I'm quite sure that “noise” category in musical genre is
definitely not the most favourite one, probably the opposite would
be closer to truth. But the genre is here to stay and because
Obscure is dedicated to every extreme music genre, we will not back
down from discovering for you some interesting artists. And in
tradition of lo-fi, let's welcome long time Goat worshippers,
Q: Hello, Izedis, and thanks for your time. 2013 saw the
release of your latest album “The Day After”. For those of the
movie fans, after just a glance through the titles of songs would
be probably clear you were inspired by the 80s classic by the same
name, right? But the right question is – why the departure from the
long maintained line of black metal themes/GoatSerpent/Satan
worship? I see similarities between this album, The Day After, and
Pissed Off Orgasm old release – also apocalyptic kind of a noise
soundtrack...anyway, can you put some light on the concept and the
development of this album?
Izedis: Fuck yeah, we were very much inspired by the Movie of
the same name... using samples and ideas from it in the concept.
But the major inspiration for this album was a movie called
"Threads". A BBC Drama that came out about a year after The Day
After. Samples from this movie were used in the Nuclear Explosion
intro as well as background noises in the interludes. Sometime in
2010, KumSlinger and I were sitting around drinking a half gallon
of bottom shelf, plastic bottled, blended Canadian Whiskey and were
somewhat obsessed with Threads at the time. We said, "Let's fuckin
record an album based on the aftermath of nuclear war". I found
some drums a person had sent us and we broke out the gear and hit
record. Nothing major or profound about it, as is the case with
every Enbilulugugal release. Due to problems like Depression,
fucked up surgery on my lungs, laziness and general lack of
interest. I didn't even start recording the vocals till almost 3
years later. To explain what we were going for while compiling the
track order, interludes and feelings... It starts off with the
Bombs dropping in the introduction. But, this is just the
beginning. The next song takes you further into the chaos of the
firestorm. Then the Chaos once everything settles down and the
hospitals begin to fill up. It gradually takes you into the
deperation, sickness, and general unease that would be associated
with being alive in the aftermath of a full scale nuclear war. It
finally ends with an acoustic outro of total hopelessness as you
wish for death and suck on a rat carcass for sustenance. As for the
reason we stopped talking about GoatSex for this album, well we
always try to do something different with each release. This has
been the case for the past 13 years. Wether with the sound or
"concept", we don't enjoy doing the same thing twice.
Q: Actually, although the discography of Enbilulugugal is
quite long, this is just your second full-length. With the first
one, “Noizemongers for GoatSerpent” released in 2004 … why such a
delay? Are you more comfortable with shorter demos and split
Izedis: We're not really comfortable doing any of it. I can't
answer why there wasn't a second full length, or even 3rd or 4th
sooner. But one reason may be, drum tracks. Enbilulugugal is a vast
network of people around the United States. When somebody like
Alcoholonomicon sends me drums or finished tracks with guitar and
all that shit, I base the release on the length. Most of the time
it's short. When he did drums for Noizemongers... he just happened
to do enough for a full-length. I'm not too concerned with what
kind of release it is, as long as the releases keep happening.
Q: 99 copies limited Pro-CDR release, do you do limited
releases deliberately, or thinking – damn, I will hardly even
these? How do you view the noise segment – as much as you follow it
– nowadays? Compared to the early days of Enbilulugugal, do you see
any difference between now and then in relation of “supply and
demand” in the underground circles?
Izedis: Honestly, 99 copies is too many these days. Everyone
just downloads CDs and Vinyl is way too fuckin expensive to get
pressed. It's also hard to find labels interested in Enbilulugugal
even though there seems to be a fan base of some sort (which I
still have no idea why). As for black noise now compared to then, a
lot more people accept it and listen now. When we started, we gave
everything away and I'm sure over half of the first demo tapes were
destroyed by the people I sent it to. There was no "Black Noise
Scene". There were a few bands floating around but I'm sure they
had the same problems as us getting rid of their demos. What my
drunk ass is getting at here is: More "fans" now than there used to
be for "Black Noise".
Q: Well, time to jump back to the beginning of Enbilulugugal.
Can you tel us what was the primary reason to form the band? Also,
as there might be some misunderstanding, chaos maybe (LOL), can you
distinguish between Enbilulugugal and Chernobog? If I am not
mistaken, Chernobog was first, right....?
Izedis: The reason Enbilulugugal was created was because
Nebiru (The other founding member) and I were in a Yahoo! Chat room
as stupid teenagers and were sick and tired of the elitist assholes
everywhere... We both had always wanted to be in bands so we
decided to make some anti-elitist noise to piss some dickbags off.
It went from there and turned into it's own entity with no rhymne
or reason for existing other than to kill ears, minds and speakers.
A lot of these dickbags I mentioned are still lurking around forums
today and talking lame shit about Enbilulugugal. I see this as
complete victory on our part as they're still obsessing over how
"false" and "untrue" to the "scene" we are. Fuck scenes man, get a
dog up ya all of you. Fuck off. As for Chernobog... Nebiru and I
wanted to do something different and less noisey at the time (2001)
so we recorded the "Nuclear Bloodbath" EP. It ended up being
(almost) just as noisey and fucked up as Enbilulugugal so it really
could have been an Enbilulugugal release. This is all history now
though and there's no changing the past. I was quite proud of the
Chernobog demo though because Unsung Heroes Records, a long time
favorite underground label of mine, decided to release it. It was
quite an honour.
Q: I know – although you have to tell us if it still true –
that members of Enbilulugugal are active in various other bands and
projects. Can you name them and tell a word or two about them as an
introduction for those who want to delve deeper?
Izedis: Many members with many other projects. This could
take up 5 pages of your zine, so I'll just give a brief description
of everything. KumSlinger has been in a bunch of bands in his 20+
or some shit years of playing music. He and Davillian currently
have a Thrash project called Scapegoat that originally formed and
recorded a couple demos in 1993. They reformed and are recording a
full length album now. Alcoholonomicon aka Reverend J.R. Preston
has a shitload of projects. Tjolgtjar being the main one. He plays
an original form of Psychedelic Black Metal/Rock with this project
and I highly recommend anyone check his countless albums/demos he's
released in the past 15 years. Another is a project that is
currently on hold, BLOOD CULT. This is Redneck Black Metal. Does
anymore need to be said??? Some of his others include Xexyz (8-Bit
NESBM), Pyfyxfyru (Black Noise), Bloodwoods (With Matt from
Woodlands Edge playing Death Metal).... FUCK IT, you get the point.
No offense to any of the other members reading this, but if anyone
really cares, you can get on the internet and check out our page on
The Metal Archives. Thanks for understanding and sorry for the
Q: Due to a lack of interest you created your own label to
put Enbilulugugal's releases out (and also some other, as I see).
Along the physical releases (although limited editions, as
discussed briefly above), you follow the tradition of many artists
offering free downloads of your material. Can you explain this
attitude? What is the response of the audience?
Izedis: I've always been against making any profit with music
that doesn't take a whole lot of money to produce in the first
place. So when we release something, I've always just thrown it
online for free and charge as close to actual cost for a physical
copy as possible. The response to this has been pretty great. If we
tried to make money off this garbage (enbilulugugal), we'd have no
fanbase at all and only a handfull of people in the world would
actually own any of this crap. As for Dipsomaniac Records, I don't
want to profit off other's music either. So I do the same as I do
with Enbilulugugugugal. On the bandcamp and archive.org pages,
there have been more downloads than I ever imagined there would be.
Blogs follow my pages and post almost everything when it comes out
for others in the World who might not find it on my sites. So it's
pretty fuckin cool to know you're helping out a band and maybe they
have a possibility of getting signed to a better label.
Q: With the new record out, what do you occupy your mind with
these days? Anything already planned in the form of next release? I
know the cover artwork is already there (and it's amazing!) I have
to say it would be really interesting to see you performing the new
album...I can imagine quite a conceptual scene...
Izedis: Occasionally I do my fuckin' Electronic Noise shit
under the name Static Goat. Just a few online releases with that
and some super limited CDR's. This is what I do to occupy my mind
when my throat is bleeding from smoking too many cigarettes and I'm
unable to vomit out some Enbilulugugal vocals. But nobody cares
about that so lets get back to the other subject nobody cares
about. Enbilulugugal has a couple of splits planned with
Gribberiket from Norway and Moon from Australia. As well as about
two albums worth of new drum tracks we need to do something with
courtesy of newest member, TheBoogeyman. There are really no plans
for any sort of concept, other than GoatSerpent worship. Possibly a
continuation of The Day After, maybe. We don't put much thought
into any of it till it's about to be released, usually. The Day
After was something new for us. A Double CD Edition of NOIZEMONGERS
FOR GOATSERPENT is planned to be re-released by Crucial Blast at
some point. All the tracks will be remastered, or maybe it should
be called Mastered since they were never really mastered in the
first place. Should be killer if it ever comes to be before we all
become radioactive dust in the upper atmosphere. That cover art you
mentioned was done by the great Luciana from Romania, she does
great work and I want the noise to be up to par with her artwork,
whenever that comes to be.
Q: In our discussion you have mentione following no politics
in your music. What was the reason to do a cover of Anal Cunt song
for the AxCx tribute album? Seth Putnam was quite a politician
there :-)) That just begs the question – do you count AxCx among
your influences? Any other musical inputs we might be familiar
Izedis: We covered the Anal Cunt song because a friend of
ours from Mai Lai Productions was going to release an A.C. tribute
tape at the time (which never came to be as far as I know). He
asked us if we wanted to and of course we were highly influenced by
Anal Cunt's "music". Eventually, 9 years later it finally got
released on another A.C. tribute via digital download by Popsakal
Records. If you're wondering why we picked this particular song (I
Hope You Get Deported), NO... Enbilulugugal is not a racist band.
None of us are racist in any sense of the word. This song was
picked purely for the riff used and we were so high on marijuana
(Which happened to be brown weed straight from Mexico) at the time
we didn't even think about the problems covering this song could
cause. Luckily we never got any shit for it and nobody seemed to
notice. As I said, A.C. was a definite influence. The biggest
influence on the Noisecore side would be Gonkulator. Others (for me
at least) would include Sore Throat, Stench of Corpse, W.B.I. and
some others. And after that stupid rant, I noticed I didn't even
answer your question about politics. just, FUCK POLITICS.
Q: Can you name 3 bands or releases you consider most
important in forming your musical backgrund, be it noise, black
metal or other genre?
Izedis: Gonkulator, particularly the "Satan's Burial Ground"
CD is the biggest "Noise" influence for me. As well as everything
Sore Throat ever did. As far as the musical background throughout
my life, been listening to music (Classic Rock mainly) since the
womb. Metal since before I could masturbate and some of my all time
favorites include Mercyful Fate, King Diamond and King
Diamond/Mercyful Fate. In my 20's I started getting into old and
Underground Country Music such as Those Poor Bastards, Waylon
Jennings, Hank Williams SR. and III and shit tons of others. I like
sound, so if it sounds good to me I'll listen to it.
Q: Slowly coming to the end of this short interview, for
those interested, what can you offer them as a merchandise? I have
read something about t-shirts being done...are they already
Izedis: Years ago when Noizemongers was released we had
shirts made. Those are long sold out and I've just been too broke
to get more made. If I suddenly strike gold or find a label to get
merchandise made, it'll be fuckin killer. Until then, people can
bootleg their own merch all they want. And some do. I don't care as
long as they don't try to make profit off of it. As if they
could... The ultimate dream would be to get Logo Fez hats, Flip
Flops and Grannie Panties made. Fuck it.
Q: Any final message, contact information...?
Izedis: Many fuckin thanks for taking the time to interview
Enbilugugal, and I'm sorry to any of you that made it this far and
IJaind, ijdin ijfyetw ijijgok ihagqtttata. hfihaihdijgnk,
hihgiuhuhuhuhuhm okaokijfum jfijhauhg, ijfbbavv,
No snail mail anymore, I forgot how to write.