Every musical effort I've been involved with has left its mark on me, with many collaborators informing my knowledge, taste and growth (or regression, haha) as a musician. is a distinctive, separate entity way more aligned with achieving what I really want to do with music.ĭo you think that you could have made this material work without your prior experience with bands like Christian Mistress and Quayde LaHüe?ĭefinitely not. same shit, different name" but I do feel L.O.Q. ![]() I anticipated some eye-rolling, like, "Oh, there he goes again. I soon realized that I didn't want to take that same approach but felt conflicted about started yet another new project. To be clear, when I realized what I was writing wasn't fitting into what I wanted to do with HORRIBLE, I thought maybe I was revisiting YRONOXIT. Only inasmuch that it's just me playing and writing the material. I considered continuing under the name YRONOXIT but, honestly, I just really don't like the name, haha! Thus, LORDS OF QUARMALL.ĭoes that mean that Lords of Quarmall is more of a continuation of Yronoxit than a genuinely new project? However, I wanted to continue to explore the harmonic and melodic ideas I was writing under YRONOXIT (stuff I think would be wholly inappropriate for HORRIBLE). I’m pretty stoked on how “Into the Abyss” came out and likely will do something more with HORRIBLE down the line. So flash forward to June 2020-I’ve got a space to play drums but I’m TOTALLY out of practice, so I leaned on my laurels and revisited that style. I recorded another song in 2008 that I never did anything with, then started toying with it again in 2014 eventually recording a four song demo in 2015. and found the style pretty attractive considering my limitations as a guitar player & singer. I’ve always loved crude death metal, like IMPETIGO, REPULSION, SLAUGHTER, MASTER, early DEATH, MASSACRE, etc. I started that project in 2007 by contributing a song to a regional punk and hardcore cassette compilation. I’ve toyed with the idea of re-recording some of the songs with real drums, but it’s probably better to just move forward.Ī little background is necessary in the case of HORRIBLE. ![]() That was frustrating as drums are my main instrument and I couldn’t really get the computer to do what I wanted. Both of those EPs were done before I had found a place to play my drums so I used computer drums. I probably shouldn’t have shared it as I’m not satisfied with the recordings at all. YRONOXIT was an experiment to see what I could accomplish with my limited resources and abilities. What creative need does Lords of Quarmall fill in you that Horrible and Yronoxit do not? That said, I do love dealing in sound, it gratifies like nothing else. Other parts of my life can suffer as a result. I could (or should) easily find better ways to fill my time as I can get pretty obsessive and singular when working on a project. I intended to pursue a different form of expression with my spare time, but music still proved to be in the path of least resistance for creativity, even without the benefit of collaborators. ![]() I’ve been in a band (or bands) since 2001 2020 was the first year I found myself in none. Indeed, LORDS OF QUARMALL is the third solo entity I’ve endeavored to record since April 2020. Hi Reuben, thanks for doing this interview with Invisible Oranges! To start, this appears to be your third new solo project since the pandemic started-good way to keep busy? In the meantime, please find an interview with Reuben below talking about the project. I listened to it three or four times in a row when I checked it out and I am really looking forward to hearing what comes next. There are certainly points that will hopefully be improved on with future releases-sections that are a little too same-y, vocal parts that don’t work well enough, and whatnot-but given that Iron Exile is a demo, I’m honestly floored. Another special point of note is the drumming, which is pleasantly boisterous and pounding, and without which the demo would be significantly less interesting-not super surprising given Reuben’s long career as a drummer. Reuben’s experience also shows itself well in the form of subtle layering throughout the demo, ranging from cool lead guitar bits during the buildup to an outro to the aforementioned synths to the way he effortlessly put together delightful dual-guitar melodies at tasteful points throughout the short tracklisting. The biggest difference that stands out from the pack is how unafraid Iron Exile is to lean into groovy sections of doom, and combined with a vocal approach that’s more Lemmy than Shelton, Iron Exile has enough groove and sludge to its approach to appeal on its own merits instead of as a clone for fans of its influences, and that makes all the difference.
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