Violation Wound Interview

Over the years, Death Metal pioneer Chris Reifert has involved himself in many projects, from Autopsy to Abscess and a million bands in between – even being a part of Death early on. He’s one of the few fucked up individuals who have actually profoundly affected the extreme metal scene. But in his new project “Violation Wound” Chris steps away from the drums and picks up the guitar to let out some ripping early 80’s hardcore punk style tunes. I heard some jams from his new band on Soundcloud and was immediately hooked – being an avid punk fan myself. I hit up Chris for an interview and he responded in his classic witty fashion. Read on!






– Hey Chris, hope everything’s well with you!

Doing well here, thanks. Got my second cup of coffee almost dumped down my gullet and my stereo is wailing away!



– So your new project Violation Wound is putting out its debut album soon. I realize you’ve always been a fan of old hardcore punk – some of those influences have seeped into your work with Autopsy and moreso in Abscess. But what was the main motivation behind starting Violation Wound at this point in time?

Seemed like a cool and exciting idea, that’s enough of a reason for me. It’s nothing to overthink or anything….it’s straight from the gut and nothing to do with modern polished and perfect punk. And yeah, the album is gonna be out May 26th officially, though I think you can order it already at

If old style rockin’ and raw punk is your bag, this just might scratch the itch.



– If you were to explain your new band’s sound by comparing it to classic bands, who would you compare it to?

I don’t think we sound like anything in particular, but there’s no shortage of bands we like. Rather than trying to sound like any certain bands, I prefer to go for the vibe of a certain era. I really dig late 70’s early 80’s punk/HC and that’s what VW is aiming for I’d say.

As for the type of stuff I like, I can easily mention the Ramones, Dead Boys, Black Flag, Circle Jerks, OFF!, Streetwalkin’ Cheetahs, X, DRI, Anti-Nowhere League, Cock Sparrer, Christ on Parade, Ill Repute, the Dickies, the Damned…..on and on and on.



– How did the record deal with VIC Records come about? Have you worked with them before?

I got in touch with them through Bob from Asphyx who knows Roel. Never worked with them before, but VIC seemed enthused and willing to believe in this unknown possibly sore thumb of a band. Haha!

It’s been great and I’m really happy with the way things are going. Hell yezzz!






– Do you plan on playing live/touring with the new band? Will you take it along on Autopsy tours or are you going to keep the two bands seperate from each other?

They are definitely two very separate things, so they’ll probably remain that way as far as live purposes go, but hey….stanger things have happened. Haha! We haven’t played live yet, but we’d like to. I do think this stuff would be a blast to play on stage with some other really good bands on the bill.



– As someone who has been involved in the extreme metal movement from the very start, did Punk/Hardcore influence you guys back in the day too or was it something that people in the metal scene just got interested in later? Are there any new metal/punk bands that you would recommend?

I actually discovered metal and punk around the same time way back when. I don’t remember thinking about catagories at the time, it was more like a quest to find the most aggressive, fast or heavy bands I could get my eardrums around. As far as Autopsy goes, we really didn’t let any punk influences get in there….we just wanted to be the most brutal and heavy band around. And yeah, there’s always good new bands coming out of all types. I really like OFF!, Burning Monk, Sordid Flesh and Gluttony to name a couple.



– Did you expect metal and punk to get proliferated out in regions as far away as Pakistan, India, etc when you first started out? Planning on an Asian tour anytime soon with either Autopsy or Violation Wound?

When we first started out, we had no idea of where this kind of music would be appreciated. It’s amazing to know that there are people all over the world in all sorts of places who share the passion for underground music. What a cool thing, eh? As for tours, that’s something that’s just not possible for Autopsy or VW since we have too many responsibilities at home. But one off gigs here and there have happened and could happen some more. We’ll have to see how it goes, but I don’t think any of us will be doing any long distance travelling too soon.







– You’ve been involved with a lot of bands in the past and continue to do so. You’re not getting any younger, so what’s the main motivation? Are you as pissed off as you where 30 pr 20 years ago?

I have no rational answer for this one. Haha! I guess it’s something that’s enjoyable still after all these years. I’m actually not a pissed off person by nature, oddly enough. Maybe I can get all of my frustrations and aggressions out through music instead of acting like a knucklehead. On a good day, anyways. Haha!



– Horror movies kinda suck these days, and I know you’re a big horror film fan. Is there any horror film in recent years that kicked as much ass as the old classics?

I agree with you on that one. I still go back to my old faves time and again if I’m in the mood for horror. The Romero, Fulci, Universal and Hammer stuff still do the trick for me. Anything with atmosphere, which is something modern horror films neglect too often.

I’m pretty tired of endless remakes, ya know? There’s a real lack of original ideas it seems and too much emphasis on CGI crap. That said, I did love the Human Centipede and the first two Saw movies. There’s probably more good stuff out there, but I haven’t exactly been seeking it out I guess.



– Thanks a lot for the interview. Hope to see you play live one of these days!

Thank a bunch, it was really cool to hear from you. I hope the underground scene continues to thrive in your neck of the planet. Cheers for the support and stay tuned for whatever’s next!






Violation Wound on Facebook

Buy the CD on VIC Records

– Hassan Dozakhi

“Unsilent Death” gig review

As you may know, Eternal Abhorrence recently tried to step out the confines of just being a webzine, and attempted to put on a show named after the Nails album. The show was a staggering success and honestly the best show I had put on in my 4 years of experience. Below is a review by one of the attendants of the concert, Hassan Altaf, who traveled all the way from Faisalabad to bang his head and mosh it out. Check out his review – we hope he continues to write for us in the future!

unsilent death

Faisalabad is the third largest city of Pakistan, with a population of about 8 million people. Mostly known for its high-end textile products, funny- bone, and general bigotry, so it would be strange for you to hear if not ridiculous that people appreciate metal here too and to extents as far as trying to play it. Now when me and my younger brother, first heard of a gig, that was going to take place at Lahore, we were over the moon. We got to know 6 days before the actual happening, and thence, the pressure and the urge to be there started mounting up. We wouldn’t shut up about it. Between making our beds, between meals, we’d either ask what shirts we were gonna wear, or what date it was.



Finally the day of reckoning came, it was morning of April 26th and what happens, my brother’s phones alarm doesn’t go off. Finally we made it to the realm of the awakened at 9 am, and we had to reach at the designated place at 1pm. Manageable, I wondered. Well far from it. Ever had to ask for the family car to be loaned to you from your dad? You know how it is!



“Well, the piston’s short”, he said while chewing on some toast while his eyes never moved from the newspaper.

“Stupid reconditioned Margalla” I thought inwardly.



So it was going to be the dreaded bus, but we would have hitch hiked if it were to come to that but we did manage to get a bus at about 10. You know how bus journeys are like? They are the worst form of travel, you fix the air conditioner a bit, and the whole bus starts fiddling with it. If by chance you get a good movie playing, then either the headphones are messed up or the guy in front of you is too damn tall, or he is just on his toes cause he does not want to miss that particular scene, which afterwards extends to the whole movie. There are old bastards that try to flirt with the hostess by asking her twice for the Pepsi and laughing their asses off, like they did something very daring. (You wanna know what’s daring? Weighing 140 pounds only, and thinking I can headbang all the way through the concert for about 4-5 hours)



Well, I slept through most of it and got the details from my lil bro. One more thing, when we were on the M2 just about to enter Lahore district, there was an army convoy, and there were army trucks, and toed to them were canons. I had a foreboding feeling seeing these things (being a Pakistani, another coupe or another war?) I made my concerns vocal, and my brother he said “of all the days they could chose to start a war, who told them that today was perfect? We have to get to that concert!!!” He looked determined, and I was determined.



We were in Lahore and did not know where the venue of our little gathering was actually located. I took out my phone, and typed in Beaconhouse National University, Tarogil campus. having located our destination, we looked for auto rickshaws to get there.



“We have to go to BNU” I said in Punjabi, trying to intimidate the guy into discounting our fare and not think of us as outsiders who did not know jackshit about where we were headed (which was all true).

“250 Rs” He said.



“Ok”, and we set off. Well BNU Tarogil is way out like thirteen and some kilometers out of Lahore, it’s like going to Jaranwala from Faisalabad. The landscape is dry, and surrounded by new developing sites. Couple that with heavy traffic and a rather non-agreeable road, you get the Raiwind Road. Well after a lot of head banging before even reaching the venue, owing to the unstable nature of rickshaws, and asking about a 13 people about BNU, we finally reached Beaconhouse National University, Tarogil campus. We were greeted by Syed Sadam, and Ramis, outside the gates, and so we entered the University while the day was high, and our blood pressures higher.



“This is going to be like all those concerts we saw on the computer” I said, beside myself, and as we were about to enter the enclosure, a rather jovial looking guard asked if we had cigarettes. “Yeah” said Jahanzaib and opened up his pack of cigs. The smile turned into a frown, and he asked us to leave the cigarettes outside.

“This is not gonna be like one of those concerts that we saw on the computer” I told Jahanzaib. Boy was I ever so wrong.








The enclosure was air-conditioned so thankfully we were relieved of our bus-lag, quite instantly, and thrown into the brutal yet pleasantly cool, metal gig. The fun started at about 3, 3-30 pm, with the first band “Wreckage” from Rawalpindi, started to bust some tunes. It was really exhilarating. They played their first song, which got us really going. Everything a startup performance should be. The music was the ideal kickstart to a metal gig. They sounded way better than they did in the sound check. Right from the first song, the crowd seemed to have hit the ground running, or headbanging. They did 3 songs, two originals (“Damage Returned” and “Vengeance”), and a Pantera cover (Walk) that was very good (how cool is that?). Plus the vocalist Waqar Ghayas was very involving, and full of energy. Running around growling like a beast from hell let loose, rolling his eyes, and all that.







After that was Foreskin, hardcore punk/thrash metal band from Lahore, took the stage, manned by Hassan Umer, with Sheraz Ahmed on lead guitar, Umair Ahmed on the bass, Hassaan Gul aka the ingenious Sam Morbid on drums, and Amar Ali on rhythm guitar in the Dead Kennedeys t-shirt, which was awesome. To start things off, they started with an unnerving riff, which heralded the start of my personal favorite from their songs, “How To Fight.” The lyrics stood out, which was a great thing for a metal newcomer like me, and I sang along, and when the lyrics stopped the brilliant solo ensued from the fingers of Sheraz Ahmed. Whenever this solo is on I just can’t help and admire the simplicity and the beauty of it, headbanging like mad, and I did not care if I had only seen it on screens before. The crowd was enjoying and seemed to be getting a taste of hardcore metal, right on their tongues. Heads rolled and not in the negative sense. Song after song, the grip of Foreskin, grew only stronger. “How To Fight” was followed by a staggering cover of the Gates of Ishtar classic, “Where the Winds of Darkness Blow,” again a crowd pleaser in all aspects, a little miscue but nothing unforgivable. After that they played “Hack N’ Slash,” another song with energy like an atomic fusion in a tin can. Then they played Celtic Frost‘s “Dethroned Emperor,” another good one in the mix. Ending their part with their single “Anger Management.” Another song that needs to be appreciated more.








Act three of the show was taken hold by Irritum, based in Lahore too, with a few common members from the other Lahore-based bands on the show. The ensemble consisted of Ahsan Shahid, and Farid Munir, both wonderful artists, on guitars along with Sheraz Ahmed, the drums were played by Sam Morbid, and the vocals were the responsibility of another amazing talent, Ahmed Malik. The band is a funeral doom band, and has that melancholy tinge to it that makes it click. The first song they played was a cover of the song “In Silence Enshrined” by Katatonia, I know a huge undertaking, but executed, I can say being a live witness, pretty damn well. Next they played their own track, “Treading the Lands Unknown” which again was a doomy track, and might have raised a few demon heads in hell too.






Multinational Corporations was the next band to perform, with killer vocals from Hassan Umer, partnered by Sheraz Ahmed, Adnan Gillani, and Umair Ahmed on the guitars, with Amar Ali doing justice to the drums in he background. The first song to come around was L.P.C. named after the #trending short form of Lun Pe Charh (which just means flipping you off in other words). MxCx is the kind of band that takes the gig to another level. Hassan Umer’s cool performance antics seemed to breathe new life into the aching necks of the honorable members of the moshpit. They looked like they had forgotten their pains and were ready for another round on the metal trail. LPC was followed by Jamat-al-Maut, a satirical work of art in my humble opinion, that portrays the Pakistani youths frustration rightfully directed at the self-exploding Taliban. The track is full of emotion and zeal, and truly portrays the inner monologue of every sensible youth of Pakistan. True to its agenda the next track to be played was Stratum Slave, a shout out to the capitalist oligarchs in their castles of sand and chalk, that they were soon to crumble.



The next song was cover of a band called Inquisition, which the connoisseurs of metal tell me was awesome. The ritualistic “Empire of Luciferian Race” featured an ‘all-star’ lineup of members from different bands on the show with Ahsan Shahid and Sheraz Ahmed sharing guitar duties, Adnan Gillani on bass and Sam Morbid yet again on drums.






After that when everything was near its end, just one song away we were told that people all the way from Gujrat, as far from Lahore as Faisalabad, known for its fan industry, had arrived. Them being there albeit later in the piece, proved that ceiling fans were not the only fans made in Gujrat, they made pretty dedicated music fans too. This inspired us all to welcome them and Foreskin was ushered to the stage again for an encore performance. The weird thing was that Foreskin, still found the energy in them to play two tracks again, and with the same pomp and circumstance.”How To Fight” was played in the encore aong with “Dethroned Emperor” cover. To end it all up, there was a little surprise lined up for all those present and all those who have feelings for Dionysus, no not the Tyrion Lannister of Greek mythology, the local favorite Lahore band that could not play due to original member Waleed being in Karachi. Their anthem “Bathing In Unholy Blood” was played with Ahmed Malik doing a great job on vocals, with original Dionysus members, Sheraz Ahmed and Umair Ahmed, with Hassan Gul.



To tell you the truth, by the end of this gig, I was unable to even complete simple tasks of common courtesy, like the good bye wave and the handshake, and when I approached a certain Ramis, he was lying on the floor, and lying there he extended his hand, saying, “I am afraid I can’t get up” to which I replied extending my hand in reply “I am afraid, I can’t sit”. On that meeting halfway note, we set off for home. It was an experience of a lifetime.








Multinational Corporations



All picture credits go to Zeeshan Malick. Except the Wreckage ones, which go to Sheraz Ahmed.

Multinational Corporations – Jamat-al-Maut (2014)

mxcx art



South Asia has a surprisingly small punk scene, considering the social and political condition of the countries in this side of the world. Multinational Corporations – a duo comprised of Hassan and Sheraz, who also happen to be members of several metal bands in Pakistan – are among the handful of grindcore bands in South Asia who understand the roots and the original intention of this genre of music.

On their debut EP, Jamat-al-Maut, MxCx play the most unadulterated form of grindcore, drenched with undeniable crust punk riffs along with deathgrind tendencies, akin to Terrorizer. Even though grindcore is known for its spontaneous style of songwriting, with bands mostly being content with rather mindless, simplistic style of playing as long as it serves the purpose, this is not the case here. The songs are espcially crafted to be catchy and memorable which makes Jamat-al-Maut less isotropic than From Enslavement to Obliteration. Musically, this is very competent crust punk/grindcore, however, the duo never intended Multinational Corporations to merely be a “grindcore band that plays brutal and catchy riffs”. The theme and content here are of utmost importance, as with any punk release. The lyrical content of the songs deal with several social and political issues plaguing the country including but not limited to the acts committed by taliban, the endless race for more money, naivity and hypocrisy of so called upper class “communists” and general hatred and misanthropy. The aforementioned is vocalized in a growled fashion, very similar to that of Assuck and Brutal Truth.

Unfortunately, Jamat-al-Maut is only 13 minutes long, which is short even for a crust/grind release. This is not a complaint, however, since even in the short span of 14 minutes, the EP is very satisfying, especially with the closing track which is similar to some of the darker neocrust/hardcore songs from the 90s. A very competent and enjoyable release which any fan of the genre will enjoy.



mxcx lineup



Multinational Corporations on Facebook

Multinational Corporations on Bandcamp




– Rohit Chaoji

Eternal Abhorrence presents “UNSILENT DEATH”




Eternal Abhorrence presents ‘UNSILENT DEATH’ – a metal/hardcore gig in Lahore, Pakistan! It will be taking place on Saturday the 26th of April at Beaconhouse National University in Room 125 (Choreography Studio) of Seeta Majid Block.



Final band line-up:



Foreskin – Violent and heavy Hardcore Punk/Thrash Metal crossover from Lahore with a reputation for brutal moshes and crazy circle pits at their shows!

Multinational Corporations – Politically aware Grindcore/Crust/Hardcore Punk from Lahore – just released their debut EP ‘Jamat-al-Maut’ and are set for their debut gig!

Irritum – Funeral Doom from the bowels of Lahore, who will be introducing a live audience to the eternal cult of doomentia for the first time in their history!

The Mothership – Lahore based Jazz/Blues and Prog influenced vintage Rock band The Mothership will be making an appearance at the gig. Prepare to be thrown back into the good ol’ days of virtuoso rock music!

Wreckage – Islamabad/Rawalpindi metal band who play a groove-friendly style of modern death/thrash metal. Despite chugging away in the capital area for five years, these guys are playing in Lahore only for the second time in their history!




Ticket price: 100 rupees!
Timing: It’ll start at 3pm and will end whenever all bands are finished playing their set. Show won’t go on longer than 7pm!

0345-4064728 (Hassan)
0322-5345356 (Sheraz)

This little gig is presented by ETERNAL ABHORRENCE – a metal/hardcore webzine from Lahore, Pakistan.

This is just the beginning of Eternal Abhorrence as not just a webzine, but also a DIY gig/promoting service for local bands. Hopefully we’ll grow from strength to strength once we pull this off.

Absolut – Punk Survival (2014)




Nice to see absolutely crazy, rancid and noisy d-beat laden Hardcore Punk make a little return to people’s play-lists in the last 2 years. May be the new “flavor of the month” or become the next “trend” but let’s face it – as long as the music is hard hitting and awesome, who gives a fuck if a shitload of new bands start doing the same thing?

Absolut’s “Punk Survival” is an aptly named release as it primarily serves to keep the core values of the original Hardcore Punk template alive. While they are not the first band to do so – hundreds of d-beat laden old school hardcore bands have existed all over the world since the 90’s, especially in Sweden and Japan – Absolut manage to carve out an identity of their own. They do that by not only following the set-in-stone codes of what proper raw crust/hardcore punk should contain but by upping the ante in several regards. The riffs hit harder and deadlier than most of the bands I’ve heard trying to revive this style, armed with a dangerous guitar tone that would make even a weak riff sound heavy. Thankfully every riff here is some badass shit and the occasional noisy guitar lead makes you want to peel away at your skin – now THAT’S some sensation I don’t get much from ‘old school revival’ acts. Screechy, ear-piercing vocals are bellowed over one catchy riff after another with wild abandon. Not a line can be understood due to the insane amount of incoherency and reverb/echo but the vocal patterns themselves are catchy enough for them to hang around in your ear like unwanted wax. You don’t need to be a rocket scientist to figure out that these guys are just here to make some noise and have a good time doing it – simultaneously worshiping and burning their idols one riff at a time. Credit must be given to the producer for crafting a sound that’s unbearable yet easy on the ears at the same time – a nice little balance to have for these sort of records. You want the mix to sound as chaotic as possible, but the master shouldn’t hurt your listening senses either. Along with a warm production value that would sound absolutely gorgeous on vinyl/tape make this a very vintage sounding little release.

The filthy, primitive essence of the likes of GISM, Anti-Cimex, Terveet Kadet is tapped into but taken a step further while remaining confined within their self-imposed boundaries. A little Proto-Black Metal influence can also be spotted here with the Hellhammer-esque vocals and the early Bathory style lead-work. If I was to make a comparison I’d say they have a bit of a Dishammer kind of thing going for them, but strictly Punk (with a few metal concessions) rather than a clear metal/punk hybrid. I really dig their style and if you at all are into extreme music you will love this. Get it from Electric Assault Records on the 19th of April.






Listen to it on Bandcamp

Electric Assault Records on Facebook

– Hassan Dozakhi

HospitalxBomber – Demo (2013)



One thing I am always on the look-out for is music that is hard-as-fucking-concrete, while also being faster than a hijabi running away from loud music on a Friday evening. Pissed off fucken hardcore is my jam at the end of the day, and if you suffer from the same addiction to angry and heavy shit then you might want to check this shit out.


To put it simple, HospitalxBomber basically straddle the line between dirty high speed punk, and crunchy fucking beatdown hardcore. It’s 5 songs and under 8 minutes of straight up hatred and negativity, with the vocal attack not hesitating to even throw in some Black Metal touches. The slight vocal influence aside, this is pure fast and angry hardcore with some mean ass breakdowns. If I was to compare to any bands, this is the bastard child of Iron Lung and Harness, and that becomes quite clear to the unsuspecting listener the second he/she puts it on. Instinctively abrasive riffs,  and a kit-destroying drum performance coalesce to create a wall-of-sound that absolutely drips with venom and oozes hatred – reviewing stuff like this is basically why I called this blog “Eternal Abhorrence” in the first place. The mix is put together nicely to, giving the demo a very fuzzed out and absolutely vile sound that makes you want to stab the first person you see. Through both the fast and slower parts, the general aural violence never lets up, and though the fast parts are fun to run around to, it’s the gargantuan breakdowns where HospitalxBomber live up to their equally vicious name. The tracks “Faux News” and “Blackwater” are obvious highlights here for that particular reason. Purists who don’t like chuggy breakdowns better stay clear, but people who like to get down to some heavy shit will love the fuck outta this.


These guys should seriously drop some new stuff soon – 8 minutes ain’t nearly enough, considering the riffs these guys have on the table, and the maniac performance on the drumkit. More often than once I wondered if one of the cymbals fell over (then I realized that kits in America are obviously better than the crap we have in Pakistan hahah). Lots of replay value on this, get it if you’re looking for heavy hardcore that isn’t afraid to jump into powerviolence territory.





HospitalxBomber on Facebook

HospitalxBomber on Bandcamp

Zombie X Incest – Live Demo (2014)

zombie x incest


Holy Powerviolence! Who would have thought that this style of extremely fast, loud, obnoxious and raging punk music would infiltrate the Himalayas? Well, not most people in the world but this particular reviewer isn’t very surprised at the recent emergence of Zombie X Incest from Nepal. The country is already home to metallic hardcore titans Jugaa and it was only a matter of time their influence spread out to younger acts.


In fact, this young Powerviolence/Hardcore Punk act chooses to begin this live set off with a Jugaa cover, the booming mosh riffs being heard alongside the chatter of some crowd that gives the perfect ‘small club’ setting to this live demo. After the cover is done with, they move onto their own original tracks “Revolt” and “Purnibiram” which exhibit the band’s contemporary style of PV indebted to the likes of Magnum Force and Sex Prisoner. I use the word contemporary, because they don’t play the spastic, unpredictable kind of PV of the 90’s that was exhibited best by Spazz and Man Is The Bastard. Zombie X Incest’s style of fast, loud punk music would better be described as Fastcore/Thrashcore (people prefer the former because some metal nerds confuse Thrashcore with Crossover Thrash) but that style seems to have just blended into powerviolence over the last few years with the proliferation of groups such as ACxDC. Indeed, the band even cover one of their tracks “Leech” on this live demo, before delivering their fan favorite “Why So Serious” which sounds like it would be real fun to mosh out to – especially with that Batman/Joker line, haha.


Considering the nature of this band, and the fact that they’re the first powerviolence act in Nepal, I think that the choice of a demo recorded live at a gig is the best way to showcase themselves to punk and hardcore fans outside their home country. There is a sense of urgency, and more importantly – a real FUN vibe going on here that makes me want to just run around and throw myself on the wall for no good reason. Looking forward to the Nepali scene growing as well and inspiring other South Asian countries to make some fast fucking punk to let out their aggression.





Zombie X Incest on Facebook

Zombie X Incest on Bandcamp

Integrity Interview


– Greetings Dwid. Hope all is well at your end.

Hello Dozakhi, yes. all is ideal here in Belgium. Thank you.



– 2013 was a big year for Integrity. The release of the much anticipated Suicide Black Snake album, and then an unexpected remixed version of Systems Overload which was widely hailed as well. Other 7-inch releases were put out as well during that year. How do you feel about 2013 in retrospect?

We had been working on those recordings for a while, so it was rewarding to see them finally come to fruition. The Systems Remix worked out better than we had anticipated. Much better than the original version. Robert Orr and Aaron Melnick did a perfect job on the remix.



– One thing that struck me about Suicide Black Snake was how – despite having a dedicated fanbase and a trademark sound – how you never cater to what the audience expects. The song “There Ain’t No Living In Life” in particular was something I never expected. Can we expect more songs of that nature in the future by Integrity?

It is difficult to ever say what to “expect” from Integrity. Only time will tell. We do have some unreleased, older recordings that are finally making their way to vinyl via A389 records in 2014. The 1st will be a split 7” with VVegas. We recorded that song a few years ago. And in the Fall another split 7” will emerge from A389, this time its an unreleased song from The Blackest Curse session from 2008.



– Much has been said about Integrity’s musical influences and the likes of GISM, Septic Death and Misfits. Though the band isn’t exactly a purely musical entity – it comes off as being a very visual act enamored with certain aesthetic qualities. What artists, writers and thinkers have helped influence you and the atmosphere you try to create with your music?

Francis Bacon, DeSade, Andre Breton, Bruno Schulz, Patrick Bokanowski, Arthur Rimbaud, Felicien Rops, Vordb, Ismaelta, Robert Johnson, Tristan Tzara, Sakevi Yokoyama, Blind Willie Johnson, Vincent Price, Charles Manson, Oscar Wilde, Max Ernst, Danzig, Guislain, FW Murnau, Peter Levenda, Al Columbia, Kenneth Anger, Howlin Wolf, Rozz Williams, Pushead, Son House, Boyd Rice, Kent Williams, Robert W. Chambers, Mike Mignola, Jaromil Jireš, E. Elias Merhige, Aleister Crowley, Genesis P’Orridge, Theodore Roszak and many, many more.





– You mentioned once that Belgium provides you with the isolation necessary for you to make music. I had always assumed that claustrophobic, crowded environments are better breeding grounds for music as intense as Punk/Metal. How does isolation help in making music with Integrity?

I am not a social person, and I do not enjoy my mind to be cluttered with the distractions of crowded environments. Imagination is something that is often born from silence and darkness.



– Speaking of Belgium – You did vocals for a Belgian Metal/Hardcore/Punk band called “Congress” and their song called “Dogma” many years ago, and also did a video for another song of theirs. Are you still in touch with them or any Belgian Punk/Metal bands?

Yes, Congress hired me to direct their music video, and also asked me to also do a guest vocal on their album. They are a great group of guys.



– Can you tell us a bit about your label, Dark Empire Records, and the upcoming Gehenna record?

Actually, my label is, Holy Terror records.
My son, Max’s label is Dark Empire records and he has released the new Gehenna 7”
The new Gehenna record is brutal Neanderthal destruction that only G can deliver.



– You have always been a prolific musician, stretching your claws out to a variety of different genres. Are you working with any side-project these days? And is there any chance of you doing another Roses Never Fade record?

I left Roses Never Fade 6 or 7 years ago. I believe that a new incarnation of Roses Never Fade eventually plan on a new recording. However, I am no longer a participant of that project.
I have a project titled, Vermapyre






– Integrity’s music has evolved over the years and with a quarter of a century of experience with the band, have the motivations behind the music evolved as well? And on a personal level, how much do you feel your own personal growth is indebted to the band?

Integrity has always been a source for my own private entertainment, to make music and imagery that I would like to experience. The rest is just a falling away.  It is an exorcism of my demons and a means to question the mysteries that obstruct our view of human existence.



– Before we end this, I have always wanted to ask you about the religious symbols – especially the usage of the Islamic shahadah – in the Holy Terror logo. As someone from a predominantly muslim country, seeing it made me intrigued. Isn’t the amalgamation of religious symbols a little contradictory?

I am not certain how religious symbology and my music could ever be viewed as contradictory. Even the label name, “Holy Terror” itself expresses  religious connotations. The main component of my lyrics has always been interwoven with religious overtones and inquiry towards lost knowledge of the humans existence. I would say that my music is foremost a religious outlet decorated in the trappings of a dark aesthetic consumed by the horrors of life.



– Thanks for the interview. Has been great talking to you. Good luck with your future art.

thank you for your kind words and interest in



integrity skull 14inch

Integrity on Facebook

Holy Terror Official Website

– Hassan Dozakhi

Jugaa Discography

Jugaa logo

Jugaa. Killer Hardcore/Metal band from Kathmandu, Nepal. For fans of Integrity, Ringworm, Earth Crisis, Eyehategod, Disembodied and Arkangel. Get their discography here. All links are band-sanctioned and provided by Vishal Rai, the band’s guitarist.

Track from Ghalazat compilation – Eternal Sleep (2013)

Split with Sangharsha – Jugaa side only (2011)

Hamal Hardcore [EP] (2010)

Fuck The Scene [EP] (2008)

Split with Shannon Scam – Jugaa side only (2007)

Jugaa Lineup

Other links:

Jugaa on Facebook

Ghalazat Compilation on Bandcamp

Sangharsha/Jugaa split download link with both sides

Shannon Scam/Jugaa split download link with both sides

Jugaa’s interview with Eternal Abhorrence

Unabomber – Potemkin [Band Sanctioned Download]




I decided to start doing Band-Sanctioned Free Downloads. So here’s something to start with. Unabomber were a hardcore band formed in 1996 in the Catalunya region of Spain. They played a unique, eclectic style that fused elements from the Powerviolence of Infest and Spazz to the more artistic noodlings of Rollins era Black Flag coupled with some nods to 90s hardcore bands such as Rorschach. The download link below is to their album Potemkin along with three rehearsal tracks and a bunch of scans and pictures sent to me by the vocalist. The music is incredibly schizophrenic in nature – the tempos are always changing, the riffs drive the music from Black Sabbath style jams to crazy grinding sections, the bass fucks with your head and the drummer is full of pure Catalan rage. It’s very spontaneous and it’s all incredibly fun. Vocalist Robert Beltran’s delivery sums up the schizo music as well – he belts out his vocals like a madman running from an insane asylum, doing all sorts of screams, shouts, growls and even spoken word sections in the process. It’s all thoroughly excellent and I can’t think of a negative attribute to the music. Even the production is great and very clear for this kind of music.




I’d like to thank the vocalist for sending me this and allowing me to upload it online. As stated before, it contains the album in its entirety along with 3 rehearsal tracks and a bunch of scans and pics. Robert now does vocals for the Hardcore Punk band ASSAC! who play in an early 80s Boston style.

Download Unabomber’s Potemkin here.

– Hassan Dozakhi