HM Magazine<\/a>]<\/p>\nThey say too many cooks in the kitchen will spoil the soup. So how many Cooks
\ndoes it take to make soup fit for a true headbanger? Just the two: Adam and
\nMichael Cook, brothers and masterminds behind U.S. blackened death metal outfit
\nA Hill to Die Upon, the band they started a decade ago. Consummate musicians
\nand all around great guys, the Cooks have unleashed metal fire on the unsuspecting
\nworld twice already with the albums Infinite Titanic Immortal<\/span> and Omens<\/span>. After many delays and setbacks, the band is ready to ignite again with their newest project, Holy Despair<\/span>. Join
\nme as I catch up with Adam (vocals) and Michael (drums) to get the latest on their latest.<\/p>\nHM: Schonest Winter Wetter,
\nnicht wahr? The East coast has
\nhad more snow and ice storms
\nthis winter than we\u2019ve had in
\ndecades. How has the Midwest
\nfared this winter?<\/span><\/p>\nAdam: This winter has been
\npretty nuts. And now here in the
\nMidwest all of our snow and ice is
\nmelting, so it\u2019s muddy and wet everywhere.
\nI am so ready for winter to be
\nover. Screw black metal and grimness,
\nI\u2019m ready for spring.<\/p>\n
It seems it was just a while ago
\nwe were talking to you about the
\nrelease of Omens<\/span>, but I guess it\u2019s
\nreally been three-to-four years,
\nright? And now we are here to
\ndiscuss A Hill To Die Upon\u2019s
\nnext work of art, Holy Despair.
\nYou started the recording of
\nthis album with a crowd funding
\ncampaign and the record will
\nultimately see release (in late
\nMarch). Has the process taken
\nlonger than usual for you guys?<\/span><\/p>\nAdam: Man, time has flown by
\n(laughs). On one side, it feels like
\njust yesterday, and on the other, it
\nfeels like 10 years since Omens came
\nout. Working on Omens was pretty
\nintense, and I think we recorded it in
\nabout eight days or so; we never had
\nany real demos of the songs before
\ngoing into the studio. This time, with
\nHoly Despair, we had full demos of
\neach song several months before the
\nrecording started. Mix that with the
\nIndiegogo campaign and you have
\none long project. We had originally
\nhoped to release the album closer to
\nthe beginning of January, but it just
\ndidn\u2019t work out. We are so grateful to
\nour friends and fans that have been
\nso patient through this whole project.
\nI know what it\u2019s like to donate to a
\nband and then to have to wait for so
\nlong.<\/p>\n
I saw a picture on your
\nFacebook of a triangle with a
\nskull in it. Is that the cover art
\nfor Holy Despair<\/span>? Looked pretty
\ncool.<\/span><\/p>\nAdam: Yeah, the triangle skull
\ndesign is the image that will go into
\nthe final design. As of my writing
\nthis, it is still in the final stages, but
\nI\u2019m hoping to see the cover soon. We
\nare really excited about the skull
\ndesign, though, and when putting
\nout music, the imagery is really
\nimportant for us.<\/p>\n
Didn\u2019t a flood destroy your
\nstudio and equipment last year?
\nHow did that situation work out?<\/span><\/p>\nAdam: Yeah, I have a small studio
\nin the basement of my house, and one
\nmorning I woke up to some floating
\nguitars and drowned drums. I must
\nhave caught it pretty quickly, though,
\nbecause most of it could be salvaged
\nand only a few things were totally
\nruined. The biggest problem was that
\nwe were preparing to start working
\non demos for the new album, and
\nthe flood set us back at least three or
\nfour months. It all worked out well
\nin the end, I suppose, because I was
\nable to spend some more time with
\nthe songs and we changed quite a few
\nthings before we ended up with the
\nfinal pieces.<\/p>\n
Let\u2019s talk about the new album
\nitself. Omens <\/span>had such memorable
\nthemes, with \u201cI am the black
\nspace between the stars\u201d and that
\ncatchy little number \u201cSatan, Your
\nKingdom Must Come Down.\u201d
\nWhat does the title Holy Despair<\/span>
\nimply and what kind of themes
\nrun through the album?<\/span><\/p>\nMichael: The theme is despair.
\nThis started with our first album,
\nInfinite Titanic Immortal, and continued
\ninto Omens. I think it has
\ntaken a new turn in Holy Despair,
\nbut also a less subtle one. Despair
\nis becoming more central and more
\nnecessary with every album. With
\n2014 being the centennial of World
\nWar I, we felt it was the perfect metaphor
\nfor this idea. There are a lot
\nof references in the lyrics to the war
\nand to books (of that era), like Erich
\nMaria Remarque\u2019s \u201cAll Quiet on the
\nWestern Front,\u201d Stephen Crane\u2019s
\n\u201cWar is Kind.\u201d The influence of the
\npre-war poetry of W.B. Yeats plays
\nis also present. If you were to read
\nEnglish poetry in 1913, you will find
\nthe pride and arrogance typical of
\na great empire. However, a poem
\nfrom 1919 will inevitably be written
\nby a broken spirit. WWI broke the
\npride and destroyed the hope of the
\nWestern world and resulted in the
\nbizarre, irregular art of cubism, etc.
\nHoly Despair is the despair, the first,
\nnecessary step in understanding our
\nplace in the universe and beginning
\nto commune with YHWH.<\/p>\n
By now, AHTDU has something
\nof a trademark sound. A
\ndeadly hybrid of death, thrash
\nand black metal. I\u2019ve always
\nenjoyed the guitars and the
\nover-the-top drumming style of
\nMichael. Did you shoot for the
\nsame sound this time, or stray
\ninto new territory?<\/span><\/p>\nMichael: We actually approached
\nthis album differently than our
\nprevious two. First, it must be said
\nthat we\u2019ve been growing tired of
\nthe constant \u201cbreaking boundaries\u201d
\nthat bands claim. Usually it is the
\nsame music over and over. Nothing
\nnew. Then, when I came across
\nJ.R.R. Tolkien\u2019s idea that there is
\nonly one story ever told and that
\nevery story is merely a variation of
\nthis story, it made me view art in
\na whole new way. Art that tries to
\nbreak the boundaries for its own
\nsake will probably not accomplish
\nmuch. However, if someone tried
\nto be the best artist at what they
\nknow (painting, country, jazz),
\ninnovation will happen. Longinus
\ndiscusses this in his work, \u201cOn the
\nSublime.\u201d And, of course, the question
\narises: Would we rather be
\nknown for innovation or quality? It
\nis not always a choice you get, but
\nwe would rather create quality art
\nthan innovative art that is lacking.
\nOf course, \u201cbreaking boundaries\u201d
\nis common, now, so why not rebel
\nand keep them intact?<\/p>\n
With that said, this album has a
\nlot of the same blasting, black\/death
\nstyle. It is the meat of the art that we
\nare working with. However, we listen
\nto a lot of music that isn\u2019t so extreme:
\nmewithoutYou, Eric Church, Empire
\nof the Sun. The first half of the
\nalbum is mostly fast and aggressive,
\nwhile the second half is the music
\nthat happened on its own. This is the
\nnew territory for us.<\/p>\n
Adam: I\u2019d say each album has
\nhad some unique musical influences
\nthrough each (iteration of the)
\nwriting process, but I think Holy
\nDespair has to be the most mature
\nand unique, for me at least. I feel like
\nwe\u2019ve just been finding more who
\nwe are as musicians and performers
\nand trying to focus on that. Also, for
\nme, I have been trying to convey the
\n(range of) emotions better, trying
\nnot to just be the standard \u201cMETAL\u201d
\nmusician \u2013 but trying to think of it as
\nan artist\u2019s perspective who happens
\nto write using metal.<\/p>\n
The band is, of course, the
\nCook brothers, but who joined
\nyou for the recording process?
\nWill that be the same band that
\nplays shows with you?<\/span><\/p>\nAdam: We recorded the album
\nwith our really good friend Drew
\nWebster, who recorded our single,
\n\u201cManden Med Leen,\u201d and also used
\nto play guitar in AHTDU several
\nyears ago. We have a really great
\nrelationship with him, and working
\nwith him is really smooth and great.
\nErik Tordsson is another great
\nguy to work with. He has done the
\nmixing and mastering on all three of
\nour records, and he is very professional
\nand always has a way of bringing
\nout the life in a record.<\/p>\n
Nolan Osmond wrote and recorded
\nguitar solos for \u201cCloven Hoof
\nHava Nagila,\u201d \u201cUnyielding Anguish\u201d
\nand \u201cNekyia.\u201d He plays live with us,
\nand we were blown away by what he
\nbrought to the table.<\/p>\n
The album also features many
\namazing musicians who added little
\nbits here and there. The amazing and
\nbeautiful harpist Timbre preformed
\nand sang on a cover of \u201cO Death,\u201d an
\nold bluegrass tune.<\/p>\n
Where have you been playing,
\nand what\u2019s in store for this year
\nfor the band?<\/span><\/p>\nAdam: Not too sure about what
\nthe future has in store for us right
\nnow. The last couple years have been
\npretty hard, and this album has
\ntaken a lot out of us. We love what we
\ndo with all our hearts and we have
\nalready started writing for another
\npossible release, but we\u2019re not really
\nsure what the future holds as of right
\nnow.<\/p>\n
What are the band members\u2019
\noccupations? I know one of you
\nis a teacher\u2019s assistant at a university.<\/span><\/p>\nMichael: I have actually left the
\nuniversity to become a full-time
\ndrummer. After I got my B.A. in
\nEnglish and Classical Languages,
\nI did one semester in the Classics
\ndepartment at (the University of
\nMissouri). Right now, I am working
\npart time for my father\u2019s construction
\nbusiness and trying to get gigs. I
\nam currently, cough, available. Adam
\nalso works for our dad doing construction.
\n(Laughs) You and Michael
\nhave always written music from
\na highly educated background.<\/p>\n
Other metal bands may brand
\nthemselves \u201cthinking man\u2019s
\nmetal,\u201d but the literary references
\nin your albums alone read
\nlike a bibliography. Do you find
\nyourself fighting against the
\nstereotype that metalheads are
\nburnouts or that metal music is
\nkid stuff? The \u201980s are touted
\nas the golden age of metal, but it
\nwas generally sex, drugs and partying.
\nIs metal as a genre moving
\naway from the dumbed down
\nthemes of those days?<\/p>\n
Michael: I think that depends on
\nhow hard you look and how optimistic
\nyou are. Black and death metal
\nhave definitely moved away from the
\never-repetitive sex, drugs and rock
\nand roll mantra, but I\u2019m not sure that
\nSatan, freedom and anti-religion is
\nnecessarily less shallow. (Or Jesus,
\nlove and the apocalypse.)<\/p>\n
We all want hear songs about who
\nwe like to think we are. Whatever
\nwe tell ourselves, much of our music
\nconsumption is about making ourselves
\nfeel validated. Rednecks want
\nto hear songs that make them feel
\nthat it\u2019s cool to drive trucks, shoot
\nguns and be a Christian. Metalheads
\nwant to hear songs that say it\u2019s OK
\nto not believe in a god. Christian
\nmetalheads want to hear metal songs
\nthat say it\u2019s OK to be a Christian. It
\nall sounds really negative when you
\nsay it like this, but it\u2019s true, though it
\nisn\u2019t necessarily a bad thing.
\nFolks in the \u201980s were really into
\nsex, drugs and rock and roll. They
\nwanted to hear songs about those elements
\nin their lives and feel validated.
\nI listen to Waylon Jennings to feel
\nvalidated about one thing, Nolan listens
\nto Extol for another and Adam
\nlistens to mewithoutYou for another.<\/p>\n
I\u2019ve always been interested in
\nthe sociological aspects of what
\ndraws kids to heavy metal. There
\nare two common denominators
\nfor metalheads, whether you\u2019re
\nthe burnout (the kid who\u2019s always
\nbeen picked on) or the genius
\n(alienation and escapism). What
\ndraws kids especially to death
\nmetal and black metal specifically?
\nIs it a greater degree of the
\nthings I mentioned, or is there
\njust more shock value in extreme
\nmetal?<\/span><\/p>\nMichael: I think you\u2019ve hit the nail
\non the head, though there are probably
\nalways other factors we don\u2019t see.
\nOur culture values underdogs and
\noutcasts right now: different is best;
\nunique is imperative. Fifty years ago
\nit was fit in or die, now it is be unique
\nor die. We feel wrong fitting in. It
\nhas gone a little, too, but I think that
\nis why Behemoth can be No. 1 on the
\nPolish charts and still have to pretend
\nto be the underdogs.<\/p>\n
Corpse paint. Just wondering:
\nIs it always black on white, and
\ndo the designs matter?<\/span><\/p>\nAdam: I sometimes think of
\ncorpse paint as more like taking off a
\nmask, and it\u2019s become a bit of a ritual
\nthat helps me prepare for a show
\nand focus. Playing without it is now
\nalmost like playing without a guitar.
\nMichael: From Arthur Brown,
\nKISS and Alice Cooper to Dimmu
\nBorgir, Behemoth and Marduk it has
\nalways been black on white. I saw
\none friend do white on black and it
\njust looked like Spawn. It initially
\nstarted as Arthur Brown trying to
\nlook dead when he performed, so
\nI think it will always have black
\naround the eyes. For us, it is about
\nthe overall aesthetic live. We want
\nto engage as many of the senses as
\npossible. That is also why we burn
\nincense at the front of the stage.
\nWe are big Alice Cooper fans, and
\nwe understand his desire to shock.
\nIt isn\u2019t spiritual, but I know a lot
\nof people see it differently. I know
\nAntestor doesn\u2019t wear it anymore
\nbecause they don\u2019t have a spiritual
\nmotivation to wear it. That is fine,
\nbut I think we approach our music
\nfrom a very secular way. We play
\nmusic because we want to, we play it
\nfast because we want to and we paint
\nourselves because we want to.<\/p>\n
I don\u2019t want to destroy anyone\u2019s
\nhope that we are a ministry or
\nanything, but it isn\u2019t why we do it.
\nThere is always that element, but we
\ndon\u2019t want to lie and say \u201cwe paint
\nourselves for Jesus,\u201d but yo u asked
\nabout design.<\/p>\n
Hey, I listen to the music you
\nguys play because I want to, and
\nI always play it loud because I
\nwant to. Last time, all the talk
\nabout space and the universe got
\nme thinking about sci-fi. I\u2019m hoping
\nto hear AHTDU do a song for
\nthe legendary Doctor Who series.
\nActually, licensing songs for scifi
\nmovies just might be lucrative.<\/span><\/p>\nMichael: Oh, now you got me
\nthinking. We\u2019ve been thinking about
\nredoing the Stargate SG-1<\/span> theme as a
\nDimmu-style bonus track.<\/p>\nGatto is a Contributing Writer for
\nHM. He loves fishing and Philadelphia.<\/p>\n","protected":false},"excerpt":{"rendered":"
BLACK ON WHITE. THE EVER-DELIBERATE A HILL TO DIE UPON ARE DESPERATE. HEAVEN\u2019S METAL\u2019S CHRIS…<\/p>\n","protected":false},"author":5,"featured_media":1968,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1021],"tags":[931,933,73,65,932,17,14],"class_list":["post-3469","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features-d97","tag-a-hill-to-die-upon-d94","tag-archive","tag-black-metal","tag-chris-gatto","tag-corpse-paint","tag-heaven-39-s-metal-magazine","tag-hm-magazine"],"yoast_head":"\n
BLACK ON WHITE. THE EVER-DELIBERATE A HILL TO DIE UPON ARE DESPERATE. - Heaven's Metal Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/heavensmetalmagazine.com\/index.php\/2017\/06\/29\/black-on-white-the-ever-deliverate-a-hill-to-die-upon-are-desperate-d0\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"BLACK ON WHITE. THE EVER-DELIBERATE A HILL TO DIE UPON ARE DESPERATE. - Heaven's Metal Magazine\" \/>\n<meta property=\"og:description\" content=\"BLACK ON WHITE. THE EVER-DELIBERATE A HILL TO DIE UPON ARE DESPERATE. 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