Oh man, well I’ve lived here in Missouri my whole life. I think I first got into metal when I heard the Mortal Kombat soundtrack when I was in 4th grade. It had songs from Type O Negative, Napalm Death and Fear Factory on it. When I heard the vocals on the Napalm Death track (“Twist the Knife (Slowly)”) I was just into metal from that point on.

So at what point did you decide you actually wanted to create this form of music?

Oh I think I was about 18 or 19. Old Ways was actually my first recording, even though it was just released a couple of years ago. I’m actually 26 now so you can see. There was a significant delay in actually getting these albums released from when they were actually recorded, that’s why I have so many releases.

That’s actually a great segue! Lets talk about that, you’ve got to be one of the most prolific musicians out there. 5 CDs this year alone and 13 total since 2006… that’s just crazy! What’s the cause of this production? Do you have a vast back catalog of written music or are you continually writing?

A little of both. I’ve got a large back log of material and obviously since I’ve been recording since I was 18 without releasing it the back log is pretty big. I also write a lot. I have a part time job, so I have a lot of time to write and I’d go crazy otherwise.

Of your 13 CDs, it’s split between the abrasive black metal and more ambient, electronic atmospheric stuff that’s completely different. What’s your logic for releasing them under the same moniker? Have you given any thought to releasing the atmospheric stuff under a different name?

I guess I look at it like Perez, a composer who would compose some orchestral work but he would also compose a solo piece.  It’s all the same personality coming through in the music. The only changes would only really be idiomatic or stylistic — it’s still the same mind creating it. It’s just different ways to express the same musical personality. Unless I had a really specific purpose for a project, I can’t see releasing anything under another name.

So what exactly does Jute Gyte mean?

Let me think about this for a second [pause] It really doesn’t mean anything. With electronic music and metal, there are all these bizarre , unusual titles and names, and I think if I had chosen something more black metal, I would have been more limited in my style. I kind of made it up. It leaves me very free to pursue any sound I want without being limited.

You also run and own the label Jute Gyte CDs are released on, Jeshimoth Entertainment, right?

Yes, me and a friend of mine run Jeshimoth… very ineptly I might add. It’s m0stly for Jute Gyte. There are a couple of other bizarre things that my friend does.

Tell me a little more about your influences. Obviously being a one man black metal act there’s going to be some Leviathan and Xasthur references, right?

I’ve heard a little of Leviathan and Xasthur. But the  black metal I listen to or mean the most to me are the first two Burzum albums, the first Havohej, Judas Iscariot, Inquisition… stuff like that. I don’t really know a whole lot about the USBM scene outside of Xasthur and Leviathan. I’ve seen some reference to Krallice in some reviews but I’ve never really listened to them.

I don’t really hear Krallice in your music, I think you are much harsher. But on each album, you seem to shift a little in style and sound. Old Ways was super harsh and abrasive, Verstiegenheit was a more organic, Ulver-sounding record and on the new one, Impermanance, you seem to inject a little groove and dare I say actual, simple riffs into the the mix of all the above. And that’s not even including all your atmospheric electronic stuff like Young Eagle.

Well, the thing with Old Ways, I think it’s an interesting sound, but I think it limits what you can write. You can lose clarity so quickly within all the layers of noise and distortion. I felt if I continued with that sound I’d be backed into a creative corner. With Young Eagle,  it sounds really buried. It’s not my intention to change sound for every album,  I’m  just trying to find the ideal expression of the kind of black metal I like. I don’t try to innovate or change or try to innovate for the sake of innovation. I just try to make music I like.

When can we expect another album? Later on tonight? Have you released an album while you were sitting here? 

[laughing] Oh probably not a black metal CD until next year, though I may try and release something electronic by the end of the year.

I assume you do everything in-house and DIY-style. including the recording. A basement I imagine?

Right, it’s all in-house. Though I don’t have a basement, it’s just a dedicated room/space with instruments, computer and mic set up

I’ve always been curious about the process of songwriting for a one man band. Especially when it comes down to these 11 minute type songs. Is it a riff, then everything built around that? Or a beat or lyrical theme and the riffs built around that?

A lot of it happens after recording. I’ll simply record several riffs. Then it all gets overdubbed and arranged in the studio with a structure lines and software. Coming from electronic music, I like being able to move things around and play with the music after it’s recorded. I never really have a set structure fully developed when I’m recording. It all gets put back together afterwards.

What about the lyrics? Do they come before or after the music? A lot like your music, they seem all over the place.

Lyrics are the hardest part of the process for me. They take forever to write. I’ll have some written before I record and some after. Its odd, I really don’t care a whole lot about the lyrics in other peoples’ music. I really don’t read them. But in my own music, I feel like I should put some effort into them and make them high quality. I try to write lyrics that don’t hide behind typical black metal tropes and standards. With Impermanence, I was really trying to deal with issues like mortality… death of loved ones. Just trying to come into terms with unpleasant things in life.

So it sounds like the music and lyrics are certainly a bit of a release for you?

Yup. They are a headache to write, but when I’m performing them, they are definitely a release.

So I image that makes for some awkward moment with roommates, neighbors and such?

[laughs] Ha! Actually, when I was recording vocals earlier this year, a postal worker came by and heard me recording and I guess thought I was being murdered or something, because the police showed up at my door. I had to show them the mic and instruments to convince them there was nothing going on.

So, I’m going to ask the questions I’ve been dying to ask since I got your first CD for review: Why the heck do you puts your CDs in those DVD cases instead on regular CD cases? Those things are a pain to store in normal CD racks and shelves. Are DVD cases cheaper or something? 

[laughs] Well, I would be very happy if I could dispense with cases and just release things digitally. I hate messing with proof copies and packaging. Honestly, I like having a little more room for the artwork as some of them wrap around the DVD case. And actually the DVD cases are more expensive, even though it’s marginal. It was definitely an aesthetic decision I made.

Do you have any ambitions of spreading your creative and musical wings into another genre, say a doom side project or something?

I have some more doomy stuff recorded, and little more noise/electronic stuff. It will still all be all under the Jute Gyte moniker if I do release it.

So, like everyone in the scene now, I assume you’ve heard the new Liturgy record as well as the now infamous manifest that Hunter Hunt Hendrix did. Any thoughts?

The music itself — I can take it or leave it. It doesn’t do much more me, what little I’ve heard of it. I actually don’t listen to much black metal.

Why is that? As black metal musician wouldn’t you want to expose yourself to the style more? Whether to compare yourself or at least stay on on current trends?

Well, I try to not just limit my self to black metal. I like Deathspell Omega, but I like lots of other music, especially bands like Grief. As far as black metal, I keep coming back to older Burzum. I like Forgotten Woods I guess. I actually like a lot of old school, simple death metal. I love Bolt Thrower, Asphyx, Jungle Rot… that kind of stuff. I even like some of the brutal pig squeal death metal like Cephalotripsy.

That’s surprising, considering the music you play. Can we expect a slam death metal record from Jute Gyte?

I can’t do the death metal vocals! On the new record I have a couple of songs with death metal vocals, but I’m just not very good at it. I wish I could growl like Karl Willets, I love that authoritative deep growl. I loved Barney Greenway’s vocals on Napalms Death‘s stuff Fear Emptiness Despair. Oh, and I like Martin Van Drunen a lot too.

How in the heck are you not signed to a label like Moribund? They seem to be a perfect fit. Are you not really trying to be on a label?

I guess I’m not really trying, in today’s day and age, it’s not really necessary to be on a label. Especially with music going in a much more digital direction. I’m happy with  where I’m at now.

 http://jutegyte.bandcamp.com/

Grand Master Jaldaboath is a master of the Jolly Jig, not the miserly dirge !

It’s obvious from the songs on the album, and the video for “Hark the Herald”, that Jaldaboath is meant to be a more light hearted, humorous act. Was that the goal? To bring some levity to metal again?

Levity and brevity hath made the world witfull, woefull and wise! May the stones of the houses come alive and kill their owners. The power of the glorious sacrament of merry-making is an oft mis-understood magic !

That being said, on the album there’ s a distinct divide between the ‘ fun’ songs like “Hark the Herald” , “Bash the Bishop” and “ Axe Wielding Nuns” and some of the other tracks like “Bring me the Head of Metatron” , “Jacque De Mornay” and “The Da Vinci Code” . Was there a concerted effort to make some more serious music or was there a transition at some point in the band’s past?

There is the beginning of Jaldaboath which includes a purging of vomit, and then there is the second life of Jaldaboath which continues to be the centerpiece for all new material (what you may call the ‘fun’ part).

Speaking of “Bring me the Head of Metatron” , with Metatron being the other co-founder of The Meads of Asphodel, is there some animosity there or is this song in jest also?

At the behest of the jester, heads must roll!

I also noticed on a few tracks―especially “Hark the Herald”―some very Bal-Sagoth like moments of synths and deep spoken words. What I’ m trying to figure out is, if you are taking the piss out of Bal-Sagoth or not

What is this Bal-Sagoth you speak of?

What movie is that used in the “ Hark the Herald” video? Ivanhoe?

‘Tis an unsung silver-screen creation, one that is in the domain of Sir Joe Public. Methinks the Wyvern searcheth for ammunition…

It took me while, but I eventually recognized the theme of British ’70s kids show ‘Rentaghost’ in the song Jaldaboath. I watched that growing up myself. How did that come about? What’ s next? Using the Rainbow, Magpie, Mr Men or Play School themes?

One is never quite sure what can happen when the mettle melds to metal, and the psychotic jamboree starts to turn its whirlygig.

Some of the material on Rise of the Heraldic Beasts is a few years old, and was self-released as an EP a couple of years back. Do you have any newer material done already?

There is always more depths of depravity to exhume. Always!

Is the new stuff more fun and humorous or the darker, heavier stuff?

Expect some rousing tunes along the lines of “Axe Weilding Nuns”, “Bash the Bishop” and “Calling on all Heraldic Beasts” !

It’ s pretty obvious that the humor in your music and video has a British flare culling from the likes of Blackadder and Monty Python’s The Holy Grail. Do you think this sort of humor will be missed by non-British metal fans that hear the band or they just wont ‘ get it’ ?

We care not – diddle-aye diddle-aye.

As a Brit who grew up watching Blackadder, is there a particular season or episode of the series that you are fond of? For me, I’ m partial to the Dictionary-episode for the Blackadder the Third.

Ti’s true that the obvious candidate for the most jollisome Black Adder is number 3, follwed by numbers 2 and 4. 1 is a horse of a different colour.

Napalm Records is a perfect fit for you, especially considering that they are one of the top folk metal labels around. How did the deal come about and when can we expect another album?

Napalm Records are scallywags who brave the shit-storm to fly the flag for Jaldaboath – wether they can weather the seasons or not is another question entirely ! Expect more ludicrous music and more silly videos to stomp you battle-boots to.

Any tour plans? Please tell me you will be coming to the US with Alestorm and Tyr?

Alestorm are mighty good fellows ! I parlied with them recently and am glad to report they are for cert some of the most hearty sea-swabs a man could meet. I am currently working on the production of an album for some other good friends of mine ‘Old Forest’. When all the dust has settled, we may see which way the wind will blow. Raise the crumhorns !

www.myspace.com/jaldaboathofficial

Well, we had a great time with Olympic, but they went under after two releases with them. As for Crash, they can go fuck their selves. I never have been ripped off so bad. They just sold me the dream and never did a thing for us. We lost out on a lot of money that was owed to us. So I tell everyone to “stay away for this cancer;” he will fuck you good.  As for our new label Napalm they are true pros at what they do. They know how to treat a band with respect and promotion. They are a cool label with all types on music on their roster. 

Do you feel that you’ve found a longer term home with Napalm? Do you believe their distribution in North American will be sufficient? 

Yes, a lot of our other labels were only for one release. But with Napalm we signed on for four CDs. I have seen Napalm grow over the years to a major label in the underground world. We signed with them because we knew they have a killer distro in Europe and promote like hell. Our main concern was to find a good label with support in Europe for the new CD. Over the last four years our touring has only been in Europe and a little in the U.S. We know they have ok distro in North American, but they try their best and it shows. We all feel that our biggest market today is in Europe with all the U.S labels signing trendy shit today. 

How long of a search was undertaken before you settled on Napalm in 2008?

We were working with a few other labels as well but it took like eight months to land this deal after dealing with lawyer and stuff. Then another six to get it out. That’s why it took some time for this new release.

How much does a dedicated fan base – like Jungle Rot has – have to do with the level of importance on being on the “right” label? In other words, is it less important once you’ve established a core of dedicated fans? 

It is very important to be on as good a label as you can. You still need to reach out to metal heads that have not heard us yet. With a good label and support it can take you to the next level of success we are all looking for. 

What Horrors Awaits has been released about three years after Warzone, which itself came two years after Fueled by Hate. Is a two to three year span between albums about right for Jungle Rot? 

Yes, but we don’t want it like that. We have had some bad luck with getting new releases out faster. That should not be a big deal now with our new home. But you do have to wait til the label is ready to put it out as well and that also takes some time.    

You had the Live in Germany DVD in there too, which I’ve yet to see. I don’t even think Crash sent me a copy. Are you happy with the way the DVD turned out? 

It’s no surprise that shitty label didn’t send you one. He’s too cheap to pay for the postage. The DVD is ok for our first one; it was filmed by some fans of the band and they did their best. 

Any reason why you are pictured separate from the rest of the band members in the booklet of the new CD? Or is it a simple matter of you being the band’s life’s blood since the beginning? 

I don’t know why it ended up like that. I guess everyone that knows I am the blood of this band. I think that’s just the way it got laid out for no reason but to fill up space.

 “State of War” is such a classic sounding Jungle Rot song, whether the darkness of the tones or lines like “killing in your government’s name.”  Talk about that one

Yes that’s a killer song to play live. You know how many people were brain washed back in the real wars to kill, kill, kill; it’s for your country, it’s for our rights, and for your freedom .Get in there son and kill, kill, kill.

The vocal overlapping works quite well too – are both voices your or is one that of Geoff Bub? As he is listed, secondarily, as a vocalist, are his backing vocals heard in other places?

No all the vocals were done by me. I tried to get Geoff to do some backups on the new CD, but I think he didn’t know where I wanted most of them so I did them. I hope on the next release he will step up to the plate.

How did you decide to include “Invisible Force,” the Destruction cover?

Well I used to tell all my buddies that someday I was going to record that song. We had the chance to do it, so we did it. I feel it came out good. We did it like Jungle Wrote would have wrote it. It’s a cool song to play live as well; all the people know it and jump up and sing it with us.

The soloing on “Invisible Force” sounds great. You’ve always used lead/solo parts sparingly in your work with Jungle Rot. Share your thoughts on the role of the guitar solo in death metal and in Jungle Rot specifically.

I like them a lot and we are trying to use them in a little more. The problem we have is we tune our guitars way low down to #B. We do not have whammy bars on aur guitars because they stay in tune better without them. We are just not good enough players to play without a whammy bar and most of the leads are done with this type of playing. But some day we will.

War is always a central theme in the lyrics of Jungle Rot, but are some of these songs more indirectly related to it, if at all, such as “Atrocity,” “Braindead,” “Two Faced Disgrace,” and “Speak the Truth?”

Some of the songs did get away from the subject of war/gore. I think a little bit of anger for being let down time and time again came out on the new CD.  And a couple of others were about personal demons we all deal with through our lives.

What about the lyrics to “Black Candle Mass?” I’m thinking of a line like “The glory you seek is hidden in the mass.”

That song I was just sitting around with the guys and having  a good time with them writing the lyrics for it.  The entire song is about someone just not being able to deal with the bullshit anymore and he snaps. He goes to his book of death and starts a Black Candle Mass before he begins his killing spree. The glory you seek is hidden in the mass. Are all the victims that fell to his wrath? 

The production, mixing, and mastering were a joint effort between Jungle Rot and Chris and you got a great sound as a result. The guitars are clear and crunchy, the bass has a presence in the mix, the drums are crisp, and the vocals well produced. Talk about the production effort and the sound you really wanted to capture when you went into the recording of What Horror Awaits.

Thanks. Each time we go in to record you are trying to make it sound better then the last one. Over years with working with Chris we have figured out what we are looking for when mixing and mastering. We have done all our recordings with Chris and each time we do one its better. Chris played with me for over five years so he knows what this band is looking for and all about.

Gyula Havancsak’s artwork is especially fitting for a Jungle Rot release, wouldn’t you say?

Yes we finely had a good budget form the label to get some killer art work. I talked to him a few times with some ideas and he nailed it.  It’s very clear to see what’s near in the world we live in. It’s everyone against everyone, people are trying to keep their lives, keep from losing their jobs, families, and their homes all die to a corporate life of greed.

How intensive will the touring cycle being for this album?

Well, that has been a big issue for us. We cannot fine any agency that is willing to work with us in the U.S. This hurts the band a lot because this is why we keep this band alive to go out and tour. Over the years the music businesses have been ran by politics and favors being owed. This really hurts the hard working bands to get a chance at getting on a good touring package. As for Europe, things are better over there. We will be Headlining a tour in the fall with some dates with Six Feet Under. We have been doing all our touring over there for the past five years. I just wish we can get a break in the U.S so we can play for our fans again sometime.

Speaking of touring, has every touring cycle been better than the last since Jungle Rot began? Are there particular tours that you found to the best?

It started out like that in the beginning, but it all came to an end. When we first started we toured whenever. Now with all the bullshit in the business we don’t even get offers any more for the U.S. We still do all our own booking for the States and that is making it more difficult and harder to get out on the road for us. The Deicide tours were the best. Everyone got along with each other and we all did a killer job every night we played.

Compare your fan support overseas with North America.

I feel they are all the same. They all have metal in their blood one way or another. The only difference is that the shows are a bit bigger and they know how to take care of a band with food and support.

Jungle Rot has never been a band that was interested in radical style expansion. The music continues to be brutal, groovy, and catchy, even though the early years featured a filthier, perhaps more traditionally brutal sound. Would you say you’ve simply tried to get better with each album, yet maintain those key elements? In other words, how has the music changed over the years?

I don’t feel that we have changed at all.    We have always been true to ourselves and never tried to jump on what was cool or hip at the time. When I start to write for a new CD, I don’t go in to it  and say “ok, what’s selling the most CDs today?” and try to one up it and say it’s my style. I feel a band like us should be given respect and applauded for staying so true to ourselves over the years, with so many bands these days falling for it. 

Though some may disagree, I don’t think it’s a stretch to put Jungle Rot, Six Feet Under, and even Obituary in the same (or at least similar) category of the death metal, that being the groove-based kind. Even Bolt Thrower is not far off from that style.

I agree and that’s an honor for us to be in that category.  But I feel we have did are dues for just as long and never broke up. Both of the mentioned bands I like very much, but we still have some differences from them both and that’s a bit of core that you can hear in our songs

Do you think some bands “over-think” death metal to the detriment of memorable songwriting?

I feel some people  need to stop and think about how this style of music, how it set the way  for so many bands and labels and agencies just starting out and making them what they are today. That’s what gets me the most. They were all there when this style of music was cool, but now it’s time to move.

Any final words?

Thanks and maybe our luck will turn this year for the better…to land some tours.

www.myspace.com/junglerot

www.napalmrecords.com

Very much so. I’m really happy with it. I was able to work with some very talented artists, and working again with Neil Kernon was very cool too. It brought back a lot of cool memories of working with him on some of the older Nevermore stuff.

We were lucky enough to be able to record MOST of the CD right in my own basement studio, so the whole recording process was very relaxed. Sometimes it became a bit stressful simply because it was just Neil and I, shooting ideas back and forth for a month and a half.

When you have an entire band in the studio, there are ideas coming from four or five different people which can make the whole flow of things work a little smoother.

How’s the response been thus far?

The CD just came out in The States about a week ago and I’ve been reading some great reviews so far.

I’m very aware that the whole instrumental thing has been done many times before and was very popular back in the late 80′s and early 90′s. This was something I’ve personally wanted to do for myself for a very long time. It was really challenging as well, so I think any fan of Nevermore will appreciate this music in the same way.

Did the album go through various phases, directions or did you have a clear idea of what it would be from the beginning?

I really treated the whole writing process in the same way I write Nevermore music. I woke up early and came up with as many riffs as I possibly could. I would usually end up with about 20 to 30 ideas. I would then take that down to about 10 really good ones. If I was lucky by the end of the day I would have enough to put a piece of music together.

Of course all the tunes went through many different phases. I think all of my music usually does. Usually when I go into a project, i don’t stop until it’s done. I hate going into something and then taking a break from it. It tends to lose a lot of vibe if I go about it writing this way. Neil really had a big part of helping me with many of the arrangements too. For the most part, I knew exactly what i wanted from the beginning. Neil Kernon just saw how it all worked as “the big picture” and helped me put it all together.

Were there plans for a vocalist before the album began to take a shape, or was it always clear that Zero Order Phase  would be an instrumental?

Century Media initially wanted me to think about having a vocalist on the CD, but I Just figured that I would have the whole thing instrumental because I have been doing vocal work with Warrel for the last 15 years… so why not have it all instrumental. Who knows, maybe for future projects I will work with another vocalist.

Solo albums are a mixed breed in the sense, that usually they’re not that good or are extremely awesome. What does a solo album mean to you and how does it differ from working for Nevermore?

I think a solo record can really showcase someone’s talent on whatever instrument they play, but it can also  show another side to someone’s playing. I think this record shows just that. It shows a much more emotional side to me, rather than just playing a million miles an hour all the time.

Zero Order Phase is also a very diverse record. This CD does not sound the same musically from beginning to end, which was something I was really shooting for. It has many cool styles of music that I enjoy listening to. Whether it be classical, jazz, rock or something else.

I love working with Nevermore and always will. It’s something I started from the ground up with Warrel and Jim, but sometimes it can be cool to do other projects too. The only difference from working with Nevermore was that I pretty much had the freedom to do anything I wanted to do musically When you’re in a band, or at least in our band, everybody has to agree on something before it can become a song.

It’s rare to have two guys from the same band doing a solo record at the same time and come out almost at the same time. Did you have a playful arms race with Dane?

No not at all. Warrel started writing his solo stuff WAY before me. Personally, I’m not a very good multi-tasker, so it’s hard for me to write on the road. Warrel wrote a lot of his vocal melodies and lyrics for his solo project while we were touring, but I like to be tucked away in my basement with nothing else going on around me. When the “This Godless Endeavor” tour finally ended, it was the perfect opportunity for me to get my project rolling. So, I called Neil and Mark and two months later we were recording.

At any point, did you think about doing a Neurosis-sort of a trick, so that both of your solo albums, when played together, would have created a third separate album?

[Laughs] No. But that could have been cool!

So if you were held at gun point, which one of the two albums you’d pick? Or distract everyone by pulling out a new Nevermore CD?

[Laughs]  Good question. Look, I’m happy Warrel and I both got the chance to do solo projects. I think it was healthy for us and healthy for the band. I’ll just say I’m very excited to get to work on finishing up the writing for the new Nevermore album. I know a lot of fans will enjoy our solo projects, but everyone is always asking us WHEN IS THE NEW NEVERMORE COMING OUT?!

Speaking of which, what’s happening in the Nevermore camp? The DVD’s just around the corner, and from what I gather it took quite a while to come into shape?

Yeah. There were some issues with the editing of the whole thing. It comes out mid November. It’s a full concert in Germany that has some of the best tunes we have ever written. It also has a bunch of extras that the fans will enjoy. Right now, I have about six new songs written, and we plan on being in the studio by January for a Summer release.

Shifting focus back to you, I’ve heard rumors that you’re interested in doing soundtracks? I do notice some soundtrack-sort-of-influences on your album, but did you have some sort of a visual in mind when you composed the songs?

That’s one of my lifelong goals. Write a soundtrack to a movie. I’ve already got some people interested in using some of my solo stuff for that purpose, but I did not intend for that to happen. If I did do one, it would be more orchestral sounding. I mess around with keyboards and piano all the time at home, so hopefully one day I will put something like that into play.

Whose soundtracks have had an impact on you?

Of course, Danny Elfman and Hans Zimmer are great. There are also the two dudes that go by the names of Tom and Andy [I think] that do great work. I believe they did some cool sounding music to the movie “The Covenant” and I also like John Murphy and John Williams.

And if you got to do a proper soundtrack, what kind of movies or projects are you interested in working with?

Oh, I don’t know. Maybe something set in the future. I’ve always been a big fan of “Blade Runner” and all the” Star Wars” movies. Something with intense orchestration.

You know, I’ve got an animation coming out next year…

That could be cool too. Make sure you call me if you need a composer!

While we’re talking about composing, how the hell do you come up with all those riffs? Lock yourself inside a room, a bunch of guitars and a mountain of energy drinks? Consult the animal spirits? Steal souls from mere men?

I never really have no idea. Most of my best riffs were written at the spur of the moment. I tend to work really well when I’m under pressure. If I sit down and spend hours and hours at something, it can lose a lot of what I’m looking for as far as the intensity of it. I just sit down, play and press the record button. You would be surprised at what you can get when you have a listen back.

Actually, thinking about it [stealing souls], that almost sounds like a movie in the vein of Highlander. Except this time there only could be one guitarist? Which guitarists would you cast in that movie?

Jason Becker of course!

Moving away from the movie world, how’s the Hellraiser-line doing? Any plans for some new gear that’ll raise the GAS of guitarists all over the world?

My guitar is selling really well. A lot of people are very happy with it from the amount of good reviews I’ve read.

Right now there are no plans for a new design. Out of all the good 7-strings out there, my guitar is pretty damn affordable. It’s a solid heavy chunk of wood that sounds killer. I’m very happy with it.

Ah well, I suppose we’re about finished here. What’s happening next with Jeff Loomis, aside from the new Nevermore album? Can people expect to hear your or Dane’s solo stuff at gigs?

I plan on doing an instructional DVD and maybe a book too. Right now it’s just focusing on the writing for the new Nevermore. I might do some clinics in the near future as well, but I don’t think we will perform the stuff with Nevermore.

As a nice, warm and fuzzy closure, what’s the question you’ve always wanted to answer, but which has not been asked from you?

Have you ever played a solo with ski gloves on? The answer is yes.

I did this for a guitar competition many years ago and freaked a few people out!

Thanks a lot for taking the time to have a chat with us. All the best with Zero Order Phase and whatever is stored for you around the corner!

Thanks!

Zero Order Phase is out now on Century Media Records.