ace's Records staff jacket which belonged to owner Frank Dansecs. (photo - Alan Moses)

We sit back now as aged metalheads, a lifetime older than the age when people would tell our parents "It's just a phase, he'll grow out of it", remembering those days fondly and feeling sadness for those younger than us who will never truly know how special the record store was. We can look through our collections and tell you which store we bought that particular album at ...Home of the Hits, Rock Steady, Pop Tones, Aces Records, Eides Records, Metal for Melbourne, Utopia,...Holding that album the memories flood back of the store, the counter person, the friends we made there, the wall of flyers and much more. So, when someone younger asks "Were the old days really that good?", we can honestly answer "Yes. Yes, they were" and the record store was a big part of why those days were so special to us.

 Keith Collins (ex-Savatage, Tampa Bay Metal Awards, Tampa Bay Spike), David Vincent (Morbid Angel), Ace's Owner/Operator Frank Dansecs and Brutality vocalist Scott Reigel. 'Covenant' listening party 1993. (photo - Cindy Moses)

RITUAL QUARANTINE: THROUGH HELL AND BACK

In September of 2011 Ritual Quarantine from Buffalo NY would play their first gig. In the next eight months their guitarist would be shot and paralyzed, their drummer would become a ghost to his friends and band mates, then one of their singers would die (at only 29 years old). Still, the band pushed on to play their second gig ever on July 14, 2012 (opening for Deceased). Here's a brief interview with guitarist Tony Lorenzo.

Doug Luke and Tony; 1st Ritual Quarantine gig 

Sept. 2011  (photo - Brian Pattison)

GT - For those who don't immediately recognize your name, can you tell us a bit about your musical background (former bands and such)?

Tony - Just started out as a kid trying to add my own couple of riffs to the local music scene. In 2004 I started Sons Of Azrael with my best friends and somehow got a 4 album deal with Metal Blade Records, you know every kid's dream, every band's nightmare honestly. After touring with Beneath the Massacre, Vital Remains, Crematorium, Pyrexia, Unearth and God Forbid we thought we had it all figured out but due to internal conflict and drug issues with the singer I left the band. After that I joined a band called Vessel on bass guitar which was a blast but short lived. Then I started a power trio called Black Tongue which is still active and just really fun to do any time I get a chance. Then finally Ritual Quarantine in 2011 with old and new faces... it's been a wild ride!

GT - Late 2010 or early 2011 I asked Seplophile if they would be the backing band for Kam Lee at A Day of Death 2011, very soon after they learned guitarist Matt Backlas would be unable to do the show. Greg (guitar) then approached you to fill in for both the Kam Lee and Seplophile sets. Was it an easy decision to say yes to doing both?

Tony - It was as easy as breathing. Those guys are my brothers and I've known them and jammed with them for years. The only new face for me jamming wise was Sean ( bass ) but I've also known him for nearly a decade between shows and friends so yea right off the bat, just a flat out easy decision for me.

Tony playing with Seplophile at A Day of Death 2011 (photo - Maga Sanchez)

GT - How difficult was it for you to learn both the Seplophile and Kam Lee sets? At any point in the learning process did you feel any pressure knowing it would be the last time Kam would be playing Massacre tunes and you would be a part of it?

Tony - To be honest, I had not heard much about Massacre and the back story of Kam Lee so I felt no pressure. A few days of listening to the material and doing a bit of research I realized how significant it was to be a part of it and then the big picture really hit me. It became surreal very fast! Learning the Massacre stuff was very fun. The Seplophile stuff, not so much! haha. Those guys have killer, FAST as lightning riffs. So, yea it was a task, but my life in music was full of tasks so I wasn't about to shy away from giving it my very best.

GT - July 13, 2011...I picked Kam up at the airport and took him right to practice with you guys. How cool was it to break into "Dawn of Eternity" and look over to see Kam doing vocals while you played?

Tony - The whole time up to then we had been jamming along to Greg's ipod. When the real deal arrived I was kind of confused. A not so tall, Asian man walks in with basketball shorts and flip flops on!! But, he was very nice and right away I could tell this meant a great deal to him. As soon as he took the mic, I got goosebumps. He was seriously the best death metal vocalist I'd ever heard let alone worked with! Plus the record we were jamming was legendary so I felt like a little kid that day. I'm sure it's safe to say that we all did in our own little ways.

Tony and Kam at the 1st rehearsal on July 13, 2011 (photo - Brian Pattison)

GT - July 16 (A Day of Death) finally arrives with Seplophile's set early in the day. How did that set go for you? Feel good playing those songs with friends even though you knew it was a one-time thing?

Tony - That set was really fun because it was mine and Greg's second time sharing the stage that year already (the first being the Sons Of Azrael reunion in April for a cancer benefit) and it just felt right. I felt I did a good job at helping them shine as a new local powerhouse that didn't come to fuck around that day. I was happy to help.

GT - A bunch of bands played in-between the Seplophile and Kam Lee sets at A Day of Death. Did any particular band/set stand out for you?

Tony - Derketa was fucking awesome! Those gals can throw down and I really got into them that day. Then Deceased!! That was my first time hearing about them let alone seeing them! one hell of a live classic band.

Day 2 of Kam Lee rehearsals (July 14, 2011) - (photo - Brian Pattison)

GT - Finally, the moment arrives for you guys and Kam to take the stage. As promoter and the guy who asked you guys to be his backing band I felt a little bit of nerves. I knew you had all been in previous touring bands and would be professionals, but did worry about about how the old schoolers would react and even more importantly to me, how you guys would perform. My mind would put at ease nearly right away as you raced around the stage. Did you feel any nerves as the intro played?

Tony - Not at all! It was just another day at the office and I feel we showed up and destroyed it properly. To be honest, I think we sounded better than whoever's going around calling themselves Massacre right now, lol no hard feelings guys, whoever you may be.

GT - In the days immediately after A Day of Death, Greg (Seplophile) told me you had been rejuvenated and were looking to start a band. Ritual Quarantine (the band you would form) was comprised of mainly people from the punk and hardcore scenes. What made you decide to approach the people you did to fill the various roles in the band? Care to give a little info about each member (for those outside of Buffalo who may not know them or their previous/current/various bands)?

Tony - To be honest, it kind of all just fell into place. The SOA reunion got me and Derrick (drums) jamming again and we wrote a bunch of songs in like a week I think lol. Then we got in touch with Britt Wagner (bass), a super all around talented girl who's been in a crapload of other various Buffalo bands in different positions. Then Jessika Marvin and Doug Luke on vox. Those two come from somewhat legendary backgrounds so I felt the lineup at that point was rock fucking solid.

1st Ritual Quarantine gig (Sept. 24, 2011) - (photo - Brian Pattison)

GT - Ritual Quarantine seemed to get off to a fairly quick start with a facebook page up and songs posted in seemingly no time. A gig was quickly announced for September. Did you at all think you were moving too fast in scheduling a gig after being a band for such a short time?

Tony - Nope. We had all done this enough times to know how to do it right. Everything was very carefully planned. I did all the recordings and quickly Jess and Doug had lyrics. It was a very natural and seamless beginning to a project. Probably the best I had ever been a part of.

GT - Debut gig comes and RQ plays a short but great set. It impressed the hell out of me for sure. Were you happy with your set that night and the crowd's reaction to it?

Tony - I LOVED that night man. It was just perfect in every way. Short and sweet and the kids loved it. I was very ready to get this band rolling the right way!

RITUAL QUARANTINE'S FIRST GIG

GT - Seemingly right away there was talk of new songs and new recording, it appeared Ritual Quarantine was primed for a quick rise within the Buffalo music scene, when that fateful night in October changed everything. Care to say what happened in your own words? 

Tony - Well, a friend and I were walking to the store which was only a few blocks from my house and we were approached by a guy with a gun and he told us to give him what we had on us and then that's when I saw the shot.. and I hit the ground immediately and the dude ran away. Needless to say life hasn't been the same since. Karma is a bitch though man and that little punk will find himself in a hole someday.

GT - I knew the moment I heard about it from Greg that I would be organizing a benefit for you, but wanted to wait several weeks to see how things went before I started planning it. Almost right away other benefits were planned, including one in Pittsburgh and one at DBGB's in Buffalo. Were you surprised at the show of support that you received from the metal community worldwide?

Tony - Of course I was. I'm a very humble person and I've never considered myself of any huge significance to the local scene but the show of support from family and friends immediately was just unbelievable and actually was how I began to cope with my injuries right away. I felt truly blessed and still do to this day there is nothing better than an entire community getting together to support one of their own. If it were anyone else instead of me, I would be on the front lines for that person!

The crowd at a Nov 2011 benefit for Tony at DBGB's (photo - Brian Pattison)

GT - Jan 7 arrives, the day of the benefit at Club Infinity, and you were able to get a brief escape from the hospital to see part of the show. How cool was it to first see a partial reunion of Tirant Sin - with Dennis John Glinski (Grave Descent), Rich Ziegler (Grave Descent), Paul Mazurkiewicz (Cannibal Corpse), Rob Barrett (Cannibal Corpse), Jim Nickles (Vile Vindiction) and for one song Cameron Verrastro? 

Tony - Now keep in mind, that was my very first time out of the hospital since october so that alone was a huge shock for me. When I pulled up I was greeted so warmly and I teared up right away, then I remember I got in just in time to catch the last 4 Avulsion songs and let me tell you...THEY FUCKING KILLED! I've always loved those guys, hands down one of the best Buffalo bands. Then after a few hot wings and lots of hugs, Tirant Sin hit the stage. They blew me away... I headbanged for the first time in three months and lemme tell ya.. I definitely woke up sore the next day. I love Rob and Pauly for droppin what they had to do in order to come up and make that happen \m/

GT - After Tirant Sin's set came another reunion set that was special for old school Buffalonians and a bit more special to you since your uncle Frank was in the band...Beyond Death, with their original lineup of Frank Lombardi, Alex Webster (Cannibal Corpse), Jack Owen (Cannibal Corpse, Deicide) and Darrin Pfeiffer (Goldfinger). For their set you got to be right on stage by Frank's amp. Were you as impressed as me with how great they performed? It was as if they had never broken up.

Tony - That set really showed me and reminded me why my uncle is my hero.. and how professional Alex, Jack and Darrin really are. Such a solid group of dudes who at one point carved their way to the top of the early Buffalo death metal scene. I'm forever grateful that those guys did that for me. They were the best band that night!

Tony with Beyond Death, Jan 7, 2012 (photo - Brian Pattison)

GT - With the big benefit over with, many in your position would have found it easy to slip into depression and feel bad about themselves. Instead pictures emerged of you picking up the guitar again and using a thumb pick as you could not hold a standard pick. There was also seemingly immediate talk of Ritual Quarantine beginning again once you got out of the hospital. So, as a big fan of Ritual Quarantine, I asked you to play my Deceased show that was not to occur until July. At that time did you have any doubts about your ability to play come July?

Tony - To be completely honest I almost KNEW I wouldn't be able to do it lol. I know our drummer (Derrick Sadkowski) had not been talking to the rest of the band or jamming with anyone and not even answering my calls so I knew I would inevitably have to cancel. But, my uncle and mother being very persistent made sure I picked up my guitar and tried to jam at least once a week and making sure I didn't give up on the prospect of playing because at the time I couldn't even hold a guitar let alone play it.. That's when the depression set in but I wouldn't let it win and take me over.. I refused anti-depressants and got over it with perseverance and pure will power. Now, I knew I had a goal.... July 14th!!

GT - Again things seemed to be looking well for the future of Ritual Quarantine as the months passed...you gained enough strength to use a pick, started writing new riffs and the other members seemed to be excited about picking up the pieces...but, tragedy would strike the band yet again in May when singer Douglas Luke (29) would die from a heart attack. Care to tell us a little about your reaction to hearing his death and more importantly care to tell us a little about Doug (the person/friend)?

Tony - Listen man...Doug had a rep with a lot of people. You knew to love or hate him in one way or another but no matter what you always knew there was something great about the dude. He always made sure we had our shit together and that we were getting to practice when we had to even though sometimes he would orchestrate practice and not even show up but then we'd write a sweet song so it was good/bad at times lol. The last few emails I got from him were "Hey guys we HAVE to do this show Derrick or not we need to do this". He out of everyone wanted this to happen so even though I had some doubts once tragedy struck I knew I had a goal for sure then...To play the show no matter what the cost it would be for Doug. Man, I still miss him very much to this day. He was a very great guy if you were close to him...................r.i.p. 

Doug Luke at Ritual Quarantine's 1st gig (photo - Brian Pattison)

GT - Provided with another easy and legitimate excuse for Ritual Quarantine to end, you and crew did the opposite and moved forward to honor Doug. Then, in June you were finally given the odd day out of the hospital and used some of those for band practice. What was that first Ritual Quarantine practice like?

Tony - It was surreal. I couldn't believe it was actually happening. Again if it weren't for my uncle I wouldn't even be there. He played a HUGE role in getting me in there because the space is up a few flights of stairs and everyone knows stairs and wheelchairs are mortal enemies!! But, Glenn Szymanski, the great dude filling in on bass for the show and my uncle helped me get up and jam. Literally lol. But yea now Brit moved from bass to drums, Jessie was alone on vox and Glenn was rockin' the bass. Everything looked great again and all faith returned once we realized we could do the songs with that lineup!! And do them even better actually.

GT - At long last the gig arrived (July 14, 2012)...Deceased (with King on drums), Abysme, Ritual Quarantine, Seplophile and Pregnancy Scare (formerly Inerds). A nice and cool 92 outside and easily over 100 degrees inside the venue. With only a few rehearsals under your belt were you nervous about the bands performance? With the set dedicated to Doug, were you happy with the set and the crowd's reaction?

Tony - I was totally ready for it even though the songs were newly named and Britt had a hard time remembering which song was which but over all besides me being too loud since I'm at ear level with my amp now I thought it was great for such short notice and the personnel changes. The crowd really seemed to dig it but you could tell between my hurdles and Doug and given everything this band has been through it was almost kind of emotional too, but we got through it and even got to play a new song at the end which was a tribute to Doug in every way! But, yea damn it was hot! But, what a show man. Deceased killed it to end the night!

Tony at Ritual Quarantine's July 14 gig (photo - Brian Pattison)

GT - With RQ's comeback gig now under your belt, what's next for the band? When can we expect some new recordings to surface? More shows planned?

Tony - There's a bunch of practicing and writing on the horizon! I really look forward to keeping this band alive. I figure sometime in August I will start recording new stuff for the second demo. We actually have another show planned for September 8th for a local man Brian Hulin's daughter's benefit. She has medical issues so a bunch of bands are going to throw down to do the show. It's a very good cause, Brian's a great guy and so is his family and they deserve all the help they could get! Just as me and my family needed help 7 months ago...

GT - Care to add any final words of wisdom?

Tony - Brush your teeth ... Support anything local from the food you eat to the music you listen to...That's truly the best way to live. We are a community and we are living in weird times and it is always good to know that there are still goods and services provided by local merchants, artists, and bands to and for us, the people. but enough of my ranting...Thanks to Brian at Glorious Times for everything he has done for me and my family and my city. He's not going to slow down just as I plan to keep doing the same!

RITUAL QUARANTINE'S RETURN GIG

Peighton Hulin benefit flyer - SEE YOU THERE!

SOCIAL NAPALM: THE NON-OBSOLETE FORMAT

 Social Napalm's Erik in front of the arsenal May 20 2012 (photo - courtesy Erik SN)

It's not often when trolling the net looking to buy that rare record, that you'll unwittingly uncover someone who totally "gets it", a DIY outfit that not only hits the nail square on the head in terms of price and service, but whose mission statement can't be taken apart even by a torque wrench. Erik from Social Napalm is one of the rare finds out there, do yourself a huge favor and if you haven't, then check out what he's got going on with his distro/tape label/record label and 'zine. The quintessential all rounder and gentleman, Glorious Times brings you a chat with this spirit of the 80's if there ever was one.

GT - What was it that first attracted you to extreme music, hardcore punk and what were some of the original bands that got the ball rolling for you in this area?

Erik - As a teenager in a suburban wasteland in the mid '90s, I was the only one getting into punk. I'm sure countless people who grew up in similar rural or suburban areas can relate to this: You're 14 years old and for some reason you just can't relate to what's going on around you, regardless of if you have friends or if you're a total loner. You may as well be living in mental isolation. I just started with standard stuff at the time, Offspring and the like, but a few issues of Thrasher and a couple lucky breaks is all it took to get into the harder and faster stuff within a year. Suddenly I felt like a king in my own private paradise listening to the Germs, Crass, Black Flag, Suicidal Tendencies, etc. What an exciting time in life, and it's something that you can truly only ever experience once. Just blind enthusiasm and ignorant ambition. Youth naivite at it's best!

GT - Some of the younger folks who've really taken this music to heart were in some ways guided by older folks, pointed to various directions towards some very intense and out of the box music. Was this the case with you or was it simply self discovery that led you to find the bands out there?

Erik - After a couple of years, I had a couple of people point me in various directions, but that came once I'd already started to make connections in the scene. My main exposure to new bands came from buying compilations with bands I knew I liked to discover new ones, reading thanks lists (the best!!), and of course looking to see what t-shirts my favorite bands were wearing. Everything was a shot in the dark, and there were a few inevitable missteps along the way. Looking back, I guess I'm kind of happy I didn't have the influence of someone else, only because I feel like my progression was completely unadulterated and natural. No disrespect to those that were, of course. There's nothing like discovering a band like DRI from a thanks list though. What a thrill.

GT - We've talked in the past a lot about the DIY ethic and things pertaining to music outside the parameters of what's popular today, compared to the glorious times era when this music was far from accepted. Did this contribute to the birth of Social Napalm and what did you set out to achieve originally with this action?

Erik - That's a great point. The music has become more accepted. Thinking of it now, the cultural boundaries of what's considered acceptable have been pushed back quite a bit even in the last 15 years or so -- and I'm talking about outside of hardcore punk. But yes, DIY ethic definitely had a huge impact on Social Napalm. I was obsessed with it. Everything stemmed from letter writing and tape trading. I was all about immersing myself deeper into DIY culture and wanting to be a part of it. So a distro, which quickly blossomed into a tape label and into a record label, was a logical step.

GT - The coherence of the DIY mentality of hardcore punk leaked into the proto-death-metal scene in the formative years, serving both as a springboard to reach new ears but not dabbling so much in commercialism. Not like we find ourselves dealing with today...how has this formidable hurdle been for SN as both a label and also a distribution outlet?

Erik - It's funny in a sense because I think when punk and metal first started, there were no commercial opportunities. A band like the Misfits were inherently anti-commercial whether they wanted to be rock stars or not. The same goes for early death metal and grindcore bands obviously. Now you can buy Misfits action figures and Napalm Death was on the Mortal Kombat soundtrack years ago, so everything has changed. It seems like in the '80s, everything was black and white, but now there's a lot of gray areas. Scion (Toyota) is promoting grindcore shows, bands have Myspace profiles (owned by the right wing Fox News Corp.), and labels have Facebook pages (now trading publicly on the stock market). I think all of that is bullshit and feeds into the commercialism that punk and early death metal were staunchly opposed to. It all just reeks of lacking in values. On a personal level, I try to run my distro and label to the best of my ability while making as few compromises as possible. Does that cost me some sales? Certainly. Is my distro as well known as it could be if I promoted it throughout Facebook? Of course not, but I'd rather be DIY til' I die than rely on some corporate entity to help with distribution.
GT - What's the scoop on the interestingly named Obsolete Formats Tapes side label of Social Napalm?

Erik - Obsolete Formats is an offshoot of Social Napalm that is dedicated to only releasing tapes. The name of the label is simply because, let's face it, cassette tapes are essentially an obsolete musical format at this point. The tapes released contain material that is live, demo/rehearsal, out of print, rare, alternate takes, etc. People who are passionate and fanatical about music -- whether it's metal, goth, punk, HC, etc. -- are always searching for that further fix, from the original mix of The Stooges' "Raw Power" to Beatles B-sides. The standard albums and studio songs are never enough! So Obsolete Formats pays homage to that obsession while attempting to make some obscure material available once again.

Issue #1 of Negative Insight 'zine - (photo - Alan Moses)

GT - To top off the incredible level of activity, which so reminds us of ourselves in fact, you've taken on releasing an indy zine called Negative Insight that's got some very cool content and again isn't the same rehashed crap you can find everywhere else, not to mention the zine came with some extremely tasty old style tape-trade items? The vibe from that alone smacked of what we did in the old days and sat very well. Why did you do it and did you take on more than you bargained for?

Erik - Thanks for the kind words! Haha, well, I definitely took on far more than I bargained for as it took 5 years to complete! But it's a labor of love. It all started simply because I'm such a huge fan of the bands we interviewed (Varukers, Sacrilege, and Disaster). I'd be sitting there listening to the Sacrilege demos going "I wonder why this song wasn't recorded for the LP," or for the Varukers "How come Tom Lowe left to join Antisect?" It was just an obsessive fascination with the era. Before the internet age where now every band that has been in existence for 10 minutes already has a Myspace/Facebook/Bandcamp/Pure Volume/Twitter/etc. site, everything then that wasn't local or contemporary just seemed exotic and on another planet in a sense. It all had an allure and mystique that I don't think exists in the same way today in the age of instant gratification information.

As for the aesthetic and idea behind it, we just wanted to capture mid to late '80s British HC in a setting that was inspired by all the bands we were covering. So we broke it down to a really basic level and made it look like the records we were obsessed with in that cut 'n paste, black and white, typewriter style inspired by Crass, Discharge, and Antisect. The Sacrilege and Disaster live split tape was an added bonus that was exactly what you said, a nod to the old tape trade scene and network of friends. We hope people enjoyed it.

GT - Sporadically released, as most zines used to be in general (with a few exceptions to that rule of course), where are you and Aaron at as far as the zine's current stage of development goes?

Erik - The new issue is pretty into the process. The majority of content is done, but we haven't begun doing the layouts yet, which take the most time. This issue will be in the same cut 'n paste/typewriter format but will cover a different era and style, so I hope people will still be interested in it even though it will go in a slightly different direction. I'd say people can look for it early 2013.

 


 Some of the top quality items available from Social Napalm Distro - (photo - Alan Moses)


GT - Dealing on a closer level with indie labels and bands than the regular joe listener, have you had any particularly interesting experiences with any of the folks you've dealt with under the SN name?

Erik - Sadly, most of my dealings have been very straight forward. I have not had any crazy stories of being ripped off, meeting famous people, or anything like that. Perhaps the most perplexing/funny thing was when I interviewed Tony May, the bassist of Sacrilege, for my zine, he was wicked obsessed with Rammstein and how badly he hoped to meet them some day and get their autographs. Haha, I thought that was kind of hilarious because I can't fucking stand Rammstein at all. But I didn't have the heart to tell Tony that!

GT - We've seen sort of shifts between what's been more embraced style-wise in the various genres of extreme music, has the hardcore punk scene in general suffered from the same whims of modern fashion that the death metal scene has?

Erik - That's a great question, and one that is sad that it even needs to be addressed. I've always felt a deeper kinship with people like yourself, Alan, who have an appreciation for the various types of underground music -- people who love everything from Carcass to SS Decontrol to Moss Icon and everything in between. But today, everything is so regimented and compartmentalized. I think the one way in which this has a greatly detrimental impact on underground music as a scene is that creates a glass ceiling effect. For instance, you've got people who only follow crust and Dis beat music, and so they will never check out a contemporary band that exists outside that realm. There is little cross appeal and few bands transcend genres, though Disclose, Inepsy, and Annihilation Time are three recent punk examples. But the point still stands. Whether you are the next Napalm Death or Gauze, you've got a mountain of single sub-sub-genre loyalists stacked against ever checking you out. It's a shame that it's been factioned to this degree. Of course the amount of shitty bands releasing records today doesn't help matters much either, but that's an entirely different topic!

GT - Based in Massachusetts, which is an undeniable major influence on so many folks given the old Boston HC scene, what do you see today as far as the scene make-up, quality of bands and overall feel of things?

Erik - Things are the best here since I first got involved in the local DIY scene in the late '90s. Boston has always pumped out well respected hardcore bands, but I think sometimes because it's a major East Coast city a lot of bands will get more hype than they deserve simply because they are from Boston. But I can 100% honestly say right now that Boston is the best it's been right now since it was in the early 1980s. There are a lot of very good bands that I recommend people check out including Boston Strangler, Anxiety, Peacebreakers, Bloodkrow Butcher, Scapegoat, Death Evocation, Mind Eraser, Waste Management, Koward, Green Beret, and Dry Hump. All are good bands and much better than a lot of stuff that has come out in recent years to far more fanfare than it deserved.

Erik caught in attendance at an AGE (Armed Government's Error - Japan) gig 2010 (photo - courtesy Erik SN)

GT - We had truly excellent bands back in the day like DYS, Slapshot, SSD for example and today we have bands like Boston Strangler, Green Beret and Social Circkle who've picked up that vibe and seem interchangeable with time zones. What are you keeping your eyes on in the area? What cuts to your core in that area?

Erik - I guess the bands I listed in the last question are the best, but there are ALWAYS new ones coming out. Every person in the bands listed at the top it seems is in several other bands that always rotating members and recording demos. It's a very incestuous and prolific scene, there's always new things developing. It's an exciting time to be living in Boston.

GT - Do you have a favourite release, for whatever reason, of any of the records or tapes you've financed the release of?

Erik - I'm going to give a generic answer and say that each release is special, but the Anxiety "Pathetic" 12" does have a special place in my heart. Very tough sounding and hard hitting thrash in the vein of the late '80s UK HC scene like Heresy, Ripcord, Electro Hippies, and similar bands. And it sounds very authentic, not like a new band just pretending to sound old. So that is my favorite release.

GT - Since you're connected to that location well, can you give us some insider interpretation of what's on the horizon with some of these newer bands as far as releases and plans go? (Pick any band you like a lot or bands you have info about, fine with us).

Erik - Sure! Green Beret (members of Social Circkle, Blank Stare, No Tolerance) will have a 12" out this year. Boston Strangler (members of Mind Eraser, Scapegoat, Anxiety) has written new material for a to be determined release. Anxiety (members of Boston Strangler, Scapegoat, Bloodkrow Butcher) has a new 12" coming out this year that is all recorded. Peacebreakers (members of Anxiety, Boston Strangler, and Waste Management) have their debut 7" coming out this fall or winter. Koward (members of Scapegoat, Anxiety) just released a new 7" in June. Bloodkrow Butcher (members of Anxiety, Dry Hump) has written material for a new release. And there's always more coming out too! It's difficult to keep up, but I hope people will be excited and interested in checking it out.

Green Beret's ultimate demo - still available (?) from Side Two Records - (photo - Alan Moses)

GT - Our book, Glorious Times, shares anecdotes and stories as the glue that binds many rare or infact never previously seen photos together from those early years. Can you share any particular personal shenanigans, memory or story from your experience, in your time?

Erik - This is going to sound like a cop out, but most of my favorite memories are from either writing letters, developing friendships (such as with yourself), and just meeting like minded people who are into this entire underground culture for the same reasons I am. It's these little precious moments that happen outside the show or in the confines of your bedroom that I cherish the most. These things tend to not lead to great stories, but they are the things that I value the most since being involved in hardcore. That and of course seeing a guy stage dive from a second story balcony 15 feet above an unsuspecting crowd below was pretty crazy. Glorious Times indeed!! 

 Erik with Ryan from Brain Killer December 21 2006 (photo - courtesy Erik SN)

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KAM LEE: YOU SHALL BE AS DEATH

Kam Lee band, after A Day Of Death 2011 - (photo - Brian Pattison)

Glorious Times returns to the cannibal cookout, and joins Kam Lee to stir the pot and see what delectable tidbits have stuck and simmered since last we spoke.

GT - How did you and Rogga first get the idea of starting up Bone Gnawer?

Kam - Pretty much how it all came together was... Rogga and I started talks back in 2007 about working together. He had something going at the time (which later became his own band REVOLTING) that I was just to appear on a few tracks as guest vocalist on. We did a demo... of a few tracks back then - just to see how it felt, but honestly I don't even know where those tracks are now.

When it rolled around into 2009, that was when things with "the label" that was involved in this project went south pretty fast. Mainly due to the fact that I began to suspect something was a bit "fishy" with the whole deal, and I started to suspect that the reason as to why this particular guy was trying to get me on his label so bad was basically for the publicity. I can usually tell when I'm getting "used" - (Hell... I've been thru it enough times now with a certain opportunistic member of the band Massacre - so I kinda can get the clues pretty fast now when it starts to rear it's ugly head.) - so pretty much after calling this guy out on his "bullshit" and having this narcissistic bastard go all ballistically insane - (like they always do when you call them out on their bullshit.) - he had his cry baby tantrum and 'troll/hater' sessions of bashing me on the internet. And so he decided that he didn't want me involved in the band anymore nor involved any longer on his label.

So basically the whole thing with my involvement fell apart before getting any further.
But then while conversing thru e-mails with Rogga... the idea began to grow to just do a band ourselves with out a label involved from the beginning. We found that we shared a lot of the same musical taste, as well as a love for all things horror. Rogga also admitted to being a real fan of my vocals, and expressed that he would like to have me as the full time vocalist on a project instead of me just being a guest vocalist. I then said I thought that was a great idea.

It was now going into 2008, and I just returned off the tour with DENIAL FIEND/MASSACRE, and I was at that point pretty disgusted with a few personal matters of how that tour went. And the complete opportunistic way certain things where done.

I won't get into it... but let us just say - the "waves" caused from it still ripple out 'til this day.

Anyhow, back to BONE GNAWER. Once I knew what I wanted to do (which was to leave DENIAL FIEND) - I just went right ahead and started working with Rogga on BONE GNAWER. At the time the band didn't have a name. BONE GNAWER was actually a song title I had. I knew I wanted to have this band be based on cannibalism and serial killers, but also have a sort of campy black humor approach to it. We tossed around a few names... but BONE GNAWER stuck, because it is such a ridiculous name.

I knew that from the start that the name would stir controversy. I actually find it hilarious - that the first "trolling" attempts to mock the name where all homophobic in nature. It is comical to me that homophobes find the name to be disturbing... it proves just how closed minded and gay fearing some of these "metal heads" really are. After all, the name is meant to be disturbing in nature. If not from the implications of what it stands for... the gnawing of bone, but for it's cannibalistic implications, to the offbeat silly nature in which it is intended.

But the fact that it does stir up nightmare images of phallus chomping for most homophobes - I do find that funny as well. The band is after all about cannibalism. That is the bands main theme. And when it comes to eating meat... did you know that a steak comes from a male steer and not a female cow. So in essence a cannibal would look at it the same way. Also real life cannibals like Chikatilo admitted to gnawing on the sexual organs of his victims, both male and female. Male - Female... it makes no difference... it's just meat!

I knew what I was doing when I picked the name for the band... I knew just how off it would put people. I knew some would think the name was stupid, while others scratched their heads, while others just "got it". But the fact is... once you've heard the term... you won't ever forget it.

GT - Did you have any input into the music of Bone Gnawer or did you stick with just vocal and lyrical input?

Kam - I trusted Rogga with the music. I knew of his works with PAGANIZER and RIB SPREADER and a few other projects he's done.. So I knew and trusted his writing would be equal to those bands. So I had no worries at all when it came to his music talents. I just stuck to the themes, concepts, vocals, and lyrics.

Kam at A Day Of Death 2012 - (photo - Brian Pattison)

GT - Listening to the album several years later are you still satisfied with it or are there things you would change?


Kam - I think it's a great debut. It was also a perfect thing for me to do just after leaving DENIAL FIEND. I shall always feel that it is a milestone in my music career, because it really was "my return" to doing "proper death metal". As far as DF was concerned to me... that band was never a true real death metal act in the first place.

But back to the FEAST OF FLESH album... yes, I feel BONE GNAWER's debut is a perfect album. Like I said, because it was the first real death metal album I had recorded since back in the MASSACRE "From Beyond" days. Plus I had the honor and thrill to work with Stevo of IMPETIGO, Killjoy of NECROPHAGIA, and Dopi of MACHETAZO on that album... with all of them doing some guest vokills!

So yeah... I'm very satisfied with it. 

GT - You and Rogga made a fairly quick transition from Bone Gnawer into The Grotesquery. What made you two decide to start a whole new band rather than just continue on as Bone Gnawer?

Kam - We had such a great experience doing BONE GNAWER - that we wanted to do something more. However, we knew that BONE GNAWER had a certian vibe, image and direction. And the new ideas we wanted to explore - like doing something with a very dark Gothic horror theme with supernatural, and occult elements - just wouldn't fit with BONE GNAWER's already established gore image.

Remember... we knew BONE GNAWER lyrically was a bit campy and gore related. So we wanted to do something that completely counter balanced those ideas - something that would be lyrically more serious in nature but still have a horror theme. As well a band that musically we could explore and experiment more with.

Both Rogga and myself look at a lot of things a bit different then most bands. I always find a lot of bands... lyrically change direction and themes - without sticking to one specific concept. I always found that a bit annoying about bands. We just didn't want to cross genres and themes, and so we talked about doing another completely new band that would allow us to explore these horror occult themes with out being hampered by any sort of expectations. So THE GROTESQUERY was born.

We took some time choosing the name too. It wasn't just a quick decision. At first - we didn't know what to call the band. We tossed a few names around. But at one point Rogga said something in an e-mail - about how the music was turning into a real "grotesquery". And I thought... wow, that's kinda cool way to describe us. Of cousre I know of the Swedish band GROTESQUE, and as well of a few bands with variations of the name, but none were either active at the time or had broken up. So we just decided to throw a THE before the name... and just use THE GROTESQUERY. 

Kam and Matias Romero at Niagara Falls - (photo - Brian Pattison)

GT - How long did it take you guys to write "Tales of the Coffin Born" and how did that writing process work with Rogga over in Europe and you down in Florida?

Kam - I think it took about a year to do... from late in 2008 thru out most of 2009. It was recorded in late 2009... but the ideas from the planning stages and writing, to the actual putting it all together took about a year.

Of course the lyrics and story had been something I myself had been working on and off for the past 6 years. It was actually going to be a novel, movie script... I really didn't know what I was going to do with it. But once the idea to make it into a concept album for THE GROTESQUERY was decided, it went together rather quickly.

The writing is pretty much easy... I let Rogga do the music, and I work the lyrics around the music. It's always been how I've done things. Going all the way back to the MANTAS/DEATH days... I've always written the lyrics around the music. I have the concept and themes prior to the music, but the actual writing of the lyrics comes after the music is written.

How we do it is - we pretty much utilize the internet. Rogga will send to me WAVE or MP3 files of the music for me to work on, and I basically work the lyrics in from there. The BEST thing... is we both TRUST one another to give the BEST of ourselves. So it's never too much of a back and forth with things. 

Again, I trust Rogga... so it's rather easy when you completely trust someone to do their best and not have to worry about trying to compromise yourself around what they are doing. I trust that he will write riffs and arrange the music to fit into the style we do in each band, and likewise he will trust me to do my best with the lyrical direction and the vocals.

GT - With The Grotesquery's debut being well received did you and Rogga ever talk about or consider playing live either in Europe or North America?

Kam - Yes, but I think Europe is all we would do. The U.S. would be cool, but I just don't see it happening.

The main issue with us not being able to tour is because of our drummer Brynjar. He can NOT tour... due to his obligations at work. We would never think of replacing him... but we would need to find a suitable drummer - who lives in Sweden - and who could work close with Rogga to get the material down tight. As you know your self personally... I don't really need to rehearse too much with a band to be able to perform live.
Also - Brynjar is from Norway, while Rogga lives in Sweden. So it's not like they are even in the same country together themselves.

However, finding a tour replacement for Brynjar has been a bit of a challenge for Rogga. We would also need to have the "touring drummer" understand that he is just the "touring drummer" - and not a permanent member. So basically - it's just that we don't have a drummer lined up that can rehearse with Rogga to get the material down for a "live performance" situation. This has been pretty much our only set back.

  

 Day 1 (July 13 2011) of Kam Lee rehearsals - (photo - Brian Pattison)

GT - It was completely my honor to have you play A Day of Death 2011 and play the album in full that I requested you play. What was that experience like for you for that week? Your opinions of Buffalo, the people here, the musicians you got to jam with and the others that you got to meet.

Kam - The whole over all experience was great.
Everything was good... the people... the musicians... the fans... the food. I would love to do it again sometime. I really had a great time. I would say it's been ONE of the BEST tour experiences I've had. The people up there are REAL and TRUE... and that is rare in this time and day. So many posers infest our scene... so it was good to be in with true real death/black metal fans and bands, and not incrusted within some trendy hipster mall metal core crap crowd. I'm sure it infest there as well... but it was refreshing to be around people who knew what was real. I met a lot of cool people - who have since become friends - and that is always a good thing. 

 Kam checks out the buffaloes at Buffalo Zoo - (photo - Brian Pattison)

GT - When we announced what you would be doing for A Day of Death there were immediate cries from some that you were cashing in on the past and only doing it for the money. 'Til now the facts have been kept from the public so we figure we'll set it straight now... You were paid a grand total of $500 (which covered your plane ticket and part of your girlfriends plane ticket). You reluctantly played that album because we requested it of you, not because you wanted to. In an age when many bands will demand thousands of dollars and have outrageous riders to play fests why did you agree to do A Day of Death 2011 for essentially nothing?


Kam - Basically because I'm not a money grubbing opportunist. And I wanted to do it for the 'real fans' that could make it out to the show. I'm NOT a "rock star" - and so I do not think like some arrogant egomaniac. I'm still rooted... still grounded, and pretty much like to think I'm down to earth. I understand that the scene (the true scene) is not about the hipster trends. I knew overall that this "fest" was going to be attended by "real" fans... with performances by "true real underground" bands, and that it was going to be an intimate small affair, and not some OVER THE TOP - blown out of proportion mega money gathering event like so many of these other fest in the US these days. 

It's not some multi-day event... with multi-stages -with a bunch of trendy bands and 'named bands' performing ONLY to draw a large crowd in order to "rape" the crowd for money. It's not at all backed by some corporate record labels, trendy magazines, and funded by greedy promoters. It was "real" and it was "true", - funded by fans and friends... attended by fans and friends... and something I was very very proud to be a part of.
Also - I think it's ironic and fucked up that those same people that pitched a bitch and cried about me "cashing in" - are the same fucking idiots that now support the true "cash in" with FAKEASSACRE.

 GT - Currently you are working on a project (music related, but not music) with Buffalo's Dennis John Glinski (Grave Descent). Could you talk a little about the project and how you became involved with it?

Kam - That would be the comic book DEATH SHRIEK. Dennis is planning to do a horror/death metal anthology book based on songs from different bands. I've actually already completed my section. It's a story (8 pages) based on a track from the band DERKETA. It's for their song WITCHBURNED. I pretty much got involved when Dennis approached me... and asked if I would like to do it.

He said - he was a fan of my art, and would really like to have me on board to do it.
I heard what he had planned, and thought this would be cool thing to do... and so I came on board.

Contact Legacy of Death for further info on the comic's release

GT - Do you think you will continue doing comic book art after the "Death Shriek" project is finished?

Kam - Yes. Already I have started my own comic based on TALES OF THE COFFIN BORN from my band THE GROTESQUERY, as well as I've talked to Dennis about coming back for DEATH SHRIEK 2. I've begun a few ideas as well for a comic about a Zombie Werewolf. I may decide to either do it myself... or perhaps see if LEGACY OF DEATH {Dennis's company} would like to put it out... perhaps, in another anthology horror comic. Gotta see how DEATH SHRIEK goes first. I don't want to burden Dennis with too much, as I know he funds the company all himself out of his own pocket. 

GT - You were approached by Sharon (Bascovsky) to do some guest vocals on Derketa's album "In Death We Meet". Then you got to join them on stage to perform the song at A Day of Death 2011. What was the experience of working with them and then performing the song with them like?

Kam - Yeah... I REGRETTABLY... didn't get the chance to record the vocals for the album. It just was a thing with the timing, and the opportunity didn't arise for me to get them recorded in time. But being able to do it onstage was fun. I love DERKETA's Style of Doom Death Metal... I'm a huge fan of Doom, especially when it has Death Metal undertones.
I would hope to someday work with DERKETA again... and hopefully be able to record some vocals with them.
 
 

Kam Lee band rehearsal day 2 (July 14 2011 ) - (photo - Brian Pattison)
 

 GT - Recently The Grotesquery released their second album. How long did that take to put together and what was the overall writing/recording process like?

Kam - Rather quick actually. Not as long as the first album. I think this time Rogga had all the music already written... and I started to flush out ideas right after the first album was completed. At first though... I didn't plan on doing another concept story album, but because of so much positive fan support and response for the first album. I then decided to go ahead and make this one a concept album as well. It didn't take long... because I had a general idea of what I wanted to do. I heard musically what Rogga was doing... and I knew it would be perfect to write about a character that was in an insane asylum.

Of course... every idea I have gets trimmed and cut and reformed to fit into album format. I have ruff drafts of stories written out. When I finally get the music from Rogga, I then choose what best will fit, and what parts are the most important things to write the lyrics about, and what other details can be left out or altered to make it fit. 

GT - Now that The Grotesquery has 2 great albums under its belt is there any chance of one or more live performances occurring in North America?

Kam - Well... like I said in the above question about touring. It's unlikely that TG or BG will ever perform in the U.S. I'm NOT saying it's impossible, but it's HIGHLY unlikely to ever happen. 

Kam and Francisco Pulido checking out the rapids at Niagara Falls - (photo - Brian Pattison)

GT - In addition to the everything else you also have a show on Brutal Existence Radio. How did that come about?

Kam - I had awhile back thought about doing some sort of radio show. Nothing too fancy... just something where I could showcase some new bands, as well as play some of my own personal favorite bands. As well, as have a sort of HALLOWEEN atmosphere to it. I met Fowler and Metal Mark thru FB- and pretty much just went from there. Fowler and I talked about it a year before it even became a reality... but eventually I got to do "FROM THE CRYPT". 

Right now... I'm on hiatus from the radio show... until later this fall. I'm just so busy with so much going on at the time that I had to take time off from the show. I love doing it... but it does take a lot of time to get pre-recorded and get everything ready on a weekly basis. And with my busy ass schedule at the moment... working two jobs... doing all the bands and recordings... the artwork and other stuff. I had to take a break somewhere.

  

GT - You had a starring role in the low budget horror movie "Deep Seeded", what was that experience like and do you foresee any further acting in your future?

Kam - It was fun to do... although I am a bit pissed that it's being held up in some sort of "red tape". I'm not even sure of the details, but it seems that Troxell has just giving up on it. The entire movie is completed and done. But because of some BULLSHIT with the fucking distribution company or some shit it's sitting in fucking movie limbo. Like I said... seems Troxell just has given up on it altogether, and doesn't even care about it. I have some burnt copies myself... a few I've even sent out to friends for FREE. It's not the best movie... hell it's not even scarey... but it has a few gore scenes in it... and it does have a few fully naked chicks with me cutting them up and tormenting and torturing them. So it has that basic drive-in/grind-house like appeal to it... very exploitative and low budget filth.

I would like to do some more acting for sure... but I'm picky as to what roles I'll play. I just won't pick any sort of role. It has to be something horror and something that fits "me".
I've had a few other offers come my way... a few I just didn't take because they weren't roles I wanted to do... or roles I felt would fit "me".

Francisco, Mat, Kam and Alayna at Niagara Falls - (photo - Brian Pattison)

GT - Bands, comic books, art, radio and acting...is there any other avenue you hope to approach in the future?

Kam - I would like to try once more at writing a horror novel. 

GT - Any last words, people you want to shout out to or projects you want to push?

Kam - I'll be recording the full length for the band GRAVE WAX coming up the next few weeks. GRAVE WAX is a band I do with underground artist Mark Riddick. It's going to be something unique... it's really cool death metal... with some unique twist in both music and the vocals for sure. So we hope to have that out by the late fall/early winter time. 

Also - we will have a split for THE GROTESQUERY coming out with the band INTESTINAL by the end of the year. And keep a look out for the cannibal maniacs to return sometime in the new year.... buzz is that a new BG album maybe in the making. Thanks for all the support and the friendship!