YA ESTÁ ARRIBA el episodio #8 de Otro pvo podcast 8 Tito Matos y Wehrmacht Tiburones, cerveza & y Crossover en BN Fanzine TV 🔥
Este episodio incluye detalles de una entrevista EXCLUSIVA e inédita con Tito Matos, realizada el lunes 4 de septiembre de 2023, acompañada de imágenes nunca antes publicadas. La entrevista completa aparecerá traducida e impresa en Sharks & Shit #1… pronto en las calles o en las playas más cercanas.
Además, se viene una entrevista FINAL y actualizada con Matos para el lanzamiento oficial del zine, donde hablará sobre la ruptura definitiva con sus antiguos compañeros y la decisión de abandonar el nombre Wehrmacht debido al actual clima político en EE.UU. Todo apunta a que el futuro será bajo nombres como Biermacht o Macht.
En este capítulo también repasamos tres clásicos absolutos del caos crossover:
🔥 Shark Attack (1987)
🍺 Biermacht (1988)
⚡ y el frenesí técnico de Spazztic Blurr, y la re-edición no del todo oficial del compilado Hello Dum Dums + Bedrock Blurr Demo 1986 (2016) bajo el sello FOAD Recs. Que trae el 1er disco de Spazztic Blurr, más el demo, en el que sí canta Tito, que sería curiosamente, financiado y producido por sus padres. Según Tito, nunca recibió ni un solo centavo de ese lanzamiento, triste pero cierto y que parece un situación algo común en el mundo musical, por desgracia. Con esta banda ya no hablamos solo de velocidad. Hablamos de riffs imposibles, cambios dementes y crossover grindcore llevado al límite.
Otro pvto podcast 8 Tito Matos y Wehrmacht Tiburones, cerveza & y Crossover
Y lo más brutal: Sharks & Shit incluye una extensa entrevista exclusiva con el vocalista original de Wehrmacht y Spazztic Blurr: el mismísimo Tito Matos. Parte de esa conversación irá apareciendo poco a poco en futuras entregas de Otro Pvt0 Podcast.
⚠️ Tiraje limitado: SOLO 200 copias. 💀 Preventa: 20 lukitas. $ Combo x2: 35 lukas + ítems sorpresa: 1.póster 2. stickers especiales de terror 3. tiburón 3D para recortar y armar
From Hungary emerges TÜRBÖWITCH, a band that has managed to channel the rawest essence of speed, thrash, and black metal into a direct, violent, and uncompromising sound. With an attitude that echoes the untamed spirit of the 1980s, the group has been carving out a name for itself in the underground scene, reaching stages such as Wacken Open Air. Their latest release, Under Haunted Skies, reaffirms their commitment to speed and chaos as their primary language. In this interview, we talk about their beginnings over beers, their evolution as a band, and the philosophy that drives their relentless and authentic sound.
For those who still don’t know TÜRBÖWITCH, how would you describe the essence of the band in just a few words? And finally, what does the word TÜRBÖWITCH represent to you? What were you thinking when you said: This is what we want our band to be called?
Thank you for the opportunity, and welcome all the readers!
Speed, chaos, relentless.
It represents everything we do in our lives. Despite our daily jobs, this is what we truly live for, this is what drives us.
The name itself actually came from a friend of ours. He came up with it while meal prepping at home. No overthinking, no deep philosophy — just pure, primal instinct. It sounded cool, it felt right… so we took it. :D
Türböwitch - Cult Mastery (Official Video)
The project started the way many great things do: in a conversation between friends hanging out, maybe with a few drinks involved. Alcohol has helped create many bands, but it has also destroyed some. What I’m getting at is, at what point did you feel this became something serious? At first, it was just a home project. I wanted to make some fast and violent music, basically to tell everyone to fuck off. Yeah, it was a strange period in my life, but things like that happen, especially when you’re young.
I asked Zslöd — our current singer — to do some vocals, because I knew he’d enjoy making fast, aggressive music. And that’s how it started. There was not just a little, but a lot of booze involved, and we recorded our first demo. The vocals were actually done in my bathroom, screaming all the lyrics into smartphone.
Honestly, we didn’t even realize that this was becoming something serious until mid-2024. That’s when it hit us: we’re actually getting somewhere.
Under Haunted Skies has been my introduction to TÜRBÖWITCH, what a great record. Your sound blends thrash, speed metal, and black metal in a fresh and well-executed way. Which bands or scenes do you consider essential in shaping your style? Because you sound like you came straight out of a basement in 1986. Motörhead, Venom, Bathory, Dissection — those bands were definitely essential in shaping our style. But we also listen to a lot of different kinds of music, and I think inspiration can come from anywhere.
When the home project first started, I really wanted to make something in the vein of Deathhammer from Norway — fast, raw, and aggressive. That was the starting point, and from there, everything else naturally evolved into the mix of thrash, speed, and black metal that you hear now.
You’ve shared the stage with several cult bands from the underground. Which show has been pure chaos -something intense, crazy, or even motivational that you remember? Because not everything has to be negative, right? Even though the new record is pretty dark, I wouldn’t call it negative. It’s really just a reflection of our past experiences in life. The road to resilience can seem endless, but you can always find your own “moshpit” at the end of the day.
Every show, every night, is chaotic in some way, that’s pretty much the essence of this genre. If I had to pick one, I’d say our show with Abigail back in 2018. That was pure metal aggression, exactly as it should be. For that night, it felt like time stopped and then rewound straight back to the ’80s.
You won the Wacken Metal Battle Hungary finals and played at Wacken Open Air. What was that experience like? How many bands did you have to compete against? I understand that until reaching Wacken, bands often have to cover all expenses themselves: travel, food, everything, but I imagine it was worth it, right? Do you see Wacken organizer covering some expenses in the metal battle contest? It was the most life-changing, monumental, wild, and amazing experience we’ve ever had.
At the festival itself, if I remember correctly, there were about 30 bands competing in the finals. But if you think about it on a global scale, including all the national competitions leading up to Wacken, the number must have been around a 1000, maybe even more.
It was completely worth it. Music was never about making a fortune or buying a sports car after a show, hehe. We just love doing what we do, and that’s enough. That said, the local Hungarian promoters did cover part of our trip, which definitely helped.
A massive stage. Huge crowds. Did Wacken feel different, or was it just another battlefield?
Wacken is one of the biggest and most famous metal festivals in the world, so of course it felt different.
That said, we give the same show with the same energy no matter the audience, whether it’s a massive crowd or just a handful of people. Every single person came to see you perform, so you always have to give your absolute best.
What’s the purpose of releasing a new album? Is it about taking the band one step further in its career, or is it more of a cathartic process? How are your songs created, through structure or pure accident?
I think the purpose of releasing a new album is to share your thoughts, emotions, and feelings with the world through music. That said, we’ve never looked at an album release as a duty or a checklist item. Four years had passed since our previous record, so it felt like the right time to put something new out.
During those four years, we went through a lot, and like always, this album reflects our personal experiences during a specific period of time. Life has been rough lately, which is why the whole apocalyptic, dark vibe runs through the concept of the record.
As for songwriting, it’s mostly a primal process. If we have a riff or an idea, we start building around it, and eventually a new song emerges. Of course, we also have a lot of half-finished tracks in the archive — maybe one day we’ll revisit and use them.
The ’80s aesthetic and attitude are very clear in the band. Is it nostalgia, a statement of principles, or simply a mix of both? I think it’s a bit of both, a mix of nostalgia and a statement of principles. Part of it is a thirst to relive a decade we never actually experienced. Only our singer was born in the ’80s; the rest of us are ’90s kids.
So in a way, it’s both paying homage and embracing the attitude and energy that drew us to the music in the first place.
After touring with Enforcer, what did you learn from sharing the road with a band of that caliber? We learned a lot, especially on the technical side, what to bring on the road, and how to be more compact and efficient on stage with your equipment.
But the biggest lesson is that no matter what happens, however long the afterparty lasts, there are fans waiting for you out there. You have to be their hero and give your best every single time. We’ve known that for a while, but touring with Enforcer really reinforced it.
If you could choose any band to tour with, which one would it be, and why? I’d say Hellripper or Midnight. I love both bands, and realistically, it’s probably easier to make that happen than touring with some big ’80s names like Exodus or Slayer.
Both bands share the same raw energy and attitude that really resonates with us, so it would be an insane experience to hit the road with them.
Last words for the degenerates reading this.
Thanks again for the interview, and a big shoutout to all our readers and fans. Stay heavy, stay chaotic… and we’ll see you somewhere on the road!
Dead Heart burst onto the Columbus scene in 2025 with Burning From Within, a visceral debut that fuses raw punk, psychobilly upright bass, and DIY energy into a blast built for sweat-soaked underground stages. From their improvised early rehearsals to the creation of tracks like “Choking” and the dark “Nosferatu,” the band has forged a sound of its own—one that rejects traditional labels and prioritizes live intensity above all. With deep roots in punk, hardcore, metal, and kindred genres, the trio steers clear of uniforms and aesthetic clichés, favoring honest, defiant chaos over spectacle. In this interview with their drummer, Charlie Taylor III, we explore their genesis, creative process, life on the road (including a Motörhead tribute project Charlie is part of), and where Dead Heart is headed as they continue expanding their singular vision of countercultural rock.
What inspired you to form Dead Heart in Columbus back in 2025?
I have known John from the Columbus punk scene and saw a post on Facebook looking for a drummer for a psychobilly band. I had never tried playing that style because I came from the d-beat crust hardcore punk and thrash metal scene, so I was up for a challenge …. The day we all got together was magic. It was the first day that I met David on guitar player and I had never played with either of them before. As soon as we started playing it was like effortless and we came up with two songs. It was amazing. We had all the songs for the first record within 7 practices.
How did your previous bands influence thesound you’re exploring now? I knowyou’ve been involved in several projects, such as Laid to Rest, Lethal Aggression, and two spectacular tribute bands dedicated to Celtic Frost and Death.
Actually, I have been in hardcore, punk, and metal bands since the late 80s. The energy and aggression is definitely there. We are kind of like the Dead Kennedys and the Ramones smashing into the Stray Cats.
I’ve also noticed that you play bass, butyou also sing. What does it feel like to facethe audience from the singer’s perspective, and how does that compare to being behind the drums?
I have played bass in bands and sang in bands, but in Dead Heart I and solely behind the drums. I did not want to be up in the front anymore. I decided about 15 years ago that I was going to only play drums in whatever bands I am in, so when John contacted me about playing and said he and David would be up front, I was very happy.
Your record Burning From Within feelsboth aggressive and deeply emotional. What themes were you trying to express on this album?
This is a question for John to answer as he comes up with the lyrics if I had to say, the lyrics are about reflections on past relationships, narcissistic exes, and vampires of the psychic and of the supernatural.
Psychobilly is known for blending punk and rockabilly with horror imagery and counterculture attitude. How do you seeDead Heart’s approach fitting into that tradition, whether lyrically, musically, Or aesthetically?
Dead Heart is not a traditional psychobilly band. We do use elements of punk and horror and we do have a stand up bass but our lyrical content differs from the normal and we don’t wear the fancy typical psychobilly uniforms We are just three dudes in street clothes that come to kick ass on stage . I would like to describe the band as psycho-punkathrashabilly.
How did the recording process at VaughnMusic Studios shape the final sound of the album? Were there any memorable moments during those sessions?
We had an incredible time from the moment we brought our gear in until the final day of mixing. Vaughn music studios is a very professional studio with an incredibly welcoming and comfortable environment. Matt Hagberg our engineer was amazing about getting us the sounds and feelings on the album the way we wanted. There were plenty of awesome moments in the studio too many to even get into. There were many laughs.
Which song on Burning From Within do youfeel best represents Dead Heart’s identity, and why?
I think the album as a whole is an accurate representation of our identity as a band. It is full of great music and great energy.
I also heard you started a MOTÖRHEAD tribute band; are you still doing that? What other band would you like to pay tribute to someday?
Yes, I also play in a Motörhead tribute called Fast & Loose. We also play shows. We are currently up to about 125 Motörhead songs in our catalog. That is my side band.
What would be your best response to critics of tribute bands? Some people see them as a way of making money off other artists’ music. Personally, I don’t mind as long as the tribute band captures the spiritand sound of the original.
The way I see it, bands like Motörhead that don’t exist anymore wouldn’t exist anymore if there weren’t any tribute bands to keep their music alive in a live setting. What I mean by that is we try to keep the music alive and that spirit alive, yes we get paid to do it but we only make enough money to get back home. I don’t look at it as making a living off of other people’s music or else I would be more money, hungry. I don’t give a shit about money. I’m not doing the Motörhead tribute so that I can live. That’s what a job is for. That’s why I work a regular job playing in a tribute band is a hobby and it’s for fun overall. Once it becomes not fun anymore, I will stop doing it plain and simple right now. Dead heart is my number one priority band.
Columbus has a vibrant but undergroundmusic scene. How has the local scene supported or challenged the band’s growth?
Columbus’s music scene is very different from the way it was 31 years ago when I first moved here. It is not really supportive now.. bands have their own little groups that they gel with and if you don’t belong to their group of friends they won’t support you..a lot of people in the underground scene here in Columbus Ohio go to shows to be seen and not to be a scene .. everywhere outside of our own area we get good turn outs but here we get no respect… that will change with our next record.
What are your top five bands from Columbus, past or present, that our readers should check out?
Presently in Columbus I would have to say Coxey’s Army (street punk), Prime Directive ( punk), Hell is Here(d-beat crust) , Breath of Sarin (metallic hardcore), and our garage a billy brothers whom with we share a guitarist, Feral Housecats. There’s a couple other bands that deserve mentioning. the Broken Barcodes( punk) , Angry Cougars(punk) , Feed us Snacks ( punk). We also have a killer death metal band in town called Church that recently got signed to Ablated records as well as Another band in town called sanguisugabogg.
Your lineup includes members with backgrounds in punk, hardcore, and psychobilly. How do those different musical histories come together when writing new material?
I don’t know how to explain it, John comes to practice with ideas already manifested and shows us the way he wrote the riffs for the songs which already have lyrics, and then David and I bastardize it, and it ends up being the final result, which is totally different than the original idea that he came into the rehearsal studio with. That’s it.
I’ve heard Dead Heart shows are known for their raw live energy. How does performing live influence the way you write or play music?
I think when we write songs, they just come out exactly how they would translate live, performing live doesn’t influence the way we write.
What’s next for Dead Heart? A second LP, touring plans, or any new creative directions?
We are about nine songs into the writing process for the next record, there will definitely be more Records because we don’t ever stop writing. We have several shows booked and a mini tour of the northeast United States coming up in July 2026. I will keep you informed on when the next record will be released.
Thanks so much for your time, Charlie. One last question: if you could ask Lemmy toplay one final Motörhead song, which one would it be—and why?
That’s a tough one, but I think I would pick “Back at the funny farm” because it’s one of my favorite songs off of my absolute favorite motorhead album. Another perfect day.
In a scene saturated with digital slickness and recycled discourse, VOIDHÄMMER emerges like a toxic discharge that asks for no permission and offers no explanations. This trio distills primitive death metal, grind, and punk rawness with the same natural ease with which the world decomposes day by day. Their demo/EP Noxious Emissions doesn’t aim to please: it sounds like an industrial sewer, like urban rage, like riffs oozing with decay. Music made for sick times, without romanticism or posturing.
Your demo: Noxious Emissions, sounds like a tractor driving into a crematorium and scattering corpses everywhere. What exactly were you guys trying to achieve with these four tracks, or are you folks just trying to destroy eardrums for sport?
When we started writing for Noxious Emissions; the focus was on making something concise and punishing. We wanted to distill all the styles we liked and attempt to put them together. Our writing process was very collaborative, we would propose riff ideas and slowly bring them to life over the course of multiple practices.
The album cover or titles like Rotting in Excrement or Coffin Leakage looks like you'd make your grandma throw up. Is there some morbid story behind those names, or did they just get carried away with the chaos?
When writing the lyrics we wanted to be as gross as possible. The writing duties were split between the two of us.
How often do you discuss in the studio whether a riff should sound more “apocalyptic” or more “apocalyptic with disgust”? Or has that never even crossed your minds?
I think when we were writing the riffs we definetley wanted to have a sense of urgency.
If you had to describe your music to someone who only listens to elevator music, would it be easier to invent a new religion or just blast Noxious Emissions?
VH: I would probably just show them and let them créate their own assumptions. I rather let someone hear it raw witthout tying any sort of genre or “sounds like” to sway them.
What was the most "wtf" moment during the recording of this demo? Did someone smash their guitar, the drumheads, or something more crazy than calling your band Voidhämmer?
Recording was pretty disciplined nothing crazy happened.
Caligari specializes in tapes, is there any chance of your album being released in another format? Like vinyl or CDs?
We’ve been kicking around the idea of doing a 7 inch but nothing set in stone at the moment.
If the world really were to end tomorrow, which song from Noxious Emissions would be the last soundtrack before everything collapses?
I think it would be Phosphorized or Coffin Leakage.
What's next for Voidhämmer? Do you already have material for a full-length album, or will you continue working hard on the demo tracks and writing material for your debut?|
We’re already writing for a full length. Any future shows we play from here on out Will have new songs that haven’t been recorded. Look forward to sharing the new tracks.
Forged in the isolation of the COVID-19 pandemic, Montreal-based band Deadwood has quickly emerged as a ruthless force in modern extreme music. Blending death metal brutality, hardcore aggression, and a contemporary deathcore edge, the band has built a sound designed to unsettle, overwhelm, and leave no room for compromise. With their latest EP, Rituals of a Dying Light, Deadwood delivers a crushing and technically precise statement that has earned widespread critical acclaim. As they continue to conquer stages across North America and prepare for their first European tour in 2026, Deadwood stands firm on their mission: Make Deathcore Angry Again.
Deadwood was formed during the shadow of the COVID-19 pandemic in 2020. How did that moment in time shape the band’s mindset, sound, and overall intensity?
At that point, we just wanted to make internet music again! Nothing serious, just me and Derek! No pretensions. But we wanted it to be violent.
Rituals of a Dying Light has been widely praised for its brutality and technical precision. What was the main artistic goal behind this EP, and how does it differ from Nemesis and Inhuman?
With the addition of a lead guitar, which we didn't have at the time, and with me evolving as a musician, I wanted something violent, technical, and very heavy! We are heavily influenced by Meshuggah and bands like Whitechapel and Lorna Shore. We've increased the speed, the type of riffs, and the structures! This means that we are now more of a technical deathcore band.
DEADWOOD - HERETIC [OFFICIAL MUSIC VIDEO] (2025) SW EXCLUSIVE
Many reviewers highlight the balance between death metal, hardcore, and deathcore in your sound. How do you approach blending these styles without losing aggression or identity?
We all work together, we have many influences, which means we explore many styles, but we all have the same goal: Make deathcore angry again. Our next compositions will be even faster, more technical, and heavier!
Your lyrics and atmospheres draw from dark historical events, such as the Salem witch trials and Jack the Ripper. What attracts you to these themes, and how do they influence your songwriting?
We are fans of horror movies; we love the gloomy atmosphere they create! There's nothing better than suspense, anxiety, and stress in a movie! So we try to include it in our songs!
The band’s motto, “Make Deathcore Angry Again,” really stands out. What does that phrase mean to Deadwood in today’s metal scene?
Too many deathcore bands are straying from the true concept of deathcore! We are influenced by the Myspace era! Deathcore is meant to be scary, and we want to restore its prestige.
With members coming from bands like Ion Dissonance, The Plasmarifle, and Dismayd, how do your individual backgrounds contribute to Deadwood’s chemistry and songwriting process?
I come from the famous Myspace era with Despised Icon, Beneath the Massacre, Ion Dissonance, etc.! The other members are younger and some are older, so our influences come from everywhere: Ozzy, Suffocation, etc.!
Deadwood has built a reputation for an intense live presence, touring Japan, the U.S., and major festivals like Inkcarceration. How important is the live experience compared to studio recordings for the band?
Our live performances truly reflect what Deadwood is capable of! We have worked hard on our live sound, and when you see Deadwood live, it gets under your skin! Intensity is the name of the game! After a show, we are exhausted and satisfied!
You’re currently touring Canada and preparing for your first European run in 2026. What can fans expect next from Deadwood after Rituals of a Dying Light?
We're going on tour with Florida death metal legends Monstrosity! This is a first for a band that didn't want to play shows at first! We are very grateful for what's happening to us and we're going to make deathcore angry again all over Europe!!
For years, the name Nick Bonsanto has been linked to different projects within the subterranean metal scene, always in the background, always serving a collective vision. With Orchid Throne, that quiet journey finally finds its own voice. Buried in Black is not only a solo debut, but the materialization of ideas, emotions, and obsessions accumulated over more than a decade, now exposed without filters or concessions. Built entirely by Bonsanto (from composition to final production), the album moves between the heaviness of melodic doom metal and a deep emotional weight marked by anxiety, depression, and the search for meaning in a hostile world. There is no artifice or posturing: every note seems to emerge from an intimate, almost therapeutic process. Orchid Throne does not aim to reinvent the genre, but rather to inhabit it with honesty, allowing what was buried in darkness to finally see the light.
After nearly 17 years playing in different bands, Orchid Throne marks your first step as a solo artist. What finally pushed you to say, “now is the time to do my own thing”?
Thanks for taking the time to interview me, I really appreciate it! As for what pushed me to finally make my solo project, I suppose it's something I’ve wanted to do all along since I began my musical journey but the biggest thing holding me back was money, knowledge, and the ability to do so. This particular idea for a doom metal band started nearly a decade ago, and took shape as Orchid Throne a few years later. I always played guitar and other instruments at home and recorded ideas I liked but had no use for in my bands. I had an outline for the ideas that would be the basis of Orchid Throne and I held onto that dream for many years. I really wanted to see if I could even do it at all, so I jumped in a little over a year ago, amassing whatever tools I needed to make it happen and learning as I went. With no one to stop me, I worked pretty quickly and had a ton of fun doing so, even if it was pretty scary too. I love playing in bands, but it always feels like it's someone else’s vision, mainly because I played bass or drums. I just really wanted to express myself and knew I couldn’t wait forever. It was very rewarding and I am excited to create more and I couldn’t be more proud of myself for not only seeing it through but making it as good as it is on my own. I’m honestly pretty surprised, hahaha.”
Buried in Black is entirely your work: songwriting, performances, production, mixing, and mastering. What was the biggest challenge of handling every aspect yourself, and what did the process teach you about your own limits and strengths?
I think the hardest aspects were the musical production parts. Feeling happy with a mix is difficult, the constant checking and comparing, the endless tweaks and hours spent just to completely rethink and rework it. It took forever and I just kept learning new tips and tricks as I went. I have tremendous respect for producers who make all these great sounding records we love. I have always been passionate about making music myself but I wasn’t sure I could ever do it, I just knew I had to try. Besides the producing, I would say the vocals were another great challenge. I sing in my car but never recorded my vocals. It was very hard to be satisfied with my own voice and I thought many people wouldn’t like it., but I knew I had to express my honest self and I had to do it. I didn’t even know I could do the harsh vocals until I started laying this stuff down. I just gave it my all and tried over and over until I was happy with the result. I hope as I make more I continue to improve on vocals, producing, everything. The fact people are liking my voice is the most surprising factor to me and I am very relieved!
The title Buried in Black suggests emotions kept hidden for years. Do you feel this album closes a chapter in your life, or does it open a completely new creative path?
I haven’t really considered that, but you are spot on about the meaning of the title. I would say it's both. It does feel like I finally “got something off my chest” so to speak and proved I could present myself with a dream, a challenge, and achieve it. That door is closed now, I am happy to be on this ride now and it was difficult to say what I said on the album. However, I do see the open door before me, with Orchid Throne now established, I cannot wait to present more of my ideas, which there are numerous, and release more albums. It feels like the first step on a great, long, adventure. I already know there are more styles I want to explore and there’s more I wanna say.
Listen to the whole damn album.... Doom on!!!!
Bands like Swallow the Sun, Anathema, Woods of Ypres, and Draconian are often mentioned as reference points. What elements do you draw from these influences, and what do you feel sets Orchid Throne apart?
I’m glad that several reviews I got seemed to sum these up fairly well and captured what I was going for. I would say I was after the weight and power of a band like Swallow the Sun, the raw, open, honesty of Woods of Ypres, the emotional, tearjerking power of Anathema and the melodic metal sound of a band like Draconian. There are obviously tons of influences for me but those begin to paint a picture of my mindset for the project. Doom is not just a sound, it's a feeling, I was aiming to capture sadness, honesty, bleakness, and this is my vehicle for driving home an emotional record like this. What sets Orchid Throne apart, however, is that I don’t think it sounds like any one of those bands. When it's all put together I think it just sounds like me and that was another big goal of mine, not to make the same records we have already heard, but a new voice within a beloved scene of mine that people can hopefully resonate with.
You’ve mentioned collecting musical ideas and recordings for over a decade. Are there any songs on the album that originated from those early sketches and now carry special significance?
Yes, definitely! Guilt is the oldest piece on the record that is almost completely untouched from its original state from over a decade ago. It was an improvisation while I was in the throes of those feelings. The song is about that, I added the vocals and embellishments during the recording process. Breath of Autumn is also about as old, something I’ve been playing for so long and I knew I wanted it to be a segue into a bigger song. Besides those, there are a few riffs scattered throughout the album that are made up from little phone recordings I’ve kept and during the recording I would find new things to get from one point to the next. They definitely hold huge significance to me especially now, I think it's really cool that Guilt is getting so much love because I have believed in that idea for a song for soooo long, it's hard to believe.
Musically, the album balances crushing doom heaviness with melodic and emotional passages. How do you approach that balance without losing the atmosphere or emotional weight?
I think it comes naturally from the influences I draw from. I know what I’m after from my music and I suppose I just don’t think much about it. My main concern is, okay I’m saying this right now, this is what’s happening lyrically so how do I express that? Or if the riff comes first I think about what the music is making me feel. My goal is to make it musically cohesive, to tell a story, to present a feeling and get the message across. I love all kinds of music and I don’t feel I need to limit myself too much to get my goals across. Atmosphere is important in the stuff I like and a lot of that comes from layering and keyboards, sometimes I’m just playing a synth part that you feel more than hear or add vocals that sound far away which I think is all part of that emotional vision I had for the record. I suppose the balance is hard but I don’t think of it much, people will love or hate it, some of my favorite bands I know someone else hates and vice versa. I don’t aim to please everyone, I aim to make what I wanna hear and I trust my tastes and vision to guide me.
Orchid Throne exists as a one-man project, a format increasingly common in extreme metal. Does working alone allow for a level of honesty or vulnerability that might be harder to achieve in a full band?
Oh absolutely, I think so! This stuff is very “me” and it can be a hard sell working with others especially when I don’t want to compromise on where the music needs to go for the message I am conveying. Also, with no one to edit me, you can hear all my ideas, all of my maybe weirder approaches can’t be tampered down with a “what about this instead?” there is no appeasing anyone but myself and it also means the workflow goes faster. But I do still second guess everything constantly, it's hard to wear all the hats and be honest with yourself at the same time haha.
The use of flute on tracks like “Breath of Autumn” and “With Promise” adds a unique emotional texture. How did the idea to include flute come about, and what does it contribute to the album’s atmosphere?
Flute is an instrument I have always loved. Both of my older sisters were great flautists but I could never play it myself despite trying. Autumn or Fall was a central theme to the record and to me the flute and acoustic represents that vibe to me. I wanted to take someone to a solemn fall day, I think it makes things feel folkier and thus more natural. The flute is great for taking a melody and I love the texture it added to the record. On Moonlight Revelry I actually play all of those instruments in the intro, but the actual concert flute was done by Mary Beck on the last two tracks, I knew I couldn’t get that expressive and consistent for those songs and I didn’t want it to sound silly. Mary is a really great flautist and I’m happy to have her on this record which was something I wanted from the onset.
Thanks for your time… One last question: Buried in Black is your introduction to the world as a solo artist. Looking ahead, do you see Orchid Throne remaining a studio-focused project, or do you envision bringing it to the live stage?
Orchid Throne will remain a solo studio project but I am not opposed to bringing others in, possibly for production or guest spots or collaborations in the future. I have been getting asked this a lot and I feel that I would absolutely love to assemble a live band to bring the show to life. I can see it in my mind and it would be yet another huge milestone and defining moment in my life, so I will say, while there are no current plans to do so, I will absolutely consider it and make an attempt if I see a path. It would be amazing! I have never been a lead singer for a band and I would really love to try it. I have many ideas for a live Orchid Throne show but we’ll just have to see if it manifests. Thank you so much for this interview, it has been lovely and I appreciate you taking this time with me to spread the word of Orchid Throne! Keep up the great work, thank you!
In the early 80s, long before Florida became globally associated with death metal, the region’s underground scene was driven by traditional heavy metal and early thrash acts, deeply influenced by the NWOBHM. From this humid and untamed territory emerged bands such as CRIMSOM GLORY, SAVATAGE, TEMPTER, and ARGUS. Although ARGUS never achieved the same level of recognition as some of their peers, their legacy holds a unique place in metal history. In 1983, they became one of the first (if not the first) international heavy metal bands to perform in Colombia, playing to nearly 10,000 people at La Macarena arena in Medellín. The following interview is with Glenn Enriquez, guitarist and founding member of ARGUS, who has recently announced the band’s reunion for one last Show performing their legendary EP live at the BAHRF (Bay Area Hard Rock Fest), marking the festival’s comeback after a 17-year hiatus, on March 13, 2026, at 4:00 PM. So beware, or better, be there to witness the power of ARGUS....
Hi Glenn, it's an honor to be able to bring to our readers a bit of Argus history, how did Argus get started and tell us what you can remember about the Florida Heavy Metal scene in the early 80's? Nowadays that sound of Argus sound so appealing for those many fans of American Traditional Heavy or fans of the NWOBH that lurks into the underground to find old and not so know acts like Argus itself, by the way, a very welcome to our pages, Glenn!!
Hi, and thank you for having me. The story of Argus is a long one but I'll do my best to explain it. The drummer Micheal Anthony and myself were in a band called Bullet and before that in a band with some guys we went to school with. I wanted to start another band to go out and play heavier music than just the same dance music every other band was doing and put on a concert style show. We then added Dave as a second guitarist and then went on to add a bass player and vocalist. We went out and started playing some clubs but something was not right we needed more energy. Frank was in another band at the time but was not happy so we brought him in and the final piece was to replace the bass player with a young Jerry Ryburn. I convinced the band to move to much heavier music, Black Sabbath, Priest, Maiden, Angel Witch, early Scorpions etc. We put all of our money back into the band for PA, Lights, Stage Gear. We were having success and soon started writing our own music. Our manager got us into a new studio in Miami and we recorded the EP. It made it's way to Colombia. It was getting heavy air play and soon plans were in the works to due a few shows in Medellin, Cali, Bogota. But for some reason Cali and Bogota never happened.
What memories do you have about the composition and recording of the self-titled EP? A vinyl release that came out on 12-inch under a label called Rainbow Records. Is there a reason why this EP hasn't been re-released, considering the vinyl resurgence, it's not even on CD, as far as I can remember, you've never received proposals from labels to re-release this EP?
As far the writing of the songs on the EP they were all written while we were out on the road. Dave or myself would have an idea of the main riff and we would start working on it. We would get into the club early the we were playing at and put the songs together we all were there at the same time writing guitar, bass, drum, parts and even writing the lyrics. When I can up with main riff for Another Gloomy Day we were in South Carolina and I woke up very early in the morning with that riff in my head so I got out of bed and went to the bathroom with my guitar and started playing it over and over so I would not forget it because I didn't have a way to record it. We had played that night so the rest of the guys were sleeping and we parted a bit late so it didn't go over so well when i woke them all up and played it for them to help me remember it. Haha I have been contacted by a few small labels but nothing has ever come from it. I have to be careful we that because we all own rights to those songs so we all have to agree on the deal. The other issue is we don't have the master tape it is lost or destroyed. There are other songs that never made it to the studio that can be found on the internet from the live show in Medellin. Satan's Reign, The Hell Ranger, Save The Tears.
MEDELLÍN COLOMBIA 1983
It is inevitable to ask you about the concert that Argus did in Medellín Colombia in 1983, tell us what you can remember about that experience, how did the contact come about and what memories can you bring up about that night that many people still remember? Did you know that the organization that paid for the Argus concert in Medellín and which was called Medellín Sin Tugurios, was an organization sponsored by Pablo Escobar Gaviria, the infamous Drug Lord? Besides Colombia, did you have the opportunity to play in other places outside the United States?
About how we made the contact to get to Medellin, the people that owned the studio that we recorded at had a friend in South America that was in the import and export business so we were told. Haha. So the guy in Medellin took the record to a rock radio station and they played it on the air and started getting lots of phone calls requesting to play the record, we were told the it was number 1 requested album for a while. So the arrangement was made for us to go down there and the show to be on March 11th if I remember correctly. Our crew went down a week before to get things ready for the show. We flew to Miami 2 days before the show and then flew into Medellin, and what a flight or least the landing because the plane had to circle around a few times once we were inside the mountains so he could get low. When we left the plane felt like it was going straight up, that was a little scary. When we got off the plane in Medellin there what looked like hundreds maybe more of people there with signs welcoming us to the city, it was awesome to see and made us all very happy.
43 years after that presentation that was held in the Plaza de Toros La Macanera on March 11, 1983, songs that did not appear on the EP were heard, such as MetalLust, Hell Ranger, Satan's Reign, why could they never get a full-length album? And apart from these songs, surely they have more material composed?
As far as a full length album there were many songs and ideas that we were working on but never finished and i still don't understand why we didn't except for the fact that we playing all the time and just having fun after the show was over. In other words parting a lot.LOL.
Have you ever heard the pirated recording of that live in Medellín, someone should edit it and release it on CD, or why not on vinyl? In this mythical concert, Argus covered Angel Wicth, Trespass, and Scorpions, flagship bands of the NWOBH.
I have that recording from the show in Medellin it was sent to me by a friend Hugo from the band WitchTrap. I just do think the sound quality is that good, but maybe could be cleaned up a bit in the studio.
Argus Live in Medellín Colombia, 11 03 1983
*This interview was translated into Spanish and originally published in Midnight Funeral Zine #2
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