I made a pseudonymous appearance on drums for this album and later ended up mixing and mastering it as well. We worked on this album throughout the last year. A little about the project:
Bull of Apis Bull of Bronze is a collective against hierarchies, and the power structures that divide and separate humanity. The power that you feel inside you should be focused as a knife point into the hearts of those that only know how to consume, and those that live off the backs of the downtrodden… We aim to use the frustration, anger, and horror of our time to pursue meaningful change. Black metal is about power. That fire in your belly can be harnessed. It can be pointed in a direction that moves us forward. That is what we hope to accomplish.
“There’s something to be said for chaos: unrule, disorder, and entropy define our modern existence perhaps better than any of their positive antitheses. It’s in this veritable gauntlet of human destruction that extreme forms of music thrive, though it’s a total misconception to assume that “fringe music” is always overly hyperbolic or necessarily panders to exaggeration. There’s actually a clear, realistic message spewing forth from the void; the darkest dawn imaginable still holds profound meaning, it’s just up to the artistry and creativity of those who can access it to, well, actually convey it. It’s here where Colorado/Washington-based black metal outfit Bull of Apis Bull of Bronze make a mark with their debut full-length Offerings of Flesh and Gold, which we are honored to host in an exclusive full stream below.”
This is the pre-release single from our debut album, Offerings of Flesh and Gold, which currently has an undetermined release date a few months away. I tracked and played the drums on this, as well as mixing and mastering the project.
14 years ago, in 2005, I decided that I wanted to start a band.*
I never started that band. But I did write the instrumentals for its debut album. These are those songs.
The writing process for this album overlaps with the writing process for my album Retail Monkey – ADD/Nihilism, which was released in 2017. Retail Monkey’s songs were written between 2004 and 2007. Piranarama’s songs were written in the middle of 2005. While Retail Monkey was intended to be whatever Steve, Joel, and I could imagine, regardless of if we thought it was playable or remotely sensible, Piranarama was definitely intended to be a live act.
At the time I could play most of the guitar and bass parts for this album, but the drums were a few years beyond my skills. I wanted to take the position of one of the guitarists in the live act and find people to play the other instruments, as well as someone to do vocals since I hadn’t yet developed a workable scream. I never made it happen, and eventually the idea fell by the wayside…
When I finished up recording the drums for A God or an Other’s Chaotic Symbiosis in February 2017, I decided on a whim that I might as well finally record Piranarama while my drum mics were still set up. I knew these songs through and through after all the years of imagining them and ended up recording the drums in a single day with no click or reference tracks. I recorded the guitars and bass over the next week. I didn’t write vocals back in 2005, since I intended to have someone else do them, so I took a few months to place words over the vocal patterns I had always imagined. The vocals were recorded in May of 2017.
At this point the project sat for a year while I worked on other things and while Laura and I moved from Washington to Colorado. I put a few finishing touches on the tracks in May of 2018 and then worked on mixing until October, when I decided it was done. This album was actually 100% complete before the aforementioned Chaotic Symbiosis, which we released in November, as well as my other recent solo album Grim Christmas, which I put out in December. Those release dates were solidified already, so it made more sense to me to wait a bit to put this one out. I selected the release date as 2 years from the day that I started recording the album.
This album is a period piece. It represents my own spin on the type of music that was popular in the Redwood City scene at the time. It’s nice to have it as a finished product after all this time, chuggy breakdowns and all.
*Technically, “another band,” as I was already in a few bands at the time. However, none of them that played anything like this kind of music.
Cassettes were made in the print shop and are available via Big Name Records and Bandcamp.
9 tracks (29 minutes) of aether house / hip-hop. Instrumentals for In Lakesh, 9 3 6 Sick Shit, Time and a Place and a Way, Peace, Muse, and Stop recorded and submixed by Marcel Erasmus (Lesmus/Cellstar). Instrumentals for 1st Eye and Rays recorded and submixed by Brian Duffy (BDuff). Instrumental for Gold Truth recorded and submixed by Maamoul Al-Hijaz. Vocals for Gold Truth recorded by Nuri Hobess, and the vocals and the instrumental were submixed together at this time. Vocals for all tracks other than Gold Truth recorded by Hxnnxble. Fretless bass on Peace and baritone recorder on Stop performed by Jon Lervold and recorded at Big Name. All tracks mixed and mastered at Big Name.
Just over five years ago, while walking on the beach on a gloomy November day in Aberdeen, I had a thought: “What would Christmas carols sound like if they were turned into black metal?”
It was just a passing idea. I think the possibilities of playing around in that style were on my mind because I had just finished recording A God or an Other’s debut album, Towers of Silence, which heavily drew from the black metal lexicon. For whatever reason, the idea for this album really stuck with me. I knew I had to make it.
Obviously it had to be released during the Christmas season, but it was definitely too late to do so that year. There was no way I could arrange, record, and release it in just a few weeks. I could have recorded it and waited until the next year to release it, but I’ve always found it unpleasant to sit on finished releases for more than a short period of time. So I decided to wait ten or eleven months to begin.
Well, the next year came and the same thing happened; by the time I finally started considering working on it, it was too late to begin. This process repeated for the next four years. I was annoyed with myself each year, but now I recognize it’s for the best. Shortly after I came up with the idea, I ended up joining A God or an Other as the band’s drummer, which dramatically increased my blast beat chops over time. Half a year after joining, I started contributing vocals as well. My bandmates were really good at tremolo picking on guitar, and so being in the band also encouraged me to develop that skill. All those hours of practice within the style really helped bring about a superior end result compared to what this album would have been if I had recorded when the idea first struck me.
One other benefit to waiting 5 years between the inception of the idea and its execution is that I spent a lot of time between then and now expanding my understanding of music theory. This made the transmogrification process much more successful than I think it would have been in 2013.
Anyway, inspiration finally struck in September. I knew that this was the year. But there were two things making it a little more challenging than it normally would have been. First, I was insanely swamped with overtime at work. Second, my wife and I had (and still have) a newborn at home, and taking care of him requires quite a bit of work. My time was quite limited. But when I feel compelled by those mysterious creative forces to make something, I have to do it. So I found time. Most of this album was arranged and recorded between the hours of 5 A.M. and 6 A.M. on weekdays before I headed off to work. The process was a little rough but totally worth it.
I picked public domain songs purely for legal reasons, as I would like to be able to use these in any way that I may see fit in the future.
In order for a song to be picked, it had to be originally written in a major key, as it would not be as dramatic or as fun of a transformation to do a song that was originally composed in a minor key. I really wanted to play around with some of the more exotic minor scales instead of exclusively using aeolian mode. It was fun to utilize sounds like neapolitan minor and harmonic minor and to build some four part harmonies with them.
The last qualification for picking songs is difficult to explain. They had to make me feel some sort of… resonance… within myself. This has to do with the history of my early life. I’m not a Christian, but I was raised Catholic, and that upbringing had quite an impact on me. I heard these songs so many times in mass over the years. It is enjoyable for me to hear these representations of that part of my life turned around into something that is now meaningful to me in a new and very different way.
Until 2013, I was certain I would never make a Christmas album. Now here we are. Life is strange.
I hope you enjoy listening to it.
Cover art by my wife, Laura Lervold.
Cassettes are available through the Bandcamp and Big Name Records.