· Administrators ·
Co-owner / Literary and Cultural Administrator / News / Journalist
I have been with Heathen Harvest (in its original incarnation and now) since June of 2006. I was once the PR Representative for the Webzine but now have decided to focus my time on building Heathen Harvest into a new entity, focused as much on culture, literature and other artistic and social endeavors as it is music. Where most people specialize in listening to music from a specific genre in the post-industrial spectrum, my tastes include the entirety of it, from the most distasteful and political power electronics and noise to the most beautiful and delicate neoclassical. Trip hop to Death Industrial and Neofolk, I love it all. I am a heathen and I struggle with putting my political alignments into words as I learn and evolve as often as any healthy person should. My favorite authors are Ernst Jünger, Barry Lopez and Joscelyn Godwin, with a nearly obsessive love for poetry by Robinson Jeffers. A short list of more personal information about me can be found below.
Co-owner / Public Relations / Promotional Receptionist / Journalist
My duties include receiving and publishing news articles and announcements at Heathen Harvest. If you are looking to have your newsletter or news announcements posted at Heathen Harvest please submit them to me. In edition if you would like to have Heathen Harvest publish a regular newsletter or announcement that you produce then please contact me for details on how to sign up Heathen Harvest. If you have comments on a news story or you would like to submit a correction I am your man.
Over the years Raul A. has been actively involved in the Post-Industrial sub-culture as an event DJ and promoter for numerous shows in New York City. His written work has appeared in Judas Kiss, Aversion Online, Not Like Most, and in promotional material for Annihilvs and Tesco USA. He is the Technical Director of the Church of Satan‘s official radio network, Radio Free Satan, and the producer of Chaos Sedated, one of the longest running Post-Industrial online radio programs. He currently resides in San Diego, CA.
I am assistant administrator and co-editor of the live reports section of Heathen Harvest. Coming from a photography background, my portfolio includes years of visual documentation of verminous black, death & doom metal performances – I believe the photographic aspect is just as essential as the written, both translating personal experiences into a transfixed moment in time to relive through. I am currently based in Seattle but a semi-frequent traveler, always yearning for the open road or sky to ascend towards. Most of my musical preferences revolve around extreme metal, harsh noise, singer-songwriters and most solemnly-sounding artists in general. I believe in passion and drive for any field of interest, and strive towards delivering nothing less for the ones I partake in and live for.
· Journalists ·
“The most appropriate type of daily life for me was a day-by-day world destruction; peace was the most difficult and abnormal state to live in.”
A Scotsman, I came across Heathen Harvest just as I was preparing to finish university, whereupon it became a place of refuge from having to face a job market whose prospects for a student of the humanities can perhaps best be described as ‘dystopian’. I was born on the 3rd of December 1990, which, in a cute bit of synchronicity, is a birthday I share with Ozzy Osbourne. To me, heavy metal is not music so much as an alternative to protein as nourishment. I’m a nerd who defies a few of the usual negative stereotypes about nerds and confirms most of the others. I believe criticism is only of value to a reader if one is able to gauge their own tastes against those of the critic, so with that in mind: my favourite album is “The Perfect Element, Pt. 1” by Pain of Salvation, my favourite movie is “Blade Runner”, and my favourite novels are “Moby-Dick”, Dan Simmons’ “The Hyperion Cantos”, and Robert Shea and Robert Anton Wilson’s “The Illuminatus! Trilogy”.
Freelance journalist and full-time copywriter from hell, teaching Sound Art.
I am Ankit from India, a budding journalist, extreme music fanatic and art enthusiast. I also host the only extreme metal radio show from India, called as ”Infernal Dominion” which is aired on Brutal Existence Radio, USA. My favorite styles of music are death, black, doom metal and dark ambient, ritual ambient and some noise/power electronics in the non-metal domain.
Motion: Thought, travel, touring and nature. Art: Observing/experiencing. Creator of illustrations, paintings, installations and performance pieces.
Music: Listener/record collector, spectator/show goer, song writer, multi-instrumentalist and vocalist. Metal: death, doom, black, dark and thrash. Rock: kraut, prog, psych, hard, classic, glam, death, art, garage, punk and post-punk. Waves: NWOBHM, no, dark and cold. Industrial: martial, rock, metal, EBM. Neo-folk, freak folk, classical, opera, ambient, shoegaze, experimental, noise and blues.
Words: Writing all sorts of things every day. Reading novels, philosophy (particularly by French authors), some poetry, the newspaper and books on anthropology.
I joined Heathen Harvest in the waning months of 2013, and haven’t looked back since. While I usually stick to the metal end of the spectrum (particularly its extreme derivations) I’ve found myself nurturing an interest in styles I wouldn’t have thought possible! From childhood onwards, I’d always had a noted interest in progressive rock, and it’s thanks to that interest in forward-thinking music that I found myself getting into other genres later on– metal and jazz chief amongst them.
Though this musical upbringing of Yes and Rush inclined me towards listening to technically-based music for a good part of my life, the last few years have seen those walls crashing down. If I could think of any one thing in particular I’m generally looking for in music, it’d be atmosphere. I am equal parts awed and baffled by the way some music is able to evoke a very specific, powerful response in me. The darker variations of metal are particularly good for this, but I’ve heard albums across the board that bask in atmosphere. Miles Davis’ In a Silent Way is an immense example for that, and one of a couple dozen albums I can safely say changed my life in some way.
Outside of music writing, I work as a freelance ghostwriter, and am (usually) diligent towards crafting music of my own. All of these things combine and compliment each other in some way. Writing about something I enjoy benefits more professional writing, and taking a critical ear to the way other people realize their art has vastly helped me figure out what I want to highlight in my own. Films, books and cats probably round out my other main interests. Cats tend to help with everything, and I’m glad I have them around to proofread my work, and piss on my keyboard if my syntax is ever wrong.
If you have an album you’d like me to review, or something to recommend, or if you want to shoot the shit about music, you can reach me at firstname.lastname@example.org.
I’m a cyber-security student from Ohio. I enjoy collecting media (particularly old photos), consuming said media, and tinkering with electronics. I spend most of my time parsing online forums and sleeping. I feel horribly new to the experimental scene. My first contact with local DIYers was going to a 2011 harsh noise wall show without any prior knowledge of noise as an artform. My taste in music changes rather frequently. For now, I’m into black metal, harsh noise, hardcore, sludge, screamo, modern classical, antique folk, and jpop (whoops). I’ve recently been focusing on ambient, minimal techno and IDM. The handle Custom was developed after clicking random article on Wikipedia.
When he’s not wrangling sharks off the coast of South Australia, David wrangles his two beautiful children and the required equipment for various musical salvos: solo with heavy electronics and dark ambient project Isomer, dirty noise/power electronics unit Rope Society, and as a member of lounge industrial gadflies Bordel Militaire.
After getting into Metallica at age 13, things quickly went downhill for me. Now I write for Heathen Harvest along with the other outcasts. Expect audacious articles and a slightly worrying obsession with all things folk and black metal.
At an early stage, I was drawn to the unconventional sound of 80s synthpop, but found it lacking an edge. My first contact with the electronic underground came with FLA’s Tactical Neural Implant – an album that took me down a road I still travel. EBM was my first love, and from L.A.’s Das Bunker and Kontrol Faktory, I eventually found my way to the realms of dark ambient, ambient, drone, IDM, and related experimental electronic music. My journalism and broadcasting training gave me experience, and my desire to provide exposure for the music led me to begin writing reviews. My aim is to provide objective information about each release, while doing my best to explain why I think it works….or doesn’t, as the case may be.
HD Atkinson lives in Western Canada, where he divides his time between work, writing, playing death metal and drinking with his roommates.
J.M. Da Silva first stared into the sun in Uppsala, Sweden and has since lived in Brazil, Chile, Argentina,Hawaii and New York. His introduction to music and underground culture began at age 15 with hardcore/punk, straight edge, and anarchist politics. He currently runs Fabrica Records, an independent experimental record label, and records/performs as Luciernaga. He currently calls the Kensington neighborhood of Brooklyn, NY: “home”.
Raised in the forests of Alaska, pretending to be a British Commando storming bunkers in World War 2(which were just dilapidated chicken coops), I developed an avid imagination coupled with a sense of awe for the splendor of nature around me. Early influences on my adult life included Dada, punk/hardcore, radical(?) politics, and Constructivism. My life was forever altered after hearing seminal records by Can, Faust, and Nurse With Wound in my early twenties as well as the cut-up methods of Gysin/Burroughs.
These days, I find myself immersed in an endless fascination with the overlaps and contradictions of my Christian upbringing, Vedic sciences, and European tribal spiritual tradition simmering in the stew of confusion that is the Kali Yuga. My interests include printmaking, collage, mythology, bicycling, music concrete and obsession with the cassette fetish object beloved of the industrial noise underground.
I run Basement Tapes, a small-run cassette label focused on experimental/industrial/outsider pop/music concrete since 2005. I also record and perform as Sterile Garden. I recently moved to Portland, Maine from the desert hell-hole of Denver.
Jael Edwards is a musician and writer based in Melbourne, Australia. Active in the Antipodean underground since the late 90’s, he is the vocalist of Australian Death metal act Ignivomous, as well as recording and performing ambient/industrial music as Nothinghunger. His main areas of musical interest are in Black and Death Metal, Martial industrial, neofolk and post-industrial. Outside of music, he is passionately interested in History, philosophy and esoteric subject matter from across the political, religious and social spectrum.
Jonathan R. lives in a little town close to the beautiful mountains and woodlands. He devotes most of his time to the study of various philosophical and spiritual topics (mysticism, heathen beliefs, modern vs. traditional societies, philosophy of life, sociological questions, et cetera). When books do not cover his desk, he is listening to dark and sinister music – most of the time black metal. Apart from a love for music in general, Jonathan R. is especially interested in bands which focus on spiritual and esoteric concepts. He believes that such art in general (and music in particular) is an expression of a resacralization which is currently taking place in the Western world. Besides writing for Heathen Harvest, he is also an editor for various German metal-zines (print and online).
Starting in 1979 with a newly found interest in electronic music and quite a few subsequent trips to the legendary epicenter of US industrial, Wax Trax! Records in Chicago, I’ve been pursuing electronic, gothic, industrial, ambient and hosts of other post-new wave styled music for as long as I care to remember. Inspired in that time, I jumped into electronic music, buying gear and running the microlabel Arts Industria for nearly 10 years, along the way publishing an industrial music zine called Arc and releasing various CD compilations of underground industrial bands. Wax Trax! introduced me to Laibach and NSK, which I have actively followed since around 1986, proudly owning an NSK Passport and having my art accepted at the First Citizen’s Congress in 2010.
In the late 1990’s I stopped composing and dropped out of the scene. Since then, I have regrouped with my project Epoch revisiting old friendships and starting new ones. While I still appreciate the roots that the Wax Trax! era gave me, I’m currently planted in the martial genre, whether it’s neoclassical or industrialized. However, if you call me an old rivet-head, I won’t be offended.
An enthusiast of difficult music since the time of the wax cylinder, Kate has long been an emissary for power electronics, industrial, dark ambient, noise, cold wave and other things that go bump in the night. She has worked as a DJ at various venues for over twenty years and was a radio host on two different stations from 1991 to 2002. She is also an award winning fiction author and screenwriter . She also finds time to maintain a blog covering many subjects, because she is a verbose and opinionated little wench.
Hailing from Montreal, Quebec, Kathleen Chausse has written for Connexion Bizarre and I Die You Die, and has been spotted across North America for various shows & music festivals. She has even gone as far as organizing a festival. She has been known to dip her toes as a dj at various venues. Will talk your ear off about Coil if given the chance & translates the lyrics of songs into French for her own amusement.
I know what your thinking when you look at my photo. I’m flattered but no, I’m not the vice-dean of engineering at the University of South Australia.
Sir Thomas Beecham is once alleged to have said, ‘try everything once, except incest and Morris dancing’. I decided to become a Heathen to disassociate myself with Adam and Eve to avoid the incest aspect. I then tried Morris dancing and got a dancer tattooed on my chest to show allegiance to it. I will probably quote more of Sir Thomas in my next review. I stand for everything he says.
I write with bells on and off. I try and use the words ‘apropos’ and ‘aforementioned’ as often as possible. Consider your art treasured if this is achieved.
I want to visit Finland and England. For every ‘like’ my reviews get, I will get no closer to this. My wife let me go to the UK, but I bought an army jeep instead. I drive it every other weekend to buy meat and beer.
Mat Blackwell is a multi-award-winning professional writer for TV (‘Good News Week’, ‘The Glass House’, ‘Wednesday Night Fever’, etc), who doesn’t actually watch TV. He is a reclusive troglodyte who spends almost every spare moment creating unpopular music in a variety of guises (‘GRIST’, ‘The Horn’, ‘HAARK’, etc), with the remaining few moments spent parenting, and trying to be a decent person. His musical tastes range subjectively across all spectra, from drone noise to abstract metal to Turkish hiphop to ultraminimalism to outsider pop to glitch electronica to blackened field recordings to novelty songs about chickens – and everything in between.
I live in a smallish town in Oregon, where I work as a cook. I also write fiction, grow plants and watch a lot of old movies. When I write a piece of criticism, I try to be serious about it. I think that, with luck and some skill, criticism can rise to the level of an art form, giving new dimensions to the thing under critique and pointing out strains in human culture that would have otherwise gone unseen. Whether I can personally manage to write criticism at that level is not for me to say. I can only be aware that there are always greater heights and that it is valuable to strive for them.
I can remember a day when I was nine, sitting on the floor in my parent’s lounge, listening to a taped copy (in those days before cd’s and digital music, when Tim Berners-Lee was only dreaming of the world wide web, still the primary evil that was killing music) of Abbey Road on my sister’s cassette player. I had just discovered that John, Paul, George and Ringo weren’t just The Beatles, but that each of them played something. Before that, music was just music, a sound that came from everywhere and no place. The discovery that McCartney played the bass, that Harrison was a guitarist, that this sound that I was hearing consisted of many sounds made by individual people, changed the way I heard music forever, diminished it, turned it from the sound of the universe into a series of little atomised things stacked one on the other.
These days I play, run a little record label and listen to ambient, drone, experimental, folk, jazz, noise, rock, metal, kosmische, liturgical and orchestral music. Most of what I play, release and listen to is an attempt to find music that sounds like music sounded before I knew what John, Paul, George and Ringo did.
Nicholas Diak is an American scholar of both Italian genre film studies and of neofolk/martial music, genres of music he’s been passionate about since 2004. He has been a presenter at the Popular Culture/American Culture Association conference since 2009, presenting on topics from bad Italian spy films to the work of Antonio Margheriti. Currently he is working on more essays for inclusion in future anthologies and journals. He lives in southern California with his pop culture scholar girlfriend and their cats and can be found reading comic books, collecting pinup artwork, or trying to cook new dishes. His essays and other work can be found at nickdiak.com and heiligetod.com.
I love harsh noise. I like power electronics. And metal. And 60s french girl pop. And cunt. And lots of other stuff. I’m a visual artist and I’ve been playing noise for quite a few years now. I’m Italian but I live on a dick-shaped thing in the middle of a fjord.
I know not where I was born, save that the castle was infinitely old and infinitely horrible, full of dark passages and having high ceilings where the eye could find only cobwebs and shadows. The stones in the crumbling corridors seemed always hideously damp, and there was an accursed smell everywhere, as of the piled-up corpses of dead generations. It was never light, so that I used sometimes to light candles and gaze steadily at them for relief, nor was there any sun outdoors, since the terrible trees grew high above the topmost accessible tower. There was one black tower which reached above the trees into the unknown outer sky, but that was partly ruined and could not be ascended save by a well-nigh impossible climb up the sheer wall, stone by stone. I like Adventure Time, ‘orrible, uncomfortable sounds, cake and otters.
I’m a shitkicker and a thief, and I want to be famous.
I do not know why I am here, nor is this of any concern. I am simply here, and being here I shall be here, not else where, for that would not be where I am at. Where I am at leads I to many paths, and I will walk those paths as long as they are necessary. I am merely I, which is both a grandiose concept and an inconsequential myopic voice in this vast abyss. I accept this paradox.
A Tennessean by way of Indiana, by way of Maryland, I have been writing since I was young, and listening to experimental music for nearly as long. Until fairly recently, it never occurred to me to combine the two. I have an academic background in anthropology, with a focus on Slavic, Mongolian, and indigenous Siberian cultural traditions, but gave up on an opulent life in academia so I could listen to power electronics and write bad novels. I should probably be putting more time and effort into my solo and collaborative musical projects, but for now I spend a lot of time listening to foreign radio broadcasts while I stare blankly into space, and way too much time thinking about history, tradition, religion, and Arctic exploration.
“Don’t explain your philosophy. Embody it” —Epictetus
Music is the universal language. And if we use it to say dark things, well, that’s simply because the world is a dark place. Personally, I can never decide whether I want to be a magical elf communing with the spirits deep in the primordial forests or a trenchcoat-bedecked private eye chain-smoking his way through a permanently rainy megatropolis. Use those two experiences as the poles and you’ll probably be able to encompass the world of music that I enjoy. From black metal to jazz to electronica back to folk, I listen to enough music that I become overwhelmed, and yet I can never get enough. Blessed with synesthesia and a gift with words, all I really want is to share this music with others. Let’s sit down and listen, and forgot, if just for a moment, that the world is dying around us.
Living in Bristol in UK, Simon has been seeking out the most challenging and unnerving music he can since he was fifteen, when his schoolmates had to endure Neubauten’s ‘Feurio!’ on the common room CD player most lunchtimes. Weaned on early industrial from TG onwards, he’s since expanded into obsessively researching and gobbling up every nasty little dark sub-genre his paycheck will allow him to in the quest to find the precipice of wrongness. Currently trying to fill in the gaps in his C93 collection and feed himself (no mean feat), Simon also teaches English and Ancient Greek Literature at a school in Bristol. Fresh harsh music is a necessity to get through the early morning/evening marking sessions.
Simon Mernagh is an audiophile and heathen currently residing in peaceful Belfast, Northern Ireland. Having written in a journalistic capacity on culture and society over the years, his passion for dark, heavy music has finally consumed his writing habits. Other than matters musical, Simon enjoys prancing about forests, tweeting (@simonmernagh), and reading weird fiction, which he is now researching at postgraduate level. His goth rock demo, over which he rips off Carl McCoy’s baritone with merciless precision, is due to drop any day now.
Skarsnik the Crafty Crow. I carve out an existence in that bleak part of the world called Scandinavia. A trickster, shaman and a teller of tales who longs for the bonfires of old. Best drink that mead and raise your horn, soon enough the harvester comes.
A collector and critic, stubborn yet foolish, Vils has fallen victim to the charms and challenges of electronic music. He can obsess over one specific sonic detail, and he can get lost in a nebula of blissed-out ambience. Vils promises to always stay true to the source, and not fall victim to passing fads and fashions. He is either based in the suburban wilderness of Richmond Hill, Ontario, or in the centre of the Arctic tundra.
A Hellene, dedicated to reading, music, geopolitics and… backgammon. Personal fields of interest are esoteric studies, particularly esoteric Eastern Christianity, Pythagorean / Platonic philosophy and Western mystical traditions. Music has been a great companion as long as I can remember myself (ranging from ambient, neofolk and martial industrial to classical, neo-classical and avant garde with hints of prog rock and pop in between to spice things up). I’m also the one-half of the Neofolk Greece Facebook page