Hey there, my name is Marc and I play in a band called Greber and do some other solo shit that I call Cancelled. Making music is something that I have loved to do since I was young and still love to this day. Taking an idea, tweaking it with others and seeing it grow is a short rivaled feeling for me.
For a few years now I have been asking some song and riff writers I admire how they go from having a rough idea to finishing a song. I would ask about their general process, creative influences and basically what worked for them and why. More recently I figured it would be fun to record these Q&A sessions and put them up for others to listen to…so here they are. I’m not an expert by and means but I hope that by being a fly on the wall for these you can steal a few ideas and get more stoked on writing shit.
We’ll be releasing one a month on the main site, which will soon be available on iTunes as well.
The first one I did was with the guitarist of Converge, Kurt Ballou. He had a ton of great stuff to say about how the Converge writing process goes, how he got into writing and things he finds help them not over-edit their work. Bon Listening.
Syracuse, NY eccentric punk-grind trio Dialysis are soon set to release their debut LP, titled Pretty Men, through the band’s own Ryan Canavan’s label Hex Records (Bleak, Ed Gein, Godstopper, etc.). Following two seven-inch releases and a split with Bleak, the new album comprises 20 powerful and dynamic tracks that feature elements of noise and thrash. Various samples are also included in their quirky punk- and hardcore-filled grindcore approach, which Dialysis have now expanded with the introduction of saxophone on this record.
Pretty Men also incorporates humour into their unorthodox sound, with bizarre and colourful artwork by Ryan Besch, as well as tongue-in-cheek lyrics that bring a light-hearted aspect to the album while tackling some serious subject matter. In this recent interview with Svbterranean, Canavan (vocals, saxophone) discusses Pretty Men, how the release compares to their previous material and the decision to bring saxophone into the mix. He also talks about Dialysis’ diverse sound and the album’s lyrical themes, as well as the Syracuse music scene and much more.
Photo by The Photo Ninja
New Brunswick innovative noise/grind/sludge trio Anthesis are about to release their latest effort, dubbed The Age of Self, on June 9. The new record follows several EPs, as well as splits with the likes of The Great Sabatini and Greber, but is the band’s first full-length in seven years, since 2010’s Surface and the Sky. Recorded, mixed and mastered throughout 2016 by guitarist/vocalist Scott Miller, The Age of Self encompasses the band’s most focused and powerful material to date.
The 11-track album combines elements of ferocious grind, harsh noise rock and doom-ridden sludge into a cohesive sound, layered with dissonant tones and a remarkably bleak atmosphere. In this recent interview with Svbterranean, Miller took the time to discuss The Age of Self, the reasons behind the long gap between the two full-lengths and the writing and recording process for the new album. He also talks about Anthesis’ unique sound and how they’ve progressed over the years, as well as the DIY methods behind recording/releasing music, his solo endeavour Clouds Become Oceans and much more.
Photo by Kandiss Bradley
Since the early 2000s, London, ON musician Mercedes Lander has been known as the drummer of Canadian female metal band Kittie. In more recent years, she’s also been drumming in psychedelic rock band the Alcohollys, as well as on tour for Jennie Vee. Now, she’s set her focus on The White Swan, which sees Lander stepping out from behind the drum kit and into the front-woman role. Musically, the new band is also a departure from Lander’s previous work, as The White Swan perform a sludgy, synth-rock-tinged style of crushing doom. As well as playing shows consistently, the band are set to release their new three-song EP, titled The White, on June 9 which follows their late-2016 debut, Anubis.
The White carries on where Anubis left off, featuring fuzzy guitars and heavy captivating riffs, along with dreamy synths and Lander’s stunning, soaring vocals. In this recent interview with Svbterranean, Lander took the time to discuss how The White Swan came to be and the writing and recording process for their new EP. She also talks about what it’s like to be stepping out of her comfort zone, offers some insight into her lyrical approach and more.
Syracuse, NY’s Blood Sun Circle (featuring brothers Bobby, Ryan and Brad Gorham, previously of Engineer) have just released their highly-anticipated sophomore LP, titled Distorted Forms. The album picks up where they left off with 2014’s stellar Bloodiest/Sunniest, yet takes their dark and intense noise rock sound to a new, even heavier level (if you didn’t think that was possible, well, it is). Distorted Forms is comprised of 11 thoughtfully formulated tracks that combine harsh, gritty rhythms with beautiful, soaring melodies, and layered with extremely dynamic, powerful vocals.
In this recent interview with Svbterranean, Gorham brothers Ryan and Bobby, as well as drummer Aaron O’Hara, took the time to discuss Distorted Forms. They talk about the writing and recording process, lyrical approach and how Blood Sun Circle compares to Engineer (still searching for those bongos though!). They also touch on what it’s like to work together at Gorham Brothers Music (it can’t be that bad, guys), as well as their latest endeavor Drops of Us, and more.
Coming three years after the release of their debut release, Lost Ages, Bereft deliver one of the more devastating doom albums of 2017 with Lands. These Wisconsinites deliver 45 minutes of massive blackened doom that sprawls across four towering tracks. Lumbering riffs, stampedes of blackened malevolence and suffocating, dismal atmospheres make for an intense and unyielding listen. Fans of all things slow and low should not miss out on this gargantuan piece of work.
Svbterranean recently caught up with the band to briefly discuss the new record, the band’s sound, among other things.
Complex, unpredictable, noisy and bit on the zany side, Mary Todd’s music is perfect for the lover of unconventional, grinding mayhem and the ADD-stricken individual. This New York trio takes a page from the early-mid 2000s wave of spastic, experimental grindcore and molds it into their own modern blend of ear-splitting chaos. This sound is shown off in all its jerky glory on their new full-length recording, Bone Stock; a 17-minute barrage of off-kilter rhythms and wondrous discordance. Fans of Daughters, Me and Him Call It Us and intense vertigo, take heed.
Svbterranean recently caught up with #chabois in Mary Todd to discuss the new record, mathcore and sexy foods.
The title of DC grind outfit Pain Tank’s new record, 97,901,726 Confirmed Kills, represents the band’s attempt at tallying all of the deaths caused by wars America has been involved in. It may be a simplistic title, but that large figure is ominous and cold; reminding one of the harsh realities of war and human suffering and briefly bringing them out of their indifferent state. The costs of conflict and humanity’s capacity for inhumanity runs a thread throughout the album, and is set to the tune of harsh, dissonant and vile grindcore. Recorded live in just a mere eight hours, 97,901,726 Confirmed Kills ugly, confrontational sound is the soundtrack to mankind’s undoing the world didn’t know it needed.
Svbterranean recently caught up with Pain Tank vocalist/noise maker Steven Kerchner, drummer Tony Petrocelly and bassist Chris Dugay to discuss band origins, the new album and the current state of world affairs.
Grindcore, hardcore and an obsession with giant monster flicks yields brutal and radioactive results for Kaiju Daisenso. Uniting former members of Helen of Troy, Gospel and others, Kaiju Daisenso crafts a raw, crushing sound that’s as heavy as a certain giant, green lizard. Their most recent effort, Radiation Scars, showcases their sound at its most visceral and aggressive; weaving together bludgeoning, mosh-worthy riffs and atomic fire breath. Grind fans and Japanese monster film geeks can finally come together and mosh gleefully, thanks to this irradiated quartet.
Svbterranean recently caught up with vocalist Matt Gordon and guitarist Gabe Saladino to discuss the new record and nerd out over kaiju films.
Following their 2006 split with Mouth of the Architect, Dayton, OH instrumental doom/post-rock outfit Kenoma are set to release their debut full-length, The Tides Will Prevail, next week (April 28) through Translation Loss. The album, which has been 11 long years in the making, features five tracks comprising 50 minutes of gorgeous soundscapes that have been well-worth the wait. From the crushing riffs and sludgy tones to the progressive structures and ethereal atmospheres, The Tides Will Prevail is absolutely stunning.
In this recent interview with Svbterranean, bassist Doug McGinnis discusses the new record and the many member changes, which is the main reason behind the 11-year gap between releases. He also talks about how Kenoma have evolved over the years and the thematic approach behind The Tides Will Prevail, as well as the importance of song titles for the instrumental band, and more.