Blacksoul Seraphim Interview

Interview with Joshua by Autothrall.

New England is such a diversified womb of metallurgy that some of the best often slips through the proverbial cracks. An endeavor to right this situation brings me across the path of Blacksoul Seraphim, one of our rare Gothic/doom metal outfits, and the prodigy of one Joshua C. (aka Morte McAdaver of local black metal act Sorrowseed). Eclectic, well spoken, professional and devoted beyond mere words. The debut Alms & Avarice is some of my favorite material he's written, and I wanted to discover out just what lit this solemn fire...and so was humored.
 

Auto:  Was the concept behind Blacksoul Seraphim conceived prior to Sorrowseed, or was there a natural inclination towards writing slower material to contrast with the general speed and lethality of the other band’s black/death metal style?  

Joshua: The concept came after Sorrowseed’s debut.  The dual discs of the Extinction Prophecies was a foreshadowing of the split that would occur within my mind when it came to making heavy music.  The Dread Sylvan Summonings was my favorite disc of that album, but future Sorrowseed material was fated to become more aggressive in nature, and I wanted to put my own voice forward with the doleful tunes.  This, combined with my desire to become better at playing guitar and singing gave rise to Blacksoul Seraphim.

How much time do you put into lyrics as opposed to writing the actual guitars and keys? It seems you have a comparable investment in them to someone like Dani Filth, steeped in the dialect and verbosity of English/American masters of poetry and fiction, from Wordsworth to Poe? There’s a sort of antiquity there I really enjoy. Do you feel like the lyrics are often given the shaft in extreme metal?

Oh, absolutely with the shaft.  I’m very critical of lyrics, and they are often the hardest part of a song to write due to my high (or at least peculiar) standards.  Unless a song is meant to be cheesy/corny/stupid, or the songwriter’s first language is not English, I can’t excuse terrible or vapid lyrics.

Now that you mention it, I think Dani Filth is one of my main influences...

As for how much time I spend writing them, I’d say probably too long!  I review the words repeatedly in my head, reviewing them against the rhythm of the song (which also may or may not be fully written), altering things as necessary, making sure I’m not repeating myself or selling myself short, etc.  In short, I am very neurotic and obsessive about lyrics.

The themes behind the debut record are fascinating, sort of an anti-Milton vibe or an inversion of Dante’s Inferno or  Purgatorio. I know you’ve probably gone on at length about them, but could you share a summary of this vision for the readers? Are there any particular literary sources which inspired the idea, and do you plan to continue to weave the theme into future material, or will newer songs follow a separate and/or disparate concept?

Actually, I don’t often speak of the album concepts; I like to wait until asked by inquiring minds such as yourself and your readers!  I am honored that you find the themes fascinating.

The entirety of Blacksoul Seraphim’s material is essentially the world viewed through a fallen angel’s eyes.  He is meant to represent hope, but this becomes his torment as he is constantly filled with despair at the sight of the mortal world and what it has become.  He cannot truly connect with us, nor can he express modern concepts as we do, but he does see the evils and corruption that pervade our society, and wishes to inspire humans to rebel against these ills and devils.

Literary sources include, as you mention, Dante’s Inferno and Milton (Paradise Lost), but also the Bible itself.  There’s always been this elegant morbidity to Christianity that I’ve appreciated (just like all the other cool goth kids), and it seemed all too appropriate to use their traditions and imagery in this project. 

My main source of inspiration, however, is the news.  Seeing how complacent people are with the perpetual corruption of elected officials (who are unequivocally owned by wealthy donors and/or corporate parties), the lack of compassion in the face of tragedy, and the addiction to sensational, insignificant stories and advertisements...it all makes me sick to the point of writing angst-ridden music.

Have to hand it to you, I loved how the deeper vocals meshed in with the material here, very melodic but stern, giving the listener the impression he/she is irrevocably doomed, which is rather the point. I felt like a peasant listening to a witch-finder’s sermon in the old English countryside. Did you have to train your voice a lot for this, or did it come natural after the Gothic style you performed in Pandora’s Toybox?

Funny enough, when I first set out to do a gothic rock band, I was all geared up to do my best 69 Eyes impression.  Naturally, Pandora’s Toybox would end up becoming a more silly and theatrical thing where I used whatever over-the-top voice was appropriate for each song.

Growing up, I was often in chorus classes throughout school.  We sang lots of religious pieces (despite not being church-affiliated), and I loved singing these solemn, though sometimes overly elaborate pieces.  I suppose in this way, I was trained to sing this kind of sonorous, despondent material.  As opposed to the Toybox, Blacksoul Seraphim seems to be the return to my “choir roots.”

Also, there are occasionally these grueling, excellent growls used sparsely? Were those by the guest vocalist Matt Smith, or yourself, and do you think you’d be open to including harsher vocals more commonly in the future (regardless of who performs them)?

Matt Smith did the harsh vocals on "Plague of Pawns", along with the guitar solos.  He seemed perfect for an angel of sickness, and I highly recommend checking out his project, Faces of Bayon.  The only harsh vocals I do are the sibilant growls, and I tend to reserve those for when I want the listener to feel haunted.

The newest material has more harsh vocals on them by my drummer and friend, Rick Lowell.  He unleashes his fury in the song “Exalted Genocide.”  When the music calls for a more stentorian style of male vocal, he more than cuts the mustard.

 

How was it working with Clay Neely of Black Pyramid, who recorded the first record and also contributed the drums? He did a pretty pro job, especially considering that Blacksoul has a more archaic/antiquated Gothic/doom sound than his mainstay. Is that a relationship that might continue onto the next full-length, or will this be more self-produced?

Clay was, and continues to be awesome.  I loved working with him.  Very patient guy, punctual, and gave great feedback.  He has since moved to Georgia with his family and,  far as I know, has not been involved in music production since last year.  I actually didn’t know it was him until I first set foot in the studio and recognized him as the Black Pyramid drummer.  Once I realized he was in one of my favorite doom bands, I was certain that we’d work well together.

While I would have relished the opportunity to have him produce this next Blacksoul Seraphim endeavor, distance prevents that from being possible.  But I do have another excellent producer helping me on this: Benjamin Jon of Stillwork. 

You’ve brought on a new drummer, Rick Lowell, who also plays with Sorrowseed. Will this change lend itself to a broader dynamic range in the newer Blacksoul Seraphim material that we’ve yet to hear, or will the core creative process revolve around the same tempos and aesthetics?

Rick is more the metalhead than I am, and he does occasionally influence me in a heavier direction.  Suffice it to say that new Blacksoul Seraphim material does include some faster songs with some French black metal influences (hooray for Alcest), and one song that pays homage to Enslaved.  However, Rick understands what the project is about, and we’re still mostly building off the same dynamic of the first album.

Blacksoul Seraphim has a very inclusive presence through social media, with you debuting new tracks (uncut or finalized) for fans to experience as they’re written and recorded. I’ve listened through a number of them and they’re quite good, arguably even catchier than on the debut. What inspired this decision? Do you think it might cripple some of the mystique fans feel for a new album as a ‘product’, or will you hold back just enough material to keep us guessing? Or will these come out as some sort of compilation and then you’ll have an entire new album above and beyond them?

Thank you!  We wanted to go with a monthly release approach (though reality getting in the way has made that occasionally miss the mark), and keep people apprised as possible. 
   
In terms of mystique and being a product, I am at the point where I would rather just be honest with my listeners.  Advertising is simply not in my blood, and I’d prefer people just have my music and enjoy it on their own terms.  If money is given, that’s wonderful and I am grateful, but reaching hearts, minds, and ears is more important.  With that being said, I am all for just releasing the songs as they become presentable.  The only thing I hold back is the “final” product for download, since I’d rather ensure that listeners are able to keep the highest quality I can offer.

For now, we will be releasing songs each month as we are able, and once I’ve run out of ideas, time, and/or money, we’ll release it via digital download.  Incidentally, I offer CDs to people at shows for free, and while Alms and Avarice is sold globally through digital distribution, the CDbaby and Bandcamp downloads are free.

You worked with Hillarie Jason, a local photographer/artist for the cover image to the debut, which was both memorable and fitting to the lyrical vision; you also use another illustrator for each of the preview singles, and several others for the Sorrowseed discs. How do you track these people down, are they within a circle of friends & acquaintances or do you hit up places like Deviant Art?

For the initial Sorrowseed album for Extinction Prophecies, I did ransack DeviantArt for Brett MacDonald, but otherwise, I have met artists through mutual friends and contacts.  Hillarie I met at shows, and I believe Lilith of Sorrowseed hired her to photograph a show at the Oasis in Worcester.   Rebecca Meyer has done the recent artwork for the new songs.

I’ll probably pick your brain a lot more about Sorrowseed at some other time, but I noticed you had a guest spot on Nemesis Engine from Andy LaRocque, who recorded and threw a lead up on one of the tunes. Have you considered tracking down a feature like this for Blacksoul Seraphim? Maybe Leif Edling of Candlemass, or Hamish/Andrew from My Dying Bride?

That would be amazing, though I fear the cost.  Andy was very prompt and professional, but he was expensive, and unfortunately, his name did not seem to lend much to the promotional process of Nemesis Engine.  While it does feel wonderful to have a favored artist as part of my own work, the expense is considerable.  However, if and when I do write a new Sorrowseed record, I plan on asking Devin Townsend.

Massachusetts, and New England in general, seems a relative hotbed for a number of niches in metal and hardcore, but your projects bear a distinct and somewhat more European feel to them, what with the Gothic imagery conveyed. Here a lot of the fans/bands seem to have been bitten by the old school 80s/90s bug, whether that’s thrash, black, death metal or old hardcore. Has this created any notable conflicts or sense of alienation? When listening to this project in particular, I picked up a lot of vibes similar to Candlemass, Yearning, Draconian, Isole and My Dying Bride. Would you be thrilled by the prospect of a tour there, or a label deal with Napalm or some other imprint sympathetic to the Gothic/doom style?

I would be ecstatic beyond words.  I’ve resigned myself to the fact that my local area and most of the country doesn’t really have much enthusiasm for my style, and have entertained pipe dreams of achieving success in Europe, whether it’s a tour or just being distributed and promoted there by a label.  Should the opportunity ever come, I would gladly take it.



Speaking of which, you’ve actually performed live with this material, if I’m not mistaken? Is there a current complete lineup which could perform a gig on call? How was the reaction to that from an East Coast audience, did people stare slack-jawed and incomprehensive at the brooding eloquence of the vocals/lyrics and the graceful, riff and key-based doom which relies less on a fat/stoner guitar tone with down-tuning, and more on actual musicality?

I have performed three Blacksoul Seraphim shows to date, and will be performing alongside Sorrowseed in September at Ralph’s Diner.  Folks tend to just ignore Blacksoul Seraphim performances, likely regarding it as background music.  Those few that listen have given positive feedback and great compliments.  But yes, incredulous stares are often the best for which I can hope.  If, however, there have been people who have appreciated it in silence, I am grateful.  And besides, I love playing and singing the material, so the crowd needn’t feel obligated to indulge me.

Much gratitude for taking the time to speak with us! When do you think we’ll hear the full follow-up to Alms & Avarice, and is there any other news for the near future?

Thank you for this chance to be heard!  I rarely have my brain picked, and someone has to clean out these cobwebs.

If I have my way, the next album will be available by the end of 2014, but we will see.  I don’t like to set deadlines, since they occasionally get in the way of something being done correctly and to the best standards.

In other news, I’ve mostly been laying low, gathering resources, and relaxing however I can.  Music is a stressful thing, and the scene(s) often only compound the ideal.  I’ll be more active when I’ve figured out a new game play to approach this faltering and over saturated industry.

Gaze upon Blacksoul Seraphim at Facebook.
Experience Alms & Avarice through Bandcamp.

Howls of Ebb Interview

Interview with zEleFthAnD by Autothrall.

When launching this site six years ago, my original intention was not only to write up critiques on a comprehensive body of metal works, but also to converse with the creators behind some of the most compelling and inspirational of recordings I've encountered through my listening. Well, as the months (and years) rolled on, I really failed to launch on this aspect, finding it difficult to dig up the investment I had in the 90s when writing for a print zine. That all changes this Spring, as I embark on a monthly quest to pick the brains of some of the more fascinating authors of agony in the underground! Who better to start this with than the esoteric consciousness behind the Howls of Ebb, whose debut album through I, Voidhanger records has spent several nights with me on the very precipice of sanity...I was honored to speak with songwriter, vocalist and guitarist  Z.L.H..

Auto: The question a lot of people probably want me to ask: what's behind the name Howls of Ebb? Definitely sticks out...
 
Z.L.H.: I had the name prior to writing any content. It came to me quite easily because I already had an idea of the sound and approach in mind. I suppose ‘Howls of Ebb’ could be construed as an (almost) irreconcilable duality of those that are in denial, fearful and/or mournful of humanity's inevitable demise (or decline), and those that embraces it with vigor and might. As the creator, I like to weave through both simultaneously, as a voyeuristic watcher, static, benign, only observing. It’s all very real and directly ties into the concepts and lyrical themes of the music.
 
Though this is the first album for this particular project, you've actually been at this for quite a long time. Could you tell us a little about your earlier band Nepenthe from the 90s? What was it like performing black/death metal in Kansas City so early on, or was there a relatively populated scene? Why'd you call it quits back then? Is its newer incarnation Ligeia a direct continuation?
 
Yes, Nepenthe started in 1992-93. At that time (and I imagine till today) there was no scene in Kansas City. It was just Order From Chaos and a few other folks. We all hung out together, and would occasionally play live for friends and OFC. Nepenthe technically played one live audience show, which was recorded and released as a cassette called ‘Live at Howards’.

In ’95, I changed the band name to Ligeia. The two primary reasons for the change were that the sound and style changed considerably, and band members trickled down to just myself, and Chris Overton, which made it more a project than a band. After the 1996 Ligeia release, In Death Overshadow Thee demo, I became pretty bored with metal in general. The second generation BM bands like Emperor, Mayhem, Burzum, Blasphemy, Impaled Nazarene, Samael, Beherit, etc…quickly were being duplicated (and still are now!) In addition to the stale nature of DM, it just all became hugely repetitive and predictable. The inspiration to create music quickly waned and I just moved onto other things that I enjoyed. My desire to write music picked up again around 2006.
 
I've encountered a number of your previous releases on badGod music, specifically Trillion Red and King Carnage. Like Howls of Ebb, both were pretty unusual. Did a lot of that unconsciously influence you when conceiving Howls' sound, or was this a decision to completely flip the script on anything else you'd written? Will this be taking full priority or will there be future Trillion Red material?   
 
I think HoB has enough room within its boundaries to keep my creative juices flowing for a long time, so I suspect it will be my only working project for many years, or until I either I get bored with it or feel I nothing left to contribute. If I were a gambling man, I would say there are probably 2 to 3 more significant releases to come. I certainly do not anticipate any distractions or other projects.

Moving backwards, Trillion Red was an experimental phase of mine when I learned a lot about production, mixing, effects, processors, and recording. Anything I had available to me, I used. It all ended up quite complicated, and without much of a focus. Later, the urge to create something deadly, stank, and bludgeoning spawned King Carnage. That was a one-off I did for fun, but indeed an excellent record! After I got that ‘urge to kill’ out of me via King Carnage, I thought the ideal candidate for a long term serious project would be a combination of Trillion Red and King Carnage, i.e. something complex, elusive, original, deep, dark, but with a sharp cutting pendulum swinging at all times.
 
How did you meet the other guys in the band, who operate under the handles of Rotten Bliss and Benign Blight? Did they think you were mad when they first heard you jamming some of this material, or did they actually prompt you along this left hand path?
 
Although I always see my own material as nothing out of the unusual, I do think of it as original. I do hear or read a lot of people saying HoB is “strange”, “weird”, “experimental” or “crazy”, but I think in this particular case, these are typical words to use when hearing something original, but not actually fully realizing it yet.

As for mates in the band, B.B. is a long time friend I have known for over 20 years. We share the same tastes in music and have written together in the past, so there were no surprises. On a side note, he happens to write way more bizarre stuff than I do. R.B. is a freak among the most gentle of trolls. He probably has the most diverse taste and skill set I have come across, and a young lad too! For the most part, I don’t think anything I showed him was a surprise, and that is why I liked him so much. He just takes what I have and runs with it.

A lot of what we create is pretty symbiotic. It all starts with seeds and ideas I pull out of the old pocket, and then we break it down, expand it, and put the proverbial puzzle pieces together as a group.
 
When did you cross paths with Luciano and I, Voidhanger records? Was it through a shared love of Darkthrone's Plaguewielder, or did you demo the material to a bunch of labels? How about sharing a roster with other killer bands like The Wakedead Gathering, Ysengrin, Spectral Lore and Bloodway, did that tip the scales?
 
No shared love of Darkthrone here. We actually began talking after I purchased some records from him, as well as traded the King Carnage for albums he released, like the Ysengrin, Ævangelist, Seperent Asecending. I mentioned HoB and showed him a song. He loved it and I also hold his label in very high regards, so it just made sense to work together.
 
It's probably contrived to describe Howls as a 'deconstruction' of death metal aesthetics, but can you actually explain what inspired your decision to tackle this from such a loose, organic and extraordinary perspective?

The musical objective I had (and still carry forth) when writing Vigils of the 3rd Eye was to have loosely defined limits and boundaries, but strictly stay within them. A lot of that is simply a ‘sense’ that comes from years of playing, a decent ear, and a bit of grey hair wisdom. Secondly, it is to create a very dark, deep and heavy morbidity. There wasn’t any midi or digital music going on in the instrumentation and recordings, just guitars, vocals, drums and bass (and that isn’t because of some sound or production ideology we hold). Within the structures we create, we give everything enough breathing room for ebb and flow and to tell as story. That leaves a degree of room for experimentation, and even some improvisational material as well. I coin the HoB sound/style as ‘Limbonic Hymnals’. And surely, there will be more to come.

Vigils was entirely self-recorded and produced, and then sent off to master. Can you reveal a little about the setup, I'm curious how you arrived at some a natural but uncanny sound?

The recording / rehearsal studio was put together over the last 6 years. A pretty penny went into all of it, but certainly worth it, as we are able to create a decent sound without the limits of time. As for the setup, I’ll skip the gear-head talk and just say it all consists of solid fundamentals: a properly treated recording area, good microphones, a great board, and outboard compressors/processors etc…Beyond that, it is just a matter of getting high quality source recordings so that the mixing process is as simple as can possibly be.   

Is there a lot of studio improvisation in there, or are all those subtle, bizarre effects and details plotted in advance?

Actually, there is some improvisation captured in the recording. If it sounds good and wasn’t intended, we will surely use it. That often is the best source material.

I enjoyed reading through the album nearly as much as listening to it. Would you say the lyrics of Vigils of the 3rd Eye are uniformly, thematically linked, or disparate in meaning? I noticed an occult thread throughout, but are there any particular works of fiction or philosophy that influenced you directly or indirectly? Perhaps some horror? 

Many of the lyrics were originally written as short poems over a course of two years. A lot of it was harnessed into lyrical form to fit the structure and cadence of each individual song. There is a loose thread all throughout. No occult content or philosophical derivatives were involved, but perhaps I could say ‘poetic justice’ of a sort.

‘Martian Terrors, Limbonic Steps’ is a first hand account of our coming demise. ‘Of Heel, Cyst and Lung’ is a personal mystic journey in the 4th dimension.  ‘Opulent Ghouls, Blessed be Thy End’ is what happens when an Observer oversteps his bounds and directs death upon undesirables.

Then we have the song ‘Vigils of the 3rd Eye’. This lyric and 'Illucid Illuminati’s' really are the fundamental thread that weaves throughout the entire album. In ‘Vigils’, The Grand Voyeurs are ever-watching and observing the decay of societies, cultures and civilization. Such observations are only seen with a keen and clear eye; e.g. Illusions of pop and underground culture are largely silly inbred and regurgitated ideas that either serves as red herrings in thought and action, or as catalysts to quasi-solutions that only produce more harm.  Humanity lacks the will and path to save itself. Those that try to save it are usually apart of the problem. It is here that we must accept mankind’s inability to see its underline failures and faults, and understand that it will soon come to an end. Only few will embrace it with open arms, and importantly, not to meddle in it, only observe.

Conceptual themes for the 2nd album won’t be dealing with just tangible ends, but deal with more elusive, abstract, and dark ideals and spiritualities I have surmised over the last 25 years. I expect the new batch of material to have a much stronger contextual linearity.
 
Wiley Trieff's artwork for 'Vigils' is outstanding, some of the best I've seen this year. All the panels burn themselves into your mind and won't seem to leave. Was there are a lot of input from you on the booklet images, or did you just let him run with the lyrics and concepts?

Actually no. These were paintings Luciano had in his back pocket, waiting to use for just the right release. It is indeed one of the best layouts I have ever laid eyes on, as it is a perfect merriment of sound, lyrics, and art. Quite the experience!

San Francisco has had a long, eclectic history across a number of metal sub-genres, like the Bay Area thrash in the 80s or the USBM stuff more recently. Have you ever socialized with others in the scene, or do you actively record any of them?
 
There are some really great modern bands here in the SF area! It has quite a vibrant and innovative dark artistic scene now. However, I rarely go to see live performances, so it doesn’t lend a lot of opportunities to meet other artists and forge ties. All 3 of us have other significant obligations that keep us at bay! Hah! I can barely sneak in a good midnight sacrifice these days. It’s a damn shame.
 
Any live shows on the horizon? Are there any particular acts you feel would complement you on tour if given a choice? Or that you'd love to support? I almost find it difficult to imagine you playing alongside more conventional death or black metal acts. 

We have been discussing the idea of playing a few shows, but any kind of tour would be out of the question.  HoB would really require another guitarist to get the full effect live, and of course, time away from work. Its all entirely possible, but we aren’t really being entirely proactive in making such a thing come to fruition.

As for acts to share a stage with, I can certainly think of several: Murmur, Morbus Chron, Sonne Adam, Negative Plane, Sol Negros, or Irkallian Oracle would be great bands to share an evening live.
 
Awesome record, sir! Thanks so much for bringing out that creativity and leaving such an impression. I realize it's but a couple months old, but when might we expect a sequel?!! 

Thank you! We are currently smack in the middle of writing a 20 minute’ish piece for the second Chapter of I, Voidhangers Yogsothery compilation. That should see the light of day in 2015. Right after that we will begin writing the follow-up album. Assuming our flow continues unabated, I would expect to see a full-length release maybe in late 2015, or early 2016. Tough to say, but I would like to keep up the momentum; however, quality governs!

Check out Howls of Ebb on Facebook.
Hear and/or purchase Vigils of the 3rd Eye through Bandcamp.