Depths of Tides: an interview with Sannhet

photos courtesy of Fred Pessaro

photos courtesy of Fred Pessaro

Released by Brooklyn metallers Sannhet, the album Known Flood is one of the most extensive and challenging journeys this year, an impacting and imagination inspiring flight through desolate landscapes, pervading shadows, and far reaching sonic climates. It is a wholly impressive and aggressively provocative encounter which leaves senses and thoughts enthralled and enslaved in nine captivating instrumental fusions of styles and ambiences. To find out more about the band and their startling album we had the pleasure of talking with bassist AJ Annunziata.

Hello and thank you for letting us discover more about Sannhet and your powerful music.

You have just released your excellent debut album Known Flood, but before touching on it can we find out about the origins of Sannhet and how you all came to meet and link up creatively?

Sannhet’s early incarnation was as a two-piece, and a bit different than what you’ve heard on Known Flood, more of an experimental noise/ambient project. The two recorded a full album of beautiful music that will remain in the shadows, as the project wasn’t quite where they wanted it to be. Live shows and a new EP followed, but it was only then that they considered adding low-end for the additional impact at live shows.  I met John and expressed interest in Sannhet and the line-up was complete.

Yet after playing with the band for a few months, I realized there was something missing and it wasn’t a singer. Shortly thereafter, we introduced our visual element, one that we consider crucial to our overall vision of Sannhet, and moved into a single line formation on stage.  This completed our overall thoughts on what Sannhet is, a multi-sensory experience that incorporates our concept with immersion in audio and visual elements.

What was the inspiration behind not only the band but the music you are exploring?

Our inspiration is bringing the concept of Sannhet to life, nothing more.  This is a very arduous process that involves much trial and error in both the visual/musical arenas.  It’s a concept that has a clear direction, yet is a work in progress when it comes to execution and approach.  This means we examine our output thoroughly and go back to the drawing board frequently.  We are highly analytical of what every piece of the puzzle means in the whole (visual and song-wise) and everything is intentional.  Unfortunately, this may mean that we will write a song that we truly love and play it a few times live, before ultimately deciding it doesn’t fit our entire schema.

As your debut Known Flood majestically shows, your music is a blend and experiment of sound and imagination which is wonderfully sannhetimpossible to pin down with a label. How do you as its creators answer questions of what does it sounds like?

We get the “post-rock”, “post-black metal” and “post-hardcore” tags thrown at us quite a bit, but ultimately we feel like Sannhet has its own sound and vision.  Call us what you want, we are Sannhet.

The album is also rich in multi-flavoured sounds and deep in diverse textures borne of numerous styles suggesting your personal tastes reap a wide field. What are the more prominent inspirations to your ideas?

The concept of post-humanism is omnipresent in Sannhet, the idea that at some point automation will render the humans useless.

Listening to Known Flood you get the sense that its tracks have had a long creative fermentation time and been bred over an intensive period. What is the reality and how long did the album take to create?

Many of these songs, at least in theory have been being written for almost as long as we’ve been playing instruments. Often as a creative, your process is to have a concept and let it blossom over until just the right moment strikes, then you assemble everything all at once.

Obviously there is open passion in your music and release but how truly personal are the pieces of music?

Anyone who doesn’t put passion into their music is faking it.  Our music is very personal.

The album finds its home in the darkest aspects of the world and being it seems, is that a reflection of you as people or just where the music took itself organically?

Each song has a separate personality, much like the facets of our own being.   The results can be grim, optimistic, filled with cascading beauty, or under the cloak of darkness. Yet even from the darkest moments comes true catharsis.

One of the most enthralling aspects of the album is the descriptive ambiences which alone inspire and paint thoughts and emotion draped imagery in the mind. How difficult was it to create these evocative aural hues without the more intensive and hungry aspects spoiling their impact?

Those sounds live inside of Chris’s head, extracted and manipulated from seemingly benign sounds. He records them and then manipulates them until he can extract what he hears. These field recordings come from everyday life.

sannhet2The mixing and production of the album is so important to realise all the nuances and facets of your sound, who handled that part of the recording and what made him the right choice to realise your ideas?

Colin Marston engineered the album, but John had a clear idea of exactly what he wanted from the recording. If you hear the album on vinyl or in flac, you’ll understand all of the nuances that are hidden in the mp3 format. For instance the drums where recorded to tape and sound massive in full format. There are several different types of amps used on the dubs to get specific sounds that very few people would decipher or appreciate. John is the architect of that hidden temple.

In our review we suggested the album also shows that you are only starting out on your journey of discovery with much more depth to investigate. Is that a fair comment and what during creating Known Flood sparked new thoughts and experiments to look at in your next writing?

We are constantly writing and the sound has definitely evolved since we recorded Known Flood. If you dig enough, there’s quite a few videos of us playing new material live. The new songs are clearly a result of growth as a band. We are constantly aiming to evolve the sound and confident in our evolution to become the best representation of Sannhet.

Known Flood is released on Sacrament Music, the embodiment of an independent. Can you fill us in on the label and am I right in thinking it was primarily started to release your album?

Sacrement is the child of Brooklyn institution Saint Vitus, a metal bar that is the center of the metal movement in our city, possibly the CBGB of its time.  The label was an extension of that, and we feel honored to be chosen as the first band considering the large amount of bands to pass through the doors over the years.  We may have been the first band to be released on the label, but it was formed on its own.

What comes next for Sannhet and what is the gig situation for the rest of 2013, will Europe see you sometime soon?

We are currently writing our next album, Europe will probably get us next year. Lots of US shows to announce soon.

Read the review of Known Flood @

Pete RingMaster

The Ringmaster Review 26/09/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

Morass Of Molasses – Rotten Teeth

MorassOfMolasses- Press shot2

     The recent news of the demise of UK band Karn8 was a sad day for British rock music but as often is the case, the ending of a superb band is the spring board for equally as exciting and dramatically promising things. The trio of Bones, Kirst, and Leigh making up the band have already numerous projects in the works and on the charge, with arguably the most anticipated being Morass Of Molasses. The unleashing of their debut single Rotten Teeth turns that arguable factor into a definite, the track a muscular compelling declaration of a new force within heavy bruising carnivorous rock ‘n’ roll.

Formed by baritone guitarist/vocalist Bones alongside guitarist Phil and drummer Chris in March of this year, Reading based Morass Of Molasses conjure up a dirty swamp consuming oppression of voracious riffs, treacle thick fire bred melodies, and rhythms which chip Rotten_Teeth_covershards of bone away from the body with every lethal swipe. Their introduction Rotten Teeth takes no prisoners but simultaneously is a predator of insidious intent, one which toys and teases its prey with deceitful tenderness and melodic temptation. From its opening gentle wash of firm but restrained rhythms, smouldering coaxing blues guitar beckoning, and equally reserved vocals the track is a welcoming lure, but once within its snare it launches a sinew clad assault of acidic and tempestuous enterprise and intense energy at the senses. Ensuring that escape is the last thing possible the band returns to that irresistible embrace to cut off any thoughts of fleeing before again unleashing its full weight and addictive intensity.

There is also a compelling groove to the call of the song, one which is no stranger in maybe a less lethal form to Karn8 fans, that leaves submission to the tracks slavery a done deal and with the emerging stoner/sludge breath and commanding textures, the single provides all the evidence needed to become greedy and impatient to hear more from the band. It is probably fair to say that the band with Rotten Teeth is not breaking down the walls of heavy rock but as an appetiser and portent of things to come from Morass Of Molasses, it is a striking and riveting provocation. The single is an introduction all riff hungry heavy rock fans with a want of real weight and depth to their music need to take a dive into.

Rotten Teeth is released as a Name your price download @

Upcoming live dates for Morass Of Molasses include…

Wednesday 9th October – Boston Music Rooms, London

Friday 18th October – The Facebar, Reading

Saturday 19th October – Oxjam Takeover, Reading

Thursday 31st October – The Boileroom, Guildford

Sunday 3rd November – The Cellar Bar, Bracknell


RingMaster 26/09/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

The Howling Bullets – Ghoul County

photo: Lily Lemonpie

photo: Lily Lemonpie

With a blood thirst to their invention and predatory stench to their sounds, Canadian horror rock band The Howling Bullets return with new EP Ghoul County to resume their preying on the psyche. Following their excellent From The Public Domain EP of 2012, the new six track stalking is a ravenous expanse of horror rock, psychobilly, and country punk unleashed in diverse permutations and uncompromising passion.

Hailing from the darkest corners of Toronto, The Howling Bullets came together around 2011, DanO Villano and Jordan Sane coming together a little earlier to write and expand on songs the former had already been working on. Soon a full band The Public Domain EP brought the band to closer attention beyond their strong local reputation including an internet presence which brought them to hunger of shows like The Bone Orchard at A line-up change brought in guitarist Seanbelly Sewell alongside the dual attack of vocalists and bassists Sane and Villano later that year with Alvin Lapp joining on drums. Shows and festival appearances alongside the likes of Christian D and the Hangovers, Owen Mays, Bloodshot Bill, The Brains, Koffin Kats, The House Of Haunt and many more, only enhanced their stature and the appetite for their fiery horror bred sounds. April of this year saw the current line-up in place with Elena Red taking control of the rhythms with her stick mystique and now September 27th sees the next instalment of The Howling Bullets bloody alchemy set loose.

The EP growls into view with Ghoul County Limits, a carnivorous bass riff drawing in the equally rapacious guitars and rhythmic lashing 1291623_10153251806110361_950545741_nof Red. A hunger driven intensity and stroll to the song provides an unrelenting temptation which is raised further by the great vocals, the two frontman trading verses, and the melodic flames which flare up across the contagious charge. Like a meat clad bone before a hound the horror punk introduction to the release is potent bait, its equally delicious psychobilly tonic only increasing its lure and grip on awakening passions.

The addiction causing start is followed by Zombie Bat, a rampage which takes its lead from its predecessor in showing no thoughts of restraint in the riffs and rhythmic enticement. In its gait and invention the song twists, turns, and stops at a whim to show immediate diversity whilst keeping the senses and appetite greedily attentive and wrapped in unpredictable seduction. There is a familiarity to the swagger and tone of the song it has to be said, and though saying Misfits is too easy but certainly there is a sense of that flavour of horror rock at mischievous play.

Cold Cold Skin shimmers from its opening breath with a sonic guitar mist which rains down on the emerging prowl and intimidation of the song whilst caressing the imagination. There is a Samhain growl and menace to the song from the start which only ignites greater rapture for the already impressive release. Equipped with blues fumes and an uncompromising snarl, the slowly stomping burn of the track traps the passions with a blaze of guitar blues excellence in the midst of the predacious smothering of the senses, the result a seizure of the passions from the persuasive offering.

The heat is turned up with the scintillating instrumental The Djinn, a middle Eastern surf rock blaze of grumbling rhythms and tight acidic enterprise coaxed and goaded by the ever riveting dual bass attack. Wrapped in chilling mystique and dangerous melodic enchantment the piece of music is another irresistible magnet making the perfect appetiser for the best track on Ghoul County, the ravenous New Age Hex. Adrenaline fuelled with a certain punk rabidity to its Cramps like gnawing of the psyche, the track is as virulently infectious as it is skilfully intimidating, and over far too soon for these greedy passions. Impossible for feet and voice not to join in its devilry, the song lands enjoyably somewhere between Guana Batz and King Kurt in sound and as mentioned The Cramps in its rawer lining of epidemic suasion.

The closing That Hellbound Train enters into the realm of country rock for its ghostly tale of a railroad haunting. Now country music for us is as welcome as an octogenarian stripper but with its more of an outlaw cowpunk spicing and excellent guitar work it is a very pleasing finale to an excellent release, even if not quite igniting the fires inside of other songs on the EP.

For prime rockabilly/horror rock with a multifarious depth of flavours and imagination, The Howling Bullets has crafted one of the true exciting dangerous adventures, but are you brave enough to enter Ghoul County .


RingMaster 26/09/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

Rocking the restless…introducing Bottle Cap Rockets


BottleCapRockets: Al Gross and Chris Wolfer  with drummer Johnny Powers

BottleCapRockets: Al Gross and Chris Wolfer with drummer Johnny Powers

Sometimes you listen to a band for the first time and there is a glint in the eye of their sound, maybe a swagger of confidence to its persuasion which leaves a lingering presence which coaxes and insists you return to their melodic arms time and time again. So it was with US rockabilly band Bottle Cap Rockets. Listening to just one song ignited a spark of hunger and suspicion that this is a band heading for satisfyingly potent horizons. Obviously music is never a friendly beast for bands and often fails to deliver deserved rewards but with their impressive rockabilly sound veined by a rich and varied spicery of flavours and invention, you can only feel Bottle Cap Rockets are set for a heady ascent.

The band was formed in 2010 by vocalist/guitarist Al Gross, the band’s songwriter. Recruiting bassist/backing vocalist Chris Wolfer to complete the core of the band, with several different drummers recruited to make a trio for gigs, Gross was soon working on songs for the debut  release, First Seven which came out in August of last year. Based in Ringwood, New Jersey, Bottle Cap Rockets did not take long to grab attention and a strong local reputation for their blend of Americana fifties style rock and rockabilly with at times a passionate country lilt, which is no surprise when you fall into the embrace of their songs. Since forming the band has earned many highlights including Go Ape coveropening for Eric Lindell at Mexicali Live in Teaneck NJ, playing the legendary Maxwell’s of Hoboken, and being part of the Roxy & Dukes Rockabilly Rally in Dunellen NJ, where they shared a stage with the likes of Nikki Hill, The Ultra Kings, and Crash Gordon with Debra Dynamite on vocals. Now working towards new release Go Ape with a planned early 2014 release, Bottle Cap Rockets’ stock is in an open ascendency which when looking at some of their songs it is not really a surprise.

As mentioned they have a great diversity to their invention and music which by just looking at a quartet of songs you sense the depth of the songwriting and vision. If you immerse yourself in the sultry warmth of We Never Said Goodbye, the band soon treats the ear to a melodic haze of tender yet energetic mastery. The song has a smouldering glaze to its caresses which wrap an eager tempo and the excellent vocals of Gross ably complemented by the equally absorbing tones of Wolfer. Like a mix of Roy Orbison and Link Wray with a whisper of Nick Lowe, and all veined by compelling guitar flames around the infectious call of the song’s core, the serenade is an instantaneously temptation which leaves resistance a void option.

Black Eldorado offers a feisty dirtier proposition but no less magnetic and contagious. With a harder rock edge to its compelling musical and lyrical narrative, the song finds a more of a Dave Edmunds stroll to its delicious hot persistence. Again the song has an even tempo which makes no demands but secures full submission but equally there is an incendiary strength and muscle to the track which leaves no thought and passion unlit.

It has to be said that for all the great tracks we have heard from the band, Can’t Stop The Bleeding is the show stopper, and just recently brought the audience to their bloodlusting feet when being featured on The Bone Orchard podcast at Unleashing a snarl and rapacious stalking which verges more on psychobilly than rockabilly, the song prowls and taunts the imagination with an irresistible growl of predacious riffs and rhythmic enslavement, whilst its chorus is pure virulence. Like the Stray Cats meeting Black Frame Spectacle and Guana Batz on a blood splattered shadowed street corner, the slice of intimidating devilry is one of the best rock ‘n’ roll tracks of past years..

Looking at one more song to show the strength of the band’s invention, I Don’t Love You is a hungry slap of rockabilly cast with another addiction causing chorus which punches things up a gear to launch a full rabid charge of energy and an attack of exciting confrontation. The version of the song we heard was a live cut of a track set to appear on Go Ape which only lights a real hunger to see the band in performance, which on the evidence of this lone song looks like being a memorable and sweaty treat, and for the upcoming release.

The future release of Go Ape has a big appetite and anticipation to satisfy from fans and growing media awareness, but you get the feeling Bottle Cap Rockets will take on and defeat the challenge with ease if their earlier tracks are accurate teasers.

Check out the tracks above at and find out more about Bottle Cap Rockets and all their upcoming live shows at

RingMaster 26/09/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from