Full of Hell


Who is Full of Hell?

Full of Hell is a band from Maryland and Pennsylvania that has been touring North America and Europe since 2010.

Can you give a brief history of the band for us?

The band formed in late 2009, without me. The singer left and I joined by early 2010, and we started writing and touring from there.

How wouldyou describe what Full of Hell sounds like?

I always have a hard time describing this. I once saw a flyer that described FOH as grind/metal/noise/punk/whatever. I like that.

Who have been your major influences musically?

As a collective unit we’ve always been very into Dystopia, His Hero Is Gone, Pageninetynine, GASP, Crowbar, Eyehategod, Discordance Axis, Napalm Death etc.. I personally take a lot of influence from Tom Waits.


Alot of your merch and logos have very black metal-esque connotations, are bands like Darkthrone a big influence on Full of Hell’s existence?

I would say that there are definitely certain bands that could be considered black metal that have had an influence on us, and that definitely includes Darkthrone.

Culturally and philosophically, who has been an influence on the mindset of the band?

David Liebe Hart has given FOH a lot of insight into the struggles of every day life, of human existence. He helped us find faith in the Corinians.

What do you express in your lyrical content?

Human experience, I guess. It’s not really limited in scope or subject. The majority of the lyrics are introspective, but it isn’t limited to just that. I want to express the pain of living, and the beauty therein, if that makes any sense at all.


Can you list the records you have release so far?

The Inevitable Fear of Existence 7″ – Get This Right Rec (2010)

Goldust split 7″ – Get This Right Rec (2011)

Roots of Earth Are Consuming My Home – A389 Recordings (2011)

Code Orange Kids split 7″ – Topshelf Rec (2012)

The Guilt of… split 7″ – A389 Recordings (2012)

Calm the Fire split 7″ – Holy Roar Rec (2012)

FOH NOISE VOL 1 – Ghosts Collective (2010)

FOH NOISE VOL 2 – Split Scene Collective (2011)

FOH NOISE VOL 3 – Arctic Night Rec (2012)

How is it working with a label such as A389?

It couldn’t be any better. I firmly believe that A389 is run by the most honest and cool guy around.

Has having these associations with Integrity and Dwid, developed your sound a bit more?

I wouldn’t say that it has. We are all honored to be counted alongside those bands and really enjoy the opportunity to play together, but for the most part we’re on a different wave length entirely.


Are you working on any new material currently?

We are busy completing our 2nd LP right now, actually.

What could we expect from new Full of Hell?

We’ve learned so much over the past year and a half since the release of our first LP. I think the new material is infinitely, leaps and bounds ahead of anything we’ve done so far. We’re excited to record.

How would you describe the FoH live experience?

Again, I can’t answer for the whole band, but we just try and carry ourselves like the band that we would want to see. I don’t know how to describe the live experience, but in theory, it is meant to be loud, painful and passionate.


Is energy and presence important to effectively deliver this style of music?

In every case, YES. Even when you are watching a band that creeps along so slowly, they are still exuding strong energy. No one wants to watch a band that isn’t passionate about what they are doing.

Do you have any plans to tour in Australia?

No direct plans, only a strong desire to do so. As soon as the opportunity arises, we will make it over!

Can you recommend some bands from your area we may not have heard of before?

Old Accusers, Knife Hits, Orphan Donor

Thanks very much for your time, any last thoughts?

Thank you for the interview! My thoughts go out to Dave Bland.




Cattle Decapitation


These guys are a pretty big deal to me, not only are they one of the most recognizable bands in extreme metal these days, they were one of the first real grind bands I got into when I was younger. They opened up a whole world of new music and ideas, and for the first time, metal appeared to have something constructive to say, but still in a brutal way. I was fortunate enough to speak to  vocalist, Travis Ryan, about the band’s history, future and their latest release. Hope you like it.


Can you introduce yourself and let us know what it is you do?

My name is Travis Ryan, I do vocals and lyrics and stuff for Cattle Decapitation, and that’s pretty much it.

How have you seen the band evolve over the last 15 or so years?

I think it’s pretty simple, we started out as having fun trying to make really intense music, and ended up doing the same, but trying to have a little bit more melody and a little more stuff going on in there. A lot of people think it switched from grind, “straight grind”, to death metal, but I think it always had a “deathy” vibe in there anyway, and I wouldn’t call us death metal at all. I don’t know really what you’d call it, but we’re looking now just trying to blur the lines between all of it and be genreless and I’m glad that people are picking up on that. I hate labels and, yeah that’s pretty much it. I listen to all sorts of stuff, and I like to intergrate all that into your know, something extreme.

Is the vegetarian/anti-human aspect still at the forefront of Cattle Decaps’ image and content?

Yeah it’ll always be there, you know, gotta have something to talk about! Yeah I mean, there’s only two vegetarians left in the band, we’ve got a new bass player now. It was never a pre-requisite for the band or anything like that. It’s just you know, we probably wouldn’t be able to maintain any kind of schedule, or any kind of band for that matter, if we were to try and maintain an all vegetarian band anyway. So in that respect, we had to kind of cave in after a while.


What do the non-vegetarian members of the band think about the lyrical content and imagery?

Oh they love it! They don’t practise it, but they love it. It’s not all we talk about. If I was to only talk about animal rights or anything related to that subject, it would get really monotonous after a while for one thing. It’s always just been a theme that’s been interlaced in the lyrics even from day one you know, it’s not something that was, well I don’t think at least, well there’s been a bit more blatant songs earlier on, and even like peppered out through the history of the band, there’s been some blatant ones, we’ve been covering other topics that I feel are important as well of the past few years and albums.

So what are the others themes you like to touch on?

Oh man, it’s pretty much depends on how people read the lyrics. We put them all online for everybody to see. I mean it’s all over the board, but I’d say that the latest record is more dealing with where we’re going to go, where we’re going to end up, if we don’t visibly start trying to make some adjustments at least, which we’re probably going to end up there anyway, because we’ve done ourselves in so fucking far already that who knows if it’s even reversible. I don’t think that billions and billions and billions of particles of plastic that are swimming around just in the one area of the pacific alone, is going to go away any time soon ya know. That’s just one blip on the screen compared to everything else that wrong with the world.

How did you approach the new album “Monolith of Inhumanity”?

Pretty much with all guns blazing, Because we’ve got a new bass player, he was really hungry and wanted to get to writing, do stuff and get back out on the road and stuff like that, and the rest of us, who had been on “The Harvest Floor” knew that we had, well that was a decent record, and we had that to contend with. We set the bar a little bit higher on ourselves on that record, and apparently we’ve done it again, judging by the reviews and stuff, so who knows what the hell we’ll do on the next one, I don’t know, we’ll see.


Do you find yourself experimenting more musically and vocally especially?

Yeah totally. I mean I’m 37, I’m getting older, Josh feels the same way with what he does in the band, so it’s “you know what, I’m getting older, I’m getting tired of shit, I don’t want to be doing anything that feels stagnant, I’ll just try this”. With the vocals, I wanted to do some stuff that nobody, well not that nobody’s done,  not like that, it was just, I kind of realised, talking to kids, that I guess I’m one of the only people that does certain things, and tries to draw out actuall pitches and stuff out of guttural vocals. There’s also some things you can do that nobody really seems to do, to make it musical, or to have melody.

I’ve seen some 10/10 reviews of the new album, have you found that most of the feedback has been of this nature?

Oh yeah it’s been overwhelmingly positive. There’s been a couple of reviews that were ripping on it, but they were wrong! Haha, I hate to say it, but some of the reviews that are really glowing and really positive, some of them are off bass as well. Some of things I don’t agree with, most of it’s just where they do the generic, “the ripping drums! And the pulsing bass! And the cackling vocals!” It’s just like dude, they’re just reiterating a fucking bio or a quick amazon review that someone else did. Some of them don’t even put any heart into it, and we can see right through those ones. A lot of are the popular ones. On this record it’s just been nothing but positive reviews, we agree with some of it, and we don’t agree with some of it, and it’s always going to be that way because all people have their opinions, and I don’t even know why I’m sitting here bitching about people that are into the album, so maybe I should just stop.

Do positive reviews like that make all the hard work, “worth it” to an extent?

Yeah, I mean we kind of worried. I’m all about doing, whatever we want and all, but we also gotta watch it, we gotta remember that there’s kids that like us, whether or not we think they should, and we should respect that. Not cater to them, or anybody else for that matter, but we’ve just gotta always keep that in mind, that there are fans there, and they wanna hear certain things, but at the same time, we wanna do what we want, and luckily it’s clicking, it’s always clicked with a lot of people. It’s funny see to see all these people who were haters before, or at least people saying “I was never really into these dudes, I just couldn’t get into them, but this one’s awesome”. So we’re seeing a lot of that, and that’s positive, that ‘s actually the kind of shit that I wanna see. It’s starts out bad, like “these guys sucked the last 10-15 years! But this one’s good.” That’s still cool, I’d rather see that, than “with the shredding bass! And machine gun drums!” that shit’s stupid. Reviews are just reviews. Basically what I’m saying, is that reviews are reviews, and wouldn’t put too much thought into them, just check it out yourself, who cares what people think.


Does the writing process get any easier after all this time?

Sort of, I think, well they do it all, so for me it’s totally easy. Sort of I think, because get somewhat on a roll, and just being in a room with people, having the experience of that, over and over and over again, and writing with different kinds of people, especially when you have to remember every god damn album that we’ve practised and done over the years, that kind of experience helps things move along a bit smoother, but dude, it still took us a year to write this, and not because we were trying to make some epic thing, it was literally because we had two nights a weeks maybe, that we’d get in there for like an hour and a half, it was stupid , and it would be at 10:30/11 at night, it’s fucking dumb. What are you going to get accomplished doing that? We wanted to write the album in 6 months, 5/6 months like we’ve done every time in the past, and then spend 5 or 6 months, making the songs mature, but no, it was hard as hell to get in there make this thing. But we did at least get to play some shows , and play the new stuff out, and that was a good way to help get the songs mature and stuff.

I read something about you holding the world record for shortest/fastest song ever, is that true?

No, I tried submitting that to the Guinness world records, but it’s way more involved then anybody thinks. For one thing, there need to be a witness, there needs to be a person from Guinness flown out there, and they have to witness and document incessantly, the whole process. It’s a big thing, or something to that affect. I got a letter back, because I was trying to submit the song on the Caninus split, it’s so short that it wouldn’t even register digitally on a CD. We couldn’t get it to register as a track, it’s the blink of an eye, it’s stupid. When we did put it on digital, it’s just attached to one of the songs at the end, because it’s just too short to make it’s own track, it’s kind of funny. Yeah I tried, and they wouldn’t accept it because it had already been done or whatever the hell it was. It is, it has to be though, there’s no way you could do anything shorter, you just can’t, it’s pointless and stupid, you’d have to do the exact same thing we did, which was just basically “click”. It has lyrics, one word. Haha.

Any plans to tour Australia in the near future?
We’re trying, it’s a tough nut to crack, I don’t know what the deal is, but we’re trying, and we have two different dudes we’re talking to now, so we’ll see what happens. Sounds like it’s just a pain in the ass because somebody’s gotta fly us over, or we gotta pay the plane tickets. So basically we’re trying to get out there, we’re trying to figure it out, but it’s just a pain in the ass at the moment.

Thanks very much for your time, any final thoughts?

Seriously, hopefully we’ll see you guys soon, we know we need to come over there. The emails and the post on our website and stuff, thanks and all, they’re really frustrating, but thank you, it’s just frustrating to hear because we’d love to come out there just as much as anybody else. It’s just been a pain in the butt trying to figure who’s going to do it, and what and when, and we’ll hopefully see you soon, because it seems like things might be finally coming together. Thanks man! Hopefully we’ll meet you one day. Bye.





Who is Wildernessking?

Keenan – Bass, Vocals
Dylan – Guitars
Jason – Drums
Jesse – Guitars

Can you give a brief history of the band for us?

Wildernessking was established in 2011, after we decided to change our name from Heathens. Keenan and Dylan formed Heathens in early 2010 as a fun, black ‘n roll project. Jason and Jesse joined later in the same year, and the music progressed naturally. We wrote more songs and grew to know each other musically, which opened up many avenues and allowed us to expand on the already evolving sound of the band. During the recording of the debut album, we decided to change our name to reflect a more adventurous sound. The Writing of Gods in the Sand was written during this transition phase, and is the first release under the new name.

Where do you draw your influences from, musically, naturally and culturally?

We’re rooted in South Africa, more specifically Cape Town, and are constantly inspired by the immense beauty of our homeland. Our city is composed of vast differences and we try to capture that same dynamic in every aspect of the band. We’re a mixed bag, culturally speaking. This does not have anything to do with the music though, or not on a conscious level at least. We’re strangely similar too, in regards to music and other facets of life, so we share certain ideals and outlooks, and goals and dreams.

Do you tend to distance yourselves from traditional Black Metal clichés due to your geographical location?

We play the music that we’re passionate about and enjoy, and express it in ways that we feel is relevant. Certainly, the fact that we’re located at the foot end of the world has something to do with us not approaching black metal in an orthodox manner. We listen to a variety of genres, so non-metal influences are bound to pop up in our music, and this is something we openly embrace.

As the name may suggest, does a lot of the Wildernessking content relate to the natural world around you?

Our natural world will always have a tight grip on Wildernessking, both musically and lyrically. Nature acts as the veil or the backdrop to our sound. From our personal experiences in the world around us, to the people who inhabit it, we are stimulated creatively, enamored and enraged. This results in a varied approach to the imagery, and opens up many roads, both old and new. When exploring the natural world, there is a well of inspiration to draw and drink from.

How do you manage to link the often frostbitten and wintery mood of Black Metal to the entirely unique South African setting?

As fans of the genre, we were drawn to that atmosphere, that particular mood a great black metal record can conjure. The clichés are in tact. We have the tremolo guitars, the shrieking vocals and the blast beats. We don’t make a conscious effort to ensure that all the right elements are in place to create a wintery, frostbitten feeling. A certain section in our songs might generate that kind of spirit. It seems to sprout more from our isolated and often harsh landscapes down here, rather than the arctic freeze up north.

How do you approach the writing process? 

We write as a unit. Someone might bring in a riff or song pattern/structural idea, and we build from there. Sometimes we write from scratch, with no focal point. It’s a collaborative process, one that we refine as we go along.

You’re probably one of the first Black Metal bands I’ve seen from South Africa, is there much of a scene over there?

The black metal scene in South Africa is a minuscule one, as the general metal scene is a niche market.  Because of this, the black metal scene isn’t a prevalent one at shows and festivals. From what we’ve observed, many bands tend to take the orthodox route, and rehash what already has been mastered abroad. In saying that, there are some bands forming every now and again, who manages to deliver in scope and approach, resulting in some good black metal.

What other bands should people keep an eye out for in your area?

The local bands/artists we enjoy are A Walk with the Wicked, Bateleur, Yes Sir! Mister Machine, Like Knives, Andrew James, Gary Thomas, Lark and Nihil (a great 2-piece atmospheric black metal project).

When you were approached by Antithetic Records, did this validate the existence of the band up until that point?

Definitely. It made us believe that other people might feel strongly about our music. There was a major turning point in our band after we received the e-mail from Shawn of Antithetic Records. We were driven to pursue the band more professionally and spend more time concentrating on and refining our sound. Suddenly being in a band was more than just releasing a few demos and hovering in the underground. We are extremely grateful for everything that Antithetic Records has done to help us make the debut record such a success.

Where has the release of “The Writing of Gods in the Sand” taken Wildernessking as a band?

The full-length has exposed Wildernessking to the rest of the world. Our goal with the album was to establish the band, to get our name out there. It has given us the opportunity to do things like this, to answer someone’s question, someone who lives on the other side of the world. The support has been great and we continue to take things one day at a time. Our focus will always be to write more material for the listeners who have been with and join us along the way.

Are you working on any new material currently?

We are currently finishing off a three-track EP called, And the Night Swept Us Away. It is a release centered on a song that was written during the recording of our debut album. Our intention was to get it out there, so we decided to record and produce two other tracks, making this more than just a single release. Apart from that, we are already quite deep in to the writing phase of our second full-length. We also have a split release scheduled for the end of the year with our label mates Young and in the Way. And next year we will be working on a collaborative split with Antithetic-approved The Great Old Ones, as well as a new full-length.

What can people expect from new Wildernessking?

There are quite a few releases expected in the year, and this opens up the door of opportunity to try fresh ideas in our songwriting. We hope to expand on different styles and elements in our music, some that may have only been briefly touched on in the past.

Have you ever considered taking a short trip over the Indian Ocean to Australia?

A few of us have relatives living in Australia, so it would be a great place to play shows and visit family. If we had the opportunity to meet up with some local bands and play a couple of gigs over there, we would definitely make a plan.

How would you describe a Wildernessking live experience, and is this an important aspect of the bands existence?

Live shows are extremely important to us, and we tend to spend a lot of time in the build up to an event. Whether it is a small club show or a large festival, we try to approach each performance in a different light. The atmosphere, the supporting bands and the crowd definitely guide us to deliver the songs in a unique manner on the night. There are different characteristics in our performance and playing that shines through on certain nights. So far, every show has produced fond memories.

Thank you for your time, any final thoughts?

It is an absolute pleasure. Thank you. We are very grateful for the interest and overseas support. You can find out more about Wildernessking, listen to our music and watch our videos at the following locations:




Terzij de Horde


Who is Terzij de Horde?

We are five completely opposite personalities with a shared vision on life. Joost on vocals, Demian and Stefan on guitars, Richard on drums and Johan on bass.

Can you give us a brief history of the band?

Joost and Johan started 6 years ago, with two other friends and under another name, trying to play Extreme Noise Terror-styled grind. But as the line-up changed and the band improved, our past bands and tastes changed the music too, reflected in both the current sound and performance. The name had to follow. We have released one MCD/LP, “A Rage of Rapture against the Dying of the Light” on Antithetic Records and we have been able to tour and play for two years on those four songs and unreleased material, but with our split record coming up and a full-length on the horizon, things are changing for the better still.

What does Terzij de Horde mean?

Aside from the horde. It’s a line from a poem, ‘Einde’, by Hendrik Marsman, a Dutch poet. His dark vitalism and passion have been a real inspiration to us, and with a friend of ours having that line tattooed across his chest it was a small step to taking that name. We consciously decided to take a Dutch name, this line is harsh, fierce in sound and meaning and a perfect match to our message and music. How would you describe your sound? We tend to use the words “sensory overload’ a lot, and that’s what we are aiming for. We pour our passion, our energy and anger and ideas about the world into our music and hope that translates to listeners.


Can you highlight some of your key influences?

The style is an amalgamate of all our pasts and musical preferences. It is quite easy to hear influences like Deathspell Omega, Ash Borer, Wolves in the Throne Room, Neil Perry, Neurosis, 16 Horsepower, Khanate and the likes. But as can be seen from these names, it’s not the style or the label that counts, but rather the depth, the fierceness and creativity of spirit. So we all listen to black and doom metal and hardcore, but all of us are fans of folk, blues, screamo and some indie as well. An old delta blues record can contain far more darkness and power than a run-of-the-mill Nuclear Blast record.

How would you describe your local musical scene?

Utrecht has a great scene actually. With a couple of spaces available for bands of every underground ilk to play at, ACU and dB’s most notably, the underground is really productive. We as a band decided to start booking shows at dB’s under the moniker “Footprints In The Void” to give a place for bands that fall out of the standardised musical spectrum and we have been given full cooperation by the venue. So we have been able to put up shows for Thou, Aderlating, Celeste, Conan, Aesahaettr and Alkerdeel among many others. These shows have been great and often very well attended. Besides these shows, lots of bands have started these past years, so Utrecht is really making itself known in whatever scenes you’d like.


Are there any bands we should keep an eye out for?

For local bands, I’d especially check Northward, Laster and White Oak and -a little less local- Alkerdeel. All of them fall within the black metal spectrum, but explore completely different realms. Besides the locals, everything Gilead Media, Antithetic Records and Flenser Records release seems to be amazing.

Is that a banjo I can hear on The Roots of Doomsday Anxiety?


Who’s idea was it to include this, and was it an important part of setting yourselves apart from more common Black Metal conventions?

At that point Demian wasn’t a part of our band yet. But we as a band had already thought about making a bridge between “Roots…” and “Non Timetis Messor” using an instrument or a sample to accompany Johan’s poem “Bedrock, This”. While talking about that we started talking about 16 Horsepower and the darkness and pain that they are able to convey without any distortion or screaming. Suddenly we all realised that a banjo could be, should be the link between a song about eschatology and the rejection of deus ex machinae and a song dealing with grasping life and using it for all it’s worth. A banjo can encompass pain, melancholy, salvation, joy but all at the same time. We asked Demian to compose something, which we heard one day before recording started, but we all knew that it was perfect. Demian became part of Terzij de Horde instantly.


How would you describe the Terzij de Horde live experience?

A cathartic one. Since most of us come from a hardcore/screamo background, ignoring the props and  “showmanship” that runs rampant in metal was easy. All we want is to let everything out, to grasp every single fucking moment of that show, to share the experience with those that are present and to be there, as honest and alive as can be. Is it difficult sometimes to transfer the atmosphere of recordings to the live format? I’d say it’s a problem the other way around. When listening to the recordings, I still tend to cringe every now and then – I would love to be able to capture the noise and rage of a live show one on one, but I don’t think that will ever happen. I’m really happy with our recordings throughout the years, but I don’t think they do our live shows any justice.

Are you currently working on any new material?

We have been for the past two years. We played a lot of shows, and we had to deal with several medical problems within the band, so it took us far too long, but at this point we’re consciously writing for a full-length which is really coming together now. With a bit of luck we can start recording within this year.  Has the split with Starve come out yet?  NO! FUCK! Badger Records’ Erik is a great guy, but he had to deal with a lot of things this year, so it took 6 months longer than expected/hoped for, but it seems like it’ll be here at the start of July. Fingers crossed.


What will a new Terzij de Horde record sound like?

Strangely enough more black metal. The overall sound has become more focussed I think and a lot of the riffing, when listened to at home, surprised us with being more like black metal than anything we have done before. But the songs we have now still have loads of elements in them, and I don’t think anybody who has listened to us before will be completely shocked. What have you tried to achieve on these new recordings? A more concise sound, a more matured band. For the first time Joost and Johan have started to write lyrics together and the picture of a complete band being their own masters is finally taking form. There’s less searching for a certain riff or sound and  a far more confident writing and discussing.

Where can you see Terzij de Horde heading in the near future?

We are planning a tour with label mates The Great Old Ones at the end of the year, our full-length should be released around that time too, and after that: who knows. Touring in the US and Canada is a viable plan, and when the full-length is released and appreciated as much as our EP, which still leaves us baffled, I see no borders we can’t cross.

Thank you very much for your time, any final thoughts?

Thanks so much for this interview, it’s amazing to get a request from half a world away, home to Portal, Thrall and D666. Keep supporting local bands, local scenes, embrace your sins, resist oppression.


Iron Lung


Who is Iron Lung?

Sir Jensen Ward: grain eater, killer of boredom, mathematician, amateur rap enthusiast and Lord Jon Kortland: artsy type, destroyer of worlds, hair farmer.

How long has Iron Lung been a band?

Going on 2 years now. My, how time flies.

What motivated you to first start Iron Lung?

Jon and I are actually distant cousins and we thought it would be cool to have “family” band to entertain our elders with at reunions. Plus, Jon has a bitchin’ car and I needed a ride to San Francisco. Contracts were signed shortly before the trip.

Who would you say has influenced you over the years?

Our respective thesis advisers (best jokes) and this window washer dude out in San Ramon called Gra’am. He has a limp and a ridiculous work ethic.


How have these helped to develop Iron Lung’s outlook?

See above.

Can you explain a bit about what Iron Lung covers in a lyrical context?

Lunch meat, sex with humans, torque, television news asides/general anchor person chit chat, hirsute children, horse grooming, technical readouts, corpse dusting, pills, taming a cowlick, chores, La Parnella bakery in Preston, space travel, the 140g vs. 180g vinyl debates, foot binding – wait that was our other band, caroling, mannequin sculpting, whale surgery, mechanical babies, glam poetry, female arm wrestling, footy, pain, homeless cadavers, serum strength, marmite bong hits, the digital penis, doing your head at uni, bug chasers, genetics and the purity of precious metals.

It’s hard to believe that you are a two-piece when hearing you play live, how on earth do you manage to create a sound that many full bands struggle to achieve?

We wrote good songs. OOOOOOOOOOOOOOOH! Jab.


What does “Life.Iron Lung.Death” mean to you?

It’s a reference to the 3rd Arthur Miller short story about a man and a dog on a camping trip in the Everglades. Dangerous and sexy but poignant and allegorical.

The samples you include on your records of Iron Lungs etc, are quite chilling, what fascinates you about the Iron Lung?

I have always been a fan of cylinders.

Are you currently working on any new material?

Funny you should ask, we are mixing our new album right now. I had to leave the room because Greg threw the keyboard at one of the computer monitors and then stormed out of the building. He hates our music so much. That’s why we keep going back to him over and over again. Both Jon and I love the studio schadenfreude. It feels like the aggression really gets worked in to the mixes.

What can we expect from a new Iron Lung record?

Tuneless bludgeoning with sugar on top.


What do you look for when releasing bands on Iron Lung Records?

Shady backgrounds, human metronometry, telepathic tightness, a standard 12 bar blues solo in at least 1 song, the ability to accurately pair wines with meals, druggery, knowledge of the periodic table, vehicle a bonus, must have own gear, at least 1 Australian member, knowledge of Giallo films, the ability to talk about the finer points of The Exploited and Hawkwind, but the most important thing that we look for is if they can casually use the word “cunt” in the course of conversation.

Having been around for a while now, how do you feel the music scene has changed?

When we first started people were all “Play a Crossed Out cover!” and now they’re like “Play a Scapegoat cover!”.

How did you settle on becoming a two-piece?

Hey, if Randy Holden can do it then why can’t we? Also Jon’s good friend and (a few doors down) neighbor, Billy Joel, used to have this 2 piece band that practiced in his garage. Atilla? Something like that. Anyway they had a smooth dynamic that really oozed the mating call if you know what I mean. …Girls, we did it to get girls.


How did you find your tour of Australia last year?

Googlemaps. We actually wanted to tour in Guatemala. Oops.

Any plans on heading back down this way in the near future?

Rob Bonnett of the project Useless Children says we will be there in January 2013. We are thinking of hiring him to manage us permanently. We had this other guy Martin that was a real jackass. We had to reduce his pay rate and make him fill orders at the warehouse. You see what happens when you try and help a guy out?

Thank you very much for your time, any final thoughts?

No Mike, thank you. This has been a real treat. See you soon.