SCUM DIVISION rises from the roiling black filth

Festering in Western Canada’s underground, the vile collective known as Scum Division conspires its next move. Volley after volley of ugly, nihilistic, non-music rages forth from this addled assembly of lunatics. Their outputs feels like an ever-flowing geyser of blackness and chaos, blasting and scalding without mercy. There appears absolutely no sign of slowing. Listen long enough and be consumed whole by the swarming cloud of rabid guitar tones, unhinged pounding, and unpolished density. Succumb to the Scum!

Radioactive Vomit, AHNA, Chapel, Temple of Abandonment, Ceremonial Bloodbath, Grave Infestation … Just to name a few! Who are these demented characters and where does this seemingly endless source of hatred and filth come from? In a long planned and epically delayed series of interviews, the crepuscular collective weighs in and tells tales of misery. Immerse into one of the most prolific circles operating in the underground at this very moment – with zero regard for your opinion and open scorn for your admiration. FUCK OFF!

I’d like to start by hearing about the separate origins of Scum Division. Obviously from Limb From Limb’s short, but influential existence, to Ahna’s punk days, to the pre-Rad Vom days as Reikhkrieg, I’d like to finally have the beginnings of one of Vancouver’s most important assemblies of musicians finally delineated.

NOCTURNAL BLACK: Radioactive Vomit was formed by the Shatterer of Wooden Crucifixes, the Inverted Hierophant and myself sometime in 2007 or so. The Inverted Hierophant and I had previously played in Goatsblood and Fuck Off, and we were all completely obsessed by Black Witchery, Conqueror, Beherit, Blasphemy, Archgoat,  Revenge, Proclamation, and Bestial Warlust. The initial name was Reikhkrieg. We nixed it because stupid cunts were confusing us for some NS horseshit.  We did live attacks in Vancouver, Victoria and Squamish at that time with bands like Chapel, Mitochondrion, Massgrave, Haggatha, Shellshock, etc. We recorded Vomit Command Until Suicide with Dom and released it on Black Shit Noise Productions. In time, Inverted Hierophant shifted to puking only, Desolator took over on bass, and we recorded Witchblood, with Dave Hardy over 12 fucked up hours in Squamish BC. After that Threshold Devastator was initiated on bass (although he mostly just broke a bunch of shit in our rehearsal space), and Desolator took up second guitar/vocal commands.  The Inverted Hierophant departed into blackness a couple years ago, and now commits noise atrocity as Moisture Discipline. Since then, Desolator and I commit the dual vocal flamethrower attacks. It’s always been the same core of degenerates. Even in the bleak early days, I knew almost everyone with whom we currently work. Nightfucker actually started later, sometime in 2009 or so, when we met Dom from Moss. He had moved to Vancouver and was looking to drag his guitar through some primitive, hateful doom. He came down to the Radioactive Vomit rehearsal dungeon, plugged into a bunch of fucked up gear, Shatterer broke a bunch of kick pedals, and I did pick scrapes and spat all over the mics. The band has gone through long periods of inactivity, since Dom’s often living in England and we all hate each other. Nightfucker finally has a vile, self-mistitled LP out Sentient Ruin / Rope or Guillotine out now, after many years of miserable shit. 

KtS: As much as I’d like to go that far back into our collective history, I find it nearly impossible to truly draw any connections amongst our earlier endeavours and the Scum Division as it exists today. I can see how LFL may have acted as a gateway between the mid 20000’s crust/punk scene in Vancouver and extreme metal, but I feel our tenure was far too early to be part of the SD canon.

AS: I think it all started from all of us being dedicated to extreme, crushing, and brutal music and imagery and all of us organizing gigs and our bands playing together. I think the specific genres are less important than the fact that we are just a group of bands that share certain aesthetic and non-aesthetic priorities like absolute dedicated authenticity, raw rather than highly polished production, and an appreciation for basic and disgusting riffs. Though I play metal, I also run the Vancouver Noise Fest and have a harsh noise project, so there was always lots of crossover with bands like KNELT ROTE coming to town with members playing the harsh noise festival, and through these intertwined genres of extreme music and sound we started to develop a strong group of bands that eventually led to what is now under the SCUM DIVISION banner. In the mid 2000’s, we would go and watch bands like GOAT’S BLOOD, HAGGATHA, etc at illegal venues and I was playing in a few projects then too – looking back, I’m realizing that it was a totally different time and different venues, and yet so many things still remain. Listening to and worshiping classics like BLASPHEMY, CONQUEROR, a lot of doom metal etc, out of that AHNA released our first release – THE CULT OF ONE, which intended to explore those raw elements. A few years later I started playing in TEMPLE OF ABANDONMENT with KtS. After that I started working on other bands including CEREMONIAL BLOODBATH, ENCOFFINATE, GRAVE INFESTATION etc.


Let’s jump ahead to the present day here for a moment. After so long without an overarching label for your circle of bands, what brought about the need to place a name on what you’re doing? Why now? And why SCUM DIVISION?

NOCTURNAL BLACK: Scum Division started at a rehearsal compound called Garbage Mountain that Radioactive Vomit occupied for a bunch of years. For a while we were in by far the shittiest, coldest, filthiest corner of the space, right next to a fucking jade-carving workshop.  It was a freezing cold, concrete room crammed with cabinets, cans, broken sticks and plastic bags everywhere, with a fucking window that some people (like Darrell from Necroholocaust) would keep closing, which would cover the room in fucking mold. Rehearsing there tended to mean drinking for hours in a dank courtyard before jamming for a few minutes, and then getting wasted some more, since there were always a bunch of our asshole friends hanging out down there. What began as a joke became an accurate descriptor. We’ve all known each other for around fifteen years, we’re all in a bunch of bands together, and there seems to be a compulsive insularity there, bordering on paranoia.  

KtS: To the best of my recollection, the idea of Scum Division came about in 2011. It became more and more apparent that within the Radioactive Vomit camp there were many artistic projects connected by some of the same members. It just made sense to amalgamate everything under a single banner. Why Scum Division? Because we are the embodiment of miliitaristic sleaze. We are dirty pieces of shit who exist only to spread extreme, filthy, drugged out metal across this pitiful planet.

AS: I’m not sure why it happened now, our bands have been playing together for years, and we share members among a bunch of our projects… I think the overarching description suits the group of bands because of the alignment in how we approach creating and producing our music and the recent increase in the amount of projects we are all doing, as well as our output. Adam Caouette and Nic Hart came up with the name, but SCUM DIVISION and everyone involved resonates with me because it isn’t overly posturing or pretentious and it really is just feels honest – we are just fucking assholes making the most fucked music and art we can. The shared element is absolutely that we are all just dedicated to extreme, disgusting metal.


Can you paint a picture of how the “scene”- and therefore the conditions that have influenced your music- have changed over the years? Obviously, Vancouver has made headlines for it’s trouble keeping venues and jam-spaces. How has this affected your plans and operations, whether positively or negatively?

NOCTURNAL BLACK: I think we’d have made this hellnoise no matter what shithole city we lived in.  Radioactive Vomit started because we worshipped bestial black metal. That said, it’s impossible to ignore the demoniac stain of blood upon the city, left by black metal kings Blasphemy. So that’s a local influence right there. Vancouver’s fucked. There’s only a couple bars and spaces to play. That said, we’ve played a lot of fucked up shows packed with fucked up maniacs in this city over the years, which is great. As well, we’ve been fortunate enough to have always worked out places to rehearse in this dystopian glass necropolis. I live just outside the city, and that’s probably been a bigger poison to our productivity than anything else – that and us generally being chaotic and unstable assholes. When we started out the local underground scene was smaller for sure, and weirder. There were often good shows to attend, but drew from a variety of harsh disciplines – underground metal, noise, punk and crust, grindcore, powerviolence etc. There were more bars and venues in the city at that time, but despite that it’s better now as there are more killer shows here now, and lots of killer bands.  We always used to have to cross the cunting border to Seattle or Portland to see shows. 

KtS: I really don’t find that any scene, or its inner workings, to dictate how we operate. Our faction of dirtbags have never created art for the purpose of acceptance within the herd. A cliche answer, I know, but it’s the truth.

AS: Obviously some things have changed, and all of our bands have all played a large role in running underground warehouse spaces that are now gone, but other things have stayed the same. We have had a couple warehouse spaces that we have used as venues, but they are mostly gone now or we keep them reserved for rehearsal spaces because fucking idiots show up and heat out the illegal spots – mainly because they don’t know how to be discreet at an underground spot I guess. Vancouver isn’t a big city and it is just getting more and more fucked, so ya, rehearsal spaces are becoming scarcer, but while venues are scarce, we make things work. I mean, there are sometimes like 5-6 concurrent gigs happening at the same time, same day, within 10 blocks of each other, in these splintered off little sub-sub-sub genres… I’ve never been the type to just sit around and wait for someone to make something happen, so I just find ways to make shit happen myself. For a while I was doing generator outdoor gigs even, so I mean if there is nowhere to play, I would find an abandoned lot or something and throw down a generator and make shit happen.

I want to get into some questions specifically about different chapters of the Scum Division cult. Obviously, few bands have left such a mark in the local area as CHAPEL has, and despite not being all that active right now, the band retains a devout following, or at least a large group of people with a rabid lust to see the band return. Let’s hear about the start of Chapel, and any upcoming plans you may have. 

KtS: Oh boy. Let’s see if I can offer a Chapel bio of any interest. I guess the original concept came to be back in 2006/07. My initial vision of Chapel was as a NWOBHM/Black Metal studio side project of Limb From Limb, with Matt aka Devastator handling bass and backup vocals, and myself taking care of lead vocals, guitars, and drums. I wrote a couple of songs and presented them to Matt. He was into the concept and we went from there. Brett aka Incinerator offered his services on the tubs and from there we were off to the races. Matt left the fold in 2013 and we welcomed Dan aka Nocturnal Insuflator -whose proficiency we recognized through his tenure with Bison. From there the years passed, after a long hiatus Dan moved over to 2nd guitar and we welcomed Phil aka Profligator on bass. We’ve played a few gigs as a four piece in 2019, but as life has gone on, Brett and Phil have tendered their resignation from Chapel’s frontline, but will forever be part of the inner clergy. From here on out Chapel will consist of myself and Dan as high priests, and hired guns for live appearances.


AHNA blew many minds with the performances at Covenant Festival IV and your 10 year anniversary concert. The band has morphed so much over the years, and has evolved into a really special project that is deeply beloved by all the local maniacs. Why put it on hold now? Will there be a final release to capture the band at its most potent as it is now? What are some of the highlights over the last decade?

AS: The project has been a long running experiment that pushes things to the extreme and edges. AHNA is a project that can grow and develop on its own without parameters – we have a history of harsh noise, doom metal, and death metal and those elements can be brought in as we see fit. Recently, we have wanted to work on other projects so we put the project aside and let it breathe and fester on its own, and we instead did a bunch of other shit in the meantime – CEREMONIAL BLOODBATH, GRAVE INFESTATION, ENCOFFINATE, TEMPLE OF ABANDONMENT etc. After taking space from it, we decided to release CRIMSON DAWN, an LP that has been sitting with us since 2017. It will be out this year on CALIGARI RECORDS. We have made no decisions about whether it is the final release. The highlights would absolutely be the Brazil and Mexico tours, because there are so many metal fucking maniacs in those places.


Feel free to correct me if I am wrong, but RADIOACTIVE VOMIT’s influence seems to extend any intention that initially went into the band. Recent years have seen the band shift away from any tongue-in-cheek exaltation of war metal clichés, in to a truly frightening beast of revelation that decimates with a certain death metal muscle on the live stage, and now sits close to the top of the heap of well executed, bestial death/black metal. What triggered this change? What’s on deck for bringers of nuclear puke?

NOCTURNAL BLACK: From the beginning, Radioactive Vomit has always been about PROFANE AND SAVAGE NOISE.  Early on, it was far more primitive. The only thing we gave a fuck about was the OATH OF BLACK BLOOD, period. Over time personnel, amps, and habits changed, but the sole directive has always been HARSH METAL NOISE.  We’ve never tried to impose direction on Radioactive Vomit – just slash the wrist and spill the blood!   It’s no secret that this band has been a pretty fucked up entity for a while, but fuck it. Do what though wilt! Radioactive Vomit has been festering in wait for the past few months, but we are seized with bloodlust again. Expect a recording of more rancid black vomit metal soon – WORLD SUICIDE will be the foulest, most crushing slab from us yet. 666! 

KtS: You are most kind in saying that we have any kind of influence. I can’t speak for any original intention of the band, as I joined in 2010, but I feel that Radioactive Vomit’s evolution has happened organically. Our art has been evolving along its current trajectory of its own volition. In my mind, we are simply conduits for the otherworldly filth that flows from us.


In Vault Of Dried Bones has done so much for Canadian extreme metal history. One of the most violent cassettes they released was DEATHWINDS’ ‘Endless Wastelands’. The EP dropped like a goddamn bomb and attracted a ton of attention… and then not too much else happened. Was it simply a case of so many people only being able to do so much? Are there plans to release a follow-up?

NOCTURNAL BLACK: Yes, absolute 100%! Deathwinds has been active, writing, and committing random live assaults since the EP release, but we will finally record again this year.  Deathwinds originally arose at a time when Shatterer was otherwise occupied, and Radioactive Vomit progress was very slow. The three of us (Nocturnal Black, Filth Destroyer, and Desolator) found ourselves at the rehearsal dungeon, Desolator started committing infernal battery, I fired up the nuclear chainsaw grinding, Filth Destroyer initiated bass torture, and Deathwinds was manifest. The band seems to disappear and return in phases. Regardless of the other bands we‘re all in, or the myriad snares and traps of the “real world”, Deathwinds seems to surge and diminish under its own black sign – and it is burning again!  And we will record our next blood offering soon – before this diseased wolfen moon drowns again in the blackness! It will likely be an LP – expect more RIPPING BLACK DEATH! 666!

KtS: I would say that you hit the nail right on the head. Deathwinds was started as a back burner type project, and so other things took precedent over DW’s progress. That said, we are back and working on a full length. The writing of record is pretty well finished, now we just need to tighten things up and find a label to release it.

For me, CEREMONIAL BLOODBATH has an interesting place in the Scum Division canon. Both the demo and the EP feature Trevor Logan and Dave McRea, who do not play in other projects in the Scum Division circle. Because of this, the sound is debatably a little less insular, and features hallmarks of song-writing that differs from other SD output. How important is that outside nuance? Do you guys prefer keeping things “in the family” or are you comfortable working outside of your immediate circle? Is it easier to write new music with someone you have good chemistry with? Can it become too predictable?

AS: The lineup of CEREMONIAL BLOODBATH is now ABYSMAL BERSERKER (Encoffinate/Grave Infestation) is lead guitar with his violent solo’ing, NOCTURNAL BLACK is now our bass player/vocalist and he recorded the LP with us, and I do drums (as NUCLEAR HAMMER THRONE) for the band – but Trevor Logan (previous bass player in CB) and Dave (FACELESS INFINITY) actually go far back with all of us in Scum Division – if I drew a tree of how this is all connected, it’s pretty dense…Trevor’s connection via HAGGATHA, and then Matt Wood from HAGGATHA being GOAT’S BLOOD’s maniac drummer, a band that NOCTURNAL BLACK from RADIOACTIVE VOMIT was part of etc.. And Dave who also plays in MASS GRAVE has been critical in extreme/underground music in this city for the past 2 decades. This group of musicians clearly has a similar working style and musical preference. It isn’t really about chemistry, but rather a shared uncompromising dedication to extreme metal. Regarding who I work with, I collaborate often with lots of different people, so it’s not just with SCUM DIVISION. And I don’t think it becomes predictable working with the same group of people over time – everyone I play music with in this group has a deep understanding of the landscape of our genres so we can do even more interesting stuff in our music – I’d prefer this knowledge over trying to work with someone who doesn’t understand the genres we are working within at all. I believe that creativity grows from a strong understanding of the history of what you are doing and nods back to what came before you, and I think the one thing we all do exceptionally well as a group is that we all have a deep understanding of what we are creating.


ENCOFFINATE seems to be influenced by a very specific time frame in metal, and even within that, by a few key bands. Talk to us about what’s going in to the distillation process behind this latest abomination to come out of the tars of pre-creation.

KtS: I think Encoffinate’s process comes down to: keep it dumb and heavy, have fun, Conan the Barbarian rules, and Celtic Frost are gods!

AS: It is stupid, fucking, caveman, death metal. We like death metal. We like CELTIC FROST. We like USURPER. We like Conan the Barbarian. ABYSMAL BERSERKER, KtS, Crane and I were hanging out a lot when we started this band and we just wanted it to be absolutely primitive. I was originally playing drums, but after a rehearsal one night I woke up at 7am the next day to KtS and Crane partying all night in my kitchen and the first thing they asked me was if I wanted to move over to guitar instead, which I was totally fucking on board for because I love playing guitar but only ever get asked to play drums because I’m known as a drummer. This change was absolutely fucking on point because it meant KtS was a drummer doing vocals with ABYSMAL BERSERKER who also plays guitar, and they are both fucking maniacs so definitely the best people to front the band. 


Congratulations are in order in regards to GRAVE INFESTATION’s signing to Invictus Productions. Invictus has always had a close eye on Vancouver clearly, having signed seminal albums such as Tyrant’s Blood’s crucial “Crushing Onward Into Oblivion” and Chapel’s “Satan’s Rock And Roll”. How did this union come about? Is this what you were hoping for with the birth of this latest project?

AS: GRAVE INFESTATION was a project that was started specifically to make death metal in the vein of bands like REPULSION, AUTOPSY and ABHORRENCE, specifically based on old death metal demos. We didn’t have any expectations for the demo, we just wanted to have a killer weekend in this studio our friend Jordan runs and record a demo. We sat on the demo recording for a while and decided to release it at the very end of 2018 after spending a few days in our house creating samples and art and shit. My expectation was that it would get lost in the billions of bands out there, but we sent it out to a few select labels and INVICTUS PRODUCTIONS immediately showed a commitment to releasing a cassette, after which we discussed a vinyl and CD release as well. Darragh has been killer to work with. PARASITIC RECORDS from Seattle responded shortly after with an interest to do a US release of the tape. We have a 12” with our demo and promo tapes coming out on Invictus in Fall 2021 and our Full-Length LP “Persecution of the Living” is also due out this Fall. Our tours were all cancelled after the pandemic hit.


This one is for Anju. It’s no secret that Scum Division has always had punk roots. While AHNA has turned more and more in to a crushing death metal beast, the recent rise of STARVATION has made it clear that you’re not done playing punk music. How important is this to you?

AS:  Metal’s woven history with punk is an essential part of playing and understanding metal for me – so I will never be done playing punk. STARVATION had a sound I was interested in because it contained all of the intensity and aggressive energy I like about punk. I just pretty much heard TOTALITAR when I heard the songs, so when Thomas asked me to join I was immediately sold and agreed to join the band. 

‘A Night Of Death And Doom’ has become an important fixture in Vancouver’s underground, and feels like a glimpse behind the Scum Division curtain. I’d like to hear everyone’s separate input on your background in putting on your own shows, and the importance of the DIY attitude in underground music.

NOCTURNAL BLACK:  I’ve put on a few shows here and there.  The last time was fucked right up though, so I probably shouldn’t. It was at the Black Lab, and it was a pretty fucked up mess by all accounts. But who cares? The goal is creating a direct conduit to hellish noise. Whether that’s done in a foul, freezing claustrophobic basement, or a loser bar with a bunch of dumb fucking lights, it doesn’t really matter. Punk shows are often the best, but we’ll do whatever. I have total respect for the maniacs who put killer shows together and get that shit done – total support! In bands like these, the DIY ethic is a foregone conclusion. No one wants to deal with bands like us, so it‘s imperative that we do shit ourselves. We’ve all been playing punk shows forever – it’s just about not being a rockstar cunt.

AS: I started A NIGHT OF DEATH AND DOOM out of necessity, specifically to support bands that play underground death and doom metal. I wanted to ensure that the aesthetic and lineups were fitting to the bands playing as a priority because I want to create and support absolutely primitive, disgusting, and polarizing, metal. I also found that playing a lot of metal gigs felt very sterile or business like – you show up, play your gig, (maybe) get paid and leave, so I decided to make A NIGHT OF DEATH AND DOOM about the bands and people attending the show. I have been treated very well by friends who took care of us all over the world on tour, so when they come to our city, I want to make sure they are treated properly. The best way for me to do this is to organize the gigs and host the bands.

Recently, members of Scum Division have joined the live lineup of the legendary desecrators NECROHOLOCAUST. How has this experience been so far?

KtS: Playing in Necroholocaust has been an absolute blast and honour! There’s not much more I can say, other than the whole experience has really helped me push my playing to its most extreme limit and that I’m excited to continue decimating stages around the world with the Lords of Holocaustic Goat Metal!

Having been an intrinsic part of the creation of Vancouver’s underground as it is, talk to me about how you view the world of bizarre, violent, extreme, Canadian music, metal or otherwise.

NOCTURNAL BLACK: Canada is such a vast territory, with cult, vicious bands spread all across it. It’s totally unnecessary to note the lengthy list of cult acts hailing from Canada’s rotten soil (Voivod, Razor, Sacrifice, Slaughter, Blasphemy, Conqueror, Revenge, Axis of Advance, Antediluvian….), but despite that, I feel like shit has always moved pretty slowly across this isolating, frozen wasteland. I can’t speak too much about Canada as a whole. But I’ve been fortunate to have witnessed extreme shows that would have only occurred here, on the haunted west coast. My first band played the metal fest show in Burnaby wherein Blasphemy’s ‘Live Ritual’ was recorded. There were about twenty bands playing this dumb bar as this ‘Mega Metal’ fest or something, and the only bands who showed up for a ridiculous 3 pm soundcheck were us and Blasphemy. I knew of Blasphemy before that, but fuck, who was this band reading zines wearing sunglasses inside this super dark bar at 3 in the afternoon? Seeing Axis of Advance in Vancouver at the Columbia in 2005 or so was absolutely shattering. They absolutely slaughtered, and left an indelible bootmark on my psyche to this day. The floor was literally covered in shell casings. I also have to mention Vancouver scumbags Goatsblood, despite the fact that I eventually joined the band. Their first LP twisted my fuckin’ mind; it’s an absolute classic release.  Live, they were just as likely to play ‘songs’ as they were to destroy all of their gear in minutes. The first time I saw them I was on mushrooms, and they were on a bill with a bunch of conventional death metal bands. They just attacked the audience with earsplitting guitar feedback cranked through two full stacks (one of the guitarists was playing through a speaker cable), and pissed everyone off with the most fucked up misanthropic sludge.  It was crystal clear that it was less important whether you played sludge, doom, black metal, death metal, grindcore, powerviolence, noise – the harshness and conviction was paramount.  I was very inspired, and did eventually join the band until its demise.

AS: Canadian metal has played an important role internationally when we rightly recognize that we are indebted to bands like BLASPHEMY, CONQUEROR, VOIVOD etc for the important path they paved to introduce all of us to totally fucking barbaric extreme metal. CRYPTOPSY’s “None So Vile” is a very crucial record for me personally and Quebec overall has a history of just putting out some of the most interesting and raw shit, including critical grindcore (DAHMER, MESRINE, SOIL OF IGNORANCE). Obviously right next door to us from Alberta we have bands like ANTEDILUVIAN just absolutely and unapologetically devastating expectations of what metal should be. There are so many new and classic crushing bands from across the country that I won’t even try to list them – Canadian metal is producing some very strong bands right now. 


How can Vancouver, and Canada as a whole, improve in regards to how it views/treats/books/generally interacts with underground music?

NOCTURNAL BLACK: It’d be great if there were more venues in Vancouver, but whatever.  The venues and shows here are good, despite the city being a sold out shithole. 

AS:  Showing touring bands respect and providing good hospitality – in the world of extreme/underground metal, people aren’t showing up just to get paid and play a half-assed gig, the larger concept is about doing this because it’s an obsession/compulsion and that means that the people involved are dedicated and want to be part of something real. For promoters who organize these things, assuming you’re a musician, think like “what would I want if I showed up here to play a gig?”, probably not a piece of shit cab or fucked up cymbal stands, or a fucking 2×12 that is dwarfed by the stage you’re on. I mean I guess that goes for how you book/curate the gig too.. if it’s a show that would bore you to death with 6 openers playing 45 minute theatrical sets, then everyone else will fucking hate it too, so I guess throw a gig people want to go to for fucks sakes. 

This question becomes relevant because of the fact that Scum Division IS an artistic collective, but what other means of artistic expression are important to you? Anju, you have The Nausea and other noise projects. Kay, you practice visual arts such as drawing and film. Fill me in hereon other forms of art Scum Division’s members are taking part in.

NOCTURNAL BLACK:  If any of that shit mattered as much as CRUSHING BLACK DEATH, I’d do it. But it doesn’t, so I don’t.  I do the “art” for Radioactive Vomit and Deathwinds, though.

AS: I draw regularly and drew the cover of the Grave Infestation 12” due out soon, and I have screenprinted for years, especially gig posters and tickets or album covers etc. I also do harsh noise and sound stuff beyond music – mostly abrasive stuff. ABYSMAL BERSERKER draws all the time and has done the cover art for Grave Infestation and logos for a bunch of bands. Adam Ferris and NOCTURNAL BLACK are screenprinters by trade, NB does a lot of illustration as well, including the latest art for the Ceremonial Bloodbath promo tape “Mutilation of Sacrifice”.

In separate lists from each person, hit me with what your listening to right now, both new and revisiting.

NOCTURNAL BLACK: Abysmal Lord, Vomitor, Bone Sickness, Fetid, Crurifragium, Caveman Cult, Weregoat, Human Agony, Cerebral Rot, Oath of Cruelty, Klaus Schulze. 

KtS: Syphilitic Vaginas, Cirith Ungol, Runemagick, Usurper, Hawkwind, Oksennus, Acephalix, Bethlehem, Esoteric, Manowar

AS: Lots of MERCYFUL FATE is basically on repeat for me as well as ANHEDONIST, VASSAFOR is always in there somewhere, TEITANBLOOD, MANOWAR, MACHETAZO, always ARCHGOAT, DEAD CONGREGATION, BLASPHEMY, BLASPHEMY, BLASPHEMY, CONQUEROR, ANTEDILUVIAN, DEATH, BEHERIT, BEHERIT, BEHERIT, WEREGOAT, MORBID ANGEL, probably too much MORTICIAN especially Chainsaw Dismemberment. For newer stuff I think there is so much it’s hard to even know where to start.. but Charlie left ASCENDED DEAD album at our house and that is also frequently played.

In closing … what other horrors await us that will soon rise from the grave?

NOCTURNAL BLACK: CEREMONIAL BLOODBATH LP is finished, and is crushing! Await oncoming strikes from Radioactive Vomit and Deathwinds! The rotten corpse still burns. Hail Covenant! Hail death!

KtS: New material, and hopefully releases, from Temple of Abandonment, Radioactive Vomit, and Deathwinds; and of course further live appearances from Scum Division in all its disgusting and horrific forms! KNEE DEEP IN FILTH. DRINK THE BLOOD OF THE WRETCHED AS ASH AND GRIME RAIN FROM THE SKY!

AS: CEREMONIAL BLOODBATH is releasing a promo tape, “Mutilation of Sacrifice” due out on Parasitic Records in May 2021, GRAVE INFESTATION has the demo and promo being released on 12” this fall on Invictus and the “Persecution of the Living” LP coming in the Fall, AHNA has the Crimson Dawn LP coming out on vinyl soon, ENCOFFINATE’s Cimmerian Corpse Dungeon demo was released on Seed of Doom records as a split 12” this year as well, and TEMPLE OF ABANDONMENT has an LP in the works that we are still writing… ENCOFFINATE is starting new material, I absolutely want to see an LP happen in the next year or so.



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