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Today's Featured Biography
james owen, jr
Autobiography Outline
By
James L. Owen, Jr.
My Personal Account of Becoming an Independent Songwriter, Originator, and Founding Member of the Proto-Doom/Heavy Metal Band the Endless Void
First Phase of the Band Endless Void
Second Phase of the Band Endless Void
Third Phase of the Band Endless Void
Reflection and Methodology Applied
Technological Revolution
Submitting Music as an Unsigned Artist
The Academy Talent Company & Antithesis Records
The Task of Self- Promotion and the Gannon College Radio Interview
Researching New Record Companies Utilizing the Internet
A.I.F. Records & Hiring Local Musicians to Complete the “Final Doom” Demonstration Disc
Completing the Song Titled “Andromeda”
Duplicating and Distributing the “Final Doom” CD
The Task of Self-Promotion and Distribution
Utilizing the World Wide Web & Internet
Underground Webzines and Combating the Song Sharks
The Pros and Cons of Ezine Commentary
Recording the “Apparitions” EP at Pro Star Studio
A Rational Explanation
Intensions
Submitting the “Apparitions” CD to Ezines for Critical Review and Commentary by Forty-One Participating Websites
Music Tampa Bay
Acceptance and Rejection by Mainstream Broadcasting
Analytical Observations
Financial Limitations
Personal Commentary and Rhetoric
Latest Musical Plans and Objectives
“Near Death Experience” (N.D.E.) / Inside the Dream Land”
Stars in the Sky
Goals and Objectives
Distribution Outlet
First Phase of the Band Endless Void
The rock band Endless Void was formed during the fall of 1985 in Erie Pennsylvania. Originally, the band consisted of three members, myself James Owen (bass & vocals), Paul Sayre (rhythm & lead guitar), and Kenneth Lawless (drums). Our goal was to write and perform Heavy metal music. We were influenced by the New Wave of British Heavy Metal (NWOBHM) as well as many other popular Metal bands of the 60’s, 70’s, and 80’s eras. The Endless Void was based on a power trio concept and we relied on specific elements to maintain a full range of sound: (1) low-end bass, (2) echo for vocals, (3) a double-bass drum kit, and (4) very loud-distorted guitar. Together we wrote several original songs but “Prophecy” and “Troubled Times” were the heaviest sounding, most popular, and the bands desired objective. Although the duration of the band was short we did entertain many devote Metal fans at a living room show. This rare opportunity gave us the chance to introduce our new radical Metal style and sound as well as show our contemporary musical influences. Unfortunately, subsequent to much rehearsal and experimentation with song writing the band separated and each member went their own way to pursue personal musical goals and endeavors. Consequently, the first phase of the band ended but I maintained as the founding member. At this point I decided to pursue a solo career as a Heavy metal song writer and singing bass player in the new realm of Heavy metal Proto-Doom music.
Second Phase of the Band Endless Void
During the second phase of the Endless Void’s development I sought new candidates for performing purposes. I recruited two brothers, Thomas Ropeleski (drums) and Joseph Ropeleski (guitar) from Technical Memorial High School and persuaded them to join the band and consider performing live. The Underground music circuit was beginning to flourish with many new acts as well as performance opportunities. Meanwhile, the Endless Void rehearsed several songs so when the opportunity to play live was confirmed we were ready. Our first big show was held on the outskirts of Northeastern Pennsylvania at a privately owned “rock house” named Little Hope. We performed in front of 100 people with another band named Salem’s Lot. All in all the show was considered successful because we accomplished some important goals, had fun, and made a good name for ourselves. Later we were encouraged to play a second show but it was going to be held within the city limits of Erie Pennsylvania. This particular show was held outdoors and included many local artists with a wide range of musical diversity. Again with much success we performed our original song material and cover songs in front of an estimated 200 music fans. This second show was also very successful because of the crowd attendance, the recognition each musician received for their efforts, and the fact we performed live. Even though the Endless Void was popularly accepted the new recruits decided to leave the band and pursue new musical direction. More than likely my original song lyrics, musical genre, and personal preference were the contributing factors leading to the band breaking up.
Third Phase of the Band Endless Void
One good thing about participating with other local musicians in the Underground music circuit was we all enjoyed collaborating with one another and were very motivated. The drummer and lead guitar player of the band Salem’s Lot were impressed with my original music, particularly the song “Prophecy.” Therefore, they offered to temporarily assist me with some performance plans and join the Endless Void. As a result a third phase began. The idea started while I was running sound for Salem’s Lot at their rehearsal sessions and a local show. During a show held at the Asbury Barn in Millcreek Pennsylvania their band permitted me to perform the song “Prophecy” with Anthony Laken (drums) and Mark Alley (rhythm & lead guitar). Both musicians were impressed with our sound so we decided to perform again. Our second performance together was outdoors in front of an estimated 250 people. These band members were easy to work with because of the degree of talent they were capable of exhibiting at practice sessions and live performances. The guitarist was undoubtedly one of the best in the local area and the drummer was very accurate, solid sounding, and pleasant to work with. For these reasons combined as a group were capable of writing good music and performing live together. Our most successful song was titled “Generation X.” This particular period (phase) regarding songwriting and performing is considered very successful and productive because the new members demonstrated their ability to confirm to the Underground and Main stream sounds of the 1980’s Heavy metal music genres. Unfortunately the latest recruits were also temporary members so they eventually returned to their own musical endeavors perusing personal goals. Likewise, I did the same thing and intended on writing more Heavy metal music.
Reflection and Methodology Applied
At this point I began to reflect on the past and review my achievements and methodology applied. I began to realize that all of our efforts as group members were very important and I consider everyone who participated in the Endless Void’s practice sessions and Underground performances very motivated and valuable associates. The reasons being, other musicians made me realize how different people are regarding musical styles, creativity, and preferences; how important everybody is to the band as a whole regarding practice sessions and performing; how much I had needed and depended on others to accomplish personal goals and objectives. Truly, everybody involved including friends who sat in for a jam session became effective group members and made the Underground performance realm and band practice very optimistic and an enjoyable experience. Soon I realized attempting to become an independent recording artist and pursuing a solo career was a good idea, goal, and my next planned objective!
Technological Revolution
During the early 1990’s I participated in a technological revolution surrounding the recording industry. The present day recording studios were converting from analog to digital and experimentation with both old and new forms of recording technology were accepted. For example, home studio owners were using 8-track analog recorders and the financially secure record promoters, music producers, and professional recording studios were using digital equipment. Sometimes both methods were combined for sound enhancement and personal preference. Never the Less, all songs written and recorded with analog technology were eventually converted to digital. The vinyl records used for record players became obsolete. If independent recording artists wanted to evolve in the modern music industry they had to conform to the norm of digital technology. One day while researching and collecting local music and entertainment periodicals ,I found an advertisement for Cycling Troll Studio located in Fairview Pennsylvania. Thomas Hitt owned the recording studio, studied music theory, and was an accomplished drummer. For an affordable fee I was permitted to record at his home studio and use his eight track-analog recorder. For an additional fee he was willing to write drum tracks so I could use the music for demonstration and submission purposes. Then, I contacted former band mate Charlie Hunter of the band After Forever (1982-1985) and relied on his assistance to record several new original songs. However, only two songs were adequate for demonstration purposes. The most popularly accepted songs were “Prophecy” (Charlie Hunter on lead guitar) and “New York Girl” (Thomas Hitt on drums) recorded during the fourth phase of the band (the 1992 Cycling Troll Recording Sessions).
Submitting Music as an Unsigned Artist
After I finished recording my original songs I prepared to submit (shop) them to professionals in the music industry. At this point I began another serious step towards becoming an Independent recording artist. My new objective was to seek and contact record promoters, record companies, A&R personal, and music publishers who may be interested in my music, specifically any company interested in signing me to their record label and promoting me. Regardless of the degree of success anticipated one thing was for certain, it is always a good idea to copyright music for personal protection. I eventually prepared and completed the necessary paper work and official documentation from the United States Library of Congress Copyright Office and began to duplicate a limited amount of cassettes for submission purposes. I submitted my recorded music to many contacts in the music business. Many of these contacts were credible record companies, music publishers, and A&R representatives of the 1990’s music industry. I found many of these contacts listed in a reference book titled Song Writers Music Marketing Guide 1992 at the Erie County Library. This particular reference source is a very popular guide for both amateur and professional songwriters. At first things were slow and depressing as I was encouraged to “shave my head,” “jump of off bridges,” and “purchase Oriental fighting weapons,” as well as “quite sending demonstration tapes because they were not suitable for their record label’s needs.” Fortunately there were always the optimistic A&R department representatives who encouraged me to feel welcome and “try again in the future.”
The Academy Talent Company & Antithesis Records
Eventually I found a talent company interested in my music and they offered to make me a recording deal. Nina Winberry, a representative of the Academy Talent Company located in Boston Massachusetts was affiliated with C.G. Butler the owner of Antithesis Records. She contacted me by telephone regarding an upcoming musical project named “Airtrax” and inquired if I was interested in participating. For an affordable fee they offered to negotiate all of the production and promotional responsibilities involving manufacturing and distribution. Often music production and record distribution is executed faithfully by reliable and established music personal within the record company. In order to avoid any copyright complications and participate, the Academy Talent Company mailed me a release form and requested I sign it. It was Antithesis Record’s objective to create and develop a series of compilation discs named "Airtrax" (volumes 1-10) and market them (shop) throughout the professional music industry. These series of discs contained many different songs, many different artists, and many different music genres. I was very impressed with this opportunity because my music was going to be reviewed publically. Therefore I signed the recording contract and gave them permission to convert my analog recordings (DAT) to digital. Then, I granted them permission to use the song “Prophecy” for their upcoming release. However, the song “New York Girl” appeared on volume 5 /track 8 of the compilation disc title “Airtrax” instead. Never the less, I achieved a very important and anticipated objective by signing the recording contract and became recognized as an independent recording artist.
The Task of Self- Promotion and the Gannon College Radio Interview
Lacking much knowledge regarding music production, promotion, A&R responsibilities, and distribution of music, I began to get involved with matters personally. Although I believed these functions were the record company’s responsibilities it may be a good idea to participate and experiment by becoming more involved with them. Therefore, I began submitting a limited amount of the music myself using personal copies received from Antithesis Records. I wanted to make sure my music made it to good connections in the music industry and target the Heavy metal audience. Antithesis Records had a very general outlook concerning various types of musical genres and they did not concentrate specifically on Heavy metal music as I did. For this reason I thought my music would not make it to the Metal audience I was desperately attempting to reach! Antithesis Records also claimed to have manufactured some 1,000 copies of the “Airtrax” compilation discs but how many of these copies were received by respected record companies and radio stations? Another reason I participated in self-distribution and self-promotional efforts was due to the fact that tracking became almost impossible because of my limited finances. I believed if I wanted something completed correctly I had better do it myself; I cared more about my musical endeavors than other people whom I never met in person or trusted. With this in mind and needing some serious public recognition, I continued exploring this new realm of Heavy metal music. Therefore, I arranged to give a public interview at a local radio station named 90.5 FM owned and operated by Gannon College of Erie Pennsylvania. They aired my song “New York Girl” for many North American and Canadian listeners to enjoy on the weekly heavy metal show titled the “Tuesday Thrash Bash”. Despite the great radio interview and Antithesis Records’ production efforts I became thoroughly convinced participating by means of self-promotion was vital in order to achieve success and become recognized for my musical endeavors.
During the mid-1990’s I submitted (shopped) many copies of my recordings to record companies, music publishers, and A&R representatives in the professional music industry as well as continued to write more song material and record at Cycling Troll Studio. I experimented with different musical equipment and concentrated on writing songs which reflected the contemporary Metal styles of the 1980’s and 1990’s which including: Grind Core, Thrash, and Speed metal. The most successful song I wrote reflecting the influences of these Genres was titled “Living to Die” also known as “Join the Grave.” After the Millennium I thought about trying to make another record deal with Antithesis Records and release this new song. Again, I informed them I was interested in signing another recording contract and releasing an additional single on their record label. Their companies A&R representative Jo Jo St. Mitchell was seemingly enthusiastic about the idea and agreed to do it. He also offered me the opportunity to release a full length record with Antithesis records but I declined due to financial reasons and limitations. Unfortunately, a failure in negotiations on their part of the agreement occurred and the song “Living to Die” was never released.
Researching New Record Companies Utilizing the Internet
Several years later in 2005 I began to research new record companies using computers and the internet. The computer technology available at this time enlightened me to the possibility of submitting recorded music both overseas and abroad. I discovered there were many listings for record companies, music promoters, and music publishers, as well as A&R representatives throughout the world accepting demonstration material. The possibilities of making good music contacts in the field were seemingly endless. Likewise, finding adequate promotional affiliates seemed realistic and may enable me to continue the dream of maintaining a solo career as an independent recording artist. Therefore, I submitted many demonstration discs containing original songs to interested participants throughout the modern music industry.
A.I.F. Records & Hiring Local Musicians to Complete the “Final Doom” Demonstration Disc
With many new plans, ideas, and musicians available to assist me, I continued to coordinate the Endless Void’s recording sessions. A much anticipated fifth phase of the band was underway. Regardless of these new musicians’ temporary status as band members their assistance recording and writing more music would be appreciated greatly. First, I selected a motivated singer and former band mate named Darin Hilinski of Erie Pennsylvania. We had performed together in the past with the bands Aragon (1984) and After Forever (1984-1986). He was capable of temporarily applying the time and effort required to assist me with my studio efforts. In addition I liked his singing style. It was for these reasons I considered him an ideal candidate for the Endless Void. I also decided that Darrin Hilinski was a good recruit as a co-producer for the “Final Doom” CD project as well. The reasons being were the amount of time and devotion he was temporarily willing to dedicate to this particular project, the fact we had worked together successfully in the past, and he was capable of singing more than adequate sounding vocal tracks. This new approach of having additional assistance overseeing the musical endeavor would strengthen and improve the management and performance aspects of the project. It would also increase our chances and guarantee a successful outcome.
Than we decided to recruit David Owen (originally from the upstate New York area) who was a very talented studio musician and accomplished percussionist of the local underground music scene. At this time, he was performing in Erie Pennsylvania with a Punk rock band titled the Assmen and it was my intension to have him work with us in the studio temporarily and record some drum tracks. Darin Hilinski and I suggested David Owens write some drum lines for a song I had previously written titled “Andromeda.” When he finished, it was our intension to “book some time” at a local recording studio and do some recording. Timothy Hall owned and operated TMJ Recording Studio of Edinboro Pennsylvania with his talented and reliable assistant Joseph Jablonski. They offered the most affordable hourly rates available. Together we began collaborating on the song titled “Andromeda.” Joseph Jablonski played my previously recorded 6- string rhythm tracks through a set of headphones while David Owens listened to them and played along with the drums. Using digital computer software, studio engineer Joseph Jablonski recorded several different tracks (takes) so Daren Hilinski and I could select the best version we believed should be used for the song and demonstration disc.
After reviewing and approving Dave Owen’s best drum tracks, I recorded my bass lines and we began experimenting with vocals. We worked on two different versions of the song titled “Andromeda.” Darin Hilinski sang an abstract version very similar to the religious hymn titled “All Living Creatures” and than we sang a more detailed one using him for the hook line area. Darin Hilinski’s solo version was intended to satisfy an Epic Doom audience and subject new Metal listeners to a traditional form of singing whereas the dual vocalist version was intended to reflect my personal Punk Rock influences as well as experiment with New Wave and poetry. All in all, both versions of the song “Andromeda” are about the Ancient Greeks, Armageddon, and the bombardment of the planet Earth by the Heavens. The song was intended to reflect the Ancient Greek’s practice of music, poetry, and theatre as well as politics and mythology. For these reasons I selected the Greek deity Andromeda for the name of the song because it was relevant to the Earth’s location under the constellation while writing the lyrics as we all lived and partied together. Although Greek Mythology is seemingly the main theme of the song hints of evolution are evident. The scientific thesis and beliefs of Charles Darwin are also present. I believed this would also be an interesting combination because it makes the song lyrics and theme more exciting for listeners. His science theory becomes apparent as the song progresses. The Earth’s inhabitants struggle to survive and search for sanctuary as meteorites and meteors become foreign invaders bombarding, burning, and destroying all life on the planet. During the cataclysmic event the meteorites are also planting “seeds from afar” (pamspermia). As a result a new form of life takes over the planet. Believe it or not the idea was originally derived from a children’s show I watched on TV one Sunday evening and a large meteor that flew over Lake Erie during the mid 1990’s. It was responsible for shaking nick-knacks on the shelves of rural people’s homes and lighting up the sky and lake all the way from the United States to Canada. Also, the song was a chord and vocal study. I have always enjoyed experimenting and enhancing D. Hilinski’s vocals as well as tuning to his voice ever since the After Forever days (1984-1986). These efforts consisted of experimenting with special tuning (whole step down tuning), exploring vocal ranges (pitch and speed settings) as well as investing money in PA Equipment and studio sessions.
Completing the Song Titled “Andromeda”
The Final steps in completing the song “Andromeda” involved recruiting and hiring a local guitar teacher and changing recording studios. Originally I was going to complete the song at TMJ Recording Studio but transportation problems occurred. Another factor to consider was Walter Slivinski owned Honeybear studio and we lived nearer to his residence at the time. He remixed and restored some “grungy” sounding guitar tracks for us so we were very impressed with his work and we wanted to experiment more with different digital computer software. We than requested Wesslyville guitar teacher Steve Maynard meet with us at Honeybear Studio so we could all get to know each other, discuss our intentions, and finish the song Andromeda. Upon arrival we learned Walt and Steve already knew each other and had worked together in the past. So without delay everybody began collaborating on the song. After it was completed we played it back for critical review and noticed it was cued up to the wrong version of Andromeda. We originally decided that D. Hilinski’s solo version was supposed to be the final version of the song but Steve Maynard’s lead guitar tracks were accidentally played and recorded to the wrong version. In order to correct the mistake we cued up the intended version of “Andromeda” and placed Steve Maynard’s experimental& psychedelic lead guitar “riffs” recorded in analog (real to real) in an area of the song we believed to be an adequate section. As a result both versions of the song contain a better experimental quality than anticipated.
All in all the variety of different sounds within both versions of “Andromeda’” was the result of talent and experimentation everybody put forth. At last the “Final Doom” CD was completed and presently contains five songs total: (1) “Living to Die,” (2) “Prophecy,” (3) “Andromeda” (Choir version), (4) “Andromeda” (Orator version), and (5) “New York Girl” (previously released by Antithesis Record Company) shorter in length and a slight speed increase. After we finished the demonstration disc I thought about performing with a different cast of band members but decided against it at the last minute. Instead I decided to take the project in a new direction.
Duplicating and Distributing the “Final Doom” CD
During the autumn of 2008 I relocated to St. Petersburg Florida and researched the local music scene’s periodicals. I began seriously planning and promoting the CD. The local entertainment guides included many mom & pop music stores, record shops, and other valuable insights regarding music and entertainment. While looking through a local telephone directory I found listings for digital media companies. These facilities recommended I duplicate a limited amount of discs because duplication was more affordable, realistic, and matched my purpose and budget. Therefore, they referred me to Rick Everet the owner of E-Media duplications. I inquired about duplication fees and he quoted me the most affordable prices for the amount of discs required. Originally, AIF Records referred me to Morphious House Records but I declined due to the cost and the large amount of discs they wanted to make. Instead I used E-Media because I approved of the prices and needed less than 500 copies. As a result I requested they duplicate 360 copies of the “Final Doom” CD for me. Another reason I had the CD professionally duplicated instead of manufactured was accidently making an exceeding amount of low- fidelity recordings and having thousands of poor sounding discs. This could have ruined my chances of success and considered a financial blunder. Besides, a strict budget limited me from doing it. Fortunately the discs appearance and sound quality was adequate for both self-promotion and demonstrational purposes so the last minute thought of distributing it as an EP was seemingly a good idea. I was hoping that it would be considered passable by record store owners, privately owned websites, and others interested in generating a profit. The reason being was it certainly seemed like an EP to the average layman. Then I began planning on how I was going to distribute the CD as well as who was going to receive it? I contacted like minded people in the Heavy metal realm of music which I had researched and asked their permission to submit discs. My intension was to utilize the United States Postal Service and the World Wide Web/ internet to self-promote the demonstration disc and make valuable contacts in the music industry.
The Task of Self-Promotion and Distribution
The task of distributing the “Final Doom” CD began with much research and telephone calls. I contacted record stores, wrote e-mails, and mailed letters of inquiry too many people in the industry. My plan and intension was to offer my sound recordings free of charge to established people in the business. I accomplished my objective legally by gaining the permission of all person(s) in the music realm interested in becoming an affiliate. I distributed large promotional packages containing 10-25 “Final Doom” discs too mom& pop record stores throughout the United States. In particularly, I targeted larger populated states such as New Jersey, New York, Pennsylvania, and Ohio as well as Texas, Florida, and California. Some record stores were willing to include the Endless Void’s music on their shelves with other recording artist for sale; some record stores were willing to assist me by giving my product away for free to customers purchasing Heavy Metal music; I offered my music free of charge and gave people the option to do with it as they pleased. However, my main concern was everybody receiving copies did not waste them. The reasons being, the “Final Doom” CD was originally created for demonstration and recognition purposes. My main objective and intension of producing the demonstration disc was to benefit all of the musicians involved in the recording project by making their talent available for all interested to review. Sometimes demonstration discs are used as marketing and recognition devices to influence the general public and measure their response and acceptance, but if no one can critique the music than the purpose is defeated.
Furthermore, both musicians and music connoisseurs must consider the cost involved for Independent recording artists. Usually Indie artists do not have adequate financial funding available for their musical endeavors. For this reason it is not always practical nor cost- effective to submit professionally manufactured and duplicated discs for sample purposes. Instead, distributing self- produced copies to the Underground music industry, webzines, and music collectors is a common practice especially if people are willing to accept self-produced music media. Therefore, giving away free music is commonly practiced, accepted, and expected in the Independent and Underground music realms. Conversely, the corporate and capitalist record companies of the “Big Four” are capable of professionally producing and promoting as well as manufacturing, distributing, and advertising music commercially. This makes the music publically available for review at a much larger scale throughout the world. As a result their chances of earning large profits and recognition are much greater!
Utilizing the World Wide Web & Internet
With this in mind, I used the internet and the World Wide Web as a means of distributing and self-promoting the “Final Doom” CD to privately owned websites, radio stations, and music ezines throughout the world. They became a great assistance to me because of the time and effort they dedicated but most of all their devotion to the Underground metal music cause as a whole. This brought about a great deal of free recognition and attention for all people involved. Furthermore, they increased my chances of success by making the music available to the public. This outcome was certainly important and desired. By using the internet as a means of self- promotion music coinsures had the opportunity to learn about the “Final Doom” CD. As a result the music was critiqued and I received both good and bad reviews. For example, Music Tampa Bay (MTB) was very receptive to the song “Prophecy” and included it on their radio program. The name of the show was titled “Independent Labels Interview/ Endless Void” (May 2009); the internet radio station’s disc jockey wanted to know my opinion regarding copyrights, record companies, and royalties from an Independent artist’s perspective. They played the interview and the song “Prophecy” for months on their radio station. On the contrary, some internet ezine critics attacked my credibility as a musician and amateur music producer by stating the “Final Doom” CD contained “poor sound quality” and “sloppy playing.” All in all the website critics considered the CD “a good slab of Doom Metal” and noticed I was influenced by the 1980’s New Wave of British Heavy Metal (NWOBHM) and Black Sabbath. The Endless Void’s “Final Doom” CD was included on the internet/ World Wide Web by more than 8 different websites both overseas and abroad: (1) Doommantia, (2) Metal Underground, (3) Lords of Metal, and (4) Doom Metal Alliance as well as (5) Metal Attack Radio Show, (6) Dark Battalions, (7) Rough Edge Radio, and (8)Doom Metal.com.
Underground Webzines and Combating the Song Sharks
Furthermore, Underground websites and ezine critics used their personal and critical commentary to replace the lame record promoters, song sharks, and A&R representatives who were supposedly talking about music and trading demonstration discs amongst one another. With swiftness and grace combined with a love and devotion for amateur music, the webzine music critics utilized the internet and World Wide Web to surpass many lame music promoters and A &R people. For example, many song sharks often thrive and capitalize on susceptible musicians. In particularly, they thrive on amateurs who are constantly lulled by lies of production efforts and public recognition. Song sharks have been known to promise fame and fortune to musicians with no intension of making good on any of their promises. Instead they waste many musicians’ money and time. As a result they give the music business a bad name and causes musicians to become skeptical and unwilling to participate in the music industry. Conversely, music critics and press information people belonging to the computerized arena reviewed the music and made it available to the general public. By reviewing the music disc submissions and adding commentary to their websites they played a valuable part in my career development as an amateur songwriter and music producer. In the same way my personal efforts regarding production and self-promotion were very effective means of gaining public recognition.
The Pros and Cons of Ezine Commentary
Although much good regarding musical endeavors and public recognition results from Underground webzines and critical commentary music coinsures must realize a negative side also exists. For example, music webzines review the music and inform their readers. More than likely this method of review is practiced in order to inform people what to expect, what to avoid, and what to purchase. Even though critical commentary has the ability to expose the lame record promoters and song sharks it can also prevent consumers from purchasing recording artist’s records. Bias websites operating for profit and depending on record sales can work against artists because they send a negative message to the general public about the music. To clarify, financially bias reporting and opinionated reviews in the field of critical commentary can be harmful to recording artists because of its ability to influence listeners for the wrong reasons. Instead, musical commentary should be considered individual preference and personal opinion as well as measured by its content, quality, and ones right to express opinion and creative ideals. If prejudice commentary exists than respectable bands will be judged unfairly and people will miss out on some good albums as a result.
Fortunately many Metal webzines critiqued the “Final Doom” CD and included commentary on their websites for all to see. Their comments regarding Endless Void’s music were both good and bad but most importantly information was available to the public and people had the choice to explore the record if they desired. For example, CD Pulse and AIF Records included my music in mp3 format for their listeners to enjoy; Doommantia included a review and used a blog on their website; Word Press put the word out about the new Endless Void EP. It was all very interesting because everybody assisted me advertising my status as an Independent artist and made known the fact I participated in the Underground music scene. The critical commentary informed readers I was experiencing financial difficulties and limitations with the project but was experimenting with self-promotion and record production. Repeatedly, critics praised and condemned my production efforts, personal playing ability, and the overall sound quality of the “Final Doom” CD. All in all websites were very receptive toward my music and I enjoyed all of the recognition I received for my efforts. I am thankful to everybody for permitting me to participate. As a result this optimistic experience encouraged me to continue writing and producing more music!
Recording the “Apparitions” EP at Pro Star Studio
Due to the fact I experienced a degree of success with my previous music endeavors and critical internet commentary, I thought it would be a good idea to record more music and submit it for review. The reason being the World Wide Web had the ability to influence listeners worldwide. This could enable me to gain valuable feedback as well as much public recognition. Equally important respected and credible record companies, record producers, and publishers as well as A&R representatives would have the opportunity to critique Endless Void music and I might be recognized by impressing listeners. While mailing “Final Doom” discs to various record companies and internet webzines I met Jeannette Goldman at the Euclid Post Office (St. Petersburg, FL.) She gave me her business card and informed me of Pro Star Recording Studio. Furthermore, she told me about her partner Jody Gray and assured me he was a talented musician and recording engineer so I booked a recording session with both of them. Without delay I began working on and recording new material for the next CD titled “Apparitions” and had the “Final Doom” engineered.
The first song I recorded at Pro Star Studio was “Apparitions & Undertaker.” It is a ballad containing an opera like vocal solo near the end of the song and is very similar to a penny dreadful because it is short, brief, and straight to the point. However, it is written in narrative form and put to music. The song is about a murderous Virginian undertaker who kills a young couple in a cemetery. Envious of their youth and love for one another the ghoulish hand preys on their vulnerability as they search for a place to be alone. The mischievous couple encounters the undertaker who is overly familiar with his surroundings but unsure of his faculties. As a result, he locks them inside a crematory and gasses them to death. Having no remorse for his heinous actions he returns to the funeral parlor to play his dirges on the organ (a true story).
The second song I recorded is “Spiritualistic Medium.” It is a traditional Heavy Metal song with an old school- Acid rock sound utilizing distorted guitar harmonics in the beginning of the song. It is a combination of two different songs titled “Unreal” & “Generation X” written and performed with two different bands After Forever and Endless Void (two bands from the Erie Pennsylvania area during the mid-1980). The main rhythm, refrain, and lead guitar sections were rewritten and rearranged using grunge tuning and new lyrics. The song is about innocent victims of murder who return from the “spirit world” to haunt a living medium. The spirits relentlessly torment the living by haunting them until their untimely deaths are made known.
The third song I recorded is “Bereaved.” This particular song resembles Rock-a-Billy style combined with traditional Rock-n-Roll. It also contains some Downer metal influences and a wild sounding psychedelic lead guitar section. The song is about a troubled individual confronted with modern day problems and hardships while experiencing personal misfortune and bereavement. Salvation and the Day of Judgment are contemplated.
The fourth song I recorded at Pro Star studio was “R.I.P”/ “March of the Dead.” I selected “R.I.P.” (Rest in Peace) for the name of the guitar introduction and included the theme hand-written using calligraphy on the front of the album cover. The reason being, it is relevant to the CD’s theme of death. I also needed to utilize some traditional artwork because it is important to me as well as an effective means of capturing the “mind’s eye.” Calligraphy was practiced by monks to translate the Holly Bible letter for letter. This style of writing in black and bold conveys power and strength as well as reinforces the theme of death and seriousness. Furthermore, using a form of gestalt visually conveys the records meaning in one glimpse. “March of the Dead” has a steady- upbeat tempo and rhythm guitar tracks which sound similar to some of my favorite Punk Rock influences. I modeled it after Iggy Pop & the Stooges as well as my influences of the N.W.O.B.H.M including Angel Witch, Witchfinder General, Venom, and Tank. The song “March of the Dead” is about the deceased who rise from the grave returning to life roaming the country sides, church yards, and city streets searching for innocent victims to kill and destroy during the witching hour; the lead guitar section of the song contains a classical chamber orchestra sounding arrangement which is full of timber-like melody used to convey the feeling of sorrow; the main rhythm and refrain sections of the song contain stereo chorus, phase, and distortion guitar effects. Attempting to emphasize the seriousness of the matter, with no place to hide or escape, all succumb to death and madness as they are devoured by the living-dead. Additional influences include classical masters Beethoven and Mozart.
A Rational Explanation
All in all the previously recorded songs include the theme of death but are presented in different ways. For example, topics involving supernatural activity and haunting by disturbed spirits as well as the animation of the dead and bereavement are present. It was my intension to write songs conveying these popular themes often included in contemporary television shows, movies, and the music industry. Besides, the thought of ghosts who haunt the living and psychic mediums making known facts about the victims unjust deaths is something scary to think about! By adding mystery, spooky song lyrics, and unexplained phenomena combined with ballads, narratives, and poetry, I began experimenting with a new style of Heavy metal music. I attempted to capture superstitious people’s attention. Applying this unorthodox style of composition became very important to me and was successful because it was accepted by webzines and listeners worldwide.
Intensions
Furthermore, my intension was to capture the attention of ghost hunters and obscure music collectors but most importantly Proto-Doom metal fans and music critics. However, it was never my intension to send a negative message to the world through extreme forms of Heavy metal music. Rather, I wanted to introduce controversial topics about unexplained phenomena using fact and fiction. By using Heavy metal I attempted to appeal to Doom metal fans utilizing the most appropriate means of accomplishing my objective. Especially since such song topics are included in the contemporary categories of Heavy metal and Doom metal genres. To clarify my position regarding the matter, I want to let people know I do not want to be considered “Alastair Crowley's bastard son of the Extreme-Heavy metal movement.” In fact, I reject Black metal as a means of expressing myself musically but this does not exclude me from making known the paranormal experience in Heavy metal. Rather, I prefer to be considered a song writer interested in unexplained phenomena (the shadow people), supernatural activity, and mystery as well as the otherworldly. I attempted to do this by expressing myself through Heavy metal and Doom metal music because such topics can overlap at times due to similarities. I found this unavoidable.
Throughout the history of man major religions, politics, and occults as well as ethnic societies have been propagating each other to these topics in hopes of controlling one another psychologically. Presently these topics are becoming associated with UFO’s and human encounters with alien life forms and extraterrestrials. In particularly reptilian humanoids thought to be Demons possibly from unknown regions in outer space. Similarly, apparitions also commonly referred to as ghosts are responsible for haunting specific locations and people causing torment and misfortune and are considered strange and powerful forces controlling the destiny of man for unknown reasons. The scientific thesis to logically explain unnatural phenomena has become endless. With this in mind, I combined song writing and the unexplained with fact and fiction. This approach gives listeners the chance to use their imaginations, form their own opinions, and come to a conclusion regarding such controversial matters. All in all the CD was created to impress aggressive and obscure music fans as well as propagate others, not to morally corrupt the world’s youth and society by hinting to Black Magic and demonology. Nor do I believe in conjuring evil spirits through practicing necromancy and the black arts as contemporary Black metal and Death metal seems to.
Submitting the “Apparitions” CD to Ezines for Critical Review and Commentary by Forty-One Participating Websites
At first the “Apparitions” EP was submitted to webzines for critical review as self-produced media. Later the music was submitted as professionally duplicated media. The reason being is music production and self-promotion is extremely expensive as I experienced firsthand promoting the “Final Doom” CD. Therefore only serious and credible participants received professionally duplicated discs as promised. Using this method of submitting music saved me money and discs for worthy and participating affiliates. In my letter of request I promised a professionally finished product (duplication) to everybody considering me a candidate and including my music for commentary and radio play on their websites. Consequently, the “Apparitions” CD was reviewed, accepted, and included for review by numerous internet websites both overseas and abroad: (1) Lords of Metal, (2) IMRadio, (3) Throne of Serpents, (4) Rough Edge Radio, (5) Metal Crawler, (6) Metal Core Fanzine, (7) Web of Metal, (8) Mario’s Metal Mania, (9) Beowulf Productions & Treats from the Underground, (10) Born In Blood, (11) Behind The Veil Webzine, (12) Brutalism.com, (13) YouTube, (14) Symmetrical Haze, (15) Indie Power Hour, (16) Extreminal, (17) Aristocrazia, (18) Metal Cave, (19 )Last FM, (20) Fobiazine, (21) Reverb Nation, (22) Autopsy Report, (23) Atmospheric Webzine, (24) The Obelisk, (25) ARA Radio (Luxemburg), (26) Speed and Power, (27), Metal Underground, (28) Doom Metal.com, (30) Explicitly Intense, (31) Femforgacs, (32) A.I.F Records and Music Promotion (Home Page & My Space), (33) Burning Black Webzine, (34) Disagreement, (35) Greek Rebels, (37) Boston Free Radio, (38) Hypnotic Dirge Records, (39) Music Slammer (40) Beatzone, and (41) Frequency.
These music webzines compared my music to the popular metal masters like Judas Priest, Deep Purple, Ratt, and Docken as well as Blitzkrieg, Metallica, and Paul Chain (of Italy). Furthermore, they praised my production efforts and the sound quality of the disc stating it was much more enjoyable for listening but could have been “more thought out.” Never the less, according to many webzines the “Apparitions” EP surpassed the “Final Doom” CD regarding sound quality and production. All in all most of the websites critiquing the “Apparitions” CD and including critical commentary in their webzines were considered adequate in the theatre of Underground music. Obviously my latest disc reflects my personal interest with the occult, otherworldly, and the supernatural as well as unexplained phenomena, paranormal activity and obscure Heavy metal. Indeed, some of the websites were much more infatuated with these topics and surpassed the norm by far. Despite some the extreme content they chose to include on their websites I enjoyed all of the recognition I received from them. Surprisingly many are affiliated with one another through music and the internet.
Music Tampa Bay
Several songs appearing on the “Apparitions” CD were reviewed by Music Tampa Bay (MTB). The song “Bereaved” was voted #73 of the top #100 songs for the year 2009 and is the only Endless Void song to earn its rank on “Best of the Bay.” In fact it is still included on their new radio station 96.7 FM as of 2017. Candidates were selected by popularity as listeners tuned into the internet radio show and voted for musicians they believed were the best. “Bereaved” was liked and played on the Internet radio station for a short time until they placed it back into playlist rotation once more for their new low-watt radio station. Similarly, two years later “R.I.P.”/ “March of the Dead” was included on a 911 commemorative disc titled “Up from the Ashes” and also aired. These two songs from the “Apparitions” CD received more recognition than any songs of the “Final Doom” CD. Although the “Independent Artists” Interview and the airplay “Prophecy” received was truly respected and considered a good experience, it could not compete with St. Petersburg and Tampa Florida’s most popular local musicians and their music. As a result, neither “Prophecy” or “R.I.P”/ “March of the Dead” permanently ranked in the top 100 on MTB’s “Best of the Bay.” However, almost all of the Endless Void’s songs temporarily moved upward and downward on the internet radio station’s top 100 voting chart throughout the months and years beginning in 2009 and ending in 2011.
Acceptance and Rejection by Mainstream Broadcasting
Independent musicians and Underground performers must consider the fact how much influence the internet, main stream radio, and professional music production has over the general public. Various genres such as: Shock rock, Glam rock, Pop rock Techno, R&B, Hip Hop and Rap attracts music listeners. They gross huge profits for the Main stream music industry. These types of music as well as Heavy metal are popularly accepted and are recognized by music fans, connoisseurs and consumers. But these classifications of music combined with the internet and Main stream top-forty radio have the ability to challenge civilized society and its beliefs in morality. They raise questions regarding public opinion, influence, censorship, and age ratings. Similarly, Independent recording artists and Underground performer participating in the Heavy metal Underground realm are also analyzed and condemned for their “drastically bizarre” content and behavior. As a result many Underground artists are considered unworthy of the main stream’s attention and do not receive airplay. Reasons being professional music marketers, record producers, and radio station disc jockeys (program & format coordinators) do not approve of amateur music. They deem them undesirable and unpopular.
Likewise, professional publishers and record promoters do not believe these Underground acts and Independent artists are neither credible nor worthwhile of their listening media’s attention. The reason being, amateurs do not gross huge profits for the organized music industry. All in all the professional music industry referred to as the “Big Four” works in conjunction with major communications and broadcasting companies. Radio stations operate together “hand in hand” controlling the media utilizing capitalism and financial investment. They thrive on ever susceptible teenagers by utilizing hook lines in songs including romance, heartbreak, violence, and rebellion. They also at times promote harsh economic and segregated living conditions among ethnic societies. Simply, they maintain as well as create and influence their listening audience’s environment as the Christian coalition has warned their followers as used to be seen spreading the word of God gathering outside of rock shows.
Although the coalition is quick to point the finger at professional acts and performers they are certainly correct about a lot of the present day music. The lack of morality included on today’s major radio stations is evident with the sexual message and feelings they encourage and promote. Also prejudice and inadequate politics is to blame. All in all “one hand washes the other” but usually no one is to blame except the radically influenced listener and an occasional recording artist. Unfortunately by supporting the main stream music industry and accepting the moral direction it has to offer the top 40 listener, It ismy belief that a people can become a victim of such misfortunes as suicide, incarceration, reform, and prejudice etc. Stated differently faddish and trendy music can be considered an abstract simplification and generalization of good music having negative effects on its listeners. This low IQ process is used to “dumb down” the youth of America by psychologically controlling its listening audiences. Together radio stations and record companies attempt to propagate the masses and gross huge profits using communications, politics, and capitalism using music & marketing as their tool.
Content and Preference
With this in mind, the “Apparitions” CD contains a theme and song lyrics most main stream radio stations and listeners may consider unfavorable. It too at times may not seem very unappealing and unpopular. As a result the songs on this disc are obviously deemed unacceptable for airplay by most top 40 main stream radio stations because they overlap with religious and modern scientific beliefs and are not popular. This could be because it contains the topic of unexplained phenomena hinting to the abuse of politics, religion, and occult as well as lacking support by major record labels. These categories are not the favored song topics of today’s’ popular music in the United States and are considered rebellious and controversial. More than likely this could be due to its origins of English Heavy metal and their practice of tyranny by the Empire and the staggering amount of money the UK’s musicians have grossed over the past 60 years in the music business in comparison to American efforts in the field. With this in mind you may want to ask why we presently depend on modern day Hollywood and Pop artists to combat them. Could it all be all about grossing huge financial profits? I think that “the cats out of the bag.” So beware of the “bling” money thing, The Big Four, UK music and/or Capitalistic music investment as they do not play games or chance investing much.
Presently, modern electronic music, drug addiction, easy money, and the sexual feeling in modern American music and radio are more than evident. We have abandoned Heavy metal and traditional American Rock and Roll. At first glimpse the average listener will notice this statement is somewhat true! Should we blame the music of yesterday for today’s evil? I should think not. But the underlying problems and outcome still remain unresolved. I personally believe yesterday’s music in general has been used as a clever “escape goat” for blame and is used to induce religion, incarceration, reform, and destroy peoples political credibility! Remember that dirty old hippy with the long hair. We are supposed to believe it was him and a handful of welfare recipients that ripped our country apart at the seams. This concept is not likely, possibly, nor believable. For some reason the music coinsures of the past seemed to have gone wild for English music for unknown reasons. Was it pop culture? I say no!
All in all, the songs on the “Apparitions” EP differ greatly concerning subject matter and the radio station’s mission. It does not match many of the modern day radio station’s programming and format requirements. Their intension is to supposedly attract a respectable following and improving the station’s reputation and ratings in the eyes of the public. But they really are only concerned with generating huge profits for capitalistic music investors and huge corporate communications companies owning many radio stations. They abandon the sounds of yesterday but keep the problems. Then they mix them with today’s new sounds and live in denial! Conversely, my objective was to self promote, produce, and distribute Doom metal music. It was also my intension to introduce more scientifically modern and controversial topics including theology and occult despite the outcome by experimentation. This combination of Heavy metal and Doom metal music by means of utilizing internet radio and webzine commentary made me a victim of my own obscurity! Furthermore, the theme of lawlessness, murder, and death are included in the “Apparitions” CD but it was not intended to encourage it. Rather, I tried to make it known. These topics are presently the subject of study by criminal justice authorities and law enforcement and not nearly as brash as modern English and American Dark metal of the past forty years. Although the “Final Doom” CD was not as controversial regarding song topic, webzines, and content it did convey the similar themes of death and contemplation. As a result, I believe it was more popularly accepted in different circles of music listeners.
Despite some controversy regarding public influence and lyric content we do have the Freedom of Speech. If morality is the issue and matter at hand in question than censorship and age ratings is definitely the answer to that problem. All in all, by exercising my Freedom of Speech as well as deviating from the norm of main stream radio programming, I submitted the “Apparitions” CD into the depths of the internet’s Independent and Underground music realms and other moderate websites and became a victim of my own obscurity. I chose this approach of self-promotion regardless of consequence because I personally believe my music is neither brash nor harmful to listeners. How does the old and respected Christmas Carroll lyric go? It is the “tales of ghost stories long ago”! As a result the CD was reviewed by some extremely radical websites and listeners too.
Analytical Observations
In addition, there are other analytical observations and characteristics I found equally interesting and worth pointing out. The music on the “Apparitions” CD contains a predominant 21st century digital sound quality and demonstrates the advantages of utilizing high-fidelity introduced during the technological revolution. This is evident to listeners comparing the “Apparitions” CD to the “Final Doom” CD. I believe this is due to better production and methodology because the music is in fact “much more thought out” and “easier to listen to and enjoy.” For example, both versions of the songs “Andromeda” on the “Final Doom” CD contain a high-fidelity characteristic because they too were remixed and mastered using digital technology. The Choir Version was equalized utilizing a computer program named the “Melodeon” to enhance the song’s sound; the Orator version also sounds uniquely hi-fi compared to the rhythm guitar tracks in “Prophecy” and “New York Girl” (N.Y.G) Although the song “Prophecy” was originally recorded using an 8-track analog recorder, the lead guitar and bass guitar tracks did not require any enhancement. Rather I utilized digital technology to re-equalize the song in its entirety in order to make it sound better as a whole. The secret of applying digital technology and enhancing analog guitar tracks is also evident in the song “Apparitions & Undertaker.” In summary, success with state of the art computer technology and high-fidelity is evident in the production process and the re-equalization of recorded music tracks completed at Pro Star Studio. These efforts are evident in my latest version of “Final Doom” and the “Apparitions” CD’s. As a result I received interesting reviews because of better sounding music in general. This is however an opinionated statement.
Financial Limitations
Conversely, financial limitations and a strict budget prevented me from doing a lot of necessary re-recording, re-mastering, and overdubbing the “Final Doom” CD. For these reasons the disc sounds like a combination of many different tracks recorded at many different studios by many different collaborators. This is exactly what occurred. Stated differently, all musicians are unique regarding musical preference. Even though they can add a variety of sounds and harmony to a song, combining personal styles and techniques is not always successful nor does it produce a desired outcome. Neither does collaborating and making demonstration discs at many different studios.
All in all, this is not always the most effective or the best method in achieving success and certainly does not guarantee good critical reviews and airplay. Furthermore, I compare it to a rocket that blows up after leaving the launch pad. The fact it contains a capsule, astronauts, and a booster casing as well as rocket fuel and a rocket engine is all good in theory but will it actually work? In addition, which way will it go if it does fly and how long will it last? Just for the truly interested I am planning on salvaging the best of mission control’s parts and using two songs of the “Final Doom” demo for the “Apparitions” full length album.” The songs I have selected to add to the full-length record album are “Living to Die” and “Andromeda” (choir version). Despite the fact that the “Final Doom” CD contains some low-fi moments the music is adequate and certainly worth reviewing. And just for a personal note it really does not get any better than the Melodeon program at Honeybear studio and Pro Star Studio as far as I can see!
Personal Commentary and Rhetoric
Despite some personal commentary made by webzine critics I do not permit them to influence me or persuade me to change the direction I am heading with my music. Reason being, I am controlling the project and am the driving force steering my own solo career. Never the less critical commentary was a valuable means of gaining public recognition and is a valued and respected source and outside opinion. Both bias and non bias opinions have enlightened me as well as assisted me in identifying flaws in my own music skills, communicating with others, and accepting constructive criticism! I applied an important marketing strategy by producing and submitting both “Final Doom” & “Apparitions” discs for review and I gained valuable feedback as a result. I now realize I am at the dawn of high-fidelity recording in the music industry. This new realm of computerized studio recording has reached its peak during the technological revolution and is getting better every day. Despite some of the commentary by various websites and webzines the overall experience has been very educational and interesting. I encourage all interested Heavy metal listeners to explore ezines for themselves!
Latest Musical Plans and Objectives
With this in mind I am presently experimenting with music production, song writing, and studio recording as well as self-promotion and copyrighting music. I am also attempting to become recognized as part of the New Wave of American Heavy Metal (N.W.O.A.H.M.) showing my radical English influences and combining them with a modern and original American twist. Furthermore, I need to make known I am enjoying myself tremendously and have additional musical endeavors planned. Recently I returned to the recording studio and have completed three new songs/tracks: (1) Doom Metal Super Star, (2) “N.D.E” (Near Death Experience) guitar introduction/ “Inside the Dreamland,” and (3) “Stars in the Sky.” Furthermore, I will be releasing these three new songs on the “Apparitions” full length music disc in conjunction with two songs from the “Final Doom” EP: “Living to Die “and “Andromeda” (Choir version) as previously mentioned. This will make the “Apparitions” release a full-length album totaling 9 songs and will be released under the A.I.F Records label sometime very soon in the near future. I have already released and made public six of the nine tracks on radio ARA of Luxembourg by means of interviews revealing the history and methodology of the Endless Void music project. Other submissions have been made to various webzines both foreign and abroad including the best rated Independent radio station of the USA. They have been complying with my requests and critiquing six of the nine songs of the record in its crudest form.
“Near Death Experience” (N.D.E.) / Inside the Dream Land”
I attempted to write a guitar introduction, solo, and song that sounds like a modernized electronic symphony. It is a combination of the great Classical music masters Beethoven, Mozart, and the contemporary Heavy metal masters of the N.W.O.B.H.M. Angel Witch, Tank, and Witchfinder General. Both the guitar introduction “Near Death Experience” (N.D.E) and the song “Inside the Dreamland” include occult as well as psychological beliefs regarding life, death, and the afterworld. “Near Death Experience” (N.D.E) was derived from the occult term and belief while a person is unconscious and possibly dying they claim to have seen a bright light at the end of a tunnel. In the light, deceased family members and friends encourage their loved one to join them in the afterlife. However the person awakes to find they narrowly escaped death and are still very much alive. Conversely “Inside the Dream Land” was derived from a psychological belief that no such thing exists at all and is actually just euphoria of the mind. To clarify, it is the result of a state of shock caused by a traumatic accident and/ or temporary unconsciousness resulting in a lapse of time and temporary confusion.
After applying both terms and using them for the basis of my song lyrics, I combined them with a guitar introduction and song parts I found equally interesting. Then I added a third concept of my own which involves a “play on words.” The song lyrics have a parallel meaning and contain some of my own personnel beliefs about living inside the borders of the United States. These topics include immigration which is a major political issue of the 21st century and the ever popular saying the streets in America are “paved with gold.” In order to combine everything I applied some elements of Shakespeare’s literature to add dimension to the song as a whole. For example, travel to distance places, family feuds, and reconciliation of family & friends are seemingly the most adequate topics. The song also includes feelings of self worth, people needing to be wanted, and attempting to escape both location and reality by running away from home and surrounding one’s self with strangers in a mystical and distant locations in new and exciting places. All in all, the introduction and song is a well polished combination of the occult, psychology, and Proto-Doom metal music as well as my personal thesis regarding such delicate and controversial topics. It is a parallel of the living and the dead, immigration and citizenship, psychology and the occult, reality and fantasy.
Stars in the Sky
The song “Stars in the Sky” is a1960s philosophical approach to song writing. It is combined with heavy sounding Proto-Doom metal music of the 1980’s and contemporary metal of the 21sy century. I selected contemporary issues relevant to present day economic conditions in conjunction with modern science and conflicting ideals belonging to the Christian coalition. I used these two opposites as the basis of my song. I was very impressed with a free paperback book titled “How to Interpret Your Bible” which I obtained at the local Methodist church for free. The book’s introduction questioned the morality of man and is similar to some of my own personal viewpoints regarding such controversial matters. I am attempting to influence listeners in the genre of Doom metal music…specifically the topics of human progress, nuclear arms, and the space race program. Thus the horrific reality that the World’s two super powers: the United States of America and Russia have been control the planet Earth’s fate. Also, there are other countries such as North Korea and the Middle East wanting nuclear arms and experimenting with long-range missiles. Additional insight included Ancient South American Mayans predicting the end of the world in 2013 (solar maxim) and North Korea threatening to launch a nuclear missiles at South Korea and possibly others during the 21st Century. All in all I felt it was necessary to emphasize the mood and possibility of world war and nuclear Armageddon because it is such a controversial issue in the eyes of mankind. For this reason I believed it would be a great topic for a Doom metal song.
Goals and Objectives
Presently, I have no permanent band members working with me at this time but change is possible. Becoming part of the Endless Void project requires participating as an effective group member. In order to do so candidates must consider my direction as an Independent recording artist. More than likely band members will “come and go” and I will hire and utilize temporary members to accomplish goals and objectives. While touring overseas I will more than likely have to find like-minded musicians who are willing to sit in for “gigs” (shows) on a temporary basis? Musicians from overseas locations are welcome to perform with me as long as they are capable of playing Endless Void music and passing an audition. This approach is economical and realistic since everybody likes a home-town guitarist and drummer. Besides, I have found through past experience that group experiences become "stagnant" and I have been thought of as needing "minions" to do my dirty work (assisting me in playing shows).
All in all there are many possibilities for future shows and like-minded musicians. I will attempt to play a large bill as an opening act rather than a headliner. Reasons being I am neither overly popular nor well established in the professional music scene and lacking promotional funding; I do not possess a large following and will have to rely on others for attendance and necessities; I am interested in serious and responsible participants. Musicians will be selected by the degree of talent they are capable of exhibiting as well as their ability to play Endless Void music. Drop “C” tuning and Grunge tuning (1/2 step) will be considered and more than likely applied. However, various playing techniques and my final decision concerning tuning for live performances must be considered and respected. Both amateur and professional musician’s foreign and abroad as well as former Endless Void band mates are welcome to audition. Touring is my dream and perhaps I will find a drummer and guitarist capable of performing “vibrating the roofs off of concert halls transcending vicious lead guitar riffs into the limits of outer space blowing people’s minds” and of course heard around the entire world.
With this in mind, individuals and interested parties are encouraged to participate. A professional and functional attitude is vital in order to be accepted and achieve success. Participants will be responsible for meeting deadlines and fulfilling obligations. They will also be held accountable by means of legal contract if necessary especially if many performances are scheduled. At the moment I am seriously considering and targeting two locations. I have been planning on performing at and leasing: (1) the Capital Theatre (located in Clearwater Florida) and (2) The State Theatre (located in St. Petersburg Florida). I am also presently targeting the states of, Ohio, Pennsylvania (the Smiling Moose of Pittsburgh), and New York (CBGB’s) as well as California and possibly some overseas locations. If everything goes as planned and finances are available I will assist coordinating and booking shows.
Distribution Outlets
In conclusion, interested and serious like-minded participants from both overseas and abroad locations are welcome to participate. Any musically motivated individuals or parties are welcome to contact me using: email [email protected], snail mail (postal) UPS, and FED EX as well as by means of telephone: (727) 644-5232 and (814) 823-6786). Equally important get a copy of the "Apparitions" and/or “Final Doom” Cds for free in the form of self-produced music media as it is always available through myself James Owen founder of the Endless Void and owner of copyright ([email protected]) For professional copies research Daddy Kool Records, Asylum Sights & Sounds, Sound Exchange, Record Revolution, Square Records, and Bill’s Records as long as supplies last. Also try Keith Dempe formerly of Eternal Darkness Zine now located at Post Office Box #268 Coraopolis, Pennsylvania (contact by means of snail mail only), A.I.F. Records and Music Promotion (see the official record label website and the red colored “more music icon”), and Hypnotic Dirge Records (of Canada). And if all else fails I will be honored to provide you with a reasonable and respectable amount of Endless Void music cd’s for free. Anybody want to talk turkey than bring it on.
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