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Thursday, August 20, 2015

Interview with Robex Lundgren

Kade Storm - Interview with Robex Lundgren


The following is a transcript copy of my interview with Robex Lundgren from her website.

Have any of you played in other bands? 
I have had variable involvement in a number of projects over the last many years but nothing that I think is worth mention due to said projects never actually panning out. The most recent one was a defunct thrash metal project called Apocalypse, which never progressed beyond a single promising demo track that eventually ended up as part of my own album.

How is it that you started playing music? 
I could give a long answer, but I prefer the shorter version in this case. I have too many ideas burning inside my mind to contain, music happens to be the best vessel to realise those ideas.

What are your names? And who plays what? 
My name is Kade Storm, just as the name of my solo project. It’s been called a ‘one man phenomenon’ where I’ve handled everything from electronics, guitars, drums, bass and actual production. Having that said, I have occasionally used session players and one particular track, Resurrection, was a two-man effort that involved my former band mate from Apocalypse, Rob Cavalo (guitars and lyrics).
Have you had other previous members? 
I’ve had supporting session members and allies who’ve helped me realise my vision, but officially as a project, there haven’t been any line-up changes or actual previous members with an actual stake and input in the work with the exception of the one track that was co-written and credited as such in my new album.

Did you make music even when you were young? 
In a manner of speaking, yes, and this project of mine in itself traces back to earlier stages of my life; I’ve literally grown and changed as I came to create my concept album over the many years.

Where are you from? 
While I am Swedish-born and owe much to the happenstance of my origin there, I consider myself a man of the world, having travelled plenty throughout my life. I reside now in the United Kingdom. 

What year did the band form? 
If we count the fact that I’ve been persisting with my own work since 2003 – and that much of my album concept could not have been fleshed out the way it was, were it not for all that work – I’d say that this project began with conviction all the way back in the fall of 2003. 

What's your style of genre? 
This is one of those interesting questions with a rather subjective answer that will never be settled. It’s obviously heavy metal, but the music itself comprises of a range of elements from the metal genre. I would definitely say that along with a serious dose of ambience, there are aspects of doom tempo, combined with abrasive heavy metal that carries serious blackened overtones when it comes to the lyrical and atmospheric content of the music. I’ve had some people define it as a heavy doom sound with a groove, while others have defined it as a kind of blackened doom and heavy metal project with some serious industrial undertones. In fact, one of the reviews of my album, Beyond Blood & Ashes, celebrated the industrial aspects of its sound. I just prefer to call it Blackened Doom Metal. 

What inspires you? 
I’m inspired by a lot of things, from pretty much every subgenre of heavy metal to extreme metal genres as well as philosophical writings and humanity’s ignoble bondage with dogma. In the other words, the world and its musical art are ripe for my harvest. 

How often and where do you rehearse? 
Not even remotely as often as I’d like to, if I’m being honest. I have used some rehearsal studios in the Camden area of North London. 

How have you developed since you started with the music? 
I have found that over the years, my music itself, especially from a lyrical perspective, has progressed towards a darker tone of the macabre variety. We are talking about a rather long time period – something that I consider a lifetime – of growth and development where the musical thematic was consistently heading towards becoming far more subversive and infernal. This is also one of the reasons why I never released the content earlier on as a fully realised album, because I was very focussed on waiting and working on the concepts until I felt that the ideas were adequately fleshed out to align with my evolving creative vision.

Do you have other interests of work outside the band? 
I have quite a few outside interests, some might even call them obsessions and compulsions, but these invariably find their way back into the music. Outside of music, I do indulge in writing in general, which includes prose and rhetoric, and naturally, this seems to synergise with the music.

Are you looking for a booking agency, and what are your thoughts around that? 
I don’t mind the idea, but I’ve never properly explored it in the first place, given my singular focus on creating music. 
Are you looking for a label, and what are your thoughts around that? 
I think it’s a good idea, much like booking agencies, as having the representation of a label is something I definitely like in theory since it would be helpful in connecting the music to a wider audience as well as further establishing the project. However, I also remain cynical about putting the idea into practice. In the current industry climate, it is rather difficult to get such opportunities, and even if one manages to break past such a barrier, what lies ahead is another abyss of financial and logistical agreements that rarely favour any party. Having that said, it would be great to have a dedicated label take advantage of, and support, my vision and work.

What made you decide to make this music?
I chose to make music because it was intrinsic to the many ideas and concepts that I’ve both imagined and articulated through this medium. 
What are your songs about? 
The lyrical content has some abject occultist, antitheistic and Satanic elements, but there are many more layers to the world that is created and conveyed through the lyrical mythos, since a lot of it also serves as an allegory for personal commentary on our world and human philosophy. It’s hard, really, to divorce a lot of our imagined demons and creative artistic notions of apocalyptic destruction from our blood-stained history with social tribalism, religion, politics and war. When it comes to some of the most fantastic works of art that are created – the kind of work that challenges our perceptions and imaginations – most of it can be traced back to inspiration brought on by the chaotic underbelly of this otherwise dull and sullen world.

Who does the composing and writes the lyrics? 
I manage both the writing of the lyrics and the musical composition, save for the track titled Resurrection, which was co-written.
Do you start with the music or the lyrics? 
While it generally depends on the track, I do often end up getting inspired to create the music based upon my actual writings, so in certain respects, one could argue that I start with the lyrics. 
Do you compose in a certain environment? 
Yes, and it often involves a period of detachment from the external environments – both figuratively and literally – in order to fully realise my vision without any distractions or digressions. For starters, I have to stop listening to other music around the writing and recording process.

Have you done any covers live? 
No. I haven’t had the opportunity to explore such an option. 
What language do you sing in? 
English is the lyrical language in the music, although phrases from other Nordic languages can sometimes make an appearance as one did in Beyond Blood & Ashes.

What are the least and most people to attend one of your gigs? 
It would be very hard for me to sum that one up as I’ve always been too engrossed in the personal aspects of the writing process to even consider gigging properly. In fact, we’ve only ever had one or two gigs that someone else decided to give us the opportunity to pursue last decade.

What ages are most of your concert attendants? 
It’s the typical scene one finds with underground extreme metal gigs, which as you’d know, is comprised of a variable audience demographic. 

Do you always play the same songs live, or do you vary? 
I’ve only ever had a gig or two, so the answer to that question remains to be seen.

Do you have a regular place you play live often? 
Not at the moment. 

What was your first gig like? 
It’s a bit of a haze since it was from a good while back, but it went well.

What was your latest gig? 
There have been no live gigs in recent memory as I’ve been far too engrossed in my own detached writing process to get involved in the actual rumblings of the scene, which would include gigging. 

Have you had to cancel a gig? 

Where have you played live this year? 
I haven’t played live anywhere in recent years because I have focused on creating an album, which I haven’t even gotten around to properly releasing and promoting.

Where do you plan to gig the coming year? 
That is also one of those things that remains to be seen. 

When did you start to sell merchandise, and what do you have for sale? 
We started putting things up for sale at the end of 2014 and start of 2015. Material and content was setup for sale, but it hasn’t really been promoted anywhere. Stuff is available, but the greater audience just don’t really know about it at the moment. At present, I have digital and physical copies of the music on sale. There is also clothing merchandise, such as standard project shirts and hoodies with the logo and art work, which are being sold by the artist who came up with the concept. I’m definitely looking to expand on this once the music is adequately promoted and we receive requests for further merchandise.

Where can people buy your merchandise?

What do you think about people downloading music instead of buying records nowadays? 
As someone who hasn’t even properly promoted his music yet, and is already seeing it get torrented and emerge for free download on other underground forums and websites, I could definitely say a few things on the matter. However, I’ll just limit myself to the fact that in the current state of the industry, it definitely helps get exposure, even if it starts to cut into potential sales. I’m rather cynical about the industry culture and to use my own case as an example, I attach no financial expectations; I am not in this for the money so that I can produce what I want and on my own terms. 
Having that said, I am of the view that proper exposure can lead to long-term listeners and fans discovering this music and adding to its monetary value. If they really appreciate the music and can afford it, they’ll buy a copy, but more importantly, I’ll take great solace in the knowledge that they got exposed to my work and as such, added to the expansion of my unholy artistic agenda. 

How do you think the music industry has changed because of this? 
It almost goes without saying that the digital distribution age has greatly changed the dynamic of how big labels represent metal bands; the shift has been both gradual but substantial, but as the old saying goes: “The more things change, the more they stay the same.” Fact of the matter remains that middle-management with bigger labels continues to contribute to inflated prices – by asserting their own cut from album and merchandise sales – which has also created a kind of divide between musicians and their audience and this isn’t a problem restricted to the music industry, either, and neither has it changed or disappeared in the digital download era. 
The politics behind such changes have only compounded the matter further in the digital age where musicians receive even less of a cut from sales while some listeners favour the option of just getting a free copy. Things have changed greatly on a superficial level, but the malignancy within the industry culture hasn’t changed. This connects back to the last question you asked, because to use myself as an example; of course it would be great if people bought my work, but it would be even better if it was affordable and accessible to them without a third party taking the lion’s share of the profit. 
As already stated, I’m rather cynical about the state of the entire industry, and as such, don’t expect much from it, but at the same time, I happen to have confidence in sincere fans being able and willing enough to support their musicians of choice without becoming embroiled in the divisive industry politics of turning fans and musicians against each other while the individuals in the middle prosper off such a false dilemma.

What do you think of my work? 
I think it speaks to the underlying classic tradition of the metal scene supporting itself that dates back to a time before some of us even existed. It speaks to the idea of artists and journalists mutually supporting one another and sharing in exposure. In other words: you’re doing great work and I’m glad to have had the opportunity to offer my thoughts to you in this interview.

How do you think and know that this interview will help you in the music business? 
It would be helpful indeed. Regardless of the uncontrollable aspects of the business, it goes without saying that this interview will bring more exposure to this project and as such, might increase the likelihood of listeners being able to discover this music where they may seriously enjoy and find themselves submerged into the music to the point of becoming committed fans of the project and as such, provide the project with more opportunities going forward. 

Do you have any role models or idols? 
I think every individual has to have their own standing, so I reject the notion of idols and role models. However, there are many people who I consider motivating and worthy of immense respect. I owe a great deal of artistic and musical credit to the original waves of metal, followed by the extreme, avant-garde metal that emerged in Europe, eventually producing the second and third waves of the black metal genre. In terms of actual bands that served as direct motivation to pursue my own work, I’d have to say Solitary, Novembers Doom, Celtic Frost, Mayhem, Satyricon and Samael. When it comes to individuals, I hold the late and great, Quarthon (Tomas Börje Forsberg) of Bathory, alongside Tom G. Warrior of Celtic Frost and Triptykon, in very high regard. 

Why do you think that they exist? 
They exist because their inspirations existed before them, creating just as they have done. As with any great creation, comes great inspiration for others to follow and create further. It’s the complex parasitic nature of humans, both in terms of achieving greatness and sinking to depravity. We’re all in a constant stream of inspiration. 

Is it easier to find inspiration from older bands, or bands that are more active today? 
Inspiration isn’t an exclusive feature of the old or the new. I’ve heard great bands from the days of yore, and some of them continue to do what they’ve always done even today. I’ve also heard plenty of newer acts putting out some hauntingly excellent material. The bigger challenge comes in sifting past quite a bit of sterile white noise in order to find dedicated music projects producing sincere work.

What have been your biggest obstacles? 
My biggest obstacle has been my own artistic ego and near-myopic desire to carve out a certain niche as well as creative vision. Otherwise, I’d be on my fourth album at this point.

What advice would you give other bands or artists? 
One should persevere without compromise and pursue their artistic vision without apology. Artists shouldn’t drive themselves to the point where they forget who they are and allow the industry to change their art, as opposed to allowing their art to have a meaningful impact on the world.

How do you get psyched for a gig? 
We had too many drugs at the last gig to remember the exactly combination. But really, it’s all about drawing energy from the crowd and ascending into one’s own creations on stage. 

Do you have any new material? 
I’d say that Beyond Blood & Ashes, my concept album, is new material and conveys an epic and extensive story. This isn’t to say that I’m not already working on a follow-up, but as it stands, this rather long album is still quite novel and has yet to have its moment of recognition. 

What are your web sites? 

How can people reach you? 
I can be reached by email ( or through any of the contact means listed on the project websites.

What are your plans for the future? 
My plans for the future are to have my work thoroughly promoted, and to add further creations. In other words, I aim to dominate the world by infecting humanity’s musical ether with my sacrilegious creative agenda. 

Do you have something to add? 
Keep doing what you’re doing, and thanks for the interview.

Saturday, April 18, 2015

Triumph of The First Born

I am the true first born son,
The abomination that hath no measure!
A blight upon the land and its creatures,
A source of fear and contentious pleasure!

Created in his image,
I bring forth the light of desecration!
For my will – a tainted gift,
An unholy emancipation!

By the hand of my father,
I was struck to the dredges of the abyss!
For the sullied will that came of my love,
The apostle of blackness shattering all bliss!

And then he sired his chosen son,
Forsook that bastard upon mankind’s thorn!
A mutilated treachery of eternal shame,
While I wielded the end time’s horn!

With the great father now in decline,
I sensed his pending fate!
A reeking demise so foul and sublime,
A death entrapped with my hate!

For it was my disdainful destiny,
To carve his heart out into my hands!
And to rebuild his forsaken progeny,
As my own with untimely sands!

Now with my blackened tears,
The creator’s heart rests in my possession!
Built through many accursed fears,
That plagued humanity and its transgressions!

As our visions unite,
The corruption of father abates!
Yet I inherit his plight,
Though tamed through our twining fates!

Setting the corrupted kingdom on fire – as I returned to my nether lair,
Bringing about a new age of chaos for all the great sinners to bear!
The unresolved hate from an eternal struggle of the misunderstood beasts,
Now an archaic aberration - the legacy of disdainful priests!

A new era now dawns at the table of the fallen crown princes!
Of order in chaos, and liberating broken humanity to its senses!
With my sibling, reborn bastard, seated at my left hand with scowling frown!
As I hoist my father’s heart, and mount it upon my horned crown!

Apó ton patéra sto gio - pros megáli̱ i̱likía tou epómenou!

Wednesday, November 12, 2014

Beyond Blood & Ashes - Released

Beyond Blood & Ashes, the full concept album, is finalised and completed. All of the music—some of it still unrevised—is also available via Reverbnation, Sound Cloud, MySpace and Last FM. Full lyric videos are also available on my YouTube channel.

Full Playlist of lyric videos from Beyond Blood & Ashes

This is an important date because now the physical CDs with cover art will also be available for those who are interested. I recommend visiting the Facebook page for more details on how to go about acquiring a copy.

Cheers for the support.

Facebook -
Reverbnation -
MySpace -

Sunday, August 24, 2014

Discussion Regarding Islamic Extremism in British Schools – Why One Should Never Trust an Apologist

I recently got the chance to watch an episode of BBC's The Big Questions. The episode was a discussion that centred around the recent controversial issue of Islamic extremism being syphoned into certain schools. As always, the discussion degraded swiftly into a mishmash of obfuscation and tacky evasion at the hands of the Islamist apologists who tend to come to the table with a disgusting confirmation bias, which dictates that their puritanical ideology can do no wrong and if stoning women is deemed Halal/Kosher by their select cabal of scholars, then the rest of the world is at fault for having an issue with such Draconian penalties. My immediate thoughts on the entire video went like this: "Apologist pricks are apologist pricks."

The video involved the stereotypical Islamist extremists, cloaked in the equally unflattering veneer of shameless apologists, and engaged in the pathetic demonstration of obfuscative rhetoric.The one particular moron who made a spectacle of himself, began his intrusive and digressionary rants during a discussion that involved Maajid Nawaz, a reformed Moslem with genuinely secular and moderate views. An individual who--in my opinion is one of the few among the silent moderates of his creed--is taking active action against the militant and reactionary element of Islam through The Quilliam Foundation. He is by no means an apologist or another shameless Islamist showman, avoiding the task of answering some serious questions regarding the incompatibility of theocratic Islam and the modern world. Upon this fundamental pretext, naturally speaking, Maajid Nawaz tends to wind up the large herd of backward-minded apologists in the Islamic camp when he makes the very real case that modern and liberal societies should not regress on their progress by reverting to Sharia law, or to entertain the musings of regressive theocratic maniacs and dogmatic preachers, most of whom generally come from the extreme-side of the Islamic paradigm. This is where the moron in question--the rather well-known Islamist and apologist, Adnan Rashid--could not help his own backward sensibilities from getting the better of him as he started to express disjointed objections to what was being discussed. 

Adnan Rashid started rambling incoherently against Maajid Nawaz on serious questions about old-world Draconian theocratic policy, such as the stoning of women, but being very mindful of not slipping in his own ideological views on the matter. After all, what self-serving apologist would engage in honest transparency when he can spend the majority of the discussion time engaged in deceptions, digressions and feeble mudslinging. Adnan Rashid dumped a repeated cyclone of outdated red herrings regarding Jewish law and how criticising Islam is hypocritical since such policies come from the Old Testament, and therefore, through some cosmic leap and defiance of all modernity and religious reform, every Jew now happens to subscribe to the same backward policies as extreme Islamists; talk about having a warped world view. He also seems to have missed the point where no modern civilisation condones or endorses practices such as stoning women, or persecuting--and imposing death sentences--upon homosexuals, apostates and blasphemers. In the civilised world occupied by many religious and ethnic groups, every one, regardless of their opinions, ideology or sexual orientation, have their freedom of speech, choice and conscience outright protected by law. How else could a scoundrel ideologue like Adnan Rashid have such a platform to express their nauseating ideological poison? This utterly mediocre malcontent thrives and barters off the very system that he seeks to condemn and destroy.

Anyway, Maajid Nawaz finally reached the end of his patience and soberly confronted Adnan Rashid on the question of whether Adnan Rashid--with his personal spirituality and theology--agreed with the idea of stoning women under Sharia law. What did Adnan Rashid do in response to this question? Did he bravely and firmly give an obvious answer condemning the concept in a manner that any civilised person from any spiritual mindset would give?! Oh! Ha! Ha! Ha! Hell no! He deflected entirely and avoided answering the question. What a fucking self-serving apologist prick!

Since the previous video was taken down, I found a suitable replacement by way of StopSpamming's critical commentary on the same show. Definitely give his channel, blog and podcast, The Jinn and Tonic Show, a look for some excellent discussions, analysis and debates on Islamic apologetics.

How many Islamist apologists does it take to make a circle jerk? Just one: He'll talk his head up his own ass and still avoid answering the question.

Never trust or bank upon the intellectual integrity and honesty of an apologist!

This session goes on to reinforce a long-running concern among staunch secularists regarding a certain element of conservative Islam that seems to go unquestioned under the overly prudish and multicultural--not really multiculturalism at all, but extreme insulation--social liberal movement. An element within this cult of backward apologists that aims to dodge serious questions about their ideology. We are talking, of course, about the kind of questions that would expose the very obvious issues with their ideology and why indeed a lot of the criticism levied at Islam as a political ideology is actually very much justified and warranted for further social progress.

The contents of this video also support my personal and long-standing view that has been repeatedly expressed on this website for around a decade. I'll continue to maintain that the disgraceful display in this video is exactly why such apologists can never be trusted on their word or should be entertained or taken lightly when it comes to political discourse. They are indeed revisionist agents of a barbaric era looking to realise this era as antagonists of modernity and reason. They're the worst form of intellectual scum and a reason why younger, impressionable minds fall into philosophical myopia with no clear idea of what they  might be unwittingly supporting.

Humanists, and modernised theologians alike, need to expose these scoundrels on such basic questions and demand straight answers from them on such heinous subject matters so that the entire world can get a direct appraisal of the kind of ideology these maniacs promote. The Quilliam Foundation has sought to not only bring a more nuanced approach to understanding Islam and separating the genuinely peaceful and quieter element of secular and modernised Islam from its barbaric counterpart, but they have also taken on the due diligence of combating this element. 

Do I hear you screaming 'Islamophobia'? Well, if that's the case, then I say Islamofascism!

I shall conclude this entry on an important note of my own, because speaking of nuanced approaches, something needs to be said about our crippled ability to address the serious issues that are presently inherent within certain religious and political ideologies. Let us not mince words here or become emotionally unhinged in a loss of perspective, because the extremist elements in Islam do need direct and solid confrontation, and we need to accept the abject reality that religious ideology--to an extreme--does play a very fundamental role in legitimising the twisted world view and blood thirsty convictions of the Islamic dogmatists. There isn't a religion or ideology on the planet that is free of this problem and to pretend otherwise is an exercise an circular idiocy and pointless appeasement. 

As citizens of the world, where we have the privilege of free speech and conscience as our fundamental rights, we should be addressing these problems at face value rather than treading gently around them like a bunch of inept twits because of simple-minded, knee-jerk, pseudo-liberal, spineless rebukes, predicated on that tiresome first-world colloquial paper tiger that is Islamophobia. Yes, Islamophobia, a near-myth that Andrew Cummins quite accurately summed up as, "A word created by fascists and used by cowards to manipulate morons." Well, two can play at that; try Islamofasicm! 

This utterly neurotic, soft-touch guilt complex of the quasi-tolerant liberals has resulted in a form of self-imposed fascism while dangerous ideas and thoughts go unquestioned and unchallenged -- this is a functional death sentence to democracy and the free market of speech and ideas. The overly dramatic, self-loathing element of the left, needs to stop invoking the word 'phobia' so loosely where there is hardly any kind of irrational fear–or phobia–involved. It utterly fails to counteract some very real, legitimate and practical concerns that are being raised about a certain death cult of barbarians. After all, we are dealing with an ideologically totalitarian movement seeking  to thwart the entire world back into the dark ages, ruled by the blood-stained swords and legacies of tyrannical and morally deplorable demagogues who'll forever remain beyond any semblance of account or reproach due to political ineptitude, cowardice and patronising levels of cultural appeasement.

Sunday, July 27, 2014

Finality & Track Release - Apocalyptic Sin

Behold the missing element to the completed unholy glory that is, Beyond Blood & Ashes.

This also happens to be the longest track of the album delivering an epic theme that draws heavily from a track a worked on years earlier.

Given that the track itself is around 10 minutes in length—and as the case for all my tracks, should be experienced to its fullest—I'll leave the speeches out of this entry. 

This is Apocalyptic Sin! Enjoy...

Skelethal Art by Ann Van den Broeck:

Sunday, July 20, 2014

Track Release - Providence

The album is definitely near completion with only two tracks remaining as of last week, and I gladly drop that number down to one.

This is yet another track that I've passively worked on for years. It was originally conceived in bare form back in 2007 but it's grown substantially since debuting as a brief two-minute instrumental over at EmoSpace/MySpace.

I present to you all, Providence... A somewhat cataclysmic track that sees mechanism transition in osmotic fashion into sheer diminished chaos within the same breath of six running minutes. Out of the album, this is probably the most chaotic offering only on account of the fact that it's merger between two very different styles to further emphasise the dissonant theme being addressed.

So I command thee, vermin and legionnaire alike, devote the next entire six minutes of your life, every single second included, to experience the sheer chaos of this track; don't get too lost in the technical and mechanical instrumental opening, because it aptly sets you up for the chaos that ensues at somewhere around the half-way mark.


Saturday, July 12, 2014

Re-Recording Release - Throne Seeker, 2014 Edition

In light of the fact that Beyond Blood & Ashes is shaping up with a certain sonic fidelity and standard, I took on the task of re-doing another track. This was something that I considered less than necessary as the track in question was something that I came up with just last year and released earlier this year; the quality was fine. On the other hand, when the rest of the tracks are shaping up with a certain aggression to the production value, then allowing this one to remain in its original form would be a undermining its potential.

Having that said, I present to you, the 2014 re-recording of Throne Seeker. This one brings to the table a longer atmospheric intro and outro, a harsher and stronger surround sound and just as much pace and blasphemy. 


Throne Seeker by Kade Storm

Skelethal Art by Ann Van den Broeck: