The cathartic spiritual experience of Markradonn

Markradonn interview conducted by Lady Kat Chaos, January 27, 2014, with Dave Wolff (Autoeroticasphyxium zine) and a host of guest interviewers

Lady Kat Chaos: Hails Haniel! How has your New Year been so far?
Haniel: It's been interesting. A lot of activity in the past month already. We are working on getting ready for playing live gigs, trying out some new brass players, finishing up the first album, and getting ready for our first music video. Other than that, not much going on, hahahaha.

Lady Kat Chaos: How much of your debut album is completed?
Haniel: Oh wow, that is a good question. Well, there will be some new versions of some of the EP songs on there, and we will have I think 4 new songs on the album. The newer songs are very, very different than the ones on the EP; longer, more intense, more dynamic, bigger they take longer to put together. There is over 30 minutes of new music on the album, and we are really putting a lot of time into getting the brass parts right. I'd say, about 75% of the total work load is done. Tracie L. Lovett and Amy Danner are from the Fyre and Ice Show, and they are great supporters of our stuff and many other local bands.

Tracie L. Lovett: Hello everyone! Ninja here... great to see you Haniel.
Lady Kat Chaos: Welcome Tracie L. Lovett! Thanks for supporting Markradonn. How have you changed your songs from the EP for your debut album?
Haniel: The whole thing with the debut album is I am really working with the team on orchestration and composition. If we were just going to program everything into Cubase the whole thing would be done by now, but I want the real thing. I was just listening to some early 20th century Russian composers and nothing beats live brass and timpani.

Lady Kat Chaos: That sounds extremely interesting. What other 20th century composers have you been listening too? What songs are you including from your EP?
Haniel: The EP songs were largely experiments, so when we recorded Final Dying Breath and Frenzied Winter Sorrow, we used a "mute" to record the horn parts. In my opinion, I believe the experiment worked but I want to get a live, bright, powerful brass sound for those songs. So, we re-wrote and re-arranged some of the brass parts so they can be recorded life, and Nicholas Weaver will be laying down much of the new trumpet parts without the use of a mute. I'll also be tweaking the mixes, redoing some guitar parts, and also re-mastering all of the songs. Gustav Holst, Mahler, Stravinsky, and I love sound tracks and 70's prog rock. I love composers like Jerry Goldsmith, Basil Poledouris, and Allan Sylvestri. ELP, Goblin, and YES are always on in my house lately.

Bob Williams: Haniel, what challenges would bringing a band of this magnitude be to a live setting?
Haniel: I am glad to have the opportunity to answer. The biggest challenge, of course, is always financing. When you bypass the use of keyboards and digital samples, and go the "ELP" route and use full time orchestral instruments, there is a lot involved in that. The biggest expense is securing timpani, which if we do not borrow them they cost around $10K for a new set of 4. Logistics, such as finding a stage that is big enough for what we want to do, working out transportation, promotions, getting everyone's schedule set up, and of course, finding sound guys who won't freak when we roll in with a 5 piece section and 2-4 timpani.

Bob: Markradonn’s EP is in my top ten list of 2013.
Tracie: If Markradonn could do a tour, would you stay just in the states or would it be a world tour? And the metal scene is extremely popular overseas in places like Germany, do you think they would embrace your style, because the style of Markradonn is like no other.
Haniel: It all comes down to money. If we get financing and I can pay my guys/gal to take off of work and go on the road, I would do it. States, overseas, sheesh, we'd play on the moon if we could make it happen! This music was not just meant for recordings; when we went the live brass route, we knew that this was meant for people to experience live.

Becky Kester: Haniel, when did you realize that this venture could be possible?
Haniel: I realized that this was possible when I met Tim Carter. He is really an outstanding drummer and his commitment has been great. He and I work great together and I absolutely love making noise with him. But adding Nick, Beka, and then Allen and Dennis really put this in a position where we have a lot of talent and skill to make use of.
Nicholas Weaver: Feel free to direct any questions you like to me, if you don't know, I'm the horn/trumpet/fretless player extraordinaire.

Lady Kat Chaos: Nicholas has joined in the interview... he is the horn/trumpet/fretless player extraordinaire of Markradonn. Feel free to ask him questions as well.
Haniel: Nicholas Weaver is working hard on getting the trumpet parts down, so feel free to ask him about any of his parts. He laid down the fretless work and also the French horn work for the title track of the album, CEREMONIAL ABNEGATION....

Brion: Let’s have a list of what kind of gear you use please?
Haniel: Here is my gear that I use, and that I have used on the recordings:
Rig 1: GSP 1101 (c63 update, recent); BBE MaxCom; TB Raxx, TS 100 power amp; line6 412 box w/ Swamp Thangs/Texas heat + 212 carvin GT12s...
Rig 2: Johnson Jstation; BBE 882; Behringer compressor/gate; Mesa Simul-class 2:90; Carvin 412 and Marshall JCM 900 cab
Gits: Carvin DC400; Ibanez RG170 w/ tone zone/liquifire; RG 120 w/ D-actX and X2N...
Recording: ART pre amps, sm57s, Senheiser drum mics, Zoom R24, Tascam DP02DF

Brion: Awesome!! I also use a TS100!! Has such a sweet tone, I run it in stereo with 4ohm speakers in a 2x12 cab, running 2 of them for the half stack effect.
Haniel: use the TS100 w/ 6L6's, and I use the Mesa now for the rhythm work. The TS100 is very clean and doesn't color the sound one bit. Reliable power amp...

Brion: the other rig I use is an old Peavey 400, 230 watts of ummmmph!! Effects are simple, a Boss GT3 linked with a Digitech RP100 via an i/o patch on the GT3, outs in stereo, got all the freq's in there.
Haniel: I gotta check that out. We have similar tastes in gear and I'd love to talk shop with you some time! We are in preproduction right now of our first music video, and we'll be posting some live stuff soon too!

Brion: Nice! I really think it's important that bands take control of their music & how it's presented to the public.
Haniel: I believe in being a self-sufficient musician and band

Brion: Inspiration comes from your heart, no matter what style of music, just pick a topic and go with it, research.
Lady Kat Chaos: Nicholas give us some background information about yourself as far as your experience as horn/trumpet/fret-less player.
Nicholas Weaver: I have been playing brass instruments (horn and trumpet) for about a decade, and bass guitar for about 6-7. I'm classically trained in brass performance and I am self-taught as a bassist. I actually learned how to play fretless for the sole purpose of recording this EP.

Becky: Hey Nick what was the most challenging song did you have to learn?
Nicholas: The first song I learned was by far the hardest. When Haniel showed me what he had written out for me to play for Final Dying Breath, I could barely make out his chicken scratch.

Becky: I can identify! I saw the writing for the written music for Jon.
Haniel: I have improved since then, for sure!!! Hahahaha at least the stuff I am laying out now isn't chicken scratch... more like "duck penmanship!"

Brion: Just heard a few tracks from the band’s Facebook page, I really like how the band is into real recording of the instrumentation; sounds very organic and pure. I think people would get a better grasp of what your band's sonic vision and presentation is through video, might help the fan base and setting up things in the future on a bigger plane.
Haniel: I am turning bright red right now! But Nick is correct. It is a challenge to go from being a guitarist to being a "composer", and to communicate parts for other instruments that were written on a guitar. Nick is a solid musician and he picked up on it rather quickly.

Nicholas: Haniel has gotten way better about his notation, and it isn't too hard after you figure it out.  

Lady Kat Chaos: Nick, which instrument do you enjoy playing most and what other styles of music do you find is helpful to enhance your own skills?
Nicholas: I enjoy bass guitar the most, actually, and on any given day you can find me practicing progressive metal tunes and classical music and jazz and just about anything. I'm a big progger!

Haniel: Nick and I talked about him playing bass, hopefully fretless, on an upcoming instrumental. We will be adding in more songs like "Cathartic Spiritual Purgation", which will be the only song on the EP not to appear again. We will do more material like that, but we'll open it up to include more dynamics and more instruments.

Lady Kat Chaos: Nick, did you start studying classical music in school or on your own? I think learning about classical and jazz music helps musicians a great deal. For musicians just starting out what would you recommend?
Nicholas: When I say I'm classically trained, I mean to say that I was trained in an orchestra/wind band setting at a school. And I highly recommend learning both from a teacher, and on your own - each side has its virtues, and shortcomings.

Lady Kat Chaos: What if some schools don't have a music program, in many don't because of budget cuts and feel the sports program are more important than having a musical program, who would you suggest to them then?
Nicholas: I would suggest a private teacher, if possible, or to do some research and find some books to study - for instance, I live and breathe Farkas's 'The Art of French Horn Playing' and 'The Art of Brass Playing', and the ever infamous (in the brass world) Arban's book. For music theory, there are very many resources on the Internet to choose from - try checking out some of the sources for Wikipedia articles.
Haniel: I agree with Nicholas. I'd get a private teacher. Right now, the internet is the way to go for any sort of education, so music education is no different...

Lady Kat Chaos: Nicholas, how has Farkas helped you develop your playing technique, mechanics, with your own performance etiquette?
Nicholas: it just gives me something to always have to practice - some of the exercises are impossible if you do them at certain tempos or dynamics, haha.

Lady Kat Chaos: How often do you practice with your breath work so you don't become winded?
Nicholas: I don't really practice breath control too much these days - it has become muscle memory. I do also play horn often and sing often, so that certainly helps.

Lady Kat Chaos: What Symphony and Orchestra bands do you most enjoy?
Haniel: The Brass Band of Central Florida. NO QUESTION. Jon plays percussion with them, and they did this brass rendition of "Gustav Holst's The Planets" that was SO huge it sounds like the gods were at war right in front of me. HUGE. The Brass Band of Central FL is probably my biggest musical influence right now.
Nicholas: My favorite is a three way tie between the London Symphony Orchestra, the Chicago Symphony Orchestra, and the Vienna Philharmonic.

Brian Von Damage: Is it hard for a dark death metal band to find inspiration in the sunshine state (Florida)? What is the topical focus of Markradonn's lyrics?
Haniel: Brian, It is not hard at all. Most of the lyrics were written when I lived up north anyway, and there is always something crazy happening that I need to vent about hahahaha. But, when you live down the road from where Chuck Schuldiner grew up and lived, and when you always have great bands around to be inspired by, like Murderfly and Armageddon III, it is really not hard to find inspiration around here.

The topical focus of the lyrics is about a protagonist who, consumed with his own hatred and disdain for all life and everything in creation, invokes a ceremony to not just end his life but to erase his entire identity from all of existence. He hates the material and relative universe so much that he "abnegates" his participation in it, and flat out leaves it. The entire first album is a story arc that talks about the moments leading up to his ritual suicide.

Bob: Speaking of the track "Cathartic Spiritual Purgation" was there any meaning behind the song name given the long road you have taken to get the album made?
Haniel: Yeah, there was a lot of meaning behind the name. When it comes to instrumentals, the only wording is in the title, so the title has to have a powerful meaning because there are no other words to elaborate in it. When Dennis Bottaro and I wrote and recorded that song, we did it in an hour and it was like a huge weight was lifted off our shoulders. Then, when I laid down the solos, it was like I was just heaving forth all of my anxiety about the EP, life, my existential angst, and a whole bunch of other crap. So, it was a cathartic spiritual experience for me, hence the name
Nicholas: Haniel essentially writes everything himself, with a rough arrangement of it, and then the brass section goes over it with him, and through a rather organic process we arrive on the final arrangement and orchestration.

Brion: One thing I've learned is to stick to your dreams and ideas, in time you will gain respect from both fans and your peers/rivals. Don't EVER quit!! I love Death!! Seen them a few times, very inspiring music, way ahead of their time!! They had musical freedom and were'nt afraid to show it.
Haniel: What I do is I write the songs on guitar, and have a general-to-specific idea of what everything else is doing. Then I bring the songs to Tim Carter, and we work out the songs, the structure, and the rhythms. Then I bring the completed version to Jon, and we lay down the rhythm and tempo maps, then I lay down the scratch guitars, jam out some drums, and then we start layering the other parts. It is very organic but still a pretty regimented process.

Brion: As far as learning goes, books, DVDs, community colleges, big colleges, private instruction & most of all, practice practice practice!
Haniel: That is how I do a lot of learning about music now.

Becky: Haniel, what do you want to see Markradonn ultimately achieve?
Haniel: First, I want to finish all of the parts to this saga/story arc, which is 4 albums long with a couple of EPs in between. It is a life's work, and as it progresses we will need more and more resources and an expanded brass/percussion section. Other than that, I would like to see 1000 sales of each release, a loyal fan base of people who get, understand, and relate to the music, and perhaps a big gig with a Therion type of orchestral section in a large arena

Bob:  How did you come to have a badass solo on Aberration Nexus song "Burn the Book of Lies"?
Haniel: Back in Feb of 2013, I laid down a solo for this band that I was "friends" with, and the main guy said he loved it, mixed it into the song, and did the whole nine yards. Five weeks later, my other "friend", the vocalist, sent me a message saying it sounded like a "djent" solo and was not "good for their black metal sound", and he dropped it. I was so pissed, hurt, and offended that he went over the guitar player's head, and totally jacked me up like that. So, I played the solo in a video that Chris Meyer heard, and he was like "you know, you should do a solo for me". So, he invited me to lay down some chops for Aberration Nexus, and it was a huge deal for me. It was so much fun and I poured all of my hate and angst against that other band into that solo, which is arguably the angriest damned thing I ever put on a recording. Chris was great. He gave me an opportunity and I will forever be grateful. There is no greater honor for a guitar player than to lay down chops for another guitarist's riffs. It was an honor and a privilege to play for Aberration Nexus.

Brion: I will also say this, talk to musicians of all sorts, I learned ALOT when I started playing clubs till I started playing around the country and it never stopped there. Online, offline, in clubs, at festivals, rallies, school functions! Knowledge is power!! Ok off my soapbox for now!
Haniel: Good points bro... good points.

Lady Kat Chaos: What other bands have you helped with laying down some guitar tracks?
Haniel:  Just to go on the record, Brian Von Damage and Sacrichrist have been very supportive in helping to get the word out on social media. Bands need to be supportive like THAT to each other. He is a rare breed of an old school mentality.

Bob: What was some of the roadblocks that tried to prevent you from ever releasing the album and how did you persevere and come out on top?
Haniel: The biggest road blocks have been real life ones, such as people getting murdered or dying or committing suicide, my house practically blowing up, only hours before the propane plant a mile down the road from me blowing up; Jon's car spontaneously blowing up in his driveway, computer failures... and that is only since Dec 2012!

Lady Kat Chaos: When it comes to guitar playing, many ask us about how to avoid getting blisters?
Haniel: Change your strings, play often, and use something called "Chops Preplay" made by Graph Tech Guitar Labs before you play.
Nicholas: I'm a finger style bassist - the only real way to avoid blisters, for me at least, is to toughen them up by playing often (especially on the plucking hand).
Haniel: Having a good set up works too. John Rainey of Voltage Guitar set up my last two axes, and the action was just right so as to not get blisters

Lady Kat Chaos: How often do you change your strings and what strings and oil would you recommend to use?
Haniel: I was changing my strings every month, but lately to save cash on strings I have been stretching the use to up to 6 months. I use Elixer polyweb and nanowebs, and I use Fast Fret and the Chops Preplay.

Lady Kat Chaos: Do you prefer using a pick or fingers? And how does each one change the tone in your playing?
Haniel: I use picks exclusively. Sometimes I use Graph Tech Guitar Labs TUSQ picks and sometimes stone picks.
Nicholas: I always use fingers, because I'm awful at using a pick except on guitar (and then I'm only okay at it). I also find I can't dig into the strings with a pick without it sounding 'plucky', and I also can't switch between normal playing, slapping, and tapping with a pick.

Lady Kat Chaos: Many bands are getting endorsed by the company of strings they choose. What companies for any of your gear would you like to be endorsed by down the road?
Haniel: As far as endorsements, that one is tough. I would say if a company likes what I and the rest of the band are doing, I'd be open to a deal. Of course Mesa, carvin, Dunlop, DiMarzio, etc would be great. I would LOVE to be endorsed by graphtech, since I use a lot of their gear and all of my axes are eventually going to be modded with their stuff. I am a dealer with them already so I guess it works out hahahaha. I'd like to find a small-shop guitar maker to endorse and work with me on building an instrument for me that is simple, and one that has the specs I need.
Nicholas: I love LaBella strings - I'd love to be endorsed by then! I am nuts about the step downs (essentially piano strings in a bass format!)

Lady Kat Chaos: Do you have small guitar shops in your area?
Haniel: Tom Clement and Clement Bass is the only shop around here that I am really into.

Lady Kat Chaos: When it comes down to strings and picks, how many types have you tried before you found the ones you are most comfortable with using? Do you used different ones for different songs as well?
Haniel: As far as picks, the jury is always out. I use Dunlop big stubby 3mm with grip tape on both sides (I have arthritis so it helps me hold the pick); I use the Graphtech TUSQ picks now because they sound amazing, and I sometimes use a gemstone pick for bright, clean solos...
Brion: I dig Dunlop Tortex sharps 1.50mm!! I sweat like crazy & they have sick bite when I need them, quite dynamic.

Lady Kat Chaos: Haniel, you mentioned that you have arthritis, did you gain that from playing all these years and how do you adapt to continue to play?
Brion: I too have arthritis and playing instruments has helped in a huge way.

Haniel: Good question: I got diagnosed with arthritis when I was 20, about 4 months after I started playing guitar, and it got progressively worse over the course of about 10-12 years. Then I started taking a joint formula w/ bioactive collagen and a ton of vitamin C, and it totally changed my playing. I also learned what sort of set up I needed on my guitars, so now I play "slinky". Brion knows what I mean. I use the sharps for chop building on the acoustic

Brion: But I also play drums, bass, various horns, piano, sing/growl. Something I've learned is to wash my hands in the hottest water possible before and after playing, however, I was born with it.
Haniel: Well, we shall see. The standing may affect my legs/ankle, so we are working on ways to deal with that right now.

Lady Kat Chaos: I find that inspiring to show others to never give up in their goals and dreams. Does it become difficult for you to perform shows?
Haniel: It took me 17 years to get this first EP released. I am not about to let something stupid like arthritis stop me from finishing this. I'd have to be dead to quit, and even then I'd come back and possess someone until it got finished!!!

Lady Kat Chaos: There are several musicians who have back injuries as well and continue to perform in a wheelchair. Because music is a big part of their life. Do you have hand exercise that you to do build yourself up?
Haniel: I usually do martial-arts style exercises, but lately I have had very little issue with my hand problems. I almost don't even realize it is there. I have been mega dosing on vitamin C lately, so that may be the reason why...
Nicholas: I can tell you for sure that every member in this band has a lot of things that 'hinder' us - I myself am half deaf and half blind, we have a member with cancer, and a player who had recently lost their father, and all sorts of issues with busy schedules and vehicles breaking down (or just not existing!). But you can't let stupid things like that get in the way of being the best *you* personally can do. If Markradonn represents anything to me, it represents triumph over struggle.
Haniel: Nick, I have to say, that is the quote of the day dude. I am glad that you are a part of this and are working to help climb that mountain. Good job bro. That quote speaks volumes...

Lady Kat Chaos: I agree many bands have different struggles and health issues. It’s not easy for them to gain any medical coverage as well and a change should be made for bands regarding medical bills. Do you have a band fund for issues such as this, for equipment needed, transportation and so forth?
Haniel: Yeah guys, this band has had much by way of obstacles. We even had friend of a band mate who committed suicide the day before we were going to lay down tracks for a song... about suicide.

Brion: How many guitars do you own at the moment Haniel?
Haniel: Ok, lemme see... I have: Rg 170, RG 120, a Charvel (all w/ DiMarzios); Carvin DC400, Carvin DC 127; RG120 w/ Graphtech Electronics for synth....2 acoustics, and two RG120s that are gutted and being modified.
Brion: I got a couple Jackson RR's, an Ibanez 7, a Schecter omen activator & a New York 5st. bass, also got an Epiphone LP 25th anniversary I'm working on too. Brion Hughes's photo.

Lady Kat Chaos: Have you ever built your own guitar?
Haniel: I have never built my own guitar, but I have a design I am working on that I would like built.

Lady Kat Chaos: If you were to design your own signature guitar what would you include?
Haniel: It's not what I'd include, it is what I would take away. First, I'd move the damned knobs and switches BACK, to the back end of the guitar body. NEXT, I'd cut the damned lower horn off and just leave a stub for me to rest on my leg. Then, RG 170 Wizard 2 neck, 25.5" scale, 20" radius, Dimarzio pickups, Graphtech tuners, nut, saddles, and a Wilkinson bridge, with a maple fretboard or ebony, and hard maple body....neck through

Dave Wolff: How much exposure did the band get from your interview in AEA zine (issue #21)?
Haniel: That was one of the most enjoyable interviews I have done. Dave asked some really deep and long, open ended questions. It is hard to gauge how much exposure we got from it, just as it is tough to gauge from any interview from print. The best part about it was the networking and the new relationships with guys like Tony Reborn Juarez, and of course the honor of being a part of the 'zine. I have been a big fan of Dave's for a very long time.

Dave: One of the things we discussed in our interview was movie soundtracks (Star Wars, Star Trek, Conan etc). Are there any other soundtracks you have discovered since then?
Haniel: The Shining soundtrack is outstanding, and I never realized how good it was until recently. I also found a new appreciation for the sound track to the Dario Argento movies, especially Phenomena, and I heard Deep Red for the first time all the way through.

Dave: How often do you keep in touch with Tony of Reborn From Ashes zine since you began corresponding with him?
Haniel: I just talked to Tony Reborn Juarez the other day about how stupid people are on Facebook posting pictures of their dinner and shit. He was so spot on about that!!

Lady Kat Chaos: How do you keep your neck from getting warped? Have you ever had any of your equipment stolen from you?
Haniel: I haven't had gear stolen, because I keep a variety of weapons around my house in secret places hahahaha so no one messes with me and I have a "guard cat" who is a walking, meowing, shredder. But I take care of my instruments and I make sure I keep them in cases and have them set up properly.

Brion: What is the music scene like where you live and what local bands do you like?
Haniel: Some bands I like around here are Murderfly, URN, Diabolic Intent, and Armageddon III.

Lady Kat Chaos: When it comes to you creating music you use many styles of metal and don't stick to one form. With bands having many mixtures do you feel it opens the doors to more fans, although it’s about what you like creating but as we know some bands get bullshit for having a mixture instead of staying to one formation.
Haniel: You hit on a sore subject for me: Genre-ism. Genre-ism is when bands and fans confine their mind to ONE style/subgenre of metal and ONLY listen to/support said sub-genre, and it is the micro-managing of metal into sub-sub classifications with titles like "progressive post djent electro-core" that just divides the scene. The way I write is based on what I listen to, and what I enjoy, and what will allow me to express myself. I don't care if it is a black metal riff or a NY slam core riff or a hard core riff with diminished chords or a classical riff. I express what I want, when I want, and I don't care about genre. It is either metal or it isn't. I have to say, that as the band progresses, and you all get a chance to hear the new-new stuff, the expansiveness of the style will be more abrupt; you will hear a broader incorporation of different riffing styles, different moods, different scales and, get ready and keep an open mind, because we are not looking to fit any "mold"; we are looking to break the mold.

Brion: Looking back, there are some pretty iconic bands from Florida, 13 or 14 that I can think of, does that ever inspire you when you learn of some of them?
Haniel: James Murphy, Death, Malevolent Creation, Cynic...all inspirational.

Lady Kat Chaos: You've been together for about 15 years, how do you feel you have progressed as a band and as musician? And you started it out as on one man project what made you decide to include other great musicians?
Haniel: Well, we haven't been together for 15 years; Allen and I have been jamming on and off for that time, but Markradonn effectively began in 2011 when I met Tim Carter. However, in 3 years, you can really hear how different we are musically since we started...

Lady Kat Chaos: Is your EP, "Final Dying Breath" still available and what about your past demos?
Haniel: The EP is still available. The demos you can get off of the reverb nation page: You can also hear some practice videos and samples on YouTube:

Bob: What are your thoughts on this age of computer edited albums that sound sterile and mechanical? And how does it affect you guys?
Haniel: Personally, I hate all the Protools-ish crap. I went out of my way to go as natural and as organic as possible with the EP. The album will be a step up in quality, but not because I am using any tricks; because my gear is better and I have more experience (and money). I think that bands that go into a studio and then have Dick Knubbler "fix it in Protools" is BS and not metal. Go in there and play your damned instruments and be a man about it. We will use some basic techniques of editing on the album, just to save a little cash and to fine tune some of the new, more extensive stuff. But there won't be any "looping", or crap like that. What we play is what you hear. We're doing minor drum editing but nothing dramatic. Expect to hear humans playing instruments on the album and beyond...

Bob: How do you feel when someone says your music isn’t good because of the production not being sterile?
Haniel: How do I feel when they say that? I feel like busting out the 4 track and recording the WHOLE album to analog tape and mixing it that way....just to make their pigeon holed little brains explode. It pisses me the hell off.

Lady Kat Chaos: Have you thought about using site like Funded by me to help with financing your upcoming opus?
Haniel: Well, I try to handle as much of the day-to-day expenses as possible, Allen helps me with gear and repairs, and I buy/sell gear to raise money for my own stuff and for recording. But after that, we try to raise money via Gofundme, which also acts as an easy way to collect payments for the CD and merch. We actually have a funding page, and you guys can check it here:
Interviewer: Dave Wolff
Jul 13, 2015

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