Hailing from Durham City England is the almighty Winds of Genocide who just released their first record “Usurping the Throne of Disease” January 26th on Pulverised Records.  To say this new record is a non-stop tour de force of  grinding destruction is an understatement. Winds of Genocide is the best parts of  punk, crust and death melded together and “Usurping the Throne of Disease” is the best record of it’s type to be released in many years.  The sound is pure, organic and harkening back to the early days of the grind / crust scene with a  modern twist that’s all WOG. winds of genocide Church of the Necronomicon:  For those not familiar with this band, how long have you been around and is this your first record?

Kat Shevil (Vocals):  We have been around for a little while now, initially formed in early 2006 but it took us a while to assemble a full line up which didn’t happen until later 2009. This is our first full length album but we have already had one self released EP (“The Arrival Of Apokalyptic Armageddon” – 2010) and a split CD with Japanese blackthrash legends Abigail (“Satanik Apokalyptic Kamikaze Kommandos” – Witchhammer Productions, 2012) available and doing the rounds for quite some time.

Church of the Necronomicon:  What’s the local scene like where you live?  Who are the bands of that scene we should know about?

Kat Shevil (Vocals):  The local extreme music scene here in the North East of England is very vibrant and cool right now, probably the best it has been for years with a good mix of bands, some cool places to play, a good friendly vibe overall. Some local bands I would recommend you to check out are Live Burial (Death/Doom for fans of Asphyx, Autopsy, Obituary etc), Fed To The Boars (Raging Swedeath fuelled Death/Grind), Plague Rider (old school technical death metal), Control (Old school HC), My Rules (Old school HC featuring ex members of local HC legends Voorhees and 30 Seconds To Armageddon), some local bands that are closely affililated to us and who feature members of Winds of Genocide are Uncoffined (Doom Metal Of Death),  Horrified (old school death metal), Cholera (Grind), Geist (Sludge/HC), Lucifer’s Chalice (Sinister Heavy Metal Darkness), Prolefeed (Powerviolence/Punk).

Church of the Necronomicon:  The band has an intense, aggressive sound.  What are the live shows like, are they crazy?

Kat Shevil (Vocals):  You will get 30-40 minutes of PURE FUCKING AURAL ARMAGEDDON!!!!! Our live shows are loud, raw, aggressive and at times rather chaotic, not for those with sensitive ears!!!!.

Church of the Necronomicon:  How did the deal happen between you and your record label, Pulverised?  Did you do a standard demo submission?

Kat Shevil (Vocals):  I had been doing a couple features on some Pulverised bands for the Terrorizer Magazine website during 2011 and was already in contact with Roy Yeo, the label manager, because of that so one day I figured I would send him a copy of our debut EP via MP3s. He really liked what he heard, he liked our style and approach and said he was interested in signing us and so made us an offer that we couldn’t refuse and thus gratefully accepted! So it was definetly a case of us approaching him first and making the label aware of our existence and music.  I’d been following the labels activities for quite some time before the deal was offered to us.

Church of the Necronomicon:  If I said Winds of Genocide had a real Napalm Death sound would you agree with that or disagree?

Kat Shevil (Vocals):  I would be inclined to agree with that to a certain extent, there is definetly similarities, and quite a few people have likened my vocals to a female version of Barney Greenway, someone once said we sounded like Wolfbrigade  with Barney Greenway or Kam Lee on vocals!! Someone else said we sound “Kind of Detestation/Anti-Cimex/Wolfpack meets Entombed/Bolt Thrower/Autopsy with Barney Greenway or Kam Lee on vocals”!!.. That’ll do me!!! I guess we have quite a few of the same influences overall.

Church of the Necronomicon:  In fact, what’s everyone’s background musically because Winds of Genocide has a diverse sound ranging from death metal (“Into the Darkness of Eternal Winter”) to crust and grind (“Venomous Warfare” and “Till Graven”) to even old school punk (“Deathstrike of the Scythe”).

Kat Shevil (Vocals):  My background is a mix of extreme metal and HC/Punk, my ex bands played death metal and doom metal but I was introduced to the HC/crust/punk scene at a very early age due to my younger brother playing in some local HC and Crust bands, so I have been into and around both extreme metal and HC/Crust Punk since the early 90’s and have listened to both metal and punk equally ever since, same goes for Glynn our guitarist, for as long as I’ve known him which is about 20 years he has been the same as myself, listening to a lot of death/thrash/doom/extreme metal and a lot of HC/Crust/Punk, his musical background is in HC and powerviolence, Dan our bassist has a rather eclectic musical background but again listens to a lot of punk aswell as metal, he goes from Crass to Darkthrone via Autopsy! Ian our drummer is from a HC/Grind background musically but he likes quite abit of death metal and some crustpunk so we are all on the same page overall. Linus our ex / original drummer was the same too!.

Church of the Necronomicon:  It seems like the songwriting process might be a little different for a grind / crust band than say death or black metal.  Where do the song ideas come from creatively and how long does it take to write?

Kat Shevil (Vocals):  Well our songwriting ideas and creativity stems from so many different angles, we have a lot in common with death metal and black metal song structure wise as we use a lot of verse-chorus type structures which can be found in all types of metal aswell as punk. Ideas can be born individually or in a rehearsal room as a group unit. As for how long it takes to write a song, that depends, each song comes together different, some faster than others. It takes as long as it takes to ultimately finish and refine each individual song from it’s initial inception to being completed. OLYMPUS DIGITAL CAMERA Church of the Necronomicon:  “Usurping the Throne of Disease” has a prominent apocalyptic theme running through it, a very bleak world view. Can you expand on this, are there maybe religious / environmental / political viewpoints coming through on this record?

Kat Shevil (Vocals):  My lyrics are definetly very apocalyptic, dark and bleak but such lyrical themes have been ongoing in the band since the first ever songs were concieved. The lyrics on the album deal with the apocalypse, doomsday scenarios, armageddon, the extinction of mankind, chemical warfare, atrocities in war. The song “Mass Graves Of The Innocent” is about as political as I get on the album, the song deals with the subject of horrific warcrimes/genocide both past and present, the lines “Warcrimes of the most vile kind….sickening acts of inhumanity” sum up where that song is coming from lyrically. The rest of the album deals with pure BLOOD, FIRE, DEATH! Some scenario’s in my lyrics being more realistic than others but all of them covering apocalyptic, dark, grim, bleak subjects.

Church of the Necronomicon:  How did you get Mark Riddick to do the artwork for the record?

Kat Shevil (Vocals):  I contacted him via facebook asked him if he’d be interested in designing our album cover and to give me a quote, he got back to me with a very reasonable quote and the rest as they say is history! Simple as that! He was/is VERY approachable.

winds of gen

Church of the Necronomicon:  What are the tour plans for 2015 in support of “Usurping the Throne of Disease?”

Kat Shevil (Vocals):  No tours as such just some gigs here and there at the moment but we will see if any interesting offers or invites come our way, it would be great to play some gigs outside of the UK. C

hurch of the Necronomicon:  Is there anything I didn’t ask that you’d like to include here?

Kat Shevil (Vocals):  You seemed to cover quite abit! But heres some trivia. Robert Pehrsson from Death Breath does a guest guitar solo on the album, he works in the same building as the studio in Solna/Stockholm where the vocal tracking/mixing was done, it was Fred (Estby’s) idea to get him in to do a guest solo and it sounds killer, Fred who did the vocal tracking/mixing also did some guest vocals on the album in the track “Millions Lie Slaughtered”, he does a pretty good Chris Reifert impersonation!


By Theron Moore

Vulvectomy refers to a gynecological procedure in which the vulva is partly or completely removed. The procedure is usually performed as a last resort in certain cases of cancer, vulvar dysplasia, vulvar intraepithelial neoplasia, human papillomavirus or female genital mutilation. It’s also the name of a crushing, slam death metal band hailing from Bari/Rome Italy that have released three putrified, gory death metal masterpieces — “Post Abortion Slut Fuck,” “Putrescent Clitoral Fermentation” and “Syphillic Dismembered Slut.” If you’re fans of Abominable Putridity, Cerebral Effusion, Extirpating the Infected and Gortuary you’ll dig Vulvectomy.  Heavy, heavy death metal not for the faint of heart.


Church of the Necronomicon:  Do you think there’s any band out there that’s more extreme or disturbing than Vulvectomy?  Would you say you’re a few steps beyond Mortician shock-wise?

Diego Fanelli (Vocals) — Well, I don’t take music as a competence, and obviously there’s always someone better, extreme or faster than you, it’s the life,  we simply try to do what we like more in the best way we can and we’r very glad if someone else enjoy our stuff.  And about Mortician…I don’t know…but  for sure they’r one of our influences and it’s an honor for us to read our band name close to their.

Church of the Necronomicon:  Who was doing the sobbing right before tearing into “Molesting Dislimbed Whore?”  That was disturbing to say the least.

Diego Fanelli (Vocals) — We locked my younger sister in our basement…for one week or two…..

Church of the Necronomicon:  Vulvectomy is a surgical procedure commonly performed in certain cases of female genital mutilation.  I’m sensing a trend here with women especially since your last record was entitled “Post Abortion Slut Fuck.”  Care to elaborate or am I connecting to many dots?

Diego Fanelli (Vocals) — Yes you’r right in this case, but we’ve also songs for our male friends, if you know what I mean

Church of the Necronomicon:  Who did the artwork for “Post Abortion Slut Fuck?”  It’s pretty wicked.

Diego Fanelli (Vocals) — The artwork for “PASF” album has been draw by Matt Auer aka Mottla…he’s really a cool guy and a sick artist

Church of the Necronomicon:  I have to ask this question.  Where do the inspiration for the song titles and lyrics come from?  For example, “Molesting Dislimbed Whore” from “Syphillic Dismembered Slut.”  Is it horror movies, books, etc?

Diego Fanelli (Vocals) — The inspiration for the Lyrics, title songs and graphic, came out from our passion for horror movies, strange pathologies and pornography mixed with a little macabre sense of humor.

Church of the Necronomicon:  Has there been any backlash locally or from women’s groups regarding the band’s music or artwork?

Diego Fanelli (Vocals) — We don’t had much problems during our band existence, because normally people know that it’s music, and don’t take it to seriously… just one time a woman wrote us asking why we chose this name for the band and that this was a bad taste chose (she had a vulvectomy) etc etc…so we explained her we’r a brutal death metal band, it’s music…we’r sorry for her health but…she thinks very bad if she thinks we r bad people…and then there are thousands of scary bands names…and this it doesn’t means that their bands members are serial killers or bad guys…….

vulvectomy band photo

Church of the Necronomicon:  Where’s the band based out of?

Diego Fanelli (Vocals) — The band is based out in Italy, between Rome (Mario) and Bari (me and Giorgio).

Church of the Necronomicon:  Has the band had a chance to tour nationally?

Diego Fanelli (Vocals) — We’ve played some shows here in Italy but we prefer to play in Europe and Usa where there are more supporters and better organization, obviously with some exception

Church of the Necronomicon:  What major bands has Vulvectomy opened up for?

Diego Fanelli (Vocals) — We had the opportunity to play at very important fest and with many great bands, just to name some Criptopsy, Suffocation, Obituary,  Cattle decapitation,  Decrepit birth C

hurch of the Necronomicon:  Has there been any label interest?

Diego Fanelli (Vocals) — All ours 3 albums have been recorded with the help of 2 underground labels. The 1st one “putrescent clitoral fermentation” under amputated vein. “post abortion slut fuck” and “abusing dismembered beauties” under Sevared records.

Church of the Necronomicon:  What does 2015 hold for Vulvectomy?

Diego Fanelli (Vocals) — We’re planning our 1st European tour..we’ve played many shows and fest here and there, but this will be a complete tour and we’ll try to reach some places where we’ve never been before…and who know maybe a new recording also…

By Theron Moore

On the radar, another band to watch out for, Nuclear Omnicide.  Thrash, speed metal, old school, metal, tearin’ it up, dig this band! Members: Benny Raivio – Vox Alex Anttila – Drums Mikael Ignatius – Guitar Kasper Koutonen – Guitar Simo Perkiömäki – Bass Genre: Old school Deathrash Hometown: Kirkkonummi, Finland nuclear omnicide group photo Church of the Necronomicon:  Why does this new crop of “retro thrash” bands “get it,” in terms of the sound and the intensity while some of the older trail blazing bands seem like they don’t?  Is it a matter of youth versus age?

Benny Raivio:  I think the “problem” is that the older bands want to progress towards this more modern sound, which to them probably sounds better from a technical standpoint to what they did in the 80’s. Whereas us, and many other new thrash bands, prefer the gritty old-school sound over the clean modern “over produced” sound. Not only because we think it sounds cooler, but also because 95% of all metal bands nowadays sound the same sound wise, and we like to have a bit of personality in our drums and guitars etc.  

Church of the Necronomicon:  What, if anything, is missing from today’s modern metal scene?  From my perspective it seems like the element of “fun” might be one thing.  You guys and a lot of the other old school inspired bands really seem to be enjoying the music you’re doing.

Benny Raivio:  We most certainly love doing this, and for us it’s fun as shit. But I agree that sometimes people take stuff too seriously when it comes to metal, and I could almost call the scene divided nowadays. It seems you either have to be mainstream or really old-school to find a larger acceptance. And sometimes I feel we’re sort of in the middle, not being “safe” enough for the mainstream, and not being “true” enough for the elitist old-school snobs. But we don’t really mind, we’ll keep doing what we do and hope for the best.

Church of the Necronomicon:  Coming together as a band initially, what was the turning point when you all decided to take this musical direction and kind of adopt this old school thrash sound, which is great by the way!

Benny Raivio:  I don’t think there ever was a turning point for us. We set out to play thrash from the beginning, ‘cos that’s what we all listened to and wanted to play, so we stuck to that. C

hurch of the Necronomicon:  Who are some of the old school bands you admire that had a hand in shaping your sound?

Benny Raivio:  Holy shit man, there are soooo many bands! I can try to list some that come to mind: Sepultura, Dark Angel, Death, Morbid Angel, D.R.I., Nuclear Assault, Demolition Hammer, Exhorder, Cannibal Corpse, Discharge, Vio-lence etc… Fuck dude, the list goes on and on and on…  

Church of the Necronomicon:  What do metal fans need to know about Nuclear Omnicide here in the states that maybe we aren’t privy to since you’re overseas?

Benny Raivio:  I don’t think there’s much to know, we’re just five normal dudes who like to play, drink booze and have fun!

Church of the Necronomicon:  “Bringers of Disease” is a great EP.  Musically where does the inspiration come from?  Is it pop culture, movies, music, etc.? nuke omnicide Benny Raivio:  Our musical inspiration usually comes from other music. But lyrically we draw inspiration from movies, literature, and often just real life.

Church of the Necronomicon:  Where can metal fans find Nuclear Omnicide?  I know you have a facebook page, are you on band camp?

Benny Raivio:  Right now we’re mainly active on facebook, but we’re probably gonna expand to other social media sites in the near future. As for finding our music, I would say the best place is youtube. Although “Bringers of Disease” is also available on spotify and itunes.

Church of the Necronomicon:  What’s the metal scene like in Finland?  What bands are you recommending?  Lost Society would definitely be one…

Benny Raivio:  I would say the scene is great, but there’s definitely room for improvement. The gap between bands and venues is huge, when it comes to booking gigs. It’s hard to get to play even “medium” size stages, such as clubs and what not, as they usually only book bigger bands. So you have to “break” somewhat, to even get to play comfortable stages instead of super small bar gigs. But there are still a ton of great bands, my favorites being Devenial Verdict, Pit Messiah, Decibel Hammer and Foreseen, to name a few.

Church of the Necronomicon:  We hear a lot about how European shows are crazier and better attended than those in the stateside here.  What’s a typical gig like?  What’s the average crowd size?

Benny Raivio:  Wow, that REALLY depends. Are you playing a big or a small venue? Is it a Friday or a Tuesday? Are there Many other bands playing? Is the venue/band charging a lot for tickets? Those are all factors. All in all it’s good, but sometimes the threshold for people to even show up is too high.

Church of the Necronomicon:  Has there been any interest from a larger label like Metal Blade, etc., to sign the band?

Benny Raivio:  Not that we know of, haha! But hopefully someday someone will show up at a gig and like what he/she sees. That would be awesome! nuke om Church of the Necronomicon:  Are you all full time musicians or do you work day jobs?  If so, what day jobs do you guys work?

Benny Raivio:  We all have jobs and/or school at the moment. I myself work at the info desk of a school, while attending another school. Our guitarist Kappe works IT-support, while our other guitarist Igi plows snow. Allu works as a chef when he’s not assaulting his drumkit. And Simo is studying audio engineering, if I’m not mistaken. So yeah, we have a lot on our plate right now, but music always comes first!

Church of the Necronomicon:  What are the touring / recording plans for 2015?

Benny Raivio:  We’ve booked a couple of gigs at the start of the year, but nothing major yet. And when it comes to new material, we’re actually hitting the studio in the end of February to record a 4-5 track demo/EP. So stay tuned about that!

Church of the Necronomicon:  What other information do you want to include that I didn’t cover?

Benny Raivio:  I can’t think of anything I’d like to add, other than thank you for the interview and stay metal!

By Theron Moore

Charles Vick Duncan is about as outlaw and rebel as you get. He’s somewhat of a cult figure around the Albuquerque arts and indie movie scene having written, directed and produced flicks such as “Nazi Apocalypse” and more recently “Revenge Of Bathsalts: A Manson Musicalthat premiered at Albuquerque’s own Guild Cinema.

What makes him stand out is the fact that he’s done all of this often in the face of adversity, growing up gutter punk and having been homeless in the last few years.  But has that deterred him?  Hasn’t phased him.  In addition to all this he’s also produced a graphic novel and over a thousand unique pieces of art in the last ten years.

Meet Charles Vick Duncan, aka, Vick…


Church of the Necronomicon:  Tell me about the new movie “Revenge of the Bath Salts:  A Manson Musical.”  What’s it about?

Charles Vick Duncan:   Well, after I left Troma from working on Return To Class Of Nuke ‘Em High with Lloyd Kaufman I stopped in Dayton, Ohio, and some friends of mine and I decided to make a short film: Vick’s Vacation Dayton Style.

Shortly after that I had so much fun doing an improv short I came up with the concept of doing a musical in the same manner. I decided it would be fun to make a film where nothing was written except the songs, hence Bathsalts The Musical.

Flash forward to now, I basically did the same thing again except I was turned on to The Beatles movie Across The Universe. The whole time I was watching it I thought to myself “Man, this would be great if it wasn’t Beatles music and it had a better conflict than Vietnam which is pretty out of date.”

Well, the next day I was listening to some Charles Manson songs and it just hit me like a ton of bricks. Anyway, before I drag on too much, Revenge Of Bathsalts: A Manson Musical starts from where the last film left off: our hero me is a bathsalt-addicted bum living a shitty life post the first film and dealing with thae same shit.

Think Jesus Christ Super Star meets the Texas Chainsaw Massacre while John Waters masterbates in the corner, or Across The Universe if The Beatles were Charles Manson and Vietnam was bathsalts.


Church of the Necronomicon:  How long did it take to shoot?

Charles Vick Duncan:   Not too long; we lost a lot of footage but I’m pretty sure we filmed the whole thing in eight days of actual filming but over probably a month and a half, and maybe a month post. We were trying to get the feel of the first film: little planning and just going with it.

Church of the Necronomicon:  Has “Revenge of the Bath Salts:  A Manson Musical” had it’s premiere yet?

Charles Vick Duncan:   We will be premiering this month (January 16th & 17th) at The Guild Cinema in Albuquerque, New Mexico. It’s a double feature with Giussepe Makes A Movie.

We also will be showing Revenge Of Bathsalts on Bizarre TV which you can find on Roku players or you can visit there sites:

Church of the Necronomicon:  Are you taking the Herschell Gordon Lewis route to filmmaking where you just show up somewhere and shoot or do you get permits, etc?

Charles Vick Duncan:   I totally live by guerilla filmmaking! I have tattoos on my face so people don’t really take me seriously or trust me too much to try and to B.S. with that shit.

Usually I’ll just get a crew together and we hit the streets or mob a bar, etc. The cops and most people don’t know what to think so they don’t really know how to punish us. In the end they just tell us to leave but the damage is done and the footage is also done.

Church of the Necronomicon:  For those not familiar with Albuquerque is it a town that embraces it’s local artists whether they’re filmmakers, writers, etc., or do you have to be “in the club” to get any kind of recognition or exposure for what you do?

Charles Vick Duncan:   Well, Albuquerque is great and I do have a large cult following; I get recognized all the time or drinks bought for me at the bar. At the same time a lot of people think I’m just a crazy bum with delusions of grandeur.

They don’t even believe I actually make films and are kinda shocked when some one explains to them I’m not crazy and I actually do art and make films.

Church of the Necronomicon:  I met you at an Albuquerque Comic Con a few years back.  Your booth was right next to Troma’s booth and Lloyd Kaufman was there.  Did you guys talk, did he give you good advice on filmmaking,etc?

Charles Vick Duncan:   Lloyd’s great! Actually, I was helping with the Troma booth, too, under Kurly of Burning Paradise Video; he was in Stink Of Flesh.

Lloyd was starting to look for people to work on his newest film Return To Class Of Nuke Em High, a sequel to his first film Class Of Nuke Em High, so when they actually started I rolled up to Buffalo and acted as pre-production art director and all round handyman for pre-production.

I didn’t vibe on it too well because of constant power shifts. Uncle Lloyd from the conventions and slave driver Lloyd on a set are two different things, but I do love the guy. He was great to work with but the sets are always random, constantly changing, and if Lloyd gets an idea he’s usually pretty set in stone.

Everyone lived in fear of losing their jobs or getting demoted, but honestly I don’t blame the guy for having a no B.S. policy. He was wrangling a bunch of teenagers and twenty something’s to make a film. It’s hard enough just to make a movie, a lot of people don’t realize that, but it did take its toll.


Church of the Necronomicon:  What titles are available?

Charles Vick Duncan:   NAZI APOCALYPSE








Church of the Necronomicon:  Where can people find your movies?

Charles Vick Duncan:   Pretty much everthing I have now is online:

Or bootlegs of double features you can buy cheap, $5 a pop. Contact me at

Church of the Necronomicon:  What role does punk rock or music in general play in writing a script and shooting a movie?

Charles Vick Duncan:   I love punk rock! I grew up on The Misfits, The Cramps, Butthole Surfers, The Dead Milkmen, Upside Down Cross, Dayglo Abortions, Necrophagia…

I’m also a huge fan of the punk rock cinema movement of under ground filmmaking. It’s a cheap acceptable way for any person to be able to reach any one else medium, which is great.

I grew up as a gutter punk, I was on the street at a very young age, so I’ve always listened to punk and I’m sure a lot of people just think I’m a punk rocker… shit, it seems like these days I listen to eighties music like Pet Shop Boys and Duran Duran more than Dropkick Murphys and Bad Religion.

cvd bath salts photo

Church of the Necronomicon:  What got you into filmmaking?

Charles Vick Duncan:   When I was growing up my mom always would watch a lot of foreign films and not really restrict or censor things, so I saw a lot of weird shit, things like Delicatessen and The Cook, The Thief, His Wife, And Her Lover, but besides weird shit my mom would just watch a lot of movies constantly, so I just became a fan of deconstructing them and trying to figure out special effects, which I found especially intriguing. I always wanted to make a movie, so in 2012, after I made a graphic novel

out of a script idea I had tossed out years earlier I decided to make it into a film. I started making props and just went from there. I haven’t looked back since.

Church of the Necronomicon:  Has there been any outside interest with maybe an indie production company wanting to finance any of your projects?

Charles Vick Duncan:   Honestly, not really; I have worked with Raveyard

( )

in the past; they actually want to come out with a VHS copy of Gutter Punk Massacre as well as DVDs of us and they have contributed a lot of music, including the music to the intro to GPM.

But it’s a more casual collaboration than business deal.

Church of the Necronomicon:  You also paint.  Tell me about your paintings and where does your inspiration come from when you’re in front of a canvas.

Charles Vick Duncan:   Well, you can look at my past art projects on my Deviant art account.

As far as inspiration, I love horror movies, just love the shit out of them and horror culture, so I draw a lot on that for inspiration. I also enjoy zines and graphic novels. I started painting when I was young and homeless.

I found some paint while dumpster diving in L.A. so I grabbed some card board and started fucking around with it. I was doing it to give to people for donations and it just kinda stuck with me; I started using real paint and brushes, but honestly I still finger paint for the most part. Hell, most of the time I still use cardboard because, well, it’s cheap and it’s everywhere.

Church of the Necronomicon:  Where can people buy your paintings?

Charles Vick Duncan:   Feel free to check my page for updated art or inquire about commissions (I do ’em cheap!). Contact me at

Church of the Necronomicon:  What didn’t I cover that you’d like to include?

Charles Vick Duncan:   Well, honestly I can’t think of anything else, but here are some links for people to find my stuff:

Founded:  2013

Genre:  Technical Death Metal

Band Members:

Cantídio Fontes Eduardo Polidori Igor Dornelles Israel Savaris

Hometown:  Porto Alegre

Influences:  Psyopus Viraemia Abnormality Fields of Elysium Rings of Saturn Psycophagist Guttural Secrete

bloody violence band photo

Church of the Necronomicon:  Bring us up to speed on how long Bloody Violence has been around and what records are available.  I noticed you don’t have anything posted on iTunes yet.

Igor Dornelles / Bloody Violence:  We have one year and a half since the formation of the band and we have an EP with 3 songs and we are realising this february our full which is called ‘Divine Vermifuge’ with 8 new songs, also we have done 1 music video from this  album already that can be found in our youtube channel:

We posted our music in soundcloud and bandcamp as well. and

Church of the Necronomicon:  What’s the Brazilian metal scene like right now?  Sepultura and Ratos de Parao seem to be the bigger bands people know about here stateside.  Who else do we need to know about?

Igor Dornelles / Bloody Violence:  The metal scene in Brazil could be better, the public is scarce and as metal subdivides the public gets even more scarce for some type of concerts. We always find some metalheads that are always present and accountable in the concerts, but overall the scene isn’t growing the way we would like.

            Brazil has a lot of great bands to be noticed, some of them: Krisiun, Angra, Hibria, Krow, Ayin, Exterminate, Supersonic Brewer, The Jokke, Spleenful, Charlar, Red Crow Mystical Dog, Dying Breed, Decimator, Space Guerrilla, Finally Doomsday and a bunch of others that I forgot right now.

Church of the Necronomicon:  Have you opened shows for any American metal touring bands?

Igor Dornelles / Bloody Violence:  We have opened for Nile in December of 2013. It was a memorable night. Opening for one of the bands that inspired us. We are looking forward to open to other american bands as well. Let’s hope that 2015 and the years to come we let us do that more.

Church of the Necronomicon:  Do you  remember at what point in time you decided death metal was the musical route you wanted to take starting a band?  Was it a particular band or record?

Igor Dornelles / Bloody Violence:  Playing death metal was a natural evolution for me ( Igor ) that began as soon as I started playing guitar. I realized that the music from the bands I used to listen were extremely complex and this feeling gave me the will to play them at any cost! I started listening to death metal with Morbid Angel ( Covenant ) and Cannibal Corpse ( Vile ) at the time with 16 years old and I never stoped.

Church of the Necronomicon:  What’s the US response  been to Bloody Violence via social media?  Are you reaching people, conversing, etc?

Igor Dornelles / Bloody Violence:  We could get in touch with some people through facebook and Bandcamp that found out our band and bought our EPs. The acceptance was really nice and the people we met were really great. Unfortunatelly we don’t know a lot of people in US yet.

Church of the Necronomicon:  Bloody Violence is described as technical death metal.  For those of us who haven’t heard you, what bands would you compare yourself to that convey the vibe and direction of your band?

Igor Dornelles / Bloody Violence:  Our sound was inspired by Viraemia, Psyopus, Cannibal Corpse, Dying Fetus, Rings of Saturn and Nile. So you can probably find something near these bands, but we try to keep original in our own way.

Church of the Necronomicon:  Is the band planning on doing a demo or full length record that we can find on say band camp or iTunes?

Igor Dornelles / Bloody Violence:  We have already our EP ‘Obliterate’ on Bandcamp. You can reach us at: and you can name your price. We intend to release some musics or even the entire album ( Divine Vermifuge) in bandcamp as well.

bloody violence

Church of the Necronomicon:  In terms of the writing process, where does the inspiration come from?  Is it movies, books, etc?

Igor Dornelles / Bloody Violence:  It depends. For instance in our first Ep ( Obliterate ) we kind of expose the bad side of the human mind. It was based on some cases that happened to some people that we know. But in our first full ( Divine Vermifuge ) which is to be release feb/2015, some songs were inspired in the Fukushima disaster and other radiation disaster as Chernobyl, we have some UFO cases related to radiation as well as an inspiration for other two songs. In general I love reading and in one way or another I take and mold my writing based on that. And I love writing songs that resemble stories through a view of a character in it.

Church of the Necronomicon:  What does 2015 hold for the band?  What are your plans?

Igor Dornelles / Bloody Violence:  This year we will release our first full album ( Divine Vermifuge ). We intend to record another music video as well, we are studying the best way to do that yet. We are keeping in touch with some contacts in Europe and studying the viability of some concerts for there. And a lot of concerts in Brazil as well.

Church of the Necronomicon:  Here’s your opportunity to talk about anything we haven’t already.  What other information do you want to convey to us?

Igor Dornelles / Bloody Violence:  First of all we would like to thank you for the interest in our Band. It’s really awesome to see this kind of aprouch. So if anyone is interested in our band, you can get in touch and get our material with us in our facebook page, bandcamp, soundcloud or youtube channel. Thanks very much once more.


The Revenant King

Metal Blade Records

visigoth album cover

“The Revenant King” is nine rockin’ tracks of pure fantasy metal that evoke movies like “Krull,” “Hawk the Slayer,” “Conan the Barbarian” and “The Sword and the Sorcerer.”   The only thing missing from this record is a d20.

If you’re thinking power metal that’s not happening here.  Visigoth is straight up metal with more of a nod to Cirith Ungol than Manowar.   Musically speaking the record is good, it definitely stands out with it’s overt fantasy theme and a sound that takes me back to the early to mid 80’s.

This is going to appeal to fans who are into fantasy and gaming, it’s right up their alley.  To everyone else “The Revenant King” might have to grow on them.  All in all it’s a good, solid piece of metal I’d recommend.

Vivus Humare



vivus humare

Einkehr is five songs of black metal doominess encapsulated in varying states of atmospheric dreamscape ranging from the nightmarish — “Der Schmerz Weckt” & “Auf Morgendlichen Pfaden” — to the unsettling — “In Eos’ Antlitz” & “Abstieg In Die Tife” only to be shat out and born of pain with the final track “Traum.”

VIVUS HUMARE feature in their ranks members of Mosaic and an ex-member of now defunct Alchemyst which explains the bleak nature of this record.  The only thing running through my head as I listened to this record was this simple phrase — “All hope is lost now” which for me summed up the vibe of “Einkehr,” gloomy and full of despair.

But did I like it?  Very much.  Darkness is a good thing to embrace.  “Einkehr” will fill any void inside you with more void.  Buy this record immediately.

Violent Hammer

More Victims

2014 Demo

violent hammer

Holy hell, you gotta be kidding me!  Six tracks of ferocious punk / grind, black metal brutality with just a hint of Hellhammer thrown in for good measure.  “Victims of War” opens this demo and just rips you apart.  Listening to “More Victims” is like walking into a cave not knowing there’s a bear inside and getting torn limb from limb.

Impending doom and apocalypse runs rampant through this demo and well it should.  This is the soundtrack to the end of the world with songs like “Victims of War,” “Extinction (Nuclear War),” “Craving for Flesh,” “Black Death” and “Life after Nuclear Genocide.”

Go to Facebook and check these guys out, then go to bandcamp and buy this demo.  NOW.


Orange Goblin

Back from the Abyss

Candlelight Records

orange goblin

I like everything about this record, there’s not a single thing wrong with it except that it doesn’t come with a pack of rolled joints.  It’s 12 tracks of righteous boogie down, stoner rock.  Track three even finds the band moving in a Motorhead type direction with “The Devil’s Whip.”

“Back from the Abyss” is probably the finest honed record Orange Goblin has put out from a production stand point.  Musically, vocally, every track is spot on tight showcasing how much this band has grown and evolved since issuing “Time Travelling Blues” in 1999.

Musically the big guitars and sheer wall of sound that Orange Goblin are known for are still here just finer tuned and better focused.  I feel like with this record the OG have found their identity as a rock band and aren’t trying to convince you they’re stoner rock, their sound and songs do that for them when and where needed.

“Back from the Abyss” also finds the band covering a lot of ground sound-wise ranging from a 70’s English bluesy groove (“Heavy Lies The Crown”) to stoner (“Sabbath Hex”) to straight up metal (“Bloodzilla”) showcasing their diversity as a band.

There’s also the occasional hint of contemporary peer bands like Fu Manchu, Trouble, Monster Magnet and Clutch running through this record giving “Back from the Abyss” that added extra punch taking this record over the top.  Buy this record, buy it now.  It’s good rock N roll, it’s Orange Goblin at their very best.

Putrid Offal

Mature Necropsy

Kaotoxin Records

putrid offal record cover

Good old fashioned, blood dripping, decomposing death metal.  “Mature Necropsy” is the first full length record in 25 years by Putrid Offal and no shit, this band sounds tighter and heavier than ever with maybe a vibe of Carcass meets Deicide meets Necrophobic coming through which isn’t a bad thing by any means.

As with most death metal you expect a lot of blast beats and such but Putrid Offal kill it with songs that change up musically and vocals that perfectly match each song which by the way are kept short and to the point.

Heavy as fuck and grindy at times.  You can’t go wrong with music like this.   Buy the record!

Hateful Abandon

Liars / Bastards

Candlelight Records


I’ve heard “Liars / Bastards” described as post punk and I definitely get that (witness track 1 “Maze of Bastards” or track 6 “There Will Never Be Peace”) but it also has a distinct post modern, semi futuristic feel to it (track 2 “Culprit,” track 4 “test” and track 7 “December”), so what are we talking about then, what is this?  Simply put it’s raw, abrasive industrial rock ala Godflesh meets Frontline Assembly with an updated, unique sound that’s ALL Hateful Abandon.

“Liars / Bastards” is a return to form with a style of music that found a home in the late 80’s early 90’s but kinda dropped out of sight between the rise of grunge and the last gasp of metal.  Thankfully Hateful Abandon has resurrected that which once was industrial rock and done it justice with their treatment and interpretation of what it should sound like in 2015 — a Kafka-esque soundtrack to either “The Trial” or “The Metamorphosis” (or both) with maybe a hint of German influenced BDSM thrown in for good measure.

Hateful Abandon have created a truly bleak, mechanized landscape with “Liars / Bastards” through seven tracks of unrelenting synth driven, guitar pounding, industrial beats sure to satisfy fans of Fear Factory to Killing Joke.  If this is what the future looks like for industrial rock, bring it on.  Buy this record now!


Devourer of Worlds

Self Released


ARA, who play a complicated style of death metal hail from Milwaukee that has a long and storied death metal scene going all the way back to Koshick’s legendary metalfest and bands like Dr. Shrinker, Viogression and Morta Skuld, so the bar is set high, question is, did they make it?

The answer is a resounding yes.  “Devourer of Worlds” is ten tracks of what I would describe as a semi-math style of death metal but way more balls out and heavy as hell.  ARA takes a lot of chances musically with different time changes and chord structures but pull it off without a hitch.  Check them out via the links below:


L’aorasie des spectres rêveurs



Such longing, mournful cries resonate from this band and this 4 track EP, “L’aorasie des spectres rêveurs,” emotive black metal at it’s saddest pinnacle.  You can’t help but get caught up in the musical depression that is L’aorasie des spectres rêveurs,” but in a good way.

The music, the lyrics connect with you instantly.  You want to know more regarding the pity and remorse, and from whose soul it comes from and why.  The somber tone of this record builds from beginning until end with each song getting deeper, going darker until the fourth and final song, “Cantilene Celeste,” the perfect soundtrack to either a funeral or vampire wedding, either way a celebration of the absence of light and life.

Gothic, dark, dreary and depressing.  Everything celebratory of “The Void.”  Buy this record immediately.

Heaving Earth

Denouncing the Holy Throne

Lavadome Productions

heaving earth art

Of the pits of hell, birthed by the demonic and baptized in the lake of burning fire comes Heaving Earth with ” Denouncing the Holy Throne,” 12 nails in the coffin of all that is holy.

I love everything about this record.  The music is right on, the vocals nail it and the production is tight as fuck.  The music allow itself to change up as needed.  We get the speed and blast beats with “Doomed Before Inception” and the plodding, grinding of both “I Am Nothing” and “Worms of Rusted Congregation.”  This is well thought out, heavier than thou death metal, the way it should be, not constrained by anything.

Heaving Earth is a band to watch which excites me that this next generation of death metal is already out there, scratching and clawing, ready to take over and HE is right there at the top of the heap.  Buy “Denouncing the Holy Throne,” you won’t regret it.


“From The Very Depths”

Spinefarm Records

Layout 1

You gotta be kiddin’ me…The MIGHTY Venom, who are right up there with MOTORHEAD as one of the greatest rock / metal bands ever return with “From The Very Depths” and absolutely rip your scalp off with this thing.

“Grinding Teeth,” “From The Very Depths” and “The Death of Rock N Roll,” are classic, on fire fucking Venom at their very best and I guarantee you, these songs will be ranked up there with the likes of “Welcome to Hell,” “Black Metal” and “Warhead.”

“From The Very Depths” is Venom getting back to basics and doing what’s worked for them and not screwing around.  And for those wondering if Cronos still has the lungs to crush with he does.

“Long Haired Punks” isn’t just an ode to punk rock, it’s a battle song for every metalhead with a jean jacket covered in band patches and metal studs.  It’s how we live our lives and it’s Cronos at his pissed off, angriest on this record.

This is a must buy and officially on my best of 2015 list and ta fuck that it’s only January, it made the grade.  Venom rules.  Don’t be a poser, buy “From The Very Depths” ASAP.

This is Part 2 in a continuing series of interviews documenting the Rockford Illinois music scene for an upcoming book currently in production…

By Theron Moore

My first exposure to Cheap Trick was my cousin holding up the “Dream Police” record he unwrapped on Christmas eve 1979 if I remember right.  It wasn’t long after I saw the video for the title track “Dream Police” on maybe “Don Kirshner’s Rock Concert” or something akin to it and becoming a fan for life.

ct dream police

Cheap Trick is blue collar rock N roll at finest that embraced the Midwestern work ethic of “hard work pays off” and it did and it connected with the good folk of Northern Illinois who could relate to that.  It wasn’t just the music of Trick they loved but the connection they had with the band and vice versa.  They weren’t afraid to be seen in public and mingle with their fans.

I remember my first time meeting the band at a local McDonalds I worked at when they stopped in for dinner before heading to Poplar Creek Music Theatre outside of Chicago to open for Motley Crue on their infamous “Theatre of Pain” tour and before they left they passed out free tickets to those of us who could go. And all these years later, at age 64, Bun E. Carlos is still that hard working Midwestern rocker who embodies all of this and more.

Although he isn’t touring with Trick he’s still the hardest working man in rock today.  His side bands include The Bun E. Carlos Experience, The Monday Night Band, Tinted Windows, Candy Golde not to mention a brief reunion with pre-CT band “The Pagans” (1966 to 1968).  He’s the chief archivist of Trick history and a walking rock N roll encyclopedia and if I haven’t mentioned it yet, he’s one of the coolest, nicest guys you’ll ever talk to.  This is Bun E. Carlos.

Church of the Necronomicon:  In terms of playing gigs and attending rock shows in Rockford and Northern IL in general, when was it most fun for you?  When you were established with Cheap Trick, when you were a kid or chasing the dream of a record deal?

Bun E. Carlos:  Concerts were always fun to attend. Chasing the dream was fun and work.

Church of the Necronomicon:  As a kid / young man in the 60’s and 70’s, what were the standout concerts that you attended in Rockford or Northern IL and where were they?

Bun E. Carlos: Byrds at Rockford College, Yardbirds at the Rock river Roller Palace, Cream in Beloit, Beatles, Stones, DC5, Who Hendrix in Chicago.

Church of the Necronomicon:  What about Forest Hills Lodge, I bet you saw quite a few shows there.  Did you catch the MC5 show by chance?  Which bands do you remember seeing ?

Bun E. Carlos:  I didn’t see MC5, had a college class that night. I did see Lovin’ Spoonful, The Vogues, lots of local bands at Sherwood Lodge.

Church of the Necronomicon:  What were some of your favorite venues to see shows at in the 60’s and 70’s in Rockford?

Bun E. Carlos:  Harlem High School, Rockford College, Ice Chalet.


Church of the Necronomicon:  There were big time rock acts getting booked at Rock Valley College and local high schools back in the 70’s.  Did you attend a lot any of those shows back then or did Cheap Trick keep you pretty busy?

Bun E. Carlos:   I saw Delaney and Bonnie at RVC with Mitch Ryder and Billie Preston, otherwise didn’t see many school gigs.

Church of the Necronomicon:  If you did show up to a concert were you in the crowd hanging out or watching the gig from side of the stage?

Bun E. Carlos:  Always looking for the best line of sight.

Church of the Necronomicon:  What local gigs did Cheap Trick do in Rockford or Northern IL in general that standout in your mind as memorable and why?

Bun E. Carlos:  CT did gigs at over 50 local venues, when I counted them 10 years ago. Northwest Community Center was fun.

Church of the Necronomicon:  Did you see the Ramones when they came to Rockford for the first time, in what, 1979?  Had you heard of them at that time?

Bun E. Carlos:  I saw The Ramones in 1977 with The Nerves opening at The Purchase on Main Street. Both bands were good, I was familiar with both bands.

Church of the Necronomicon:  Is the local Rockford rock scene still vibrant now or how would you characterize it?

Bun E. Carlos: Slowly fading…….

Church of the Necronomicon:  What’s the future of rock N roll in Rockford?  Do you think the city’s economy is a factor?

Bun E. Carlos: Like all forms of topical pop music, I think rock is slowly getting older……..

Church of the Necronomicon:  Any closing thoughts on local Rockford music you’d like to add?

Bun E. Carlos: Rockford’s always been a good place to play and has always had a good talent pool of players. As long as the schools teach music that shouldn’t change.

This interview is part of a long form history project on the local hard rock / metal / punk scene of Rockford Illinois 1984 to 1996.


I was trying to remember where and when it was that I first met Dave Ensminger and it was probably at a few poetry readings he and my father were part of back in the 80’s, give or take, in or around Rockford, maybe somewhere in the Northern Illinois area.

I recall going to Appletree Records with my father shortly before I left Illinois in the spring of ’92 to browse their amazing record inventory in what would be my final time doing so.

They had a staggering collection of underground / import punk and metal that kept me coming back for six years and several hundred bucks worth of tapes, records, zines and concert t-shirts later.

Appletree was a mecca for music fans and bands alike.  In fact, Black Flag and Gone did an autograph signing there before their infamous Rockford gig June 16th, 1986 at The Channel.  This time though, it felt different.  This visit had a feeling of finality to it.  I was leaving the area and knew I wasn’t coming back.

Dave was working there at the time so he and my dad struck up a conversation while I got lost in the stacks of wax.  I walked out with a Killdozer tape, a Venom CD (“Black Metal”) and a Celtic Frost t-shirt.  I think I spoke to Dave briefly, via my father, and then we left.  Dave would leave about a year later.

I knew of him as a poet back in the day but not as the punk historian he’s become now.  Musician, author, folklorist, the man has seen and done it which made him the perfect person to contact when I decided to undertake this project.  His grasp of punk history then and now is astounding to say the least.

You were certainly an integral part of the Rockford punk scene back in the 80’s.  Can you give us a quick run down of how you were involved?

            To be fair, I always thought I was the kid who was close to the kids that were more integral – that is, in terms of my age group: the teenagers of the mid-1980s. My sister knew the older subset, like Dan from Pinewood Box, since both attended Harlem High School together.

            I had a pick-up band with her friends that would play shows at house parties, so I learned to play tunes like “Nervous Breakdown” by Black Flag when I was around thirteen. I was linked to the folks at Rotation Station because I went to school with Rory, whose mother owned the place, and I both played and attended shows all the time there (from Capitol Punishment and the Adolescents to Swiz and Verbal Assault and Life Sentence). 

            Then I linked up with teens like Tad Keyes, Chris Furney, and Jeremy Kunz, partially because my fanzine No Deposit No Return was in full force, plus I was one of the few drummers that could play a blend of vintage punk, frenetic hardcore, and fluid emo, so I could play with metal heads, straight-edge kids, and older guys who were into what later became the sound of Touch and Go Records, Amphetamine Reptile, and the like. Later, I ended up working at Appletree Records with people from Beloit College, so I quickly latched on to that scene as well.

Do you remember what year you got into punk rock, just listening to it?  Who were the bands you were into?

            I always give credit to my brother and sister. Starting in winter 1980/81, Michael would bring home a variety of LPs, 7”s, and fanzines that completely re-shaped my world.

            The first three I recall vividly were Siouxsie and the Banshees, PIL, and Cockney Rejects, but quickly he would give me everything from Joy Division to Butthole Surfers; in the meantime, my sister was a devotee of Iggy Pop, David Bowie, Lene Lovich, Psychedelic Furs, Gun Club, but also blues like Howlin’ Wolf.

            So, I was warped from the beginning, it seems. One day my world was Cheap Trick, the Kings, and Buggles, but by fifth grade I was writing reports about Johnny Rotten/Lydon!


What was your first punk show and where was it?  Were you hooked after that?

            My sister’s boyfriend took me to see local power pop unit The Flex in Dekalb at some joint near the university, where one could smoke opium and not even blink or worry. We listened to X’s second record, on tape, there and back. My next gig was Black Flag, and my hearing loss suffered next to that P.A. still affects me!

How would you characterize Rockford’s punk scene back in the 80’s looking back on it now?  Was it as good or bad as you remember it?  What stands out in your mind?

            For a while, I rarely went to gigs in Madison or Chicago because so many shows occurred within the Rockford area. In fact, I became rather choosy, opting not to see Scream (too long haired, too rock) or Uniform Choice (too long haired, too rock) by the late 1980s, and in some ways I regret those decisions, but I was a fairly doctrinaire punk and felt they betrayed their earlier roots.

            Punk rock has always been very personal to me, an extension of one’s ethos, value systems, worldviews, etc., so I lived a code. The other thing I regret: not taking nearly enough photos, which leaves great gaps in my memories. Now, I shoot most of the pics for my own articles and books, to retain the DIY sense, but also because I don’t want moments to blur, gray out, overlap, or diffuse.

If we’re documenting punk history in Rockford, what bands do we need to mention / talk about?

            Record stores, from Appletree Records to Toad Hall to Denzil’s Record Emporium in Beloit and more. They were epicenters – for local DIY product, conversations galore, a variety of promotional music items that are now lost to history, some gigs (like Gone!), to rubbing elbows with people like Cheap Trick.

What about local zines and record labels?

            I have PDFs of all my zines, if you want them too. Other Rockford zines were few are far between. I know kids made them: I just don’t have any copies, minus some lit journals.

Do you remember Rockford’s scene being cohesive or was it kind of scattered?

            Well, the scene was cohesive to a degree due to the paucity of clubs; for a awhile, most shows happened at Rotation Station and Dartbee’s, or bars like Endless Nights, Tinkers Lounge, and the basement of Cherry Lounge, or places like Polish Falcons Club and VFW halls. So, yes, some of those places are a half hour apart.

            There was no central district or strip like I experienced in Albuquerque. Plus, the all-ages kids like me had to fend for ourselves: build ramps and stages, rent equipment, and run Xerox flyers, maybe host a radio show in Beloit, like I did, starting in the summer of 1989. But we all felt more or less in the same ship.

            The older guys eventually accepted us as well, as we aged and joined more “mature” bands, like Becky’s Birthday, who opened for Fugazi. They sounded like a cross between late-period Die Kreuzen and The Cult. Then, of course, were bands like War on the Saints, who were like prog punk, really adept musicians. They sounded in the late-1990s Dischord vein (Scream, Kingface), where Bludgeoned Nun could really play too but were almost precursors to grindcore and screamo.

We had Fugazi, Verbal Abuse, Operation Ivy, etc. perform at shows in Rockford but it’s the Black Flag show that everyone remembers and talks about.  Why is that and do you think that show in particular helped move the scene forward, bring more attention to it?

            Not really. All kinds of gigs pre-dated that, like Eugene Chadbourne, the Replacements, Naked Raygun, and more, but that show did earn press coverage. I think I still have the clipping from the Rockford Register Star, and it also witnessed an outsized police presence.

            I remember the cops lining the streets afterwards, telling me, “Get your ass home boy,” or something just like that. Ironically, the riot days of Black Flag were well behind them: in fact, they were like a mock-rock band that barely played any of their old material, minus a half-winking, sartorial version of “Gimme Gimme Gimme.” 

            For me, the next important shows were the Adolescents, because I made my first flyer for it, and Capitol Punishment because I played their drum kit, received sincere, generous feedback, and knew that I was never gonna shed my punk skin. But that’s just a few – incredible SNFU shows, Youth of Today shows, Swiz shows, all happened. And more.

What bands were you involved in back in the 80’s in Rockford’s punk scene?

            I cut a three-song demo with my straight-edge band Vital Signs, maybe in the 9th grade, and we even lacked a bass player, but it didn’t stop us, though the Christian studio made us censor the word shit.

            Then I drummed with Honeycomb Hideout, who opened for Kingface (Dischord Records), which later morphed into Insight, who opened for 7 Seconds in Madison and cut a demo reviewed in Maximum RocknRoll. Later, I joined Geraldo, then Toe, in Beloit. Flyers and photos for all those bands can be seen on my Midwest punk blog.

You wound up writing for a lot of heavy duty mags, Maximum Rock N Roll being one of them.  What article did you do for them and how did you get it published, was it an open submission to them?  What year was that?

            I did not actually publish for MRR until the mid-2000s, when I submitted an article about Biscuit of the Big Boys. Before he died, I drummed for him and edited his work in my magazine for about five years.

            From there, I started publishing interviews with band like Articles of Faith, the Fix, Beefeater, and more, and to this day I still contribute. This Fall, my interviews with Frightwig and Raw Power were published.

Did you ever do any scene reports or articles about Rockford’s punk scene in any zines / mags you wrote for?

            Of course, you can see portions discussed in my book Visual Vitriol, and my blog on midwestern punk documents literally everything I own that relates back to the scene.

Are you still doing Left of the Dial?  What’s it about and where can we find it?

Nope, that is the past. It ran from 2000-2005 and is a collector’s item. Portions were re-published in my books Left of the Dial and Mavericks as well as my App, found on iTunes — Punk and Indie Rock Compendium: Left of the Dial. So, I have tried to make the material as accessible as possible.

You’ve got several great books about punk rock published, can you talk about them and where do we find them?

Everywhere! Left of the Dial and Mavericks contains interviews with the “icons” of the roots rock, punk rock, and indie rock movements and collect portions of my massive interview archive (well over 1,000 pages), whereas Visual Vitriol is a scholarly, folklore examination of the street art and cultures of the punk and hardcore generations, with a special look at graffiti and stenciling, skate culture, gays and lesbians, Hispanics and African Americans, and women too.

What year did you leave Rockford and why?

            I left with my first wife in 1993 to live in New Mexico to be close to my poetry mentor at the time, your father, and attend the creative writing program at the College of Sante Fe. I have not lived in the Midwest since…

What’s your current situation today, where are you and what are you up to?

            I am a punk scholar and folklorist, an educator, a writer, a drummer, a book publisher and editor, an archivist, a husband, and photographer. Well, at least that’s part of what I do!


David Ensminger is a Humanities, Folklore, and English Instructor at Lee College in Baytown, Texas. He has written about music, art, and contemporary issues.


Mavericks of Sound: Conversations with the Artists Who Shaped Indie and Roots Music.


Visual Vitriol: The Street Art and Subcultures of the Punk and Hardcore Generations.


Left of the Dial: Conversations with Punk Icons.


Co-author Mojo Hand:  A biography of bluesman Lightnin’ Hopkins.

Contributor to Popmatters, Maximum Rocknroll, Houston Press, Trust, Postmodern Culture, Art in Print, M/C Journal, Journal of Popular Music Studies, Liminalities, Artcore, and various other journals.

Research blog

Midwest history blog

Movie Review:  “Dead on Appraisal”


“Dead on Appraisal” is a psychedelic moshpit of unbridled insanity involving real estate dealer John Dante trying to sell a house that carries with it a serious history of demonic baggage.

“The Morning After” is the story of a bunch of kids that just wanna party, hearty but find themselves faced with both a home invasion and some kind of big, bad bug that wants to take a bite out of them all as well.  Cue the craziness folks…

Sure the acting is stiff and in some cases bad but hey it’s indie, it’s low budget and it’s massively entertaining to boot! Kudos to the filmmakers for starting the movie out on a fun, positive note that sets the pace for the rest of the movie.  I also enjoyed the monster and gore effects in this story which complemented the vibe and direction of the flick well.

“Fatherland” is the next story up about an Iraqi War soldier returning home to stay with his father suffering from what might be PTSD.  His father contacts a psychiatrist who happens to be a vet himself to help his son which doesn’t work. The young man, despondent, commits suicide.  The father finds his son dead and notices something odd — a bomb had been surgically placed inside him that explodes killing him.  The house however survives the blast.

“Fatherland” finally gives us a glimpse of that which dwells inside the house as we see it’s silhouette on the wall in the final moments of this story.  I think the filmmakers were trying to convey to us that this demon has been here all along manipulating both past and present inhabitants of the house.

“Freddie and the Goblins,” the third and final installment in this trilogy, involves the nutty lead singer of a death metal band who moves into this house of horrors with the intent to make the most extreme music planet Earth has ever known. And it all starts with an “innoncent” poker game between he and his bandmates.  It’s with this story that the filmmakers truly shine taking on a no holds barred approach regarding how horror movies should be, low budget or not.

Each time someone gets up and exits the table a kooky, a Sid and Marty Krofft like creature sits down in his place.  Freddie, the lead singer, can’t process what’s happening — is it real or is it his imagination?

In a fit of madness he kills all the monsters at the table and makes a frantic 911 call to report the incident  but hangs up when the monsters are gone and in their place are his friends, dead, murdered.  And here’s where we cross the rainbow bridge into true madness.

His bandmates reanimate on their own and suggest they perform one final gig together…which he agrees to!  When the cops arrive Freddie’s already kukoo for cocoa puffs but musters up enough brain energy to go for his gun but gets shot and killed by the police when he does so.

The final few minutes of “Dead on Appraisal” are some of the greatest in low budget cinema history.  As if the entire movie hasn’t been a gory masterpiece already, the final scenes escalate the shock and awe / blood and gore factor to cosmic heights I’ve witnessed before.

Remember John the realtor?  He’s the guy that shows up sporadically throughout the movie to bind the stories together.  Lo and behold his girlfriend Sarah is hosting an open house to get it sold.  The final few moments of the movie redefine the term “insanity” and give me hope that there are still adventurous filmmakers out there who are willing to take a film as far it can go creatively and then nudge it even further across that line.

The demon decides to make an appearance at the open house and kills everyone to a slammin’, heavy as hell death metal soundtrack.  The methods of murder and mayhem employed here are brilliant beyond what words can describe.

“Dead on Appraisal” needs to be a permanent part of your horror movie collec tion.  Keep an eye on the guys who made this movie, I have a feeling they’re going to be the ones to watch when it comes to horror filmmaking in the future.

Winds of Genocide

“Usurping the Throne of Disease”

Pulverized Records

winds of genocide

            The first thing that hits me is the Napalm Death influence, especially on track six, “Millions Lie Slaughtered.”  Hear me complaining?  Better not, fuck no.  Winds of Genocide nail a perfect melding of grindy crust and death metal with “Usurping the Throne of Disease,” a nine track beat down due Jan 26th / 2015.

I can’t say enough good things about this record because it’s not a one trick pony which unfortunately some bands of this genre are.  “Deathstrike of the Scythe” has an old school, circle pit, punk rock vibe to it while “Venomous Warfare” and “Into the Darkness of Eternal Nuclear Winter” is straight up death metal.

Winds of Genocide have really come into their own with “Usurping the Throne of Disease” which is more than a solid record to satiate even the staunchest of grind/crust/death fans.  I look for this band to really make their mark in 2015.



“Black Magic Fire”

Pulverised Records

This record is available now


Here’s how this record starts out:  A chanting female chorus saying something I can only imagine is Latin over a Slayer inspired guitar and drum riff that explodes into the black metal, mosh pit frenzy of “Apocalyptic Whore.”  This is how every record should begin.  They hooked me right from the start.  This record will cave your skull in.

Ten tracks of black metal mayhem that does it right.  The music and vocals are aptly matched which often times isn’t the case with this style of music.  Nothing ultra fast but sledge hammer heavy throughout.  The guitar riffs on “Black Magic Fire” really get me because they set the tone not only song-wise but what to expect from the record as a whole.  And the song writing and vocals nail it head on as well.

The production quality of “Black Magic Fire” as well as the band itself have really shown tons of growth compared to their previous record “Infernal Earthly Divine.”  “BMF” finds the band firing on all cylinders and just crushing it with this record.  I definitely recommend going out and buying it.



2009 Escapi Records


I know this record has been out for a few years now but Trouble is a band that never receives it’s just due and this particular unplugged record is nothing short of mind blowing.  It’s an instant no brainer, must have for every Trouble fan as well as every rock fan.

The ten songs run the gamut from unreleased to acoustic versions of their more well known tunes to a cover (“Heartful of Soul”).  “7:00 A.M” destroys me with the vibe and atmosphere Wagner and Co. create acoustically, something I didn’t believe could be done, but has.

The melody is haunting, tragic and hypnotic all at once with hints of Peter Steele in Wagner’s vocals as well as a slight nod to a “Wish You Were Here” era Pink Floyd type sound which reappears again with the song “Flowers.”

“Waiting for the Sun” has a full on psychedelic groove that takes the listener on a heavy mystical trip characteristic of Trouble ala the Trouble – Manic Frustration – Plastic Green Head era.

It kills me how underrated this band is, why more people aren’t talking about them I(past or present) and one listen to this record will redefine the phrase “heaviness” in a way you haven’t even thought about before.  How Trouble is able to craft melody to lyric to song is a truly a gift I’m glad they share with us.  “Unplugged” is just an unbelievably great record start to finish.  RUN.  BUY.  NOW.

The Skull

“For Those Which Are Asleep”

Available now, Tee Pee Records

the skull album cover

Super heavy, doomified molten metal from the band featuring three former members of the godly Trouble playing a style of music representative of Trouble’s first two records “Psalm 9” and “The Skull” and holy shit does this music deliver the goods!  “For Those Which Are Asleep” is ten tracks of pure, organic heavy rock played with feeling and a sense of genuine respect for the genre of music.

It’s hard to listen to this record and not associate it as “Trouble” because you have three former players creating this music but the longer you listen to this record the more you understand and pick up this retro, hard rock, riffy style that makes The Skull stand out on it’s own, especially with a songs like “Sick of it All,” “The Door” and the title track, “For Those Which Are Asleep.”

the skull group photo

What I like about this record is that it doesn’t pander to the doom / stoner audience or try to cash in on it’s obvious connection with Trouble, which it could have. The Skull, without doubt, stands firmly on it’s own two legs through a complex, layered, textured sound.   It doesn’t try to be Sabbath nor does it try to be Trouble.  Instead it finds it’s own unique groove through the talents and influences each member brings to the group and that comes through loud and clear on each song.

I’ll say the same thing for this record I said above with Trouble’s “Unplugged” and I firmly believe this — RUN.  BUY.  NOW.

By Theron Moore


In my never ending quest to find and expose the most extreme of the extreme music out there I discovered St. Louis’ very own Without MF Order after watching several of their live vids on youtube.  It prompted to me to look up the definition of “ass kicking” in the urban dictionary online and here’s what it said:

“To be beaten senseless because you God damn definitely deserve it.”

I don’t know these guys personally so I’m not sure if that holds true or not but takin’ a good old fashioned ass whoopin’ does play a role in their live shows.

I’ve always had a fascination with the likes of Anal Cunt, G.G. Allin and The Mentors so Without MF Order was right in my wheelhouse.  I like bands that play live and dominate from both a stage show perspective as well as musically and Without MF Order fits this bill perfectly.

A typical live gig goes something like this:  Play an intense brand of hardcore and invite audience members to beat holy hell out of the singer, which they do with much vigor.  And to the credit of lead vocalist Captain Perverto, he takes a beating and never misses a note.

Church of the Necronomicon (COTN):  Tell me the origin of this band because as I understand it, you’re either a former or current indy pro wrestler.

Captain Perverto:  I wrestled for a small independent fed called “Gateway Championship Wrestling” from 1999 until 2005. I quit not too long after joining the band. Wrestling had rules and the band didn’t, so it was a no brainer to me which one I wanted to stick with.

I quit mainly because they stopped letting me do hardcore matches for being too careless (not with other workers, but with myself.) One time I ended up with a gash on the side of my head that was about as wide as Miley Cyrus’ vagina, so I guess I can’t argue with their concerns.

COTN:  How did you all come together?

Captain Perverto:  Legend has it that Chuck Berry, Tony Iommi and Johnny Ramone all touched dicks simultaneously creating a thunderous electromagnetic splooge storm, Scumby emerged from the gunk and that’s how he was born.was born.

Captain Perverto was the survivor of a coat hanger abortion. He was thrown in a Taco Bell dumpster where he lived off of taco beef and refried beans for about a week until a homeless lady scavenging for food found him and raised her as her own. Eating that kind of food as an infant likely explains why he takes such massive shits.

How Crash was born is unknown, we don’t know how old he is, but historians guess that it was some time in the early 1800’s. In 1922, Crash ran over a Gypsy woman’s foot in his Ford Model T. She then put a curse on him that any bass player that he plays with will die a horrible death. So that’s why we never have a bass player, they all died because Crash is a shitty driver. We all met at Denny’s.

COTN: Your shows are violent, fans are encouraged to attack and beat up the band, especially the lead singer. Have things ever gotten so out of hand that people got seriously injured or the show had to be stopped?

Captain Perverto:  Aside from Filthy Jill constantly breaking her hand on my head, no one in the crowd has ever gotten hurt, which is good. I don’t like seeing other people get hurt. Might seem a little ironic, but I like to compare it with blowjobs.

I like getting blowjobs, but I highly doubt I would like giving one. Taking a beating is like getting a blowjob, minus the part where I have to beg for it for weeks or try to sneak it in while she’s sleeping.

We’ve never stopped a show ourselves. One time I missed the last song because blood was squirting out of my ear and decided to go to a hospital, but I had no idea we were going to do an encore, otherwise I would have stuck around. The hospital visit was kind of pointless.

I found out I wasn’t actually bleeding out of my ear hole, it was just a laceration. Any time I go to a hospital I just make sure I don’t have a chance of dying later, then leave. The only time a show has ever been stopped was because I whipped my ballsack out.

COTN:  Who’s idea was it to introduce the level of violence and gore into your live act?

Captain Perverto:  Mine

COTN: Are local promoters and venues leery of booking a Without MF Order show because of your reputation?

Captain Perverto:  Some of them are hesitant or flat out refuse to book us. It’s usually more of a liability issue. We assure them that we don’t break equipment and always clean up our own messes. Some are still afraid that I might get hurt and try to sue them or some other dumb shit. I understand the paranoia, but I would never sue anyone for any reason.

COTN:  Any problems with the cops due to your live show?

Captain Perverto: Unfortunately no, a perfect ending to a show would be us being dragged out in cuffs.

COTN: You remind me a lot of G.G. Allin.  Tell me about that and who else musically kind of helped to form what we know as WMFO.

Captain Perverto: I don’t mind being compared to GG musically, because there’s no denying that he’s an inspiration, though I’m not too thrilled about people comparing him to our stage performance. A lot of the stuff I do on stage is heavily inspired by my wrestling days and the fact that I’ve been a masochist all my life. If GG inspired anything performance wise, it was showing me that I can implement my antics into our music, I assume it’s a hell of a lot more fun to watch than looking at some guy stand there with his foot on the monitor.

Lyrics to “He’s Got Aids” by Without MF Order:

without mf order