PipemanRadio Interviews Heinous Exsanguination

0:04 Hi you lunto censuer. W wow for you young Wyome of America. It's time for the Adventures of Pipeman on W four c Y dot com. Lis Pond Beach is number one internet radio station. Here's your host, the light Man. This is the pipe Man here on the Adventures pipe Man W four c Y Radio. And I'm here with our next guest who has some killer music and a killer band name that I was like at first, I'm like, oh, I'm really gonna butcher this, so we'll see. So let's welcome to this show, Mitchell from Hans Segna. See. I did it exenguination perfect.

0:56 Hey, how's it going everybody? And thanks Stein for having me. I really appreciate glad to be here. My pleasure. Yeah, we were just talking about that before the interview. I was like, let me tell you how I think it is, and you tell me if I'm butchering it. And I did it perfect the first time. And that's the problem. Even when I do voiceovers, commercials stuff like that, it's always the first take that if I get it right, I get right and it's done. If I have to go to a second take, then sometimes it takes like fifteen takes. Oh yeah, definitely, yep, yep, when you got to when you have to perform an actual like you did it right before perfectly, and I was like, yep, you got it. And then when you actually perform then it something in your mind gets tripped up and you're like, have a little brain.

1:42 Fart, and it reminds me, okay, so you'll be able to relate to this. I was just watching I think it was yesterday or the day before, a video about tom Riah from Slayer and they're talking about Angel of Death and the screen he does oh ry and basically the first time he did when they weren't even they weren't recording the song that they were just looking for a scream that would work, and the first scream was perfect and he never was able to repeat it ever again. Wow. Yeah, yeah, I know exactly love Slayer, I know exactly what you're talking about and that. Yeah, that's crazy because I've seen them live a few times, and I think the last time I saw them, I don't I think he wasn't even doing anything at the time for that song, you know, because they were starting it was this was probably twenty fifteen or something, so they were starting.

2:35 To, you know, get up there. And but but the few times I did see him before that, when he did do the scream yep, it did not sound like the like the record. I know, right, And they did luckily the producer luckily recorded it when it was just like a practice scream. Because that's twenty years all right, And you know, I went to You're Gonna Love This. I went to their first show ever. Oh wow, where was that at? I can't even remember. It was either the Woodstock or the Troubadour or one of those places. Yeah, yeah, it's like such you know, listen, if you remember the eighties, in the early eighties Sunset Strip, La days, you weren't really there.

3:24 Yeah, but. He used to scream a lot in the beginning live, you know. And that's what I noticed at the end is he wasn't screaming anymore. It was just the grow yeah. Yeah, And it was kind of and even the other other songs that they do, it's kind of the energy wasn't quite as there as like, because you know, I've seen all those I've watched all those early Slayer live videos and yeah, it's a lot of a lot of energy and it's like some of it's like kind of similar to like modern screaming today. You know, right, and me personally he's my friend too, But Dave Lombardo that that to me that defined Slayer.

4:09 Yep. I agree, yep. One of my best friends is a huge Slayer fan and he's the he's the same way. So that that that makes the. Dave made the you know, the like connected it all together. Well was that double bass okay? Because there was no double bass at the time, right, Dave brought the punk into it, so did Jeff. Like Dave and Jeff were punks, and Tom wasn't even really a metal head before being in Slayer, and then Carry was the true. Metal head, right, yep, that makes sense. So yeah, so now what I want to say is about your band. Okay, how do you have I'm always amazed by this two people making such a full sound.

5:02 Man, it's really just the technology that we have today. And I talk about this all the time, like to people that ask me or you know, just different conversations with producers musicians, even like now in twenty twenty four. I started doing audio stuff in two thousand and eleven, twelve somewhere around there, even around then and then even in like you know, twenty fifteen to twenty eighteen, the stuff you I mean, you could do like two man projects like this, but it was it was a lot harder days. There's just so many, so many different tools that you can use to like you can make a full full production off your laptop with a microphone, you know what I mean. Wow, and a lot of and it takes some skill though, Like I mean, a lot of people are you know, they're like, oh, it's it's just it's so easy to do that, Like it's to actually do it right, it's you still got to know, you know what you're doing.

6:04 I love that you just said that because I want to expand on that, especially for all the gatekeepers out there. They're like, well, if you're not actually playing the instrument, then you're not really a musician. And it does. Listen. I learned my lesson once when I went to a festival to cover it and they had a DJ there. I'm like, I don't get why people I was one of those gatekeepers. I don't get why people go to a live DJ show. Just go to the nightclub, Okay, like that's my concert. But then I got it when I when I was there and I got the idea of it, and if you did try to do these things yourself, just like people with podcasting, like I run a whole network here and I laugh at the DIY people that watch a video and think they know how to do it and think that's all there is to it.

6:58 And that's that's the point I want you to expand on, is how you really do have to know what you're doing totally. Yeah. Yeah, as you were saying that, I was thinking, so what we do the live parts of the Heinous Exingguination recordings is all the guitar I do, all I record and write all of the guitar, and then the vocals are also obviously you know. Gun in real time as well. The drums and the bass are all programmed though, But then that my next point on that is so the drums, I mean you have to I'm not I don't call myself a drummer, but I can play drums, you know, I don't. I call myself a guitarist and a producer.

7:44 Drums is kind of like my secondary thing. But you know, if I didn't know how to play drums or just know like what that rhythm feels like it's very easy to program drums to a song and then it just sounds like a straight up computer because you know, if you know, if you have a little bit of background in the actual thing, then you can you know how it's supposed to sound. You know, you can get it to where you can where it's programmed, and you can make it do crazy double bass that is probably not possible in real life, but you can still make it like pretty you know, to where it doesn't feel like a straight up drum machine.

8:29 It's too. Like when you program the bass, you know, you have to I have a little bit of background and like music theory and stuff, so I mean you have to know like what notes, you know, what notes to punch in on the on the program, the different velocities, the length of each note. Like you know, there's a you can't you don't just go in and you know, type stuff in and oh there it is. That's like the longest part to me of making these songs, too, is programming the bass and drums. That's like the. The the part that it takes the most time for sure, because I can sit there and record slam risks for forever, you know, but Yeah, Programming the stuff is the hardest part, I would.

9:13 Say, yeah, And you definitely have to You have to know the music itself. You also have to know how to program. You also have to know the sound engineering part of it, because you know, if you make it even as simple as the wrong volume, it's not going to sound right. And you struck a point with that I relate to when you're talking about sound like a computer with AI going on right now. Okay, it's pretty heavy in my industry too, And I've checked out certain AI like solutions for doing voiceovers for a commercial, right and I don't like any of them because they don't sound like a human being. However, that's just the stock stuff for the an average person that goes and picks that.

10:03 But for a professional like me, I am able to take that AI and manipulate it and customize it to where it does sound human and not a computer. And I think that's the big difference between a pro and an amateur. An amateur experiments with it and kind of relies on the technology, where the pro uses the technology but relies on their abilities to make the technology better. One hundred percent. Yeah, Yeah, And like as you're saying, that. You know, I've recorded drums live drums a handful of times in the past, and I mean, if we really wanted to, we could, you know, we could do everything live.

10:47 It would just be a much bigger, you know, a much bigger venture, and it would cost a lot more money and require a few more people. But yeah, that's why, that's why I think it's so cool that these days you can just have like me and JP, just two people making music like this. And it's very common in this in the slam death metal, slamming, brutal death metal world to have like a one man or two man project. Like that, you know. I love every time you say slam. Okay, I go back to old school, before there was a word called boshing, and we called it slam dancing right right, slam, And now it's got its own genre.

11:32 Uh huh yeh yeh yeah. And I really just so I grew up on like classic rock and stuff, and then I got into like, you know, metalcore and early early death core stuff. I really have only been into this slam genre for since about twenty twenty or so, so only about three four years. So I'm I'm newer. I mean, I'm a metal head, but I'm I'm new er to the slam side of things. So maybe tell the ions because they might not know because it's not a term used a lot nowadays. So what differentiates slam from other types of death metal, Well.

12:20 So slam slam, I would say, is basically it's slowed down and in like its truest sense. Like I believe a lot of people say suffocation invented slam. A lot of people say internal bleeding invented slam. But either way, early nineties death metal stuff, it was the parts where in the death metal songs because it would be fast, fast, blast beats and stuff, and then they would break it down to like a not a breakdown, but kind of like a groovy and most of the riffs they have like this kind of flow. It goes like done done, dun dune dun dun, dun, dun, dun, dun, dun, dun, dun dun dun, dune dune done. So that's what that's what defines slam for me, is like the that pattern and also like the use of the vocals a lot of the time, it's not a not like a metalcore or death core type of vocal it's more of a sounds sometimes like a frog or a cricket. That's and and that's another part of slam too, is I view the vocal as just another another instrument, you know. Yeah, so it all kind of combines together instead of where most music, like we were just talking about Slayer, like that scream, you know, like, yeah, you have music going on behind it, but that's that scream is like the main yeah point right there. And in most music, you know,

13:53 like most popular music, the vocal is the is. The lead thing. But for my thinking with slam, it's like I said, it's just that one pattern, obviously with a bunch of different variations and stuff, but centered around that and just kind of everything works together to make like a very heavy, kind of nasty, raw, aggressive music. And you know, when you were describing it, I was having a flashback visual in my head of being in a pit and you know, and then the whole thing is when the music did slow down, like you're still in the pit slamming, but kind of in slow motion catching your breath.

14:49 Yep. For the next brutal part, definitely. Yeah, I was gonna say a bunch of like you're you're talking about the metal gatekeepers and stuff. A lot of people will be like, oh, it's not slam unless it's like all slow like that. But there's so many different variations of this type of music these days. I feel like that, you know, you can most bands are kind of a most slam band bands in the slam genre are a mixture of like classic death metal with you know, classic slams. So it's not all just slow, slow, breakdown e parts, a lot of fast like blast beats and you know, more classic death metal parts or even thrash stuff you know well.

15:42 And you know it's wild because in the beginning, like death and thrash, you know, cross paths. I mean I used to go see Possessed all the time with the Angel you know, and with Slayer and Whip Metallic and bands like that. So it was like death with almost like part of thrash but a different part, and it just evolved to where it is today. Yep, yep, I totally agree. So the I love love and we have it behind me too. But I love your artwork, even on the singles. The artwork is so intricate and so cool, and I'm very much into that, you know, like the whole idea of music is not just the music, but it's the whole sensory experience. And you, guys, man, you're like right behind me the new album coming out. I mean that that artworks insane. I would just sit there and listen to a whole album and find every little detail in that artwork. That's that's the old school me awesome.

16:46 Yeah, yeah, thank you. Yeah. And that's another part of like death metal and our metal in general, I think, is the you know, the album covers, especially with the slam stuff. It's usually some pretty pretty dark subject matter and it's it's always like really well done artwork. There's a bunch of really great artists out there who do make these death metal and slam album covers, and yeah, that's a huge I would say, that's a huge part of it. And so tell us about the new album and you know why people should definitely listen to it. I know why because I heard.

17:26 It, but definitely yeah. So I actually the album is called The Stinch of Decaying Flesh. It's going to be coming out on Gorehouse Productions. And I actually I started writing these songs. I guess it was back in twenty twenty two or something like that. We wrote one song, the first single called Bodies Open Easier than You Think. Yeah, we love that, like in early twenty twenty three, I think, and then somehow JP got us hooked up with the Gorehouse people and they wanted us to do the album.

18:06 So I ended up over the course of a few months just writing I think it was six or seven more songs and yeah, I wrote, like I said, I wrote those about two years ago, so I haven't even I haven't touched those songs in a while. So it's gonna be cool to see see them come out and actually like revisit them and listen to them all again, because right now that the three singles are out, but all the rest of them are just you know, files on my computer, So it'll be cool to actually see the names of them and you know, look at it on your phone on Spotify and you know, listen to the whole thing. While you said, like like you said, looking at the artwork and all. That, and so for you, okay, like you, I started with classic rock. You know before it was called classic rock, right because there was nothing else at the time. And you know, it was funny because I was just interviewing John Lodge from the Moody Blues, uh huh. And I said to him, I'm like, yeah, you know, I know about your band because I had a brother that was eleven years older than me and I used to rifle through his albums and yours was one of them. And he was like, yeah, it seems like all of our fans had older brothers. And it's kind of it's kind of how it starts. You start there because that's where it is, and then you know it evolved to you know, just like the genres itself. So for you, what was that one point in time where you were like, yeah,

19:39 this is who I am and what I want to do. A man, there's a few of them actually, So the earliest one I remember being a I don't know how old I was. I was probably four or five, and. I remember seeing Gene Simmons on TV and I remember being like scared as hell, but I thought it was super fucking cool at the same time nice and then so that kind of got my interest, you know, in rock music, guitars, you know, concerts in general right there. But then when I was in. About middle school, sixth, seventh, eighth grade, somewhere around there, This was the early two thousands, and like I said, all that metal core stuff was coming out, and I was starting to hear like breakdowns and the screaming and everything.

20:32 So I got into that stuff before, like thrash and you know, Slayer and all the stuff we were talking about the beginning. So I kind of I went from like classic rock to the two thousands metal core stuff and then revisited all the older thrash and early death metal stuff. But it sparked my interest when I saw Gene Simmons on TV put something in my head as a child. And then yeah, when I started here in all those breakdowns and screaming and stuff, I was like I had already started playing guitar at the time, and that's just all I've ever wanted to do pretty much. And I my main, my main gig. I do all this producing stuff on the side. I'm a touring front of house engineer. So I just always knew that I had to work like I have. I have to work with music somehow to be to be satisfied at least, you know.

21:27 I know, right, and you know you can tell the whole world from your own experience. I tell people all the time like I go do radio coverage at festivals all the time. I'm leaving a couple of days for Rocklahoma, and uh, you know, all my friends are like, hey, man, can you get me side stage? I'm like, you don't want to be side stage, you want to be front front of house. Side stage sucks. Oh yeah, your sound sucks, you know. Yeah yeah, just frum so that's all you're gonna hear. Exactly, And so like, it's very interesting that I think most people that go to music vessels do not even realize that the absolute best sound you could have is front of the house.

22:10 Oh yeah, totally, totally, especially at a festival, because that's the I mean doing festivals is the like, as a front of house engineer, that's like you're it's intimidating at first because it's the big stage and big speakers and stuff. But it's so much easier to get a clear, clear festival compared to you know, a small little rock club or something where everything's concrete or brick or wood or something and you know, all the sounds just bouncing around everywhere and it's just loud, and you know, so festivals are definitely festival front of house, Yes, that's a great, great listening position. There you go. And you know you said Gene Simmons.

22:51 I think Gene Simmons is a common denominator of many people because me, okay, so I grew up and was born New York, grew up in Jersey. The first album I ever owned that was my album myself. I think it was in like first grade and I went to Seaside Heights to Boardwalk and won this Carnie game and they had these albums there you could win, and there were this one album that it had these four cool dudes on a black album, and I was like, that's the one I wanted. Was the original Kiss album when it first came out. That's very cool. Yeah, that's a that's a very I love that album cover. That's right, so cool, and it's like it's it's very dark too, you know, it's it's dark vibe do it.

23:41 And clean at the same time, right now, and and and then I did. I was one year for Halloween Jean Simmons as a kid. I I think I actually was as well. I can't remember if it was Gene Simmons or Paul Stanley, but it was it was one of them. Me and a friend when we were probably right around that time I was talking about we did the same thing. Well, it's so funny because I was a drummer then, so I really loved Peter Kress and I loved Ace Frehley like that. They were my two favorites. But for a Halloween costume, you just had to be. G oh, totally, totally, you know.

24:23 So tell everybody how they can connect to you. Guys, get the new album when it drops, check out all your singles now, and your merch and whatever else. Of course. Yeah, so we're mainly active on Instagram. That's how I've found that this little slam online death metal community is most active is on Instagram. And that's just just the name of the band, Heinous Exanguination. Yeah, we have three singles out on should be on all the streaming services, and I believe the album comes out on September six through Gorehouse Productions. And that's also where you can buy like tape CDs, shirts is on I believe it's just Gorehouse Productions dot com.

25:13 Nice. Is there anything else you want to let the listeners know that we haven't covered a ray that they need to know or look out for man. I think that's about it. I think we kind of went through it all and yeah, just you know, check it out. If you like this kind of crazy new modern metal, then this is definitely for you. You know, when I was listening myself, I kind of got a vibe of if hell Hammer and Possessed had a baby, it would be that song that I was listening. To totally totally. Do you remember which song it was? Yeah, it was Vile Rotting Math.

25:55 Okay, yeah, yeah, definitely, Yeah that makes sense. I've never I haven't thought about it like that. Yeah, that's that's what's cool about you know, halving these conversations is because I probably would have never thought about it like that. But now that you say that, I'm like, oh, yeah, that's you know, see that. And you know, it's funny the way you describe slam. I'm sitting there thinking myself, well, maybe hell Hammer Wesley original Slam because it was it was they weren't Celtic Frost yet. You know. It was like that slow, grindy but that same beat that you're talking about. So wow, yeah, it all comes from all has to start somewhere.

26:37 I guess that's it. Well, you guys kill it and I hope we see a lot more of you because that song was badass. And I did listen to your other songs and they're just all badass. So if you're a metal head, I don't care what kind of metal head they need to listen to your music. Awesome. Well, thanks man, I appreciate it. Yeah, it's been it's been really cool making this music. And it's literally my favorite thing to do in the world is sit in front of my computer and make music. So well, there you go. That's the only reason to do music nowadays or any time in my opinions, if you love it, and it's obviously up the passion for it. So thanks for making us great music and thanks for being on the Adventures of Pipe Man of course.

27:20 Man. All right, well, you enjoy Rockklahoma and I appreciate it, enjoyed our conversation and looking forward to the future. Absolutely look forward to seeing that maybe at a festival. Yeah maybe so maybe so just come to come to front of house and if you see me, say. What's up there? You go, have a good one, brother, all right. Man, thank you, we'll see you later. Thank you for listening to the Adventures of pipe man. I'm w for Cui radio