Merciless Hammer of Lucifer
Not so long ago I went to identify where individual members of American band INFESTER gone, and the drummer Dario Derna is currently playing in a band DRAWN AND QUARTERED. Once at the first listening the latest album "Merciless Hammer of Lucifer" I was fascinated, the greater surprise they have already got five albums! DRAWN AND QUARTERED offers what we can expect from the darkest old school Death Metal, the brutality, madness, blasphemy, fear and horror. I am very pleased Kelley Kuciemba (guitar) finally agreed to do the interview and I think this one is one of those best ones.
Hell, how are things going now for DRAWN AND QUARTERED? Your last album is from 2007, when can we wait to see the new one?
Hello, Necrosphere Webzine! DRAWN AND QUARTERED has been recording tracks at the AUTOPSY ROOM studio, and getting ready for some shows this summer. So there will be a new record probably out this year.
How would you compare new tracks with your previous "Merciless Hammer of Lucifer" album? What will be different and what will be preserved?
The new songs have been developed, strengthened and refined much more than the songs on the previous record. Most of the new songs are comprised of one tempo, giving us a much more listenable product that is tighter, more defined and heavy, crisper, more solid, faster and more brutal than ever. "Merciless Hammer of Lucifer", was perhaps, rushed a little some what in the writing but especially in the post production. We should have taken more time with the mix. We must've had a deadline, or something. I'm proud of that record, it has a dark malevolence all its own and has some great ideas. The first big step on that record was the use of a click track, we hadn't used that previously. That improved our rehearsals, and the tracking was easier in the recording studio. I also use more open strings and eerie arpeggios, and did some interesting layering and composition. That album has a moody atmosphere. The new material is definitely more aggressive, driving. The tempos are faster, and the songs are easier to follow with stronger parts, that don't need a lot of overlays to make them more interesting. We've also continued the rhythm guitar interplay, and creepy arpeggios.
Yeah, your music is pure essence of darkness and insanity, listening always guarantees spine shivers ... in my review I used words such as "Once the first three songs Sickness Redeemer, Merciless Hammer of Lucifer and the Final Solution bring larvae into your soul, daunting, disgusting, dirty, horrible like the first look at hanged man in the attic." By this, I have highlighted my favorite songs ... where the madness comes from? Where is your source of inspiration?
There is a calling some of us have, an undeniable urge to create. This drives us to find ways to express ourselves; coincidentally I chose to focus on guitar for many years developing some tools, or skills to draw from on the instrument. Each tool or bit of knowledge is like another color on your palette or application for later use. By focusing on certain aspects of a wide range of influences we created a blueprint of what we wanted to do with this band. The inspiration is difficult to put into words, but certain energies are channeled through us from the universe or "Ancient Ones", virtual messages from the gods, or demons or forces of the universe. We have about three topics, death by plague, death by human hand, and unholy mockery of the silly religious fallacy that permeates our consciousness on this planet. Unfocused, these urges and energies can be self destructive and dangerous. In some way it soothes the players and the listeners in some, unspeakable way. A knowing of darkness and impending doom. An acceptance of finality, and the freedom to live every moment as if it could be your last on earth. This is dark art in an audible format. There are many influences from Beethoven, and Vivaldi to Black Sabbath and Iron Maiden. From Bathory to Carcass. And the big three for me in this genre; Incantation, Morbid Angel and Immolation. To descend the path we've chosen, a long road lies ahead! The madness may come from some traumatizing childhood moment, to many chemicals, or a genetic defect, that seems to be rather common!
Of course also the other songs are a true reflection of terrifying fate, I am always fascinated by music full of most horrible fear ... I really like your guitar leads, I feel there strange avant-garde and negative vibrations ... would you be able even to play any other music with completely opposite feelings?
That is an interesting question. I think you need to be able to play and express the more happy sounding major keys to be able to fully capitalize on the minor and diminished keys. We play only minor and diminished keys, of course. These are simply musical tools, used to create the musical composition. It's how it's arranged and interpreted in performance that makes it unique and gives it the feeling to convey darkness and dread. That is part of being a well rounded musician. I used to be more well rounded, but I rarely play in regular tunings these days, just DRAWN AND QUARTERED music. So I'm just a death metal guitarist at this point. On "Merciless Hammer of Lucifer", I made an effort to express myself more with the note choice and composition, instead of the dive bombs, wah-wah pedal and tapping/hammer-ons that the previous record was drenched with. "Hail Infernal Darkness" is chock full of ripping, over the top solos, so I needed to do something different on "Merciless..." Of course my solos aren't the smooth as silk, sweeps and such but more Van Halen or Iommi, which suits our music and songs, as well as the low B tuning. I have dabbled in classical, rock, bluegrass, and metal as well.
I think the atmosphere in your music is decisive to you. Are you able to tell if there is some recipe how to create music with such a dark apocalyptic feelings? Do you think it can be learned or it must be rooted in the composer already?
Atmosphere that is the key. How do you achieve that? Through careful study of music that gives you those feelings of dread or whatever you want to express. You have to do the hard things, the work. The study of aspects of music theory you need to develop your interest. Specifically horror movies and certain works of classical music contain elements of unsettling music devices. Then refer to the classics, the metal, thrash, black and death metal legends that paved the way for extreme genres of music we have today. Figure out what works best to express the most evil feelings of morbid doom possible. Then try to make it catchy, memorable yet refined and sophisticated. We strive not to overdo it. Mainly not to overwhelm the listener, but to create an interesting song, that is unique, creates a story and entertains. I appreciate amazing virtuoso musicians, but I enjoy a more pop music approach. My favorite bands include the Beatles and Black Sabbath. Music that gives you shivers in your spine. I don't know if it can be learned. You have to have a certain calling, drive or innate talent to start with. Then you have to develop that. For everyone it is different, you have to find that talent and develop it. A positive attitude or certain level of confidence is essential, as well as a degree of patience and perseverance. Finally a certain amount of experience, pain and frustration needed to form and define the notes. Many people have learned to shred, but to play with expression is a different skill altogether.
What reactions have you got from fans, critics and friends so far?
I believe you are asking about the newest material. We have a recording of a new song called "Conquerors of Sodom". This song is featured on the 'Compilation of the Condemned', a 7" series coming out on RELAPSE RECORDS. There are a few seconds of studio playback posted on our myspace page currently of us listening to drums and guitar tracks during some recent recording sessions as of 4/26-27 and 5/1-2/2010. So there is glimpse at what's to come. Very evil and aggressive! We'll be performing live 6/22/2010 at Hells' Kitchen in Tacoma, and 8/15/2010 at El Corazon in Seattle, Washington.
Many bands (even death metal ones) say they play music for a fun. Which meaning has your music to you? Is there something deeper?
Playing music isn't necessarily fun; it is work, like a job. I try to have fun playing music. If it isn't fun, it isn't worth doing. Sometimes the grind of your day job and our regular rehearsals and writing sessions are a lot of work, and it can be tough to drive back down town to the rehearsal room after working all day. But I don't know how we could possibly do what we're doing now, without constant rehearsal and practice. Ideally I need home preparation time on guitar set-ups, equipment maintenance and tuning, as well as continuous maintenance and development of your playing. There is much personal, social, professional and economic sacrifice. It is beyond commitment, really, just a part of you. Not so much a lifestyle as much anymore, just one significant part of my life. As I mentioned previously, the deeper meanings aren't as easy to put into text. I have spent many years on this journey, and achieved many goals. I'm stubborn. I need the challenge, of doing this band. I become edgy and can't sleep, with nervous energy when I'm not channeling the messages from the Ancient Ones!
Can you please clarify writing process in DRAWN AND QUARTERED? Do you have a uniform method of composition or it’s different at any album?
These questions are very much like I would've asked when I was starting out striving to start creating what would become my involvement with this band and other projects. Writing music of any kind requires some building blocks, the more complex and refined the more tools you'll need. Starting to write songs, requires just that... starting to write them, refine them play them over and over. I finally had to start focusing on a sound and that was inspired by detuning the guitar like Black Sabbath and Bolt Thrower among others. Also I loved the evil vibe of black metal and death metal like bands I mentioned previously. And the study of musical devices, game me the ear for dark passages and note combinations. Rhythmic variations are very important as well, to add diversity and variation to the note combinations. There is no universal way for me to write music. At some times I have written songs entirely on my own, and other times had input, riffs or entire songs I played on or helped arrange or co-written songs, tittles and lyrics. On our current record I did some of both. On this record my focus was on the music itself, not so much titles, themes or lyrics. But every note goes through the DRAWN AND QUARTERED filter and is subject to change up to and even in the recording studio or performance stage. Having people you can really trust, with the knowledge experience and talent to create music with, is a rare and unique situation. We have a lot of common influences, and are on the same page about how we want to do this band, at this time, on this album. So each song is different, each record is different. Specifically I will usually set out to write a song or a bunch of musical ideas to arrange at a later time. This involves sitting with a pencil and some tablature paper, and writing the notes down and notating the rhythmic devices. It can also involve the recording ideas at band rehearsal while warming up, or just messing around on our instruments. I usually like to write everything eventually to help remember at a later date. One other, very central part of our writing process as a band is to write a chart of the musical arrangement as we write the songs and create a set list for live shows. This chart is in the band room visible to everyone to follow along as we rehearse and write. We start by numbering or naming the song in particular then each riff as we learn them. Sometimes as we re-arrange them they end up in different spots but some times retain their original numerical designation for a long time or permanently. Every CD has been different, but since I started the band years ago, I have had a big hand in writing and arranging the songs. We started writing the songs with a click track, and brought our songs to a new level. Previously the tempos were all over the place, even on the last record "Merciless Hammer of Lucifer", we programmed click tempos to the songs after the fact. So we finally wrote with a click and figured it out, only took twenty years but that's how it goes.
What is most important to you in terms of composition?
The most important thing for me in composition, is the guitar and the fact that we have always tuned to a low B. So that is the primary basis of our sound. It is almost a different instrument tuned that low, and has its' own personality. Also the songs often have some sort of classical influence, as I use a lot of 5 and 6 string chords, and try to fill out the sound of the music by playing multiple parts at once. Within the structure of catchy almost pop-like arrangements. I'm influenced mainly by Jimi Hendrix and Tony Iommi, who know how to fill out the sound in a song. The only kind of songs I've really written are metal songs, always evil, dark and brutal. I like to create the sound of a sledge hammer or some satanic symphony. Perhaps with demonic choir of guitars over it all. I'd like our songs to be the sound track to horror movies.
How would you describe your music to someone who has never heard Death Metal or Metal in general? I think it would be interesting to see the reaction of a man...
Most people are at least aware of rock music or hard rock, even metal. So I'll try to keep it real simple. Most people assure me they like all kinds of music, unfortunately this is a niche genre, most people will never understand. But we will remain true to our style that is constantly evolving. The next 2-3 records will be interesting. I'm not too offended if someone doesn't like it, it is not for everyone.
You have already quite a decent history, how are you looking at evolution of DRAWN AND QUARTERED? Which your album do you think is best and why?
This band has been an amazing experience for me. That I could even get anyone willing to play in the band is a wonder. I started with minimal gear and resources, and sacrificed half my life to do this band, instead of other things. I was able to gravitate towards the people who could help make this happen. I decided a long time ago, that I needed help with this project. And as the years pass, and as I grow more trusting I continue to learn how to work with people to make this band the best it can be. I am obviously not the best guitarist in the world, but I have a lot of creative energy and have a way of making things happen. I'm the spark that got this thing started back in the early nineties. I paid for the first demos and got rehearsal rooms, called people, wrote letters, wrote songs, etc. I had some good drummers but finally in 1994 me met Matt Cason who did a lot for the band and helped us get on the road, do a ton of shows in the 1990's, even helped get the first record and many items of merchandise such as CD's and t-shirts in the early days. Grege Reeves joined in 1997 and was a stalwart for 11 years until leaving abruptly on tour in 2008. We worked hard and did many things but Matt had to leave, as he was in another band and we just couldn't get anything written, finally we we're frustrated enough that we had to part ways with Matt. The second era of Drawn and Quartered began in 2002 with Dario Derna, on drums. We had met him years before in 1993 when we did shows together in bands at the legendary Lake Union Pub in Seattle, Washington. We felt that he was the perfect fit for our style and direction; we started writing songs very quickly, and were able to get a lot of albums recorded. In 2008, after Greg left Herb Burke, who's been the vocalist since 1993 took over the bass and we wrote 11 new songs that we are in the process of recording now. The 3rd era of DRAWN AND QUARTERED. This band has only gotten stronger and this release will crush everything that has come before. The best album is "Hail Infernal Darkness“, it has the best overall vibe.
For the last CD you have shot the Merciless Hammer of Lucifer video clip. Do you remember even as filming took place? Will you shoot the clip for the new album as well?
Yes I remember we shot that in a condemned house that was to be demolished a week later. There was no power, so there was a gas powered generator, the fumes made me sick during the shoot. The videos were fun and pretty easy to make. I don't think we'll be doing any more at this time.
You come from Seattle; I know no major band from your area, what is the scene in Seattle? Are there some death metal bands?
Yes, there is much metal in Seattle, like most cities in the U.S. there is always a small metal scene. We are trying to be the band from Seattle, that becomes known. There are no real bands around here. Some people try for a while, but they all quit eventually. There are some very talented bands and people in the Northwest, but not enough fans to support a lucrative metal scene.
I think here in Europe you are relatively unknown band, I've met at least minimum of people who would know you ... are you getting responses from fans around the world? Where is your biggest fan base?
No, we are pretty unknown; we need to put out a better record that is what we will do. Hopefully someone will hear it. You tell me where the biggest fan base is, I guess we don't have one yet. Maybe Japan! HAHAHAH!
How often do you play live performances? Your shows have to be devastating, have you ever played outside the U.S.? Would you like to come to play to Europe?
We haven't played for about two years while writing this record, but have two shows coming soon. I can't wait! We'll be using the click track that should be fun. Eventually I'd hope to have a second guitarist, as well. We haven't left the continent yet. I'd like to come to Europe, under the right circumstances. I think we will be a much better live band in the future.
How do you perceive metal scene in the current form in general? Do you think in the 90's there was different situation? Which period in Metal you prefer to remember?
I don't know about the metal scene anymore. I have to have a life outside of this for now. This has been a huge a part of my life for almost twenty years, I will continue as long as it is possible, but I have to pursue other interests as well. The nineties were different, we still traded tapes listened to 7" records and wrote letters. I was young and gave up all other interests and activities, other than some job, to do this band. Now I can continue to build on this brand and refine our product. My favorite era is the early 80's when I was just a school boy going to concerts and having fun. Those were the best times, big coliseum shows.
Ok, it would be all on my part, if I have forgot something significant, you have the space, thank you for the interview and wish DRAWN AND QUARTERED only the best, STAY DARK AND HEAVY!
Thank you for taking interest in our band and giving us some more exposure! DRAWN AND QUARTERED doesn't do this for money, but if you want to keep real music alive then people need to spend some, to keep the music business going! HAIL INFERNAL DARKNESS!
Kelley 25. 5. 2010 Mortuary
http://www.myspace.com/drawnandquartered666
Hell, how are things going now for DRAWN AND QUARTERED? Your last album is from 2007, when can we wait to see the new one?
Hello, Necrosphere Webzine! DRAWN AND QUARTERED has been recording tracks at the AUTOPSY ROOM studio, and getting ready for some shows this summer. So there will be a new record probably out this year.
How would you compare new tracks with your previous "Merciless Hammer of Lucifer" album? What will be different and what will be preserved?
The new songs have been developed, strengthened and refined much more than the songs on the previous record. Most of the new songs are comprised of one tempo, giving us a much more listenable product that is tighter, more defined and heavy, crisper, more solid, faster and more brutal than ever. "Merciless Hammer of Lucifer", was perhaps, rushed a little some what in the writing but especially in the post production. We should have taken more time with the mix. We must've had a deadline, or something. I'm proud of that record, it has a dark malevolence all its own and has some great ideas. The first big step on that record was the use of a click track, we hadn't used that previously. That improved our rehearsals, and the tracking was easier in the recording studio. I also use more open strings and eerie arpeggios, and did some interesting layering and composition. That album has a moody atmosphere. The new material is definitely more aggressive, driving. The tempos are faster, and the songs are easier to follow with stronger parts, that don't need a lot of overlays to make them more interesting. We've also continued the rhythm guitar interplay, and creepy arpeggios.
Yeah, your music is pure essence of darkness and insanity, listening always guarantees spine shivers ... in my review I used words such as "Once the first three songs Sickness Redeemer, Merciless Hammer of Lucifer and the Final Solution bring larvae into your soul, daunting, disgusting, dirty, horrible like the first look at hanged man in the attic." By this, I have highlighted my favorite songs ... where the madness comes from? Where is your source of inspiration?
There is a calling some of us have, an undeniable urge to create. This drives us to find ways to express ourselves; coincidentally I chose to focus on guitar for many years developing some tools, or skills to draw from on the instrument. Each tool or bit of knowledge is like another color on your palette or application for later use. By focusing on certain aspects of a wide range of influences we created a blueprint of what we wanted to do with this band. The inspiration is difficult to put into words, but certain energies are channeled through us from the universe or "Ancient Ones", virtual messages from the gods, or demons or forces of the universe. We have about three topics, death by plague, death by human hand, and unholy mockery of the silly religious fallacy that permeates our consciousness on this planet. Unfocused, these urges and energies can be self destructive and dangerous. In some way it soothes the players and the listeners in some, unspeakable way. A knowing of darkness and impending doom. An acceptance of finality, and the freedom to live every moment as if it could be your last on earth. This is dark art in an audible format. There are many influences from Beethoven, and Vivaldi to Black Sabbath and Iron Maiden. From Bathory to Carcass. And the big three for me in this genre; Incantation, Morbid Angel and Immolation. To descend the path we've chosen, a long road lies ahead! The madness may come from some traumatizing childhood moment, to many chemicals, or a genetic defect, that seems to be rather common!
Of course also the other songs are a true reflection of terrifying fate, I am always fascinated by music full of most horrible fear ... I really like your guitar leads, I feel there strange avant-garde and negative vibrations ... would you be able even to play any other music with completely opposite feelings?
That is an interesting question. I think you need to be able to play and express the more happy sounding major keys to be able to fully capitalize on the minor and diminished keys. We play only minor and diminished keys, of course. These are simply musical tools, used to create the musical composition. It's how it's arranged and interpreted in performance that makes it unique and gives it the feeling to convey darkness and dread. That is part of being a well rounded musician. I used to be more well rounded, but I rarely play in regular tunings these days, just DRAWN AND QUARTERED music. So I'm just a death metal guitarist at this point. On "Merciless Hammer of Lucifer", I made an effort to express myself more with the note choice and composition, instead of the dive bombs, wah-wah pedal and tapping/hammer-ons that the previous record was drenched with. "Hail Infernal Darkness" is chock full of ripping, over the top solos, so I needed to do something different on "Merciless..." Of course my solos aren't the smooth as silk, sweeps and such but more Van Halen or Iommi, which suits our music and songs, as well as the low B tuning. I have dabbled in classical, rock, bluegrass, and metal as well.
I think the atmosphere in your music is decisive to you. Are you able to tell if there is some recipe how to create music with such a dark apocalyptic feelings? Do you think it can be learned or it must be rooted in the composer already?
Atmosphere that is the key. How do you achieve that? Through careful study of music that gives you those feelings of dread or whatever you want to express. You have to do the hard things, the work. The study of aspects of music theory you need to develop your interest. Specifically horror movies and certain works of classical music contain elements of unsettling music devices. Then refer to the classics, the metal, thrash, black and death metal legends that paved the way for extreme genres of music we have today. Figure out what works best to express the most evil feelings of morbid doom possible. Then try to make it catchy, memorable yet refined and sophisticated. We strive not to overdo it. Mainly not to overwhelm the listener, but to create an interesting song, that is unique, creates a story and entertains. I appreciate amazing virtuoso musicians, but I enjoy a more pop music approach. My favorite bands include the Beatles and Black Sabbath. Music that gives you shivers in your spine. I don't know if it can be learned. You have to have a certain calling, drive or innate talent to start with. Then you have to develop that. For everyone it is different, you have to find that talent and develop it. A positive attitude or certain level of confidence is essential, as well as a degree of patience and perseverance. Finally a certain amount of experience, pain and frustration needed to form and define the notes. Many people have learned to shred, but to play with expression is a different skill altogether.
What reactions have you got from fans, critics and friends so far?
I believe you are asking about the newest material. We have a recording of a new song called "Conquerors of Sodom". This song is featured on the 'Compilation of the Condemned', a 7" series coming out on RELAPSE RECORDS. There are a few seconds of studio playback posted on our myspace page currently of us listening to drums and guitar tracks during some recent recording sessions as of 4/26-27 and 5/1-2/2010. So there is glimpse at what's to come. Very evil and aggressive! We'll be performing live 6/22/2010 at Hells' Kitchen in Tacoma, and 8/15/2010 at El Corazon in Seattle, Washington.
Many bands (even death metal ones) say they play music for a fun. Which meaning has your music to you? Is there something deeper?
Playing music isn't necessarily fun; it is work, like a job. I try to have fun playing music. If it isn't fun, it isn't worth doing. Sometimes the grind of your day job and our regular rehearsals and writing sessions are a lot of work, and it can be tough to drive back down town to the rehearsal room after working all day. But I don't know how we could possibly do what we're doing now, without constant rehearsal and practice. Ideally I need home preparation time on guitar set-ups, equipment maintenance and tuning, as well as continuous maintenance and development of your playing. There is much personal, social, professional and economic sacrifice. It is beyond commitment, really, just a part of you. Not so much a lifestyle as much anymore, just one significant part of my life. As I mentioned previously, the deeper meanings aren't as easy to put into text. I have spent many years on this journey, and achieved many goals. I'm stubborn. I need the challenge, of doing this band. I become edgy and can't sleep, with nervous energy when I'm not channeling the messages from the Ancient Ones!
Can you please clarify writing process in DRAWN AND QUARTERED? Do you have a uniform method of composition or it’s different at any album?
These questions are very much like I would've asked when I was starting out striving to start creating what would become my involvement with this band and other projects. Writing music of any kind requires some building blocks, the more complex and refined the more tools you'll need. Starting to write songs, requires just that... starting to write them, refine them play them over and over. I finally had to start focusing on a sound and that was inspired by detuning the guitar like Black Sabbath and Bolt Thrower among others. Also I loved the evil vibe of black metal and death metal like bands I mentioned previously. And the study of musical devices, game me the ear for dark passages and note combinations. Rhythmic variations are very important as well, to add diversity and variation to the note combinations. There is no universal way for me to write music. At some times I have written songs entirely on my own, and other times had input, riffs or entire songs I played on or helped arrange or co-written songs, tittles and lyrics. On our current record I did some of both. On this record my focus was on the music itself, not so much titles, themes or lyrics. But every note goes through the DRAWN AND QUARTERED filter and is subject to change up to and even in the recording studio or performance stage. Having people you can really trust, with the knowledge experience and talent to create music with, is a rare and unique situation. We have a lot of common influences, and are on the same page about how we want to do this band, at this time, on this album. So each song is different, each record is different. Specifically I will usually set out to write a song or a bunch of musical ideas to arrange at a later time. This involves sitting with a pencil and some tablature paper, and writing the notes down and notating the rhythmic devices. It can also involve the recording ideas at band rehearsal while warming up, or just messing around on our instruments. I usually like to write everything eventually to help remember at a later date. One other, very central part of our writing process as a band is to write a chart of the musical arrangement as we write the songs and create a set list for live shows. This chart is in the band room visible to everyone to follow along as we rehearse and write. We start by numbering or naming the song in particular then each riff as we learn them. Sometimes as we re-arrange them they end up in different spots but some times retain their original numerical designation for a long time or permanently. Every CD has been different, but since I started the band years ago, I have had a big hand in writing and arranging the songs. We started writing the songs with a click track, and brought our songs to a new level. Previously the tempos were all over the place, even on the last record "Merciless Hammer of Lucifer", we programmed click tempos to the songs after the fact. So we finally wrote with a click and figured it out, only took twenty years but that's how it goes.
What is most important to you in terms of composition?
The most important thing for me in composition, is the guitar and the fact that we have always tuned to a low B. So that is the primary basis of our sound. It is almost a different instrument tuned that low, and has its' own personality. Also the songs often have some sort of classical influence, as I use a lot of 5 and 6 string chords, and try to fill out the sound of the music by playing multiple parts at once. Within the structure of catchy almost pop-like arrangements. I'm influenced mainly by Jimi Hendrix and Tony Iommi, who know how to fill out the sound in a song. The only kind of songs I've really written are metal songs, always evil, dark and brutal. I like to create the sound of a sledge hammer or some satanic symphony. Perhaps with demonic choir of guitars over it all. I'd like our songs to be the sound track to horror movies.
How would you describe your music to someone who has never heard Death Metal or Metal in general? I think it would be interesting to see the reaction of a man...
Most people are at least aware of rock music or hard rock, even metal. So I'll try to keep it real simple. Most people assure me they like all kinds of music, unfortunately this is a niche genre, most people will never understand. But we will remain true to our style that is constantly evolving. The next 2-3 records will be interesting. I'm not too offended if someone doesn't like it, it is not for everyone.
You have already quite a decent history, how are you looking at evolution of DRAWN AND QUARTERED? Which your album do you think is best and why?
This band has been an amazing experience for me. That I could even get anyone willing to play in the band is a wonder. I started with minimal gear and resources, and sacrificed half my life to do this band, instead of other things. I was able to gravitate towards the people who could help make this happen. I decided a long time ago, that I needed help with this project. And as the years pass, and as I grow more trusting I continue to learn how to work with people to make this band the best it can be. I am obviously not the best guitarist in the world, but I have a lot of creative energy and have a way of making things happen. I'm the spark that got this thing started back in the early nineties. I paid for the first demos and got rehearsal rooms, called people, wrote letters, wrote songs, etc. I had some good drummers but finally in 1994 me met Matt Cason who did a lot for the band and helped us get on the road, do a ton of shows in the 1990's, even helped get the first record and many items of merchandise such as CD's and t-shirts in the early days. Grege Reeves joined in 1997 and was a stalwart for 11 years until leaving abruptly on tour in 2008. We worked hard and did many things but Matt had to leave, as he was in another band and we just couldn't get anything written, finally we we're frustrated enough that we had to part ways with Matt. The second era of Drawn and Quartered began in 2002 with Dario Derna, on drums. We had met him years before in 1993 when we did shows together in bands at the legendary Lake Union Pub in Seattle, Washington. We felt that he was the perfect fit for our style and direction; we started writing songs very quickly, and were able to get a lot of albums recorded. In 2008, after Greg left Herb Burke, who's been the vocalist since 1993 took over the bass and we wrote 11 new songs that we are in the process of recording now. The 3rd era of DRAWN AND QUARTERED. This band has only gotten stronger and this release will crush everything that has come before. The best album is "Hail Infernal Darkness“, it has the best overall vibe.
For the last CD you have shot the Merciless Hammer of Lucifer video clip. Do you remember even as filming took place? Will you shoot the clip for the new album as well?
Yes I remember we shot that in a condemned house that was to be demolished a week later. There was no power, so there was a gas powered generator, the fumes made me sick during the shoot. The videos were fun and pretty easy to make. I don't think we'll be doing any more at this time.
You come from Seattle; I know no major band from your area, what is the scene in Seattle? Are there some death metal bands?
Yes, there is much metal in Seattle, like most cities in the U.S. there is always a small metal scene. We are trying to be the band from Seattle, that becomes known. There are no real bands around here. Some people try for a while, but they all quit eventually. There are some very talented bands and people in the Northwest, but not enough fans to support a lucrative metal scene.
I think here in Europe you are relatively unknown band, I've met at least minimum of people who would know you ... are you getting responses from fans around the world? Where is your biggest fan base?
No, we are pretty unknown; we need to put out a better record that is what we will do. Hopefully someone will hear it. You tell me where the biggest fan base is, I guess we don't have one yet. Maybe Japan! HAHAHAH!
How often do you play live performances? Your shows have to be devastating, have you ever played outside the U.S.? Would you like to come to play to Europe?
We haven't played for about two years while writing this record, but have two shows coming soon. I can't wait! We'll be using the click track that should be fun. Eventually I'd hope to have a second guitarist, as well. We haven't left the continent yet. I'd like to come to Europe, under the right circumstances. I think we will be a much better live band in the future.
How do you perceive metal scene in the current form in general? Do you think in the 90's there was different situation? Which period in Metal you prefer to remember?
I don't know about the metal scene anymore. I have to have a life outside of this for now. This has been a huge a part of my life for almost twenty years, I will continue as long as it is possible, but I have to pursue other interests as well. The nineties were different, we still traded tapes listened to 7" records and wrote letters. I was young and gave up all other interests and activities, other than some job, to do this band. Now I can continue to build on this brand and refine our product. My favorite era is the early 80's when I was just a school boy going to concerts and having fun. Those were the best times, big coliseum shows.
Ok, it would be all on my part, if I have forgot something significant, you have the space, thank you for the interview and wish DRAWN AND QUARTERED only the best, STAY DARK AND HEAVY!
Thank you for taking interest in our band and giving us some more exposure! DRAWN AND QUARTERED doesn't do this for money, but if you want to keep real music alive then people need to spend some, to keep the music business going! HAIL INFERNAL DARKNESS!
Kelley 25. 5. 2010 Mortuary
http://www.myspace.com/drawnandquartered666
interview