Of course, I have been working on Folio B, but in the meantime, I’ve been actually developing 2 different Holy Vehm records. I mentally started associating Hillel with that kind of thing. That’s another thing that maybe people don’t quite understand about this, and the lineup thing too. Are you going anywhere with that France connection and would you like to talk a bit about the concept of the Seraphita piece? But as far as people sometimes saying stuff like we’re not pushing ourselves or something, I mean, that’s a load of s–t. TREY SPRUANCE the Halloween Interview (revisited). I’m impressed to this day by how gracious and welcoming Trey was when I showed up at at Studio Chicago. That’s the end of music, that’s the end of fucking everything”. The whole focus of the piece, the whole focus of NT Fan, is creating the end effect. What I’m doing right now is putting the finishing touches on a single (2 sides), to be released in early November. That’s where all the fertile imagination comes from, a situation that everybody’s in. They’re not isolate little bits where the drummer does just this one little thing. Huge thanks to Trey and Fernanda for making this interview happen! I’ve been listening to Dorsal Atlântica again recently, actually. Do you know exactly how you want the tracks before you go into the studio? If they're all tracked on that one violin, you're going to have to EQ half of them differently. This forced Trey to develop creative solutions to realize his musical visions in his home studio. When you're working in digital, it doesn't, and you have to put all that meticulous work in. I think we did “Sudden Death” maybe a few other times. He’s not a flashy player. Actually, my brother in law gave me a fresh copy of INRI last time we were down in Brazil. It’s good that you noticed Ishraqiyun with EA in BoH, because Eletromagnetic Azoth is essentially connected to FORMS and Ishraqiyun in a way that those sub-bands mirror each other, whereas UR and Traditionalists are connected in a different way. So yeah, we could do it [laughs]. So with Lombardo standing there — the guy we would have been dreaming of to be play the drums with us for a show like this — the idea just exploded into all of our psyches. He knew about it. If you go back to the NT Fan stuff, that feeling of standing on a cliff after you destroyed everything and thinking “Now what?”, well, we forgot what a diatonic scale is. Then, the next time I come around, there’s a house full of gaúchos saying “hey, you’re doing this shit now. It's never satisfying to me to use a tape saturation plug-in, or even going back out into analog. Decreasing gain and boosting volume at the beginning and then actually crushing it towards the end but turning it down so that it can ramp into the next song without totally obliterating it turned out to be the solution. Yeah, I guess you’re right, huh?” I think maybe he’d probably transcribed it — dare I say — wrong when he did “Love Is a First” [laughs]. I'm really against the idea of convoluting the original idea. I was so pissed. Ok, so Nottingham Turd, Noddingturd Fan, NT Fan, ?… Did that actually come out of you being the sole Turd fan in the world (Turd being the project with Mike Patton and Trevor Dunn) and could you just comment on the show at the Stone with Eyvind Kang and Jessika Kenney? CBS SF: There is a touch of the weirdness and genre-splicing Bungle would later be known for in the change between the “La Cucaracha” part of “Hypocrites” that you play before going into your version of “Speak Spanish or Die,” but was the idea to focus on the thrash-metal aspect of Raging Wrath and sort of excise all the the ska elements of it?
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