Intronaut debuted the instrumental version of a new song at the House of Blues in Anaheim, CA. Band drummer Danny Walker shared lots of studio footage, where they are recording at Clear Lake Audio in North Hollywood, CA with producer Josh Newell. Devin Townsend will be mixing, and is due out later in the year.
Toying with bass effects and gettin jazzy wit it! #clearlakeaudio #intronaut
Job For A Cowboy will release their new album Sun Eater this November from Metal Blade Records. The band has spent over a year writing and recording the new death metal opus. Since the departure of Jon Rice, the band has been working with extreme drumming virtuoso Danny Walker (Exhumed, Murder Construct, Intronaut) who laid down the drums for Sun Eater. The band promised a new sound and even more growth from the band that began as a tech death sensation, and morphed from death core to true death metal over time. The new album was produced by Jason Suecof who has a long history with the band. You can hear the new song ‘Sun of Nihility’ now:
From The Press Release:
Job for a Cowboy have wrapped up music and art on their fourth full length album, “Sun Eater.” Along with producer Jason Suecof, vocalist Jonny Davy, guitarists Al Glassman and Tony Sannicandro, bassist Nick Schendzielos, and session drummer Danny Walker have crafted a cerebral and accomplished piece of technical death metal. Job for a Cowboy wrapped up touring in 2013 as part of the Rockstar Energy Drink Mayhem Festival that summer. Following that performance, the band collectively decided to sharpen their focus and set an intent on cooking up a record that encompassed their full dynamic range of talent. The group had all agreed on the main course being a desire for futuristic tones, a wider spectrum of textures and tempos, and an emphasis on slightly more ancestral song construction. The result, “Sun Eater,” does not just sound like a new record, it sounds like an entirely new band.
Following the departure of long time skins-man Jon Rice, Job for a Cowboy, cognizant of the size of shoes that needed to be filled, in addition to the depth and versatility demanded by the new material, enlisted the services of Danny Walker (Intronaut, Murder Construct, Exhumed, etc). Walker’s mastery of his craft, coupled with his creativity and enthusiasm for the material, strongly influenced the outcome of the record, and it only takes a few minutes of listening to hear this is Job for a Cowboy at their finest.
Regarding composition, guitarist Tony Sannicandro recalled: “This album came together very smoothly. We had the concept before hand and I took it upon myself to try and portray that concept through the music. I took a much more melodic approach than “Demonocracy”: focusing on the structuring and the layering that would complement the story to my ears.” The other half of the guitar duo, Al Glassman, continued to be a driving force behind the band’s sound. Bassist Nick Schendzielos added that “Al riffs long and hard for greater the good of everyone involved. He really used a lot of foresight in his revisions during the writing process, creating ample room for me to mood-out the tracks with bass that you can actually hear. in the end I think we really brought the character out in each and every song.” Indeed, composition and songwriting was the focus here. With this new album, the band had the luxury of relative longevity in the core of their songwriting lineup. This led to a far stronger vibe and a much more realized final product.
Audiohammer producer Jason Suecof, whose first bout with the band was 2009’s “Ruination,” has now worked with the band for over six years. Few are more familiar with how Job for a Cowboy operates in the studio than Suecof, and he was also feeling the “vibe” on “Sun Eater“: “This band is composed entirely of top notch musicians all the way around and they are clearly at the top of their game. This new album is a stellar combination of everyone’s efforts and what we have now is something that conveys everyone’s musicianship without being techy for the sake of being tech. This album has got feeling and it is fucking brutal!“
Sun Eater will be available via MetalBlade Records on November 11th in North America and November 7th/10th in Europe/UK
Well another weekend and another show in Allston Rock City, as the denizens here have taken to calling it. Sure it has its share of faults like too many hipsters, huge rates, and a general nexus of drama that comes from being a hiccup from Boston and smack dab between two nicer neighborhoods. What Allston lacks in class, it has style up the rear end, and three of my favorite music venues within 7 blocks of each other. At Brighton Music Hall the band camp geek crowd of Boston was out to see some of prog/djent’s finest bands come to town.
Local youngsters Aviations were first up tonight. I had heard a bit about them, but I wasn’t familiar with their music until now. They were really impressive, accomplished players doing their take on djent. They also had a huge crew of friends and fans there, as evident by how active they were singing along, moshing and in general, being hyped as if these guys were the headliners. It was infections because the rest of the crowd quickly caught on. As as band they are a lot of fun live, put on an energetic show and their singer Adam Benjamin even jumped into the pit to mosh a few times! They are opening up for Animals as Leaders soon, so big things are in store for them.
A lot of folks in the house tonight were lured by the draw of Cloudkicker finally touring. Studio whiz Ben Sharp could finally strut his stuff, and with Intronaut as his backing band, it was going to be pretty exciting. They even had their own commemorative shirts that said Cloudtronaut… or was it IntroKicker? I can’t recall. Led by Sharp, the band cut through a string of flawless prog tunes such as ‘We’re Going In’, ‘You & Yours’, and ‘Dysphoria’. It was fairly amazeballs! Sharp’s guitar mastery is impeccable, as he pulled out a bevy of techniques. Techniques, mind you, not tricks. There is a difference. For their part, the Intronaut guys played great and helped bring these little masterpieces to life. Behind the band a video screen showed space satellite footage that added a little more juice to the scene. I for one hope this collaboration continues live, and perhaps even extending to the studio someday.
Staying on stage with only a short break, Intronaut continues to remind me over and over why they are one of the preeminent heavy music bands of our time. At this point in their career they can go out on a lot of tours they want to take, or just tour by themselves if they want, but to hit the road on this kind of package says a lot about them. Tonight they were doing a shorter set, on top of double duty. Opening with ‘Killing Birds with Stones’ was great, and such a good indicator of where the band is headed. Each of the players in this band is stellar, but none more so than Danny Walker on the drums. The guy is a machine on the kit, but plays with a lot of passion too. The vocals of Sacha Dunable and Dave Timnick always get me right in the guts too. Tracks like ‘Venom’ and set closer ‘The Way Down’ just stay with you long after the final notes disappear. Typical of Boston area shows, some people left after Intronaut and didn’t stay to the end of the show, possibly because their girlfriends were bored or something.
Tesseract took quite a while to go on, but everyone in the room was amped to see them. A rumor had gotten around the club before long that singer Ashe O’Hara was sick, and could not sing tonight. When the band hit the stage, there were still a lot of perplexed faces in the crowd as the band appeared to be down to a three-piece with no singer. The band played great and the crowd none the wiser enjoyed a few songs before Amos Williams addressed the crowd, confirming that doctors advised Ashe not to sing. However, the band planned to play their full set without him, apologized profusely over it. They ran through a mix of songs from their catalog, with the audience singing back at the singer-less band. It was actually awesome and a testament to the fan base of this band. From what I could tell, some people left early, disappointed. But those who stayed were rewarded for their patience, and the band played their asses off. It was one of the most mature and professional things I have seen in a long time, just how hard the band played and how humble they were the entire time. The situation was far from ideal, but isn’t that what live music is all about? Especially in a scene where everyone plays along to backing tracks and the like, it was great to see these guys were so unflappable. A special treat for the crowd was the closing number of the night ‘Concealing Fate: Part I Acceptance’ which was played to a lot of oohs and ahhs for those remaining in the room. Afterward the band went into the crowd for a long time, signing merch and taking pictures.
Karyn Crisis. Her name is synonymous with brutal music, creativity, and artistic integrity. As the leader her own band out of New York City in the 90s, hearing Crisis, especially live, was brutal and ear and mind opening experience. Karyn had left the spotlight for the most part until a few years ago, joining Ephel Duath as their vocalist. Now forming the nucleus of what is to become her first true solo-project Gospel of the Witches, Karyn is stepping back out of the shadows. Along with Davide Tiso, she is putting together an amazing lineup of collaborators to bring this project to life. Together they have taken to a crowdfunding campaign via Kickstarter to raise the finances to make the album as independently as possible. Ghost Cult’s Christine Hager caught up with Karyn to delve into the creation of this project.
Thanks so much for taking the time to talk with me about your new project, Gospel of the Witches, Karyn. Can you tell me a bit about where the idea came from and what type of musical expression we might expect from this killer line-up of musicians you’ve brought together?
Thank you for your interest, I appreciate your support. In fact, I’m so grateful from the support I’ve been receiving far and wide, starting with the men I chose to be a part of this album. They are all phenomenal musicians, and a dream team for me to work with. Each person has a specific strength that lends itself to the expression of this album, each person has his own power that is important to this album. I’m honored to have Davide bestowing me with the this album. It goes beyond my highest desires and has created a living, breathing place I want to crawl into and be consumed by. I worked intently and trying to imagine the ultimate album I’d want to have and what he’s written goes far beyond my dreams. Davide and I met under the auspices of making my solo album in Tuscany. Instead of making the album then, both our lives would change with the absolutely undeniable presence of a “ghost;” a Tuscan Witch in Spirit who would begin teaching me Ancient Ways while I was in Tuscany, and who’d continue to be my Guide when we returned to the U.S. While our focus was on getting the album made as soon as possible, she had other plans for me; a transformation I needed to undertake. I needed to experience this transformation before the album would be ready to be received by me and also by Davide. This album is dedicated to my Spirit Guide and symbolically what she endured as a witch, but also as an ode to what any of us endure when we feel we must live keeping part of ourselves in secret. This album is also a sonic symbol of the Union of God and Goddess; masculine and feminine energies unabashedly shining in their strengths. These songs are Incantations; they move energy, they are magick in sound. Davide’s guitars and compositions are like the searing flames that set this whole monumental album on fire and break the listener open; Danny keeps the driving heartbeat, Ross and I (and on 2 track Michael Hill) create the thick and serpentine rhythms, chants, and incantations pulsing forward and within. People are so curious about this line-up, which I think is fantastic. As a Seer I feel the energies in people beneath the surface, and to me this group of people are a recipe of great potential.
Have there been many changes to the direction of the music over the five year period of it’s creation, or has there been a consistent vision throughout?
The vision for the album was always focused, but it was difficult for me to express this to Davide and at the beginning, for me to even imagine it completed. And therefore the song atmospheres morphed quite a bit. I’m not a musician in the same way I’m not an artist. I don’t sketch, nor practice painting yet I paint images beyond my skill set. Musically I don’t jam. Musically I have my voice, my vocabulary, and as a naturally introverted person I have to be brave enough to let this out. Davide, in contrast, is an accomplished musician: precise, technical, controlled, and also wildly emotionally expressive. So to get this album in the desired musical direction, I tried explaining to him the atmosphere I imagined. As with all my creative work, I create it in my mind’s eye first, or my inner hearing. If I can see it there complete, I know it can be manifested. I work from thin air. In this case, it took me time to create an intense enough atmosphere in my imagination and to keep energy focused there so it would grow beyond just my mind, and in someway out to Davide. I know that this process works for me: creating out of thin air, but it’s a challenge when working with others, to be able to express the energy of something, which is more abstract no matter how many adjectives you use, versus showing someone something concrete. I have to be the master builder in my imagination and work with people I feel akin to energetically so the information will be received along energetic lines versus physicality. And while this project began between just Davide and myself, I became compelled to reach out and collaborate once it was clear and undeniable that we’d arrived at our sonic destination as a result of personal growth.
What part will Mike Hill of Tombs be playing on the album?
I began to hear Michael Hill’s vocals on two tracks in my mind when I was rehearsing and writing two specific songs. A few months later he let me hear the new upcoming Tombs album, and I felt it was time to invite him into the project. He has a wonderful mid-range with tone that bridges the gap between mine and Ross’s.
Davide Tiso had issued a statement regarding how this project has changed your musical and personal lives. How so and in what contrast to working together in Ephel Duath?
Davide is very much in command of all compositions and lyrics and guitars in Ephel Duath. That is his world, and when he invited me to sing for Ephel Duath, I did not want to change the chemistry between ED’s signature rhythmic relationships between voice and guitars. He is very disciplined and dedicated to his music, and he has a strong will to make things happen, and to do them well, keeping in mind they leave a mark in time, so carefully create that mark in your way. He is inspirational to me; I love to watch him so connected to his music, and I’m in awe of the emotional intensity he can unfurl. Just when I think he’s taken a riff or passage to the most gut-wrenching place, he will elevate the breaking point even more. It’s his language, and he has such command over it, but also such a trust.
With GOTW, and in my life in general, my will is irrelevant. I am a very hard worker, I’m very disciplined, but there is a very recognizable force at work with me, and if that force or if my soul doesn’t deem some creative project necessary to be continued, the energy leaves it. So no matter my will, the “right time” for something to happen is a bit beyond my control. I’ve learned that in this lifetime my soul has a specific dance in mind for me, and in Spirit partnerships I can suddenly arrive technically at a very advanced place without having to “practice” the art of getting there. For example, after I left Crisis I didn’t sing for several years at all. And when I felt a clearer picture of GOTW coming into my mind and knew I wanted some very feminine and melodic vocals in these songs, suddenly I had a well-developed middle range to my voice which I hadn’t achieved in 13 years of singing for Crisis. With all my creative projects, when the Spirit assistance is there, things manifest at an accelerated rate and can surprise people. At the same time, this requires surrender, which can be difficult to accept. So Davide and I have waited a very long time for me to be ready to create this album, the lyrics, the visuals, the videos, and everything else around it. We consider this album a great act of love; something we’ve worked towards and it broke us open in many ways, this meeting of will and surrender, and the force of energy created this heart-wrenching, epic album.
With David doing both bass and guitar on the album, has there been any talk of how you might accomplish this live or will Gospel of Witches be strictly a studio band?
I certainly have my own desires to take this live, and a specific blueprint to make it happen. However, it’s just too early to say. Right now, the goal is to get this album recorded. Studio time is booked! There’s so much work to do until then. As many people know now that the music business has become more transparent due to bands discussing it more, if GOTW isn’t seen to have any value by the business, we may not have the market value to afford to go on tour. So first things first, creating this musical monument.
What made you chose to work with Jamie King (Between The Buried And Me) at The Basement Recordings? Have you worked with him before?
I haven’t worked with Jamie before. But as Davide was helping introduce possible producers to me, I felt Jamie had the talent to work with many layers of sound and make them all huge, intense, and listenable. There are some songs that Davide’s composed 13 layers of guitar tracks for, and each song will have at times jul to 6 vocal tracks or more, so it was important to work with someone who can help take the potential here to great heights, and I believe Jamie is the one to make it happen.
Growing up in the country with no high speed internet or access to a metal scene, Crisis’ “Waking The Dead” was one of those random tracks I chose to seek out online and waited days to load after reading about you in a metal magazine. In what way have different forms of media helped your career and how has the use of Kickstarter on this project been beneficial as to who you’ve been able to reach out to?
Technology has certainly changed things and brought us all closer together in some ways. Your story is one I’ve heard over and over again, and it’s wonderful. In my early days of buying vinyl I had to rely on imported zines from other states or countries, and the few record stores who’d carry imported albums. Kickstarter has been a warm welcome into this world even further. It’s reconnected me with many people from my past, and many people who had no idea about my musical past. With this project also, I was able to create these mini films with Davide’s help. I learned, literally over night, how to use video editing software with no previous experience, but again, the internet also provided me with quick lessons on how to use Adobe Premiere Pro Cs6. When it would boggle my mind and stress me out, I’d go back to what I know: meditation, and I’d receive images of certain buttons I needed to press to solve certain problems.
Can you tell me a bit about what appeared to be a near death experience, as depicted in the short video on your Kickstarter page and how this life experience has inspired the forthcoming album?
It was a long time ago now that I almost died, but it had a significant bearing on my young adult life. My life was similar to the “6th Sense” movie, where “dead” people followed me around. While they terrified me, at the same time I felt close to the Spirit Guides around me; they helped guide me through this world and all the illusion. There would come a time where I’d have to come to terms with these abilities and how to organize my skills to communicate more clearly with Spirit people of all types and to move through my fear of certain experiences. The Spirit Guide to whom this album is devoted became my teacher in these regards until I began to train as a Spiritualist Medium in San Francisco, giving platform readings in public and training in a traditional Spirit Circle. This long journey from Ancient Ways to modern Spiritualism and everything that occurred in-between is what this album expresses.
What has it taken for you to surrender your voice as a channel beyond you; accept what has been summoned for your projection? Was it a struggle to accept this role if you did not feel like a musician at first?
I call it “the summoning,” when I feel my Witch working through me, especially compelling me to sing. After I left Crisis, I never thought I’d feel that again, mistakenly attributing that “summoning” mostly to the music even though I made it clear that there was some presence watching over the band and supporting us. I felt that “summoning” again with Ephel Duath and it was an incredible joy to be reunited with that feeling. For me, it’s very natural. Even though I don’t consider myself a musician. People have asked me for years how I do the things with my voice that I do, but I don’t think about it. I create from thin air: sometimes I chase the historic trail of a word in a thesaurus, and that trail becomes like a meditation. In these moments of writing lyrics, I begin to hear the vocal lines in my head. Then I have to figure out how to actually sing them, and often they are out of my vocal range. It comes from a place of trust that I have with my inner world. The power of it did overwhelm me during the last years of Crisis’ history, however. I find people drawn to that energy, but in reality my personal energy is much smaller, and that juxtaposition can confuse people.
I’ve recently experienced shamanic breath work and the profound journeying it can provoke into our past lives, fetal memories and future selves. Intense bursts of grief, rage and sadness. Are the toms and double kick meant to be the beat to which we follow own journey within your music?
The drums emulate a heartbeat or a countdown; a steady beat that helps one “lose time” and be present in the moment. When we meditate, we go into darkness. It’s usually a constant that allows us to break through the illusion; a constant silence, a constant beat, something that occupies some part of our attention yet lets us escape the ego and journey elsewhere. In shamanic work it’s the drum beat that takes us into the trance. Even more on this album will be the vocal choir. When I was in Crisis, I responded as a vocalist perhaps in unusual ways: the drums were what I wrote my vocals against. The guitars provided atmosphere or perhaps a note to jump off of, but it was the drums that I worked with. With GOTW, all Davide and I had were his guitars. So I had to become my own rhythm section and create the beats with these thick, layered vocals.
Why was the contrast of the masculine and feminine so important to what you’ve composed and why did you seek out Ross Dolan of Immolation to compliment you in contrast?
I asked Ross Dolan to be a part of the vocals on almost every track. It just felt like his voice belonged there, thick and deep and unbending in his power. While I’ve known Immolation from my early days in NYC, it was a recent track, “A Glorious Epoch” that compelled me to reach out to him. For GOTW, I was inspired by this idea of the layers of vocals holding the song in place against the intense emotions from the medieval monks and Tibetan monks who chant their prayers and mantras, and of the ceremonial magicians who know how to use the “magician’s voice” to move energy with sound. It was ideal for this inspiration to be expressed beyond what I’m capable and to open my collaborative doors to working with male vocalists I admire. Gender, and moving past its limitations, has always been a part of my work. However, in the past I felt more identified with male energies within me, partly as means to protect myself from abuse I endured and to not become a victim of it but to transform these experiences and empower myself. Now that I’m older, I feel safer to identify with a more feminine side of my energy, and I wanted to be free on this album to express that, but to still also have the darker side of things anchored by heavy, deep vocals. As I’ve come to find a balance in my own energies, and the Witch has taught me the strengths of feminine energy and how to empower myself with it, it’s only natural to work with this idea of the “Union” of opposites, the “Union of the God and Goddess”energies; of light and dark, of action and surrender, and blend them artistically for a greater, holistic expression of opposites. I can only do so much with my voice, so naturally I had to look outward to collaboration.
Is the number 13 of significance to you and your choice to create that many songs for the album, or was it pure coincidence?
13 is considered to be the number of the Witch, the number of transition of those brave enough to burn in their own fires and be born again.
I see you have hand crafted all the gifts involved in this campaign as promotion incentive and must compliment you on how truly innovative and beautiful they are. Have you also started creating the album art as well?
Thank you. I have begun creating the album artwork, and it promises to be just as special.
It’s been disputed by various historians and folklorists that The Gospel of the Witches ever existed even though they’re documented as having great influence on the creation of Wicca. What is your belief on the matter?
The Gospel of the Witches texts are rightly disputed. Buddha and Jesus’ stories as well. Aradia, Buddha, Jesus..we’re dealing with Ascended Masters here; stories of ordinary human beings who mastered the art of being a limitless soul- energy temporarily housed in a finite physical body. Bringing both into balance is what opens the doors to the Great Mysteries. This is done through Spirit partnerships. So the details of the stories are irrelevant. The broader perspective and the greater truths these stories are trying to tell us is that we all are potential Masters of our lives, and we all have the opportunity to allow our lives to master us and attune us to the Natural Laws of Energy. We therefore have the opportunity to be empowered by expanding beyond what we think is possible for a finite human being. There is no “supernatural,” it’s all a natural part of being eternal consciousness.
Is there a way people can send you their support if they miss the campaign?
Absolutely! Starting April 21, I will be launching an Indiegogo campaign for just a few weeks as per fan requests, so that whatever I earn there I keep for studio. You will be able to go to Indiegogo.com and search: KARYN CRISIS. Longterm, in my Etsy shop I will have album pre-orders and some of the special packages available here. All pre-orders go to fund the album recording and expenses:
Ghost Cult is honored today to bring you an exclusive message from Davide Tiso, known for his work with Ephel Duath. Davide’s current passion is the creation of his ongoing project with his muse and partner, Karyn Crisis: Gospel of the Witches. Intended to be Karyn’s long anticipated solo project, it is being crafted with heavy hitters Ross Dolan (Immolation), Danny Walker (Intronaut, Murder Construct, Exhumed) and super star producer Jamie King (Between the Buried And Me). Davide walks us through the genesis of the project:
“I started composing songs for Karyn Crisis’ Gospel of the Witches in 2009: it is now 5 years that I’m working on and off on this project. Karyn and I dealt with, arranged, recorded, rehearsed and lived with dozen of songs to choose from and I’m nothing short of amazed at how good the 13 lucky ones that we picked sound. Most of these tracks are literally born from bursts of inspiration. There were moments where I had to run to my desk with the guitar, turn on my laptop, record and make sure to press the save button. Most of the time, half an hour was enough. I don’t recall much about the composition process, I was probably channeling from my good star. What I have stuck in mind are the following days of arranging process: every bar in this album has been maniacally shaped and refined to sound heart shattering and intense. Musically, I feel like the key factors of this work are sonic layers and mantra-like shapes. To me these songs are like an emotional vortex that steal you away from reality for much more than their few minutes of duration. I’m so proud and impatient to finally record this album. I wanted to offer Karyn the very best I can as a musician and band member and I feel that my dedication and obstinacy paid off big time. These songs are what Karyn Crisis proudly sounds like these days: to my ears, and as a fan, I feel like this album is going to touch the very core of who has followed her thus far in her career. Karyn is one of a kind – too challenging for many, too twisted for others. I say we are lucky to have her around the way she is.” –Davide Tiso, April 2014
To launch Gospel of Witches and bring it to the masses, the group has launched a Kickstarter. The rewards are mostly personal, unique and crafted from Karyn’s visionary brilliance. There are just 9 days left, so check out their page and give what you canhere:
Intronaut has never been in the business of simplicity nor stagnation. The L.A. natives may be birthed from an iconic American microcosm — however, musically, they almost seem a satellite to the larger body. Continue reading →
When it comes to forward thinking and challenging metal few do it better than LA-based progressive metal outfit Intronaut. With four full length albums tucked firmly under their belt, they have made a devastating impact upon extreme music, however, it is on newest album Habitual Levitations that the band prove their worth. David Timnick (guitar/vocals) invited Ghost Cult into the world of Intronaut and all the wonders that surround it. Continue reading →