Dope is an American heavy metal band from Villa Park, Illinois, formed in 1997 in Chicago. The band was founded by song writer and lead singer Edsel Dope in 1997. As a child, Edsel and his brother, Simon Dope, were separated when their parents divorced. When the two were adults, they reunited and Simon joined Edsel’s band, playing keyboards. The pair then recruited Tripp Eisen as guitarist, Preston Nash as drummer, and Acey Slade as bassist.
Unlike many of the popular bands from the 1990s, Dope derived their sound from influences taken from heavy metal bands and fused that with the sound of industrial rock acts who had made waves earlier in the decade, such as Ministry and Skinny Puppy.
“It’s beyond my personal demons, and extremely honest,” says LaPlegua of the fifth Combichrist album Making Monsters. With five albums, thousands of shows, and four full months in Europe touring with Rammstein (in front of hundreds of thousands of people), Combichrist has become a purely visceral creature, driven by instinct and emotion; stripped of all pretension. Its urgency – most evident in the raw and uncompromising new album — is fueled by expressions of lust, anger, pain and hate.
Presenting a foreboding soundscape, the album kicks off with a hauntingly atmospheric instrumental “Declamation,” setting the tone for what is to follow: dark, stabbing synths; heavy, robotic beats; and swarming, buzz saw-style guitar sounds. Songs such as “Follow the Trail of Blood” (featuring Brendan Schiepatti of Bleeding Through) are baretoothed aggression; meanwhile the floor-stomping, first single “Never Surrender” proves to be aggressively catchy, with its metronome-tight rhythm through the verses, giving way to explosive choruses that is bound to pack dance floors. “Through These Eyes of Pain” takes a much subtler approach. Its echo-y vocal wash and glitchy beats conjure images like a mournful dream, exposing the man inside the monster. Though the moods displayed in Making Monsters are decidedly sinister, LaPlegua manages to portray these emotions in many different guises. Laden with hook heavy choruses, speaker-crushing beats, and LaPlegua’s trademark dark, aggressive vocals, this is an album that exudes honesty and the darkness that often comes with it.
Initially cutting his teeth in the seminal Norwegian hardcore bands Fleshfire and Lash Out, LaPlegua segued out of that scene into the electronic music world with Icon of Coil. Originally a solo project, it morphed into a full band with the additions of Sebastian Komor and Christian Lund. Not only did IOC mark LaPlegua’s first major work with electronics and dance beats, but it also granted him wider exposure beyond Norway; IOC was LaPlegua’s first project to be released in the United States.
It wasn’t until 2003 that LaPlegua founded Combichrist – the project that would soon dominate his time. A departure from IOC’s futurepop sound, Combichrist took LaPlegua’s hardcore past and electronica present and merged them into a singular, mechanical music monster. Without the compromise of the band dynamic, LaPlegua, who does everything in the studio himself on Combichrist releases, was able to explore whatever avenue he desired musically. What he found was a long dark road with plenty of twists and turns. The Joy of Gunz, LaPlegua’s first release as Combichrist, was quickly followed by two EP’s: 2004’s Kiss the Blade and Sex Drogen und Industrial.
In 2005, LaPlegua was back at it again, releasing the landmark album Everybody Hates You. Defying the dreaded sophomore slump, the second Combichrist full-length featured two tracks that would become club classics–“This Shit Will Fuck You Up” and “This Is My Rifle”–and was also the project’s U.S. debut on Metropolis Records. Further benchmarks were set with the release of the 2006 EP Get Your Body Beat, the title track of which landed Combichrist its first appearance on Billboard’s Top 10 Dance Singles chart.
The years that followed brought on two more full-length albums — What the Fuck Is Wrong with You People? (2007) and Today We Are All Demons (2009) — as well as a handful of additional EPs. On top of Combichrist’s many releases, LaPlegua has also logged countless miles, globetrotting on tours of Europe, South America, Australia, the United States and points in-between.
Though Combichrist has kept him busy over the past seven years, LaPlegua has other interests that fill the rare breaks from his main musical project. The Atlanta, GA – based songwriter maintains Panzer AG, a sonic hybrid of Combichrist and Icon of Coil and even plays in a straightforward American rock ‘n’ roll band, Scandinavian Cock. This affinity for Americana is also displayed in his love for hotrods and motorcycles. On his MySpace page, LaPlegua states, “I’m a Norwegian grease ball, and I’m never afraid to get dirty!”
With Making Monsters, man and beast have combined, evolving beyond the demon it once was and into a greater, bigger and more malevolent force in music. This time, there’s no surrender.
ABOUT SEPTEMBER MOURNING–
“For me, the project is a story, a theatrical art piece,” September explains. “Music is the backbone, but for this to work, it has to include the imagery and the narrative all symbiotically linked into the whole. Music taps into your innermost being. There’s something very intimate and personal about it.”
The character of September Mourning is a human-reaper hybrid, who feels the need to give some human souls a second chance, and thus toys with Fate. To expound on this narrative, September is working with iconic comic book artist Marc Silvestri, who started out on the original X-Men comics and went on to form Top Cow Productions (Witchblade, The Darkness). Together, they are putting together the story of September Mourning in graphic form, to accompany, and enhance the musical message.
Having toured with Marilyn Manson, September Mourning has already built up an impressive fan base, which she calls her “Children of Fate,” constantly encouraging them to have “the courage to embrace their passion… to allow yourself to follow your heart and not be a slave to your fears. To know that the only boundaries that exist in our lives are the ones we allow.”
ABOUT DAVEY SUICIDE–
Davey Suicide is ready to set the world ablaze. On his self-titled debut album, the Los Angeles insurgent injects gutter grit back into rock ‘n’ roll. It’s been far too long since a rebel raged through town with distortion blaring, middle fingers in the air, girls dropping their panties, and flames everywhere. Flanked by bandmates Frankie Sil [Bass], Ben Graves [Drums], Needlz [Keyboards], and Eric Griffin [Guitar], he distills heavy metal, industrial, and punk into anthems that are as corrosive as they are catchy. Whether or not you’re prepared, Suicide has arrived.
As a kid, he always knew the “safe” life wasn’t for him. In order to tune out the fights of a broken home and the pressures of church, he’d crank Guns N’ Roses, Pantera, and Metallica on his stereo and play guitar as loud as his small Peavey amp would allow.
Music kept him away from drugs and other trouble, and his three patron saints became Axl Rose, Marilyn Manson, and Eminem. Beyond adorning his arm within a tattoo tapestry, he learned one important thing from these icons that eventually inspired him to move from the East Coast to Hollywood.
“It’s important to pave your own road,” declares Suicide. “I hit a ceiling. I had some opportunities that slipped away, and I woke up one day with the idea of ‘Davey Suicide’. I needed a constant reminder that we’re all in the driver’s seat. If I give up on myself, shit’s not going to go the way I want it to. I’d rather live by my rules than feel like I’m stuck inside a box. It’s about believing in yourself. Put your trust in Suicide.”
You can begin with the fourteen songs on the album. The first single “Generation Fuck Star” thrashes with intense industrialized guitar and an arena-ready hook. With a music video concept penned by Suicide himself, “Generation Fuck Star” is an unforgettable calling card both sonically and visually.
“It sets the tone,” he affirms. “It represents leaving all of your baggage behind. I’m breaking free from all of the things that have plagued me for years and becoming comfortable in my skin. It speaks to kids who have grown up in fucked up situations. So much watered down bullshit is forced upon the masses. People like the Kardashians get super famous for being talentless. I want to break that mold. We live all of this. This isn’t a costume.”
What you see is what you get, and Suicide isn’t pulling any punches. Targeting hypocrisy, his unbridled honesty courses through the synth snarl of “Sick Suicide” and the stomping riff bitchslap of “Grab a Gun & Hide Your Morals.”
He sighs, “A lot of people choose to be religious because they’re scared of going to Hell. Do something because you mean it not because you’re afraid of the consequences. The thought might be villainous or shocking to what the social standard is. I’m not saying anything untrue though. If people want to believe the façade, I’m going to expose it.”
He also deliberately leaves no emotion untouched. Tracks like “Hustler Queen” and “Uncross Your Legs” ooze a dirty charm, while “I’ll Take a Bullet for You” is a mournful addiction elegy carried by a faint acoustic melody.
On stage, it comes together with a brutal bombast. For Suicide, the show is paramount. “We’ve assembled five guys who are essentially frontmen in their own right,” he adds. “I wanted to have all of the bullets in the chamber and fire them off at once. That’s what we’re about to do.”
That blast is going to leave a big mark, and things may never be the same. Welcome to generation fuck star, and say hello to your new leader, Davey Suicide. — Rick Florino, April 2012
ABOUT APOPHIS THEORY–
Apophis Theory was formed in July of 2007 by Rob Jones (formerly of Red Eye Rhapsody – Portland, OR and the Ron Truhertz Project – Portland, OR), John “Reverend Chainsaw” Faler (formerly of Babies in the Sink – Washougal, WA and Hydrozeen – Washougal, WA) and Jake “Deakon Grage” Sutton (formerly of Shattered Soul – Warner Robins, GA, Amity – Warner Robins, GA, Sinnomore – Medford, OR, Throttlebody – Boring, OR and Hydrozeen – Washougal, WA)
After the group was formed, an addition of Alex Steel on lead guitar rounded the group out, a 19 year old guitar prodigy. Alex left the band in 2008 for personal reasons and was replaced by Ray Cassidy for a short span. Dan Noe took over on lead guitar…then left. After Dan left Rob, Chainsaw and Deakon pushed on as a power trio.
Today Apophis Theory is complete as a 3 piece band. Current members are Rob, Chainsaw and Deakon.
Apophis Theory’s sound is unique with a killer groove to their songs. Their live shows are energetic and full of spirit. At this time Apophis Theory is preparing to record…this time they are doing it the right way. Watch out the asteroid is about to conquer the EARTH!
ABOUT DEAD ANIMAL ASSEMBLY PLANT–
The Sweet Meats Slaughterhouse was founded in 1895 by Wilhelm Schröder. Internationally known for his advances in industrialized butchery…he produced 30% of the meats consumed in the United States. In 1915 tragedy struck the small town he called home when all the livestock took some unexplained fatal disease. The ever resourceful Schröder turned to the only available meat. The townsfolk. When they discovered the terrible truth – they enacted their own form of justice. Feeding the once prolific Schröder to his own machines. The Sweet Meats Slaughterhouse remained eerily quiet and vacant..until one night…horrible noises resembling music emanated from the dank hallways.