Written by: Richard Taylor.

Neil Meschino made a movie called Mold! in 2012 and it was a cool indie throwback to 1980s gore movies, such as Street Trash, with cool retro music and gore. The psychotic Italian gore team at Necrostorm, known for such enjoyable gore riddled atrocities such as Taeter City, Infidius, Adam Chaplin and Hotel Inferno must have seen something brilliant in Mold! and decided to revamp it for a 2016 release. I checked out Mold! and it’s no doubt a great film on its own but The Mildew from Planet Xonader brings a new crazy edge to the table. Did I mention Necrostorm filled it completely to the brim with green, red, purple, black and whatever color gore splattering carnage they could dish out? 

When comparing the two films, Mold! remains more political with a Ronald Reagan introduction to the film, and a satirical approach to Americans inventing new ways to beat the competition at new methods of chemical warfare. The Necrostorm version uses some footage which was not present in the original film and as well, they have sharpened the picture and given it a shot of green glow but making it look aesthetically pleasing to the eye. Necrostorm have also made it more fast-paced than Mold! but they have also made it a little bit more confusing and difficult to follow in some instances. This is where Mold! did a better job.

The Mildew from Planet Xonader is a gorehounds dream to watch. It has enough splatter and pays great homage to any and all retro gore films in the eighties. The soundtrack is also effective and enjoyable and shares in that eighties vibe which is so prevalent here. If gore is what you crave then look no further - we are treated to melting and exploding bodies galore. It’s a slime gore extravaganza.

Mildew is about Bentan Labs and their experimental chemical nicknamed Stacky Mort. Stacky Mort is a moisture activated mildew which literally eats and explodes its way through human bodies. A crew of scientists studying Stacky Mort are unveiling it to the Military to use as a weapon, when a senator unknowingly gets infected by the killer spores, and all hell breaks loose in the lab. A group of scientists are barricaded in a room, whilst the chemical runs rampant, trying to figure out a solution and stay alive in the process and avoiding the twists and turns that arise.

The acting and characters are okay in this. The acting is satisfactory, to over-the-top but it works. It’s an off-the-wall gore film and those genre gore fans will no doubt appreciate it.Mildew also has a cool anti-military paranoid message and it’s very anti-corporation, which I like as well. Necrostorm also introduced their own side storyline with different characters such as Toxic and Leach, obviously done to pile on more gore. In some instances it works better than others. I did however like the ending to Mold! more than Mildew. The ending to Mold!was definitely more downbeat and made more sense. Mildew just sort of ended too suddenly with no reason.

This version I purchased was the Collector’s Edition, which contains some lobby cards, a comic called Gore breaker and a mini poster. The DVD itself also contains the film’s soundtrack and other supplemental material. Those who pre-ordered the movie received random collector items such as Bentan Lab stickers and little plastic containers of the green mildew itself.

If you love gore and splatter you can't go wrong with The Mildew from Planet Xonader - it’s a gore fan’s wet dream. I never even heard of the movie Mold! before watching Mildew so it exposed a whole new audience to both films which is awesome. Another winner on the Necrostorm roster, a company fast becoming a leader in top-notch gore drenched masterpieces. The Mildew from Planet Xonader is available for purchase here from Necrostorm.

Rating: 3.5 out of 5

Directed by: Neil Meschino, Giulio De Santi
Written by: Dave Fogerson, Neil Meschino, Giulio De Santi, Tiziana Machella
Produced by: Neil Meschino, Giulio De Santi
Cinematography by: Robert Fattorini, Stefan Bergi
Editing by: ?
Special Effects by: David Lopez, Jeremy Selenfriend
Music by: Razzaw
Cast: Edward X. Young, Lawrence George, Ardis Campbell,
Rick Haymes, Mike Keller, Chris Gentile,  James Murphy
Year: 2015
Country: Italy, USA
Language: English 
Color: Color
Runtime: 1h 25min

Distributor: Necrostorm



Written by: Richard Taylor.

The Rohnstocks return to deliver what they promise to be the ultimate experience in violence and gore. Director Mark Rohnstock and his brother, producer Lars, truly do deliver on this and have with their previous efforts as well. If you love German gore masterpieces, the Rohnstock name needs no introduction. Responsible for such gore fests as Necronos, Dungeon of Eviland Graveyard of the Living Dead, the brothers have returned to bring us The Curse of Doctor Wolffenstein.

Dr. Wolffenstein is not to be confused with the similar well known undead Doctor Freudstein, who graced Lucio Fulci's House by the Cemetery, but upon first glancing the title I mixed up the two. The big talk about this release on horror groups was that the film was going to be cut of something like 2 minutes of gore footage, but fortunately I received a screener from Lars Rohnstock and he assured me it was uncut, so I was understandably excited about this and anxious to watch. The effects are juicy as Hell and plentiful to the max. We start off the film with many scenes of Wolffenstein torturing and killing victims in his decrepit lab. Fortunately for us, the doctor likes to strip all the girls first so they are completely naked, which we get an abundance of. I haven't seen this much onscreen shaved snatch and bouncing bosoms since Death-Scort Service and that’s a lot! This movie is a gore effects feast as well. Blood and guts fill the screen as victims are gutted, limbs are severed, heads are hacked with a machete (Wolffenstein's weapon of choice) - there is even a machete group massacre scene with blood drenching the screen. If you have ever been longing for Tom Savini's repeated machete in the head effect from Dawn of the Dead, then this movie is for you, because it’s done repeated times and even genre queen Manoush becomes victim to it in one humorous scene.

The story for The Curse of Doctor Wolffenstein has the good doctor played by Mika Metz performing experiments, trying to gain immortality and succeeding, but with a deadly price. The doctor has become necrotic and is rotting at an alarming rate so he has to kidnap fresh victims and transplant body parts onto himself. The movie begins in a village in 1930 where Wolffenstein is hated by the villagers for his experiments, so they break into his residence and dispose of him. I love the opening credit sequence of the movie; the great punk tune "The Game of Life" by Scheisse Minnelli is really a treat and superb way to start the film. A lot of the music in this is high energy punk/pop style music, including the band Wesay and it’s surprisingly good. I'd like to have the soundtrack. We are then brought to recent times where we encounter a group of young adults planning a trip, when they get tickets to the rave to end all raves. These scenes with the young group fucking around and having fun bring a comedic and sometimes juvenile staged feeling to the movie. We get different montages of the twenty-somethings having fun. The girls seemed to love the guys spraying cans of beer on their tits - where can I find a girl like that? Another scene has them playing with deli meats in a car. We do get one particular scene with a guy masturbating, which is actually very genuinely funny and made me laugh out loud. We do need a bit of comedy to dilute the never ending scenes of bodily desecration.

Predictably the group of partiers have car trouble and coincidentally end up in the village plagued by "The Curse of Doctor Wolfenstein!" Even broken down, the group still manage to have a good time at a local club that a village of this sort would never seem to have in such a remote setting but the urban vibe is strong across the country side it seems! Doctor Wolffenstein even has this worm like creature called the "Infiltrator" in a cage which burrows its way into people’s bodies and takes control. The sounds it makes reminds me of the baby from Combat Shock. We get gore/slasher/torture porn and even alien horror elements in this.

There are some cameos here, such as Olaf Ittenbach as a victim and his wife is in this as well, briefly I believe. Manoush and her little dog get killed as I mentioned before and the always hot Isabelle Fitzgerald from the infamous Snuff Tape Anthology is fully naked again -- bless her -- and killed in one of the more gruesome ways in the film with a knife in the throat, up through her mouth before defecating out her guts. I must say, Dr. Wolfenstenstein looks very effective and menacing, wearing this mask over the lower portion of his face, blood splattered doctors coat and these dead cold eyes.

The Curse of Doctor Wolffenstein is cheesy, funny, gory, clichéd and shocking all rolled into one. It is definitely a stand out in recent German gore cinema and I love how the Rohnstocks are still doing it right! I hope they continue to do so for years to come.Let the gore flow over the legacy of the Rohnstock name, through the annals of German Underground Cinema.

Rating: 4 out of 5

Directed by: Marc Rohnstock
Written by: Marc Rohnstock
Produced by: Lars Rohnstock, Marc Rohnstock, Dominik Ruf
Cinematography by: Marc Rohnstock
Editing by: Dominik Ruf, Marc Rohnstock, Martin Rudel
Music by: Martin Rudel
Special Effects by: Oliver Muller, Marc Rohnstock
Cast: Mika Metz, Isabelle Aring, Roland Freitag, Stephanie Meisenzahl,
Robin Czerny, Julia Stenke, Mario Zimmerschitt

Year: 2015
Country: Germany
Language: German (English subtitles)
Color: Color
Runtime: 1h 51min

Studio: Infernal Films



Written by: Chang Wong 

With song titles such as ”Gag'Em, Drag'Em, Bag'Em, Shag’Em" and ”Rectal Pickled Cactus Tampoon” we can be pretty sure this is some mean and nasty porngrind. And that’s really what C.U.N.T. (Clitorial Ulcerous Neural Tissue) shares to the world. Their debut ”Tits, Twats and Toetags” is just that little bit more menacing that others in the same field. 

The album starts off with a really groovy song with vocals that sound like a monster pig from beyond the grave. Really harsh and cruel in other words. 17 songs in total is what the albums offers and it packs quite a good amount of variation. From slower heavy parts to steady blastbeats sure to please fans of the genre. 

All music is performed by a figure called Lord Coroner and he does it well. All the twisted lyrics and images are the from the dark mind of Tim Nordstedt. The titles are very creative I must say. 

The strength of C.U.N.T. comes down to the overall grooviness throughout the album. If we are just bombarded with speed it quickly gets tedious. I do get vibes from bands like Mortician listening to ”Tits, Twats and Toetags” as it has a lot of down tuned death metal in it. Of course we get the traditional sampl as well with chainsaws, ghastly screams and dismemberment. 

I think fans of the genre will have a good time with C.U.N.T. So be sure to give this album a chance if you prefer your porngrind violent and menacing but with a gleam in the eye. 

Towards Dishonour and Gloryholes!

Check them out here: 


Written by: Richard Taylor.

From Toronto, Ontario, Canada comes this crazy brutal death/slam outfit who currently have a couple releases under their belt, including this one and 2014's equally impressive The Putrid Smell Within. On Covered in Flies and Afterbirth one of the most notable points to be made is the female vocalist Isabelle Tazbir who knocks the guttural vocal delivery out of the fucking park. She puts most male death vocalists to shame. Sadly Tazbir is no longer with the band and she didn't do the vocals on the earlier release The Putrid Smell Within. 

Covered in Flies and Afterbirth is filled with humorous samples from The Simpsons (Battery Acid Ballcuzzi), Futurama (Amazon Crotch Rot) and even sports a line from Home Alone in the song Whore Vs. Brick with "Eat brick kid!" Blastomycosis are definitely putting this shit out with tongues firmly planted in cheek, or maybe in a corpses rotting asshole. Nevertheless this release is impressive high energy brutal death with sick bodily fluid and gore drenched inspired songs. Song titles like Cream Of Rotting Cunt, Bloodsoaked Fetus Fornication, Landfill Of Decomposing Sluts, Sandblasted Labia Reduction, just wincing at them but such awe inspiring and at the same time with a humorous not to be taken too seriously delivery.

Blastomycosis is in actuality a fungal infection of humans and other animals, especially cats and dogs, so kudos on the sick name reference. The musical delivery is serious as fuck and the band aren't messing around as they drop the mother load of brutal dirty jizz on the listener. It's a never ending barrage of riffs, time changes, breakdowns and blasts. The drumming by Dave Black on this is jaw-dropping. I'm sure he does an insane drum breakdown on almost every song with honorable mentions on Battery Acid Ballcuzzi, Meat Hooker, RxDp, Tsemen Tsunami and more. This album just blasts with an never ending purpose of brain pulverizing purpose. Not to mention, its been mastered at none other than the fucking ungodly Unisound Studios in Sweden by metal maestro extraordinaire Dan Swano (Edge Of Sanity) where such artists as Opeth, Marduk, Dissection, Dark Funeral, Incantation, Pestilence, Asyphx, and even punk artists such as Millencollin have been mastered.

Covered in Flies and Afterbirth was independently released in 2015 and then released on CDN Records in 2016. Visit CDN Records for a great selection of stuff including Blastomycosis where you can get this release for $10 or go to Blastomycosis Bandcamp page where you can digitally download it for a measly $5, or also purchase the CD for $10, plus pick up a Whore Vs. Brick shirt from the merch section. Brutal death like this with such heartfelt conviction and brutality deserves to thrive.

Rating: 4 out of 5

Band: Blastomycosis
Album: Covered In Flies And Afterbirth
Members: Isabelle Tazbir (vocals), Tristan Biggar (guitar), Colin Attlesey (guitar),
Peter Weinrauch (bass), Dave Black (drums)

Mixed by: Colin Attlesey
Mastered by: Dan Swano, Unisound Studios in Sweden
Recorded by: Colin Attlesey
Year: 2015
Country: Canada
Runtime: 30min 52sec

Label: CDN Records
Official Website: http://facebook.com/BlastomycosisDeath


Written by: Chang Wong.

When I got this album sent to me to review I had not the slightest clue what to expect. The album front cover is a picture of someone pouring a water pitcher in a garden on a sunny day. Anyway, this one man band is apparently from Sweden. The man behind it all goes by the name Wolfgang. 

The first thing that entered my mind when I pressed play was - this has to be the creation of someone with mental illness or at least someone very, very far out there. The music sounds like a cat being put in a blender on full speed. I’m not exaggerating. This, ladies and gentlemen, is grindcore, or something like that, on the most warped level. Just like Sete Star Sept, from Japan, it sounds like only vocals, bass and drums. It is so chaotic and random it almost become hypnotizing after a few spinns.

The titles are just as absurd as the music. To give some examples: ”Happy days”, ”Gardening”, ”Will you be my girlfriend” and ”My time to shine”. This has to be a comedic contrast to the music itself, obviously.

I did not really expect this one man band to be from Sweden. All I can say is that I have never really heard anything like it. I think you have to listen to it yourself to get the idea, which you can do at their Bandcamp profile. There you can find two albums, which seems to be the entire discography to date. The other album, that came after ”Wonderful life” is called ”Wholesome family fun”.

To sum up it all. A Good Neighbour is not your run of the mill type of band. I guess you’ll either love or hate it. I kind of liked it.

Check it out here:



Written by: Richard Taylor.

The fine purveyors of all things sleazy are re-releasing this indie roughie for another go around.  Stockholm Syndrome is a welcome addition to the Sleazebox roster but is lacking in the graphic nudity and abundance of tattooed babes its become known for.  Instead Stockholm Syndrome is a grimy and filthy torture fest filled with seedy characters and human degradation and debauchery.  Its a grueling low budget 77 minutes of serious no nonsense humiliation with bought and sold human life which is treated as a cheap commodity.  

You'll need a shower after watching this one as its just plain mad dog mean and there is no light at the end of the tunnel.  The quality of my copy is not high grade and almost adds to the unpolished feel of the movie, gives it even more character.  The plot is thin but its the devil in the details which really sets Stockholm Syndrome apart from the rest.  The beginning of the film begins outside a scum bag motel where David (Jason Senior) and Anna (Lisa Marano) are tired on their way back from an exhausting trip to see a doctor about Anna's pregnancy complications, one of numerous it seems.  While waiting for David to take care of getting a room Anna is left alone in the car and confronted by the bizarre Geno (Eddie Benevich) as he starts talking strange about her being pregnant including the best part which he says is &the fucking&.

Anna reluctantly enters the roach motel room as the couple take phone calls from concerned family.  Outside the motel we once again meet Geno and his less than willing conscience laden accomplice Ty (Todd David Humes).  The two goons are looking for nubile victims to abduct for their boss Mr. Pollino, another piece of trash that runs a human trafficking operation.  Geno and Ty are scouting the parking lot of the motel when they spot David and Anna.  Geno instantly targets the couple but Ty tries shutting him down because they normally go for homeless bums or prostitutes which draw less attention to the disappearances due to the lack of family members which means less concern for their kidnapping.  Geno insists on getting the couple anyways and the bufoon's persistence wins outright especially when he points out how much money they will get for a pregnant woman. The two invade David and Anna's hotel room and bring the couple to a warehouse where the Mr. Pollino conducts his slave trade business.

After this we get a long grueling ride of Anna being tortured and graphically aborted, even having to watch her bloodied premature baby mutilated before her eyes.  David is helpless as are other victims as we see have slipped into Mr. Pollino's sickened grasp.  In one memorable scene a sadistic perverted priest played by Todd Proesi brutally tortures one girl with this  insane looking toilet plunger-like device lined with razor blades used as a dildo as he barks insane commands and rambles on with ludicrous degrading jibber jabber.  The priest is a well know client of Mr. Pollino but has a tendency to take things too far and kill the subjects so Pollino hates the guy except for the high price he pays to carry out his sick tortures.

Stockholm Syndrome is a relentless and nasty low budget beating over the head, the acting performances are amateurish but characters like Geno are effective enough.  The make up effects are hit and miss with a big reliance on blood splatter more so than actual deep down prosthetic work although I have to give special mention to an insane scene where David is trying to escape and finds himself on the bad end of a bear trap being forced to cut through his own ankle with a dull ax, that scene is stomach nauseatingly good, primo effects work there.  I'm not sure if the films titles ever really shines through enough to warrant a case of Stockholm Syndrome, I mean the victims obey commands in this but not because they have identified with their captors so much but because they are scared shitless and don't want to die.

Stockholm Syndrome is not brilliant film making but it is effective and memorable and it delivers a lot of good indie film making devices.  The violence and is disturbing as hell, we get some despicable and memorable characters and the violence is over the top and brutal.  Its a rough looking exploration into the darker side of humanity and simply put it delivers the nastiness.

Rating: 3.5 out of 5

Directed by: Ryan Cavalline
Written by: Ryan Cavalline, Jason Senior
Produced by: Ryan Cavalline
Cinematography by: Robert Fattorini, Stefan Bergi
Editing by: Ryan Cavalline
Special Effects by: Frank Effects & Larry Adlon
Music by: Tony Diana
Cast: Jason Senior, Eddie Benevich, Lisa Marano, Todd Humes, Michael A. Migliore, Todd Proesl, Katie Russell, Peter Blessel, Frank Marano, Denny Dean Thomas, Lena Nazarei.
Year: 2008
Country: USA
Language: English 
Color: Color
Runtime: 1h 17min
Distributor: Brain Damage Films/ The Slaezebox




Written by: Ron Cole.

Last year I followed a pod-station called "Killing Time With Hatewar" where he interviewed these two guys from Hordes of the Apocalypse. I listened to some songs from their debut "Now They Are Here! There Is No Escape!" and became totally sold, so I started to follow their journey through 2016, and that's also how I became a part of Goregasmic as well, since both Greigh and Thomas are working here.

This duo doesn't follow any musical rules at all, but doing exactly what they feel during the heat of the moment. They will always stay underground and don't give a shit what others think about them. This has resulted in 25 kinds of albums/ eps in various levels, four labels and a live-performance in just one year and their productivity is still running. Their interest lies in horror- and cult movies, where they draw inspirations from genres that mixes old school thrash, death, doom, black and speed metal with hardcore and crust punk

Ron Cole:
Hey guys, could you tell us a little about who you are, how you came in contact with each other and how you came up as a band?

Thomas Nyholm: - I had an urge to create a pretty basic old school thrash band in the vein of Toxic Holocaust so I did a song called 'Night of the Cult' and sent it to Greigh and pretty much asked him straight out if he wanted to be a part of this band. However things didn't turn out basic at all. We pretty much went in every direction which really became our uniqueness as a band. So we pretty much did our first album 'Now they are everywhere - there is no escape' in very short time. Then it got released on CD through a collaboration between a Swedish (Fila Sophiae) and a Russian (Symbol of Domination, a sublabel to Satanath Records) label. 

Greigh Johanson: - In the beginning, I didn't even know Thomas by name, he was very anonymous during that time and worked very carefully with his one-man project Islandrocks. I was fond of his work and chose to grab him up for an interview, but actually I expected no response from him. Two years later we started this project together.

Isn't it hard to live so far apart but still manage to synchronize and drop as much as you have done in just one year? And how do you have time to be this super-productive?

TN: - It would seem really hard, yes, but if we weren't so compatible as people as we are it wouldn't have worked. I would never have asked Greigh to join the band too if it wasn't for my gut feeling telling me this was the right guy for the job. Because when we get to work, we get to work. 

GJ: - We are also very spontaneous in our execution. I personally work full-time, have my own family while working with Goregasmic Magazine. This takes up a lot of my time, of course. But I just have to put up a proper structure of the work so that nothing feels awkward or uncomfortable.

Your debut album was written and recorded in just two weeks in the end of 2015. Can you tell us a little about the underlying way of thinking about the album, as well as the technical; how you went about it, and what equipment you had access to during this time?

TN: - At that time we only had the basic program Garageband to a Mac laptop. So we recorded everything through that. We didn't have a microphone so we had to use the one in the laptop. Everything, recording-wise, was against us. But we kind of went around it and all in all the circumstances gave it a different touch. Like it or not.

GJ: - We don't think about what we're doing too often, we do what feels best during the process. Regarding the debut we had no plans at all, we picked up what was there, and the logo was a spontaneous work performed by Tim Nordstedt and the cover was made by Richard Molander in just a few hours on the night of Christmas Eve. Everything happened so quickly. The only inspiration I went after was Umberto Lenzi's movie Nightmare City.

I've started this interview by reading some previous reviews and I understand that there are people who have problems with your different genres. Personally, I think it's both exciting, interesting and, not least, inspiring. One can't really know what's behind each title-track, you have no thread to follow. How come that you choose this form of cross-over targeting?

TN: - Because it become tedious to keep a certain concept. It's much more fun and daring to not play by any rules at all. Surely this will put some people off. But hey, makes no difference to us, really. We do what we want to do. 

Something that I have responded to is that much of what you do has previously been called Moldova Hardcore / Punk. What does it mean? I've never heard of that term before.

TN: - I have no idea!

GJ: - Nor do I, acutally. I made a re-search for the music style after having read these comments and I find no parables. Our inspiration is closest to Swedish and American hardcore punk. If anyone can hear any Moldovan hardcore in the track below, please write to us and explain what it's all about:

In September 2016 your debut where released on physical CD via File Sophiae and Symbol of Domination. In an earlier radio interview with Killing Time With Hatewar you told us the disc would already have been out in stores in March / April? Why did it take so long to get it released?

GJ: - You can never predict how things ends up. We had problems with a co-worker that we decided to leave after several months of hassles. We simply had to look for another company and it went out much smoother.

Between January and February 2016 you wrote and recorded 19 songs in 16 days. This resulted in three EP-albums that you later released in a limited CD edition via Black Lion Records. Why did you choose to make three discs instead of an entire album? Hadn't that been cheaper for you in financial terms?

TN: - I guess it's because we wanted to be diverse so each EP has a different sound and concept. 

GJ: - We made our first EP as a crowdfunding project to afford to buy a real microphone. That was my only thought with that EP. Everything else was outside the box, we had the opportunity to borrow three drawings made by Tim Nordstedt so everything would become completed as soon as possible. The cover of the EP has really nothing to do with the actual theme. We made the other two albums while we collected money to the microphone, so the conclusion had to be a self-contained EP trilogy-collection.

Already on the first EP I can hear huge differences from the onset, it's something with the drums and its production has set a new tone and you've gone from a more widespread genres to a fixed Thrash Metal-act. Why did you do such a sudden turnaround?

TN: - I don't know. Greigh? 

GJ: - The only difference was that we switched the drum-settings from metallic to organic. Otherwise, I think we were on the same track all the time? We used block-flute, acoustic guitars, bongos, cowbell and tambourine in some tracks, but it doesn't change the genre we play.

When I read your lyrics, I find a lot of grammatical typos, and when I analyzed your third EP, there's a pretty catchy song called "Just A World Of Horror Figures" where you clearly points out about your grammar. Tell us a little about this? Is it all just something provocative fabrications?

GJ: - We don't really care about grammar, and this is something that many of our former listeners have interfered in (there have also arisen comments about this in previous reviews). Since we are working at a furious pace, it's sometimes difficult to focus on the language because English is not our first language. We wrote and recorded more than two songs per day, which of course resulted in small grammatical errors. But who are they to judge? We wrote that song to the critics who condemned us, with a completely flawless grammatical form to show that we can if we want, but we do really not care how it ends.

After four albums in just three months you bet on a second album. This one has a slightly better quality and a little more swing and genres changes from Psychobilly, Doom, Gothic, Folk and Melodic Punk/Metal. But something that I absolutely have noticed is that you use alternative instruments. In this set I can hear everything from banjo to accordion and flutes. Do you have more musicians as guests on these disc?

TN: - The more instruments we can use the better!

GJ: - We wanted to do something new that we hadn't tried before. In this album we have two guests: Filip Lönnqvist (Rave the Reqviem) on banjo and Pontus Bergqvist (Vittervärja) on a homemade flute in the form of a Wolfcross, and accordion. We would like to work with more instruments in the future.

You also have a firmer theme here that focuses on a former French film director. Is it a tribute to Jean Rollin? If so, why did you choose this man? He's not very well known in any way?

TN: - Jean Rollin was a great artist. I like almost every single film he put out. He was unique and did his thing, no matter what the audience wanted.

GJ: - I have always had difficulties with Jean Rollin. Sure, I like one or two films in his directing. But it really was a challenge that I have laid the foundation for and Thomas loved that idea because of his view of Jean. It also received the emphasis that it deserves, and it was received with positive praise from many Jean Rollin fans out there.

The first song is written and sung in French. Is this a language that has a close relationship with any of you? It's pretty unique though.

TN: - I have been to France more times than I can count for different reasons so sure there is a relation. 

I'm looking forward to keep a physical copy since this is my favorite album. Will it ever to get a CD release?

GJ: - File Sophiae mentioned that he will release it together with Symbol of Domination in the future. I don't know when, it remains to be seen.

Then we leave these gothic cemeteries with the adorable and sexy vampires, and enters wrestlers and bestial transgorillas over southern waters and climbs Mexico. Haha. MEXICO !! How where you thinking here? And first, why such an ugly cover artwork?

TN: - I like the cover. It is what it is. Just totally different. So it suits us. I have the original painting framed at home.

GJ: - You may ask our artist Tim, it was his view on my description and I think it was unique. We like it when things don't match the actual. It just have to be corked, screwed and unpredictable. I think everyone who seen it gets a good laugh and that makes us happy too.

What the heck is a TransGorilla??

TN: - Greigh should answer this. The only thing I know is that when we performed this song live the audience did like a dance, of some sort, I really can't explain it. Everybody did the 'TransGorilla' (?).

GJ: - I was mainly inspired by the movie "Night of the Bloody Apes" when I wrote this lyric, which is a remake of Cardona's "Doctor of Doom" (1963). The plot concerns a mad scientist who transplants a gorillas heart into his dying son, saving his life but transforming him into a monstrous, ape-like creature who embarks on a rape and murder spree before being brought to justice by a female-wrestler. I got a funny sight of this and twisted the whole story to my own. 

Again, you have translated a song into foreign languages (Spanish), and sing in it. Please explain, I love the internationality you expose your listeners to.

GJ: - I thought that when we're experimental with international themes, we can also try to sing in Spanish. So I asked my friend Wilhelm Valencia if he wanted to translate a lyric that I had written. He even came with the proposal to read up on how to pronounce the Spanish words, and he was satisfied with the end result:

Production-wise, this sounds much worse, out of sync vowels, almost out of step and a much cloudier sound. Do you have any explanation? I think it's quite fascinating to make this kind of major shift from professionalism to dysfunctional aural, or how to describe it.

TN: - What is out of sync isn't so much. It is just some small parts that were hard to get on the right track though our collaboration sending files between each other. The sound is weird, but well, everything we do is. 

GJ: - If I remember it correctly, we had lots of technical problems during this EP. The battery for the bass guitar was about to run out, and the computer and its program was generally tough and didn't follow up with the pace. Also my vocal performance was very out of sync because I had no audible when I sang.

After this under moderated EP you made a further tribute of any kind, namely, an album of Troma Entertainment. Whose idea was this?

GJ: - It was my idea. We are many who like Troma, so it just came naturally. This EP is mostly a tribute to Lloyd Kaufman, because we just have songs based upon movies he has written and directed together with Michael Hertz and Oliver Stone. I don't count all titles from their distributions as real Troma movies.

From here you start to play in a different way with the music. There is for example a part of the Radioactive Marijuana where someone scratches. Is it just any programmed setting or do you have the potential for such technology too?

GJ: - It was my friend Richard Forsström (LPA) who made that scratch-part. It's performed with a real DJ-set. And even there we hope for more cooperation in the future.

Now you are beginning to come back to the debut think again, offering everything from speedy Motörhead-riffs and "Moldovan" hardcore. Was that sentence, or was it just something that felt right in time?

TN: - The only thing I can say is that there is never really any planning. If it feels right at the time, it is right. That is all that is needed to get an album started.

You continue in the same spirit with the EP "Invasion of the Flesh Hunters", did you miss any inspiration or you just floated further away from where you finished?

TN: - Here we changed to the music program Logic so it felt fresh to start something new. 

GJ: - We also tried to focus on the traditional 80's Cannibal/Zombie-genrer here, which can be seen quite easy with help of Sigge Karlssons cover-artwork. 

I discovered a new genre, namely Swedish Melodic Death Metal "In Flames/ Dark Tranquaillity" in the songtitle "A New Sort Of Evolution". Is this a genre that you both appreciate the common sense?

TN: - No, not really. Fun to play, not so fun to listen to, in my opinion.

GJ: - What to say? Well, I liked In Flames debut album "Lunar Strain" and At the Gates four albums in the 90s. More than that, don't extend my interest in the Swedish melodic death metal-scene. In my neighboring municipality where I grew up, we had a pretty okay band named "Eternal Lies". They disbanded after their debut in 2002, but last year I was able to see their reunion gig together with Chromlec, Eucharist, Ablaze My Sorrow and Ancients Rebirth. It was a fun experience.

Next EP is probably the one that I find at least linked to, namely, "The Curse of this Observed Melting Phenomenon". It is totally freaked out on all levels, but tell us a little more detail about it?

TN: - This one has some of our most bizarre songs, in a good way. At the same time it has an old school Anthrax feel but with more wackiness. 

GJ: - The artwork for this one is really splendid. It's made by Australian artist Jennie Murray from Silent Goat Production. This EP wasn't meant to be made at all actually, we were doing a full-length album but noticed quite quickly how everything freaked out. It did not fit the concept we had imagined at the beginning, so we decided to save all the songs and make an EP of it instead.

And the next step is your third album that seems to go in the vein of "The Curse" though it seems a little more spacy of any kind. The cover is not particularly appealing if I may say so.

GJ: - That album has probably some of our best songs ever made, so even if the cover is misleading, I still think you should listen to it. The cover is illustrated by Adam Jones and I think he had some communication problems during this time. It had clearly been able to get better, but we had a deadline to keep to. Anyway, this is a stand-alone sequel to our second EP, "The Melting Body Horror Experience"

And so yet another EP, a tribute to Peter Jackson which has an intro reminiscent of the Finnish band Finntroll, but if I understand it correctly it shall appear to Lord of the Ring, which after moving foreward to mixed genres as SKA, Eurovision, Country, Melodic Punk and Hip Hop or something. Tell me more?

TN: - The best song on this album is "We will surely melt your brain" that is like a piano driven swing, big band black metal song. I have never heard anything like that before.

GJ: - I think Thomas also had Woods of Infinity in mind. The whole album is very melancholic and disgusting in a good way. My favorite song has to be "Ferocious Cooperation With These Abnormal Strangers" since it's kind of funky and reminds me of the Ghostbusters theme.

It also contains an alternative version of Bad Taste which already are included in A.I.D.S., why did you remade it?

GJ: - I actually wanted to do a complete remake of the A.I.D.S. version, but Thomas was not united with that. He wanted to do something that was linked to what we did right in time, so we just recycled its lyric to not make it so complicated.

Punky Funky Kentucky, your fourth album - even one of your album that is closest to my heart. When I read the information about this, I was completely set against the wall. That you even could manage to come through such a loss. You recorded this album twice, because the first time all the tracks disappeared, right?

TN: - Yeah and the first recording that got deleted was a totally different album. However, as I don't even remember how they sounded I think it was good as "Punky Funky Kentucky" is one of my favorite albums of ours, despite being written and recorded in two hours.

GJ: - It was really a loss, but what is already being said, it is absolutely one of our best albums.

And then you record everything again from the beginning only for two hours. I don't understand where the energy comes from?

TN: - I guess there is something wrong with us. Or right. 

This album sounds like a clean out old school punk / hardcore album, brimming with a cover of the Beastie Boys - Tough Guy, and then it continues in the same aggressive spirit and that's probably what I love about it. Why did you choose such a sudden transition?

TN: - I really can't recall.

GJ: - It started one morning when Thomas sent Tough Guy to me, it was as good as done already, and then we came up with the idea of ​​doing a whole album of the same punk twist. It was as simple as that.

The fourth full-length album feels like a standalone sequel to Punky, but with a different and mechanical touch. This sounds completely crazy and far from expectations. Album title sounds like Black Metal magnificent but is totally misleading from its actual content. Tell me more?

TN: - Here we wanted to take on the grindcore genre but at the same time being very old school. Bathory, Venom and bands like that.. then tapped into something like power violence. 

It happens some stuff outside the studio now I see. You come in contact with two other musicians to play live? Who are they?

GJ: - Tore and Hans is two friends of me and Thomas who later became our session members. At first it started as a joke, because we never thought we would perform live, but when Tore said he had contacts with the live stage, things began to happen. 

You released an EP with a recording of a rehearsal room. Why do you choose to publish it? It does not sound particularly good!

TN: - It was unique to us. 

GJ: - We borrowed an old mixing desk by Tore, which we would use to record our live gig. Therefore, we needed to test how everything sounded with settings etc. 
It was not even supposed to get a release, we did it as a fun thing only.

And later you where going to Smygehuk in Trelleborg. Who organized this show? and how many were there who really showed up? It's still a good distance for a gig.

GJ: - As I told you before, everything was Tores idea. He kept in contact, and we simply followed. I was really nervous during this time, but since both Thomas, Hans and Tore has the habit to perform live, I thought that maybe it would be easier for me too.
I don't know exactly how many people showed up, but the marketing was nothing to celebrate and I suppose it was only the district's residents who came. Perhaps 25-30 persons at most?

You played with C.U.N.T, who are they?

GJ: - They is a he. A one-man Grindcore-project from Stockholm who hooked up with us. We didn't played with him, he opened up for us with some noisy radiohits.

This live show was thus recorded. How has the response been after?

TN: - The people I have spoken to was pleasantly surprised. They want that we do more gigs. So we will see. Anything can happen really. At the show we also had free hot dogs.

GJ: - I hadn't played on stage for over 12 years, so I was really nervous. The result of recording in other hand, was surprisingly good. I didn't think there would be anything at all, even though my singing was a bit missplaced on the final mastering.

And you returned home, completely worn out I suppose, from one to two months of tough abrasive and traveling and you sit prompt and record one for me absolutely incredible melodic album that makes me think of Misfits, Offspring and Millencolin. Just like that as well? Completely unconcerned? What did you think of really, it can not have been much rest?

TN: - No rest for the wicked. 

GJ: - Honestly, I was totally burned out. It took over a month to get back mentally and I had to stay home from work for a week. So it was not entirely free of risk.

Just one week after you where out with another EP and this time in the same style, but to leave the classic horror theme, you have instead begun to focus on children's programming?

GJ: - Not completely beyond the horror theme, but of course the focus was primarily on children's programs. It was mainly about nostalgia, and again; that we can if we want, and we did what we wanted right then.

And for Halloween you made something similar again and dropped even more childish songs. Where do we have you? Everything seems completely chipped.

TN: - I don't know if there is any explanation for this.

GJ: - That one was just a simple bonus-EP for upcoming Halloween of 2016. We just had some fun about it. We draw some inspiration of Ghost, Misfits and Merciful Fate/King Diamond. Nothing more to say about it.

And what have we to expect in the future? Do you have more stuff in the garage to come out?

GJ: - We have already recorded two full-length albums, one EP and one single since the beginning of this year. No one knows what's happen in the nearest future. We'll see.

This journey must have been extremely satisfactory, but at the same time frustrating. You have done 25 different forms of releases in only 14 months. What about marketing?

GJ: - Yes, it hasn't been easy so to speak. But it has been fun, and none of us regret it. It has gone too fast to even have reached the market actually. I do not think there are many who even know who we are, but after all there's some reviews and previous interviews out on internet, so we are waiting on the to be recognized some day. Nothing shall be served on a silver platter, you have to work to get anywhere.

I hope everything goes well for you in the future. You are a fabulous and interesting project which I hope will continue for as long as possible. Do you have anything more to add?

TN: - Thank you for taking the time with us. All the best to you!

GJ: - Just keep following us, because no one knows when the next album is released. It could be today, tomorrow or in a month or three. Thanks for this interview and have a great coming weekend.