The Chronicles Of Manimal And Samara – Full Spectrum

Full Spectrum Cover Art

The Chronicles Of Manimal And Samara – Full Spectrum
Release Date: 26/02/2021
Running Time: 65:55
Review by Dark Juan

Greetings and salutations, friends and confidants of all known sexes and preferences! It is I, Dark Juan, and I have returned safely and without incident from a shopping trip that could only be described as mildly taxing. You all, dear friends, know that I am famously misanthropic and having to wait in queues to get into fucking Pets At Home and have strangers talking to me is somewhat difficult, especially as it is my want to nod and smile politely whilst entertaining the goriest fantasies of dismembering the motherfucker being nice to me in the most gruesome of ways. Yes, a very polite young gentleman engaged me in benign yet banal conversation about 22 grown men in shorts kicking an inflated pig’s bladder around a field and my mouth was on autopilot while my imagination was consumed with the flash of keen blades and the comforting flow of blood around my wrists while his football loving heart is carefully removed from his chest and displayed in front of his staring, pain-filled eyes as the life slowly leaves them, fading gradually to grey silence as the blood pools in his torso where until recently his vigorous heart pumped life around his frame…

Sorry. I don’t like shopping very much. Anyway, I am safely ensconced back in Dark Juan Terrace with alcohol, sleeping hellhounds around me and the latest offering from The Chronicles Of Manimal And Samara rattling what’s left of my brains. TCOMAS are a London based duo from Italy and Singapore. In their own words: “TCOMAS take inspiration from Tool and Kraftwerk, as well as the poetry of Sylvia Plath, Virginia Woolf, and Jim Morrison, TCOMAS continues to fill a gap in music by bringing literature, art, and history together into a space where rock and metal meets electronic. Their musical and lyrical themes are very much rooted in the duo’s interests in classical literature and theatre, as well as in the fields of philosophy, history, and psychology.”

The album is composed of previously released singles and five new tracks and opens with ‘Atoms’ composed of spoken word vocals in the form of an oratory on the nature of man and life and the creation of the universe and its subsequent destruction and veers wildly from some chunky metal riffing, industrial and trance. It is an eclectic melange of sounds indeed. The guitar sounds fucking huge, though, when the band let rip. Second track ‘Psychopath’s Monologue’ begins with the spoken word poetry of Daphne Ang over a slowly building electronic industrial soundscape, beginning with just Daphne’s voice and a slight bass hum and the sounds of a woman achieving ecstasy. This song is based on the events of Dante’s Inferno and apparently the lyrics (deliberately fragmented in nature) are composed of seven sonnet poems written over a ten-year period.

It is ridiculously complicated to even attempt to quantify TCOMAS and their sound as it appears that they are absolutely hell bent on welding as many disparate influences together and unleashing this kind of highly polished chimera on this unsuspecting planet, just for the sheer hell of seeing what the fuck the world makes of it. Take track three, ‘Deus Ex Machina’ as an example – Heavy metal guitars and more spoken word beguile you into thinking you know where this song is going. You’re absolutely fucking wrong though. The lyrics tell the tale of Oedipus Rex and the guitars segue in and out of a segment played by a Persian tar before returning to gut slamming power. The same eclecticism is amply displayed on the fourth song, entitled ‘Mata Hari’. This time, the sound references the 80’s and modern synthwave with lush analogue synths and choppy, heavily produced MIDI guitar sounds over an ethereal vocal dripping with effects, giving the song a new wave/new romantic feel added to a modern, propulsive sensibility. It sounds like Georgio Moroder and Gary Numan in his “The Fury” era got hold of modern equipment and were allowed to go absolutely bonkers in an LSD filled studio. ‘The Descent’ begins with a sound that immediately references the start of a “The Fragile” era Nine Inch Nails track as the metal guitar torturously builds until bongo drums and mechanical buzzes slip beneath the deceptively simple electric guitar lick that repeats until the drums kick you in your fucking arse and the guitar work reminds you that this is a metal band playing here with little stabs of Rammsteinesque keyboards driving the song forwards to the fade…

‘Message For The King’ is an interlude where the band appears to have totally lost their shit and perform a humorous skit complete with bizarre kid’s Bontempi keyboards and sound effects of horses neighing. Clearly, TCOMAS are madder than Mickey “Mad Dog” McMad from Madsville.

Things take a decidedly apocalyptic bent on ‘Love In A Time Of Pestilence’. Deliberately released as a single at the time of the second lockdown, this song takes a Tool-esque intro into a bleak, quasi-industrial metal before taking a hard left turn into black metal vocals and speed before slamming back out of gear into a guitar solo that Dinosaur Jr’s J Mascis would be proud of before returning back to Tool’s noodling and another build to the power of heavy fucking metal over more spoken word detailing past epidemics and the present day pandemic and the public response towards it. Timely doesn’t even begin to cover the lyrics of this song. The interest and the bizarre mixing of disparate influences continues with the soft classical piano overlaid with electronic keyboard intro to ‘TCOMAS S01 E01’ (detailing the story of The Chronicles Of Manimal And Samara using the original script that was originally going to be a script for a manga book series) which suddenly has a techno beat growing over the softly spoken poetry of Daphne Ang. Then we are in the realms of full-on hard techno in the vein of Ultraviolence and there we stay with a wah soaked guitar enhancing it. Next track in is ‘Full Spectrum’, which is where pure metal fans might find this album too challenging for their musical sensibilities as it is a 16-minute instrumental with its base in experimental psychedelic trance and wild, flailing, dissonant guitar cutting in and out of the music at unexpected moments – think The Orb and Tangerine Dream getting mixed with Disturbed and Prong and bits of Ozric Tentacles and you get a sort of an idea of the sound I am experiencing. Although so far this record has denied me a chance to give you all a kind of overriding description of it all, hence the verbose ramblings about individual songs. It is the only way I can impart any form of sense about this album to you. It is so wide ranging, experimental and out to fucking lunch it defies any attempt for this ridiculous, barely literate idiot to, coherently and cogently, make any bastard sense of it…

‘At The World’s End’ is the utterly obsidian black final song. This is far and away the most metal song on the record, being progressive me(n)tal with the odd electronic bleep and bloop. And then TCOMAS throw every effect they have in an extraordinarily capacious arsenal at some spoken words that they have managed to render totally unintelligible and have given it a title, ‘The Great News’.

At that point, the insanity ends. How the fuck do I summarise this Frankenstein’s Monster of a record for you all? It’s progressive to the point of almost parody. It just manages to stay on the right side of parody, however. Metal purists will fucking hate this album so much it will cause them considerable pain and suffering. More adventurous music lovers may find the sheer lack of attention to boundaries, style and genre equally galling, because there are points on this record where the music does not gel as well as it could as the influences and styles being used are simply not compatible, not matter how hard you beat them together. If you are an intrepid listener, however, and someone to whom genre and style are words that mean nothing, then I have a new favourite band for you. The Chronicles Of Manimal And Samara are superb, but they will have an extremely limited audience because of the free ranging nature of their music and the lack of singing – Daphne Ang’s poetry and spoken word offering a narrative style rather than song and Andrea Papi electing to only open his throat sparingly. I could even say that TCOMAS are TOO complex for the casual music fan to understand and this will be to their detriment, if you view success in sales. Others might claim that TCOMAS are a band trying too hard to be different, and edgy, and unique. If you view success as creating a magnum opus of wholly original, impossibly complex music that defies genre and gleefully tramples over any form of traditionalism with a big shit eating grin on its face and a total disregard for the rules, then TCOMAS are for you. In my opinion, TCOMAS have transcended music and have created aural art. They create visual soundscapes that you can wander and get lost in.

Well, I’m blown away, frankly. I have this rule when I am scoring the music I review, which is that the music has to be interesting. TCOMAS has that covered in magnificent style. But is it metal? In all honesty, yes. It’s metal twisted and welded into shapes with impossible geometries utterly unfamiliar to people, but the basics are there. There’s heavy metal guitars and bass playing and the lyrics are thought provoking, suitably apocalyptic and rivet the attention. Which is no mean feat considering I have the attention span of a mentally deficient fish.

The Patented Dark Juan Blood Splat Rating System is massively conflicted. On one hand, TCOMAS have not delivered a true heavy metal record, but on the other they have given us something futuristic and shiny and uncompromising and based in metal. Fuck it, 10/10 for a sublime work of genius that will only have an extremely select and adventurous audience. Expand your minds, metal pilgrims, expand your minds. This album is perfect late night driving music when you’re miles from anywhere. Possibly the most prog thing I have ever heard.

01. Atoms
02. Psychopath’s Monologue
03. Deus Ex Machina
04. Mata Hari
05. The Descent
06. Message For The King
07. Love In The Time Of Pestilence
08. TCOMAS S01 E01
09. Full Spectrum
10. At The World’s End
11. The Great News

Daphne Ang (Samara) – Vocals, Lyrics, Piano
Andrea Papi (Manimal) – Guitar, Bass, Keyboards, Vocals


The Chronicles Of Manimal And Samara

Disclaimer: This review is solely the property of ‘Dark Juan’ and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

EMQ’s with ARYA

EMQ’s with ARYA

Hi everyone! Welcome to our new EMQ’s interview with Rimini, Italy based Experimental/Progressive Metal/Rock band ARYA. Huge thanks to guitarist/backing vocalist Luca Pasini for taking part.

What is your name, what do you play, and can you tell us a little bit about the history of the band?

My name is Luca Pasini, I play guitar and do backing vocals for the prog/noise/post/gaze/whatever band Arya. Arya was born from an EP that I had composed recorded on my own, that later became our debut album “In Distant Oceans”. The history of the band has been really troubled, with many line-up changes and really tragic turns of events, but despite that (but probably even thanks to that) we’ve managed to release four albums and an EP since 2015, touching many different genres of music. We’ve played shows in many regions of Italy, as well as Switzerland, Austria and the San Marino Republic.

How did you come up with your band name?

When we formed for the first time as a full band and were looking for a name, I was studying for an Asian Philosophies exam at the university. I came across the Sanskrit word Arya, which is adjective that means “noble”, “aristocratic”, but is also a short and good sounding word that doesn’t imply any specific genre for our music, and didn’t seem to be already taken by someone else.

However, because of many businesses in any field being named Arya, as well as a character from Game Of Thrones, we quickly added “Italy” to most of our social media pages to make us easier to find.

What Country/Region are you from and what is the Metal/Rock scene like there?

We’re from Rimini, a city on the East coast of Italy that’s quite famous internationally as a seaside resort. There is a handful of good bands in our area, most of which we know personally, like Solaris, Built-In Obsolescence, Outer, Invasion Inc.

Nonetheless it’s not really an ideal place to grow a fan-base for a band like us, as there aren’t many people interested in live music in general, even less care about heavy music, and even less about the less codified and more experimental kind of music that we make. We often try to set up concerts and to promote them, but there’s just not a big audience interested in watching rock and metal bands playing live. Most of the fans of the genre are also older than we are, so it’s difficult for us to reach them by, for example, hanging out together.

The only times we’ve been to other countries we felt like we were in heaven: there were people paying money to see bands they didn’t know, venues providing rooms for bands to sleep after the concert, everyone was much more professional and really cared about our music even if we had never met before.

What is your latest release? (Album, EP, Single, Video)

We’ve just released a music video for a song called ‘Flares’. It’s the first single of our fourth album, “For Ever”, that will be released on October 20th. We plan to release most of its tracks as singles with videos beforehand, so I suggest you keeping an eye on our Youtube channel, if you like our music, so you don’t miss them.

Arya – Flares [Official Video]

Who have been your greatest influences?

Musically speaking, there have been really a lot, from mathcore to jazz, and each of the present and past members of the band could add more of them: that’s why each of our albums sounds different from the others.

But if we consider me trying to manage the band and to make artistic decisions, I’ve really learnt a lot from Periphery: they were among the first bands that recorded and managed themselves, and they’ve always worked hard to find new ways to get to fans without the need for a record label. In this regard, the Italian scene still feels bound to the past: even now, if you present yourself as a self-publishing band who records its own music, you look suspicious, an amateur, you’re not taken seriously.

What first got you into music?

My mother forced me to take piano lessons from her when I was five, I think. But I got really into music much later, when I gradually allowed myself to listen to rock music: first it was Queen’s greatest hits, then came Stairway To Heaven and The Beatles, then I got into classic prog rock and, by then, at 16, while many people at my age were listening to house or pop punk, I was already dreaming about having a band and creating my own experimental music.

If you could collaborate with a current band or musician who would it be?

Maybe the American band Bent Knee, they’re incredibly talented musicians, they’ve made me approach music composition in a new and better way and they seem to have a lot of fun while creating new music and experimenting.

If you could play any festival in the world, which would you choose and why?

Since I know about it, I’ve always dreamed about playing at the UK Tech Metal Festival: I’ve always drawn much inspiration from bands I found out on their bill, and the people that attend seem really nice. Euroblast in Germany and Arctangent in the UK would be close second.

What’s the weirdest gift you have ever received from a fan?

Once one of us received a vinyl with a penis drawn on it, but the guy who gave it wasn’t really a fan, and it was the beginning of a really terrible turn of events for all of us (the whole new album is about what happened later).

If you had one message for your fans, what would it be?

Well, thank you so much for being interested in us and our music. Ours has been a long ride with many difficult and painful moments and a few accomplishments. Arya will probably always be a losing game, our music has never been for everyone, but it has been everything for us: if you’re still interested in us it’s not because you expect us to get big in the near future. The story that the discography of Arya is telling mirrors the story of our own lives and maybe, if you’ve followed us for a long time, you can find a bit of yours there as well.

If you could bring one rock star back from the dead, who would it be?

Kurt Cobain, obviously! But wait, would he be really happy and grateful to be alive again? Maybe he’s alright wherever he is now…

What do you enjoy the most about being a musician? And what do you hate?

I love finding out new ways of saying something with my instruments, and the rare feeling you have when you think you’ve created some really good music, and you’ve managed to express your current  feelings through it. I also like being surprised by music made by someone else, to see it awake an emotion inside me, and being inspired by it.

I don’t like the frustrating process of begging people to listen to your music, for example by writing hundreds of e-mails to promoters, blogs, playlist curators and so on, most of which won’t be answered or will be followed by a reject for whatever reason. Being part of an independent band, it’s something we have to do to survive and I try to do it in the best way I can, but most of the time it’s not really amusing at all.

If you could change one thing about the music industry, what would it be?

I don’t really like how streaming platforms work. Of course they pay you almost nothing unless you’re already a pop-star, but my main issue with them is that their focus on playlists ends up killing the personality and uniqueness of each artist: a playlist gathers similar tracks that share a mood, a tempo, a style, and if you want to be chosen to be part of a popular playlist, so that more people can learn about you, you’re requested to make music that can be easily categorized into the criteria of a specific genre, that reminds people of something they’ve already heard. Music that isn’t easily categorizable is doomed not to become popular. Meanwhile, the result of your hard work, a track that may have been conceived with a specific role inside an album, becomes just another generic element inside a set of similar items, your own personality as an artist hasn’t any relevance anymore.

Name one of your all-time favourite albums?

I’d say “Unholy” by Martin Grech, a singer-songwriter from Aylesbury that almost no one knows about, but who’s a true artist. He provided guest vocals on a track with Tesseract recently. It’s a very dark, depressing, even dramatic album, but I think it captures really well my personality, and has been really important for me during a terrible part of my life. More people should know about him.

What’s best? Vinyl, Cassettes, CD’s or Downloads?

They may not be fashionable nowadays, but I like CD’s because I can listen to an album many times while I’m driving, paying much attention to it. I also like downloads, they’re useful if I’m listening to music from my laptop or phone and there’s no internet connection, like when I’m on a train.

What’s the best gig that you have played to date?

Near Santarcangelo, a small town a few minutes away from where I live, there’s a commune founded by a group of artists, the Mutoid Waste Company, formed in London in the 1980’s, who later chose to settle there. It’s a crazy place, full of sculptures made out of rusty car parts, many old trucks and some great people. In 2017 we had a chance to perform at a huge birthday party held there, together with some great hardcore bands. There were people with flame throwers, a fire-breathing frontman dressed as the pope and a huge crowd of punk fans from many parts of Italy and the UK. For me it was a really mind-blowing event, and I became way more interested in hardcore music after that. There’s a vlog I’ve filmed during that party, you can find it here:

If you weren’t a musician, what else would you be doing?

I am a musician, but like many of us I have to also do something else to earn some money. As of now, after getting a master’s degree in Philosophy, I’m studying at the National Film School in Rome to work as a sound engineer or editor in the film industry. It’s a beautiful environment full of talented and dedicated people, and studying there has been really good for Arya, as I’ve learnt to produce better music and better music videos as well.

Which five people would you invite to a dinner party?

Keeping it music-related I can think of David Maxim Micic (Serbian musician), Ben Levin (guitarist of the American band Bent Knee and youtuber), Adam Neely (American musician and youtuber), Arnor Dan (vocalist of the Icelandic band Agent Fresco) and Devin Townsend (Canadian musician). I would be by far the worst and least successful musician among them, but I’m Italian, so at least I could cook something tasty.

What’s next for the band?

Until October, we’ll be working hard promoting our upcoming album “For Ever”. What will happen next will depend on how the album will be received: we still have a few unreleased full songs with a totally different and more “pop” vibe than those on the album, as well as dozens of demos to develop. I don’t know if, when and how we’ll be able to perform live again, it’s always been really hard for us to find a stable and reliable line-up willing to commit to such an uncategorizable and unpopular project.

What Social Media/Website links do you use to get your music out to people?

We have our Facebook page:,

Our Instagram:

And our Youtube channel:

If someone was interested in downloading our music or buying some merch, the best place is Bandcamp:

Jaffa Cakes! Are they a cake or a biscuit?

I had no idea about what they are, so I checked on Wikipedia, that describes them as “biscuit-sized cakes”. It also says that, despite being usually eaten in place of biscuits, they are considered as cakes by the UK and Ireland taxation system, thus being exempted from VAT. I think I’ve just learnt something new about how absurdly things in the UK work!

Thank you for your time. Is there anything else that you would like to add?

Thank you for reading all this, I hope you found it interesting! Our new album “For Ever” will come out on October 30, if you like our music be sure to pre-save it here, it really helps us:

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Black Pestilence – Hail The Flesh

Black Pestilence – Hail The Flesh
Release Date: 01/05/2020
Running Time: 34:09
Review by Tammy Lomax

Tissues at the ready guys, we’re definitely going to need them!

Rolling in from Calgary, Canada, Black Pestilence started out as a solo studio project for bass player Valax, back in 2008. Pretty soon, one became three, and since then, there’s been over 12 years of hard work, releasing vast amounts of material, with motivation from huge bands like Municipal Waste and Midnight. Their latest release, “Hail The Flesh” has just been released, and is my subject here today. It’s Black Metal, mixed with punk, and some serious tapping into experimental sound and noise.

The moment album opener, ‘Hail The Flesh’, kicks in, all cards are on the table. I do like to indulge and ramp the volume up, and I most definitely needed to hear this a little bit louder! As the album continued, I was really drawn in by the lashing riffs winding into the intoxicating bass, the sound leaking through the speakers is fantastic, and I’m dribbling! It has some absolutely destroying vocals. They are colossal and literally slashing throughout the entire album. There is a lot of pain and misery in the lyrics, it’s a fantastic outlet, especially given recent events going on in the world. Stick that middle finger up!

Guitarist Daniel, and drummer Davey, complement Valax’s sound, and each other, superbly. For example, in the tracks ‘True To The Dark’ and ‘Cloven Decision’ the clunky bass sucks onto you like a Vacuum, and while you’re firmly stuck in place, you’re slapped with some fast guitars and even faster, harder drums. Amaze balls!! While we’re on the subject of drums, Davey Hellfire is actually jaw dropping. He is undoubtedly fast and certainly efficient. There’s nowhere that he isn’t consistently delivering it all.

‘Hellfire’ is ultimately the best track for me. It has many angles happening, whilst also being insanely swift. The strumming on the guitar follows a really deep bass and the riffs just melt me. I feel like my insides have been imploded! It’s hard and compacted, and I love it!

‘Ephemeral’ ends the album beautifully and most importantly, powerfully. I previously mentioned, Black Pestilence could be tapping into the experimental? Well, this is a perfect example. These fellas are more than capable of pulling on the heartstrings. This is a very well balanced and emotional track. It’s actually really beautiful. Hand me the tissues, will you?! I think next time I may need to review something a little less emotional! Give myself a little break so I can repair what is left off my brain!

Black Pestilence have a great concoction of sounds going on, they are fast paced, with dissolving slapping bass, diverse guitar skills, excellent footwork on the drums and vocals that can rip you apart in seconds! Every single track is done really well too, and there’s an aggressive atmosphere throughout! Your ears feel like they are bleeding!

However, in my personal opinion, Black Pestilence do play it safe with this album. Let me explain. Although the music itself is punchy and solid, it’s not overly technical, or mechanical. It’s robust and destructive, but there’s a certain ‘stability line’ to it and I just don’t feel these guys have pushed themselves to their potential. Now, don’t get me wrong, I’m not slating, quite the opposite. I love their sound, but I feel they could have tapped into being a bit more experimental. There’s some extreme talent within the band and it is paramount they explore that.

Aside from that small gripe, I love it. The whole album hammers at you like a pneumatic drill, at 100 mph. The album artwork is also bloody awesome and a well fitted representation of Black Pestilence.! It’s a robust design and offers some real rawness! It reminds me of artwork for bands like Bolt Thrower. And similarly, if you like Bolt Thrower, you’ll like Black Pestilence. In fact, if you enjoy any gut ripping black metal, then you’ll definitely appreciate these fellas. Pop over to their page and give them a like.

Look after each other everyone!

01. Hail The Flesh
02. Spurn All Gods
03. Hellfire
04. True To The Dark.
05. Cloven Division
06. Godless
07. Frauds To The Throne
08. My Will To Power
09. Ephemeral

Valax – Bass, Vocals, Samples
Daniel Toews – Guitar
Davey Hellfire – Drums


Disclaimer: This review is solely the property of Tammy Lomax and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.




Hi Everyone. Welcome to our new EMQ’s interview with Santiago, Chile based Experimental/Death Metal band Target! Huge thanks to Vocalist Andrés Piña for taking part!

What is your name, what do you play and can you tell us a little bit about the history of the band?

My name is Andrés, but everyone who knows me in my family, work or the music industry, calls me Andy.

I’ve been singing at Target since the band was formed in 2004 in Santiago, Chile. Over time the band has been mutating in search of its own style. This year 2019, we have just released the “Deep Water Flames” album that has opened us many doors in the world.

How did you come up with your band name?

Very naively, many years ago we looked for something short, effective and easy to be remembered, and I think we got it. Now, in recent years we have deciphered a concept based on our desire to show our music to the world in a professional way. Basically that is our Target.

What country are you from and what is the Metal/Rock scene like there?

We are from Chile, South America. Our scene is a diamond in the rough. There are many good bands but only some have plans to go international. It is a scene that lives to be validated internally, without causing a side effect of border expansion. It is something in which as a Chilean musical culture we have to work, since there is a lot of potential.

What is your latest release? (Album, EP, Single or Video)

Our Latest release is “Deep Water Flames” LP 2019 available in our Social Media platforms and via Australis Records.

Who have been your greatest influences?

Mainly the music of the world, but with the unconscious tendency to be sad and melancholic! Happy music definitely doesn’t go with me. Metal, Trip hop, doom jazz, experimental music, OST are my favourites. In these moments of my life strongly influenced by bands like Bohren & der club of gore, The Killimanjaro Jazz Ensemble, Radiohead, Black Chamber, Deaf Center, Ulver, Ion Dissonance, Daylight Dies, DSO, Subheim, Klone and obviously the classic pillars of metal world.

What first got you into music?

I remember when I was a child I listened a lot of rock with my dad; Led Zeppelin, Deep Purple, Ten Years After, Credence, also abounded a lot of classical music in my house. But what really marked me was without a doubt; Soda Stereo (Argentinian Iconic Rock Band) and later thanks to a friend from the school, Sepultura; the band that changed my life forever.

If you could collaborate with a current band or musician who would it be?

Good question since here I appeal directly to utopia! Haha! There are many people that I admire for their artistic ability to convey ideas, thoughts, feelings; Maynard from Tool, Yorke from Radiohead, Reznor from NIN. But realistically, the dream would be to do something with Cult of Luna, the people of Converge, Carl Michael of Ved Buens Ende, Garm & Ulver or definitely talk with people from Bohren & der club of Gore, my greatest influence these days.

If you could play any festival in the world, which would you choose and why?

I think the obvious answer would be great metal festivals like; Wacken, Hellfest, etc …, but multi stylistic festivals have always attracted my attention. Massive events where many styles, cultures converge! Places where respect is the fundamental thing.

What’s the weirdest gift you have ever received from a fan?

Mmm, nothing fancy, beers, weed and a lot of alcohol which is always a good gift. Haha!

If you had one message for your fans, what would it be?

Now I sound like my dad haha. Daring to do different things, trying to innovate, abandoning comfort zones is part of self-knowledge as human beings. Be very professional, responsible and punctual. Always with your feet on the ground, keep things good, eliminate what hurts. Do not stay in the past, evolve. Never give up! Only hard work will lead you to fulfil your dreams.

If you could bring one Metal/Rock star back from the dead, who would it be?

Steve Hurdle from Gorguts/Negativa without a doubt! We talked several times, and in addition to his enormous musical influence, as a person he gave me some advice that I will keep in a very special place in my heart.

What do you enjoy the most about being a musician? And what do you hate?

What I love; the creativity definitely. To create something from nothing and transform it into sounds, music, a concept. Share with friends, camaraderie and respect. Meet people, talk to them. Listen to what they feel when they discover your music, many times on the other side of the world, and How you affect their lives, that is priceless. What I hate; Envy and ignorance.

If you could change one thing about the music industry, what would it be?

I know it’s impossible, but clearly the business itself. Money and profits are above creativity in many cases. That’s sad. In Chile, closed circles are a way in which you can access to be visible. Be a cocksucker to get benefits over the work. It is very common these days!

Name one of your all-time favourite albums?

This is difficult! Just one! I have many! Mmm, not in the exact order and maybe I forget some, but here I go;

Sepultura – “Arise”

Opeth – “My Arms Your Hearse”

Radiohead – “Amnesiac”

Ulver – “Perdition City” & “Shadows Of The Sun”.

Death – “Symbolic”

Soda Stereo – “Sueño Stereo” & “Confort y música para volar”.

Bohren & der club of Gore – “Sunset Mission”

What’s best? Vinyl, Cassettes, CD’s or Downloads?

It depends a lot on the context, but I am definitely a CD and vinyl collector. I see it as a way to transfer culture to my children. A legacy! Downloads are for times when quality is not something important.

What’s the best gig that you have played to date?

I remember several. Outside Santiago de Chile, it’s always the best. People approach without ego to hear from you. They buy your merch and connect with a show you prepared for them. They give it the value it deserves.

If you weren’t a musician, what else would you be doing?

I would probably be training UFC, or dedicating all the time I dedicate to Target, to my family.

Which five people would you invite to a dinner party?

Maynard James Keenan, David Fincher, Alejandro Jodorowsky, Viggo Mortensen, Carl Michael Eide. A Chilean barbecue would be great!

What’s next for the band?

We continue working to bring our music to the world, because with “Deep Water Flames” and its results we are convinced that it can be done. Compose new music and why not; Take an international tour in 2020.

What Social Media/Website links do you use to get your music out to people?

“Deep Water Flames” – Streaming Platforms;


Jaffa Cakes! Are they a cake or a biscuit?

They are not sold in Chile. I recommend the “negritas”, the best chocolate cookie in Chile, by far.

Thank you for your time. Is there anything else that you would like to add?

Thank you very much for this great interview! And we invite you to discover Target and our new album “Deep Water Flames”, where we fuse death metal with the atmospheric and cinematic climate of a trip without return.


Target Band Pic Please credit Juan Sebastian Dominguez


Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Photo courtesy of Juan Sebastian Dominguez

Ewigkeit – DISClose

DISClose Cover

Ewigkeit – DISClose
Death To Music
Release Date: Digital 23-02-2019 / CD 23-03-2019
Running Time: 43:02
Review by ‘Dark Juan’

Ewigkeit is:

James Fogarty – pretty much everything because he is one of those spectacularly talented people I am extremely jealous of (because I play guitar like a desperately flailing, drowning wombat) and want to kick in their collective balls. The bastards. How dare they.

Good afternoon, readers. My name is Dark Juan and I am here to tell you about heavy metal records. I used to do it for another website, but due to the unfortunate incident involving the busload of nuns, my penis, the bouncy castle, a candy floss machine, an inflatable mongoose, a combine harvester, several members of a number of different constabularies and the entire Berkshire Hunt I was asked politely to leave. Let’s just say the nuns and the Hunt were fucked in entirely different ways… Shall we crack on then?

DISClose is the eighth album from the quintessentially British (to wit: kooky as fuck) Ewigkeit. I have been a massive fan of Ewigkeit ever since I heard Strange Volk on the cover mount CD of a popular metal magazine, and on the strength of that, eagerly grabbed a copy of debut album Radio Ixtlan. James Fogarty has always been a singular songwriter and it was with considerable anticipation that I started to play DISClose. The album is a quasi-concept affair about the growth of modern UFOlogy and Fogarty’s belief in the fact that he thinks, “Aside from revelations about multiple exoplanets, the passing of massive interstellar object Oumuamua and revelations of the Pentagon’s Advanced Aerospace Threat Identification Program, there has also been the planned launch of the U.S. government’s ‘Space Force’. We are on the cusp of the official confirmation of intelligent Extraterrestrial life, perhaps of a form that is genuinely threatening to our own – and it is this hypothetical conflict that I wrote the song ‘Guardians of the High Frontier’ about.”

Thankfully, it remains that Ewigkeit are right up my musical street, baby. The music is experimental metal, with Fogarty employing either a rich, clean vocal delivery or the kind of razorwire, visceral scream that is always enjoyable while you bleed incessantly from the ears. Opening with a sample of a speech regarding UFOs, Ewigkeit then don’t waste much time before the electric alchemy of distorted guitar cuts in and we are going on a journey into the recesses of James’ mind with 1947. James writes some masterful lyrics and his music rewards repeated listens and careful attention to his words. Ewigkeit are not a massively speedy band. They employ melody and do not play fast metal. Ewigkeit are a band who has found a way to make their music breathe, and this turns it into something special instead of sheer brutality and nothing else. It still will have your face off at a hundred paces but it is more than just violence. It is the kind of targeted, specific violence that makes serial killers so terrifying. It’s charming and fun until it bites out your throat and grins at you with your blood running down its chin while the light fades from your eyes.

And that, my newfound, and doubtless now slightly concerned friends, is what Ewigkeit sound like. The standout songs on the record are the extraordinary Resonance, and the impossible to pronounce KRLLL. The album has something for all fans of metal – almost battle metal vocal harmonies, vocals that skirt black metal, solid bass work and drumming, excellent guitar playing with a tasty solo or two, experimentation (yeah, like the guy in that Re-Animator film. Look where that got us…) and a finely judged finger on the pulse of pomposity. It would have been so easy for this record to descend into farce because of its epic scale, but James reigns it all back in in notable fashion. A fine record by one of my favourite bands… Buy it. Dark Juan commands you, minions!

The Patented Dark Juan Blood Splat Rating System awards Ewigkeit a thoroughly bloodsoaked 8/10. The local plod also want a word with him about all the blood…

Oppenheimer’s Lament
Guardians Of The High Frontier
Moon Monolith



Promo Pic1

Disclaimer: This review is solely the property of Dark Juan and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.