Prowling the dark side of being: exploring the corners of Invertia with Dave Coppola

Invertia4

An invasive corrosion of senses and emotions, Another Scheme of the Wicked from US band Invertia stands to the fore of psyche invading threats and violating seductions unleashed in 2014. The album is a virulently compelling incitement of senses and thoughts from a duo in guitarist/vocalist Dave Coppola and drummer/programmer Tim Winson who seem to instinctively press all the right buttons with their provocative sonic and primal explorations. With an appetite to find out more about the band and its dark depths, we had the pleasure to talk with Dave who helped us explore the new album, the creative union between the two, the art of remixes and plenty more…

Hello Dave and welcome to the site and thanks for agreeing to talk with us.

Thank you for the interview, my pleasure!

First of all can you tell us about how you both met?

We actually met thru a mutual friend.

Was there a musical connection right away and how long before thoughts of creating a band took hold?

We started working on songs right away. We basically just started tracking guitars to a beat. Those songs would eventually become Blasphemy Be My Name and Perpetual Alert from the first album. We didn’t think of it as a “band” at first. It was just a recording project that became a band! We never thought we would play live when we met, that’s for sure. It’s crazy when we think about how we started to where we have come; for example opening for Blood of Heroes with Bill Laswell, getting a remix done by Justin Broadrick from Godflesh, to putting out an album with Ohm Resistance. It’s unreal.

Did you have any specific intentions when working on your first songs or was it more of let’s play and see what evolves initially?

It was more let’s see what happens. I never thought Tim and I would still be doing this years later…I’m glad we are though.

Invertia2Though your sound seems to be tagged most often as industrial black metal we found it to be so much more and pleasingly impossible to tie down. What are the most predominate inspirations upon yourselves which you feel have spiced your writing etc.?

Thanks for the kind words! We have all kinds of inspirations whether it be bands, film, books etc. There are too many to name, especially between the two of us. I listen to a lot of metal like Mayhem and Burzum, and industrial as well, Godflesh and Ministry. Tim likes the Residents and Adam Ant. We both like the same bands like the Pixies and the Butthole Surfers. William S. Burroughs and George Carlin are huge influences as well. Also the film They Live by John Carpenter is having a huge influence on the new album which is currently underway. So that’s why we sound the way we do.

You have recently released Another Scheme of the Wicked, a captivating and intrusive hybrid of sound and enterprise. Did it in creation fulfil or your hopes and thoughts or has it evolved beyond even your expectations with its potency and might?

We did the best we could, we always do. That way no matter what anybody says about it we are still satisfied in the end. Albums are like Presidents, it takes time to see the mess you made!

It feels a much darker and more predatory encounter than your previous release, more dangerous one; does it feel like that to you and if so was that a deliberate aim from the start or an organic emergence?

I agree, it is much darker…It has a little more of a dynamic feel to it than the first one. I’m not saying it’s a dynamic album just more than the debut haha! We are fast and in your face the whole time with this album other than the remixes. When we were writing we didn’t sit down and plan it that way it just happened. I think that’s the way it goes for most artists, you never know what you’re going to get at the very beginning. It’s always a surprise at some point during the process.

How do the songs come together and evolve primarily between the pair of you?

Typically myself or Tim will write a beat, I’ll put the guitars and bass down and go from there. Tim will take the beat and make it into drum sections and the song will evolve over time. Songs can be like a photo, you have to capture the evolution at the right time or you’ll miss it.

Tell us about the intent and premise behind Another Scheme of the Wicked.

The intent was to put out a decent industrial metal record. The premise was to make it original and not your every day run of mill metal record. I think we achieved that if I may say so. The album got mixed reviews from the metal community. I knew it would, and at the end of the day I’m glad it did.

The five tracks come with another five remixes, each an interpretation of the previous quintet, was this planned from the first seeds of the release?

Not at all… That was pure luck with a sprinkle of dedication. If you would have told me this album would have those artists on it remixing our music, I would have laughed at you.invertiacoverofficial

In many ways the remixes are doppelgangers of the originals for us, though it is debateable which are the darkest and most frightening versions. Did you give free rein for the likes of Justin K. Broadrick and End.user in their take on your songs?

Absolutely…There was no way I was going to tell those guys what to do. There is no way I could have. You can’t tell Justin Broadrick or Kurt Gluck how to do their job, they just do, that’s why we chose them. That’s the element of surprise I enjoy in this art form I spoke of earlier.

It has to be admitted we have never been fans of remixes, or maybe just do not understand their function though those on Another Scheme of the Wicked have impacted far deeper than most others we have come across on our thoughts. What is it about them which inspires you and lent the idea to include them on the new release?

We are big Skinny Puppy fans and we always liked the way they remixed everything. So I guess it just comes down to demonstrating a different point of view thru a common theme. I always thought that was interesting. I think it gives an extra depth to the album when played in its entirety. The next album we may, if at all, do them separately. To be honest my thinking was it’s just cheaper for the people purchasing the album to not have to buy remixes. But this time around we will give them the choice.

I have to ask as it must happen to someone somewhere, how would you deal with a remix which you did not like and felt did not warrant a place or fitted on one of your releases?

Well, we would be pissed; we hope it would not come to that. That’s why we asked the artists we did, and of course they were very professional in sending us either a couple of versions or following up with us to make sure everything was cool.

Back to your songs; at times they seem to be alive as they ignite the imagination and emotions, feeling like they have hidden depths unrevealed to the listener. How intensively did you take sculpting and shaping the songs of the release?

We are very picky in studio. We have a simple chemistry, and it goes like this. If Tim doesn’t come out of his seat during playback of the initial arrangement, it’s not good enough and I’m back to the drawing board. That’s how I know it will ignite the imagination and emotion, because we can see it in ourselves. If it works for us it might work for the listener as well.

InvertiaWas it an on-going honing process until recording time?

Pretty much, mostly the guitars and arranging…We can bring in ideas on the spot with samples and bass parts.

How about the lyrical side of your music? Was that an intensive development and what inspires their breath predominantly?

The lyrics are inspired by just peoples wrong doing really…People’s hatred for one another and trying to get the last laugh on your own species. It’s a place I don’t like to go for too long a time. We would probably have more material if I frequented the place that inspires the lyrics more often, but it’s a creepy spot.

Tell us about the other projects you are both involved in, and were involved in a couple of the remixes on Another Scheme of the Wicked I believe?

I have another industrial project called TranZi3nT and Tim has another project call R3TRD. We use them as a break from Invertia.

What is next on the horizon of Invertia?

We just released a new single for download at http://invertia.bandcamp.com/ called Existence Exit. It won’t be on Amazon or ITunes as they called the cover “pornographic”. You can judge for yourselves.   We also a have a 7” single coming out called Forever Incision that will have a live version of Facility of the Feeble on it, which is the opening track of the debut album. That will be put out through our label Ohm Resistance, which you will be able to get at http://ohmresistance.bandcamp.com/ soon.   As for the new album we are hoping for late spring time. We are looking to play some more live shows as well. Hopefully 2015 will be a good year for Invertia!

Thanks again for chatting with us; any final thought you would like to leave us with?

Thanks Pete! It was a pleasure doing this interview, good luck to you!!!

Dave (INVERTIA)

Read the review of Another Scheme of the Wicked @ https://ringmasterreviewintroduces.wordpress.com/2014/04/10/invertia-another-scheme-of-the-wicked/

http://www.inv3rtia.com/

Pete RingMaster

The RingMaster Review 08/12/2015

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

Unforgiving the black and raw: an interview with Thorns of Kult

Thorns Pictures by Blazing Visions

Pictures by Blazing Visions

It has been six years in the coming but the return of Italian black metallers Kult with their second album Unleashed From Dismal Light has equally regained and reinforced the band’s presence and reputation as one of the rawest essential old school black metal provocateurs and ignited another fervour of passion from fans and those new to the band. With a new vocalist on board, the Como quartet has uncaged a force of sonic causticity, vitriol, and rapacious malevolence which provides the healthiest depths of satisfaction in its victims. To learn more about Kult, their new album, the long time between releases and much more we had the pleasure to talk with drummer Thorns.

Hello and thanks for talking with us at the Ringmaster ReviewCould you start by telling us about the beginnings of Kult and the origins of its members?

Kult was born in 2002 with the only purpose of playing old school Black-Metal. The band released one demo tape, 2 albums and a split EP with The Stone so far. The band had some line-up problems during the years and also some problems with personal life that forced the member to stop activities for almost 3 years in the recent past. But actually I have to say we’re finally back to stay. The actual line up is composed by:  Kacele (guitars), D.White (bass), Tumulash (vocals) and me Thorns (drums).

You mentioned that purpose which came with the band has that intent changed or evolved over time?

Nope. Nothing has changed from the beginning actually. When the band was created the guys wanted to play old school and as you can listen on the new album after more than 10 year of existence, nothing has changed, and of course I can assure nothing will change in the future as well.

Your sound is bred in raw old school black metal as you say, what have been the influences over time which has seeded inspirations?

Well, as you can imagine we’ve grew up listening to raw music so our influences are actually from that. I’m the older guy of the band so I can speak from myself telling that Darkthrone, Burzum, Gorgoroth or early Immortal were my solid basis of my youth…but well I can also speak for the guys saying they loved hell bands like Armagedda, Craft or Gorgoroth as well…and we can definitely say we can hear that from our music!

kult_unleashedfromdismallight_cover (1)You have just released your strongly anticipated second album Unleashed From Dismal Light, how has it been received from those waiting appetites?

I have to say that I never expected such a great “welcome back!” As I told before, the band had to stop for 3 long years and you know…a lot of people usually forget what it was so I truly believed a lot of people forgot about us…but I have to say I was wrong. A lot of people wrote us back saying they were happy to see we were still alive and kicking with a new album out. This was awesome for us…these kinds of things give you more energy and determination to go ahead stronger than before.

It has between six years between Unleashed From Dismal Light and debut album Winds Of War; you touched on it earlier but can you elaborate on the reasons for the long stretch of time?

Life sucks man…some of us got into some troubles with jobs, other personal issues about family…and also consider we’re not living so close (me and the other guys around 400km) so it is not easy all the time to get the right mood and be strong enough to “survive”. Sometimes you just need a break because it is too much. This is what basically happened within the band…but as you can see after all those problems were solved, the band rises back from the ashes with renewed energy and strength.

We suggested the album was not concerned in breaking down boundaries for black metal but concentrating on giving it a new and fresher toxicity and sonic pestilence to get excited about; a fair comment?

Not sure to understand exactly what you mean…but by my side I can surely tell that this new album is more powerful and direct than the first one…but if you listen carefully the music is also slower than the early composition. We actually focused on the songs, not asking ourselves what people would expect from us after a so long break. We could release a killer high speed album to get people some fresh meat to grind but we preferred going ahead completely true with ourselves, following our hearts. Mostly of the new songs are mid tempos or slow and the mood is more heavy and “pestilential” I would say. This is pure bone-breaking music, no bullshit! There are many bands out there playing fast…we’re not in the same race; we’re not looking for some medals! We’re not interested in competitions!! Do you want to get sick? Do you want to get mad? Do you want to get pain in the neck? “Unleashed From Dismal Light” might be what you’re looking for. Give it a try.

How has the creation and recording of Unleashed From Dismal Light compared to its predecessor and how would you say your sound and songwriting has evolved between the pair?

Well, to tell you the truth this album, except for some lyrics, is 3 years old. I mean we already composed it back in 2010 when we had the break. Everything was ready to be recorded shortly after but well, you already know the story. So basically I can say there is not much difference between the 2 albums except for the fact that on the second one it’s me on drums, and on the first one they had another drummer. Technically I can say the new one is more tight and powerful but musically I feel not much difference. Probably we could start noticing some years passed on new compositions but I can tell nothing about it right now.

What is the writing process with Kult?

Probably nothing exciting: the guitar player show the other guys some riffs and all of the band starts working on it. Average band modus operandi.

kult pictures by Luneth Vinönen

pictures by Luneth Vinönen

We already knew, knowing before his vocals style, that the album would have sounded completely different so we gave him the complete freedom to express himself the way he liked the most. We are friends since a long time ago so when we asked him to join the band we already had some kind of common vision of how the album should have sounded. We also downtuned the guitars/bass to give it the general mood. To be honest everything went better than expected ’cause I had an idea about the final result that Tumulash completely burned to the ground ‘cause he sung in a completely different and new way I didn’t expect from him. So yeah, today I’m more and more confident about the decision to take him on board.

Please give us some insight into the recording of the album and its raw unforgiving sound, was it as it hints at done as a live recording to achieve the rich merciless sound?

We didn’t want to record the new album in a proper studio this time…we wanted a raw approach that only someone who knows what we’re talking about can give it. So we recorded it in our rehearsal room (Beastcave Studios) with the precious help of a friend of mine that is a talented black-metal musician and sound engineer. We used our equipment and all the things we usually have in the dark room, so even if all instruments have been recorded separately like in a normal professional studio, the general mood sounds like a live recording. It is exactly what we wanted.

Lyrically the songs feel like a statement and attack on the toxicity in the world and us as people but also at times seem to carry a personal breath or essence of the writer, how much of the album is that close to the personal thoughts and experiences of the band?

Some songs come from the previous singer and have just been revisited and adapted by Tumulash, others have been written by Tumulash himself and they speak about some personal things I really don’t like to talk about. Some lines are quite clean to understand, some are more cryptic. Each listener can find his own way to decode them.

It is hard for any band to grab a spotlight when releasing an album, even a band like Kult with a strong and acclaimed pedigree from previously releases; how have you found it with Unleashed From Dismal Light especially within black metal circles?

Our previous label, French Debemur Morti Productions, did an amazing job some years ago spreading the Kult name all around and selling/trading a lot of copies as well…so well, when we recorded the new album we just sent some promos around and Folter Records was the fastest one which gave us a good offer. Actually we knew the label and the guy behind it for a long time so we quickly agreed to work together. It is always easier when you know the guys personally and there is some kind of mutual respect for each other work.

KULT_BandfotoCan we expect a full on presence from Kult from now on live and from the studio, no six years before the next release? 😉

I hope not of course! ha ha! Kult are back to stay but you know, life is full of traps and misfortune behind every corner. The only sure thing, except Death, is that we have a lot of live shows booked for the next year including some interesting festivals as well, so no time to slow down even for a bit!

Talking of those live shows is there anything planned tour wise to promote Unleashed From Dismal Light?

We discussed many times with Folter Records about a possible tour for Kult but we need to check all the details each time. It is not easy ‘cause we all have a regular job but we’ll see what we can do. For sure we’ll play as much as we can and are talking about single shows or festival appearances.

Once again many thanks for sparing time to chat with us, any last thoughts you wish to share?

Thanks for the space. Give “Unleashed From Dismal Light” a listen.

https://www.facebook.com/pages/KULT/166348940061985

Read the Unleashed From Dismal Light review @ https://ringmasterreviewintroduces.wordpress.com/2013/11/29/kult-unleashed-from-dismal-light/

Pete RingMaster

The RingMaster Review 16/12/2013

Copyright RingMaster: MyFreeCopyright

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

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Satan’s Wrath – Galloping Blasphemy

With a bio for the album proudly declaring that Greek band Satan’s Wrath were to unleash ‘relentless blasphemy, unholy sacraments of evil made by dwellers of the twilight, horrors that will make priests vomit in agony, abominations that the prophecies of old kept hidden’ and that the duo ’is the only band in the world in communication with thy master through ceremonial black magic and necromantic rituals’, not forgetting that ‘One member alone controls 13 satanic covens worldwide and organizes the most hideous sabbaths which our lord graces in the form of the black goat’, it would have been so easy to quickly move on in the expectation that all the vivid declarations was masking a weakness in the actual important part about them, the music. Luckily and very satisfyingly it is not the case, the new album Galloping Blasphemy being a ferocious blend of aural artistry and sonic imagination. Ok it is not the bestial violation it wants to be, the ultimate blasphemous outrage to decimate and destroy senses, but it is a thoroughly compelling release which over shadows the, to be honest the underwhelming and predictable attempt at being your worst nightmare.

Consisting of Tas Danazoglou (vocals, drums, bass) and Stamos K (guitars), Satan’s Wrath has produced an album which is impressive and captivating, its fresh blend of black, classic, and thrash metal with plenty of progressive essences an absorbing concoction. Black metal cored, the band remind of the likes of Impaled Nazarene, Burzum, and a little bit Slayer, though it is just part of the picture and ear catching triumphs the pair brew. The album is not flawless nor arguably openly original in its intent or sound but nevertheless captivates from start to finish with ease, with enterprise, and with unmistakable invention.

A predatory consumption of menace opens up first track Leonard Rising – Night of the Whip, the initial toxic atmosphere venomous and scarring. It is not long before the guitars are winding tightly around the senses, their acidic touch scything deeply. The sacrificial element of the song evolves into a full orgy of heated grooves, sharp air rupturing melodic invention, and guttural unforgiving vocals, the combination an ever shifting and hungry and evil magnetic companion.

Between Belial and Satan and One Thousand Goats in Sodom both bruise and ignite the senses equally, the first with its insurgent thrash rampage and arrogant malevolence and the second with an astringent weave of cutting sonics and raw melodics within a caustic energy. The musicianship on show here and throughout the album is impressive, the guitar play Stamos of alone more than worthy of a close attentive listen to the release.

Hail Tritone, Hail Lucifer, the stunning and masterful instrumental title track, and the insatiable hardcore spiced Death To Life, further let loose artistry and imagination to eagerly feast upon, whilst the corruption that is Slaves of the Inverted Cross just opens the door to further passions. The songs which make up Galloping Blasphemy from a distance are strong and easily digestible slabs of metal but it is when one delves deeper, immerses themselves in the heart of the tracks, that the real quality of the songwriting and skilled musicianship is evident. That makes for an album possibly needing more focus and work than others but it certainly gives much more back in return.

    Satan’s Wrath, the song, closes up what is a engaging and creative album in Galloping Blasphemy, a release which all black metal and extreme melodic metal fans would be making a mistake with if they did not give it definite and prolonged attention. The band may leave one unimpressed with their ‘back’ story but easily achieve the opposite with their release.

RingMaster 25/09/2012

Copyright RingMaster: MyFreeCopyright

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