Co-founder / Editor-in-Chief
I have been with Heathen Harvest (in its original incarnation and now) since June of 2006 and have been a co-founder along with Patrick O’ Sullivan since summer 2010. I am of a mixed heritage between Cherokee, Irish, and English blood. As such, I have a strong sympathy for and interest in the struggles and politics of indigenous peoples across the globe. I am deeply interested in Derrick Jensen‘s “Deep Green Resistance” and am becoming more fascinated by all forms of non-mainstream revolutionary environmentalism as I get older. On an artistic level, if we cover it, I’m into it. I’m a strong proponent of “free speech” and open dialog, even with what have been deemed as offensive ideals, and even if I find it personally repugnant. In short, to me: Thoughts>Feelings. I’m always open to answering questions and having discussions regarding Heathen Harvest and our intentions. I have a strong distaste for any organization or person who starts witch-hunts against people before ever speaking with them or getting to know them on a personal level. We’re all rabble, and regardless of personal ideology, we’re all in this together on a dying world. Want an enemy? Find a CEO or a politician.
Co-founder / News Editor
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 feel free to submit them to me. In addition, 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 us up. If you have comments on a news story or you would like to submit a correction, I am your man.
Co-Owner / Premieres Editor / News Editor
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 from 1991 to 2002. An award-winning fiction author and screenwriter, she also maintains a blog covering many subjects, because she is a verbose and opinionated little wench.
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.
Over the years, Raul A. has been actively involved in the post-industrial subculture 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 podcast network, Radio Free Satan, and the producer of Chaos Sedated, one of the longest running post-industrial online radio programs. He is the host and producer of The Forest Passage podcast.
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.
Live Coverage / Concert Reports Editor
Coming from a photography background, my portfolio includes years of visual documentation of mostly black, death, and doom metal concerts and festivals. I believe the photographic aspect is just as essential as the written, translating personal experiences into transfixed moments in time to re-live through. I am currently based in Los Angeles but a semi-frequent traveler and restless spirit at heart. My main musical preferences revolve around a combination of extreme metal, neofolk, harsh noise and singer-songwriter artists. I am also an active freelance illustrator and painter with a deeply ingrained passion for art.
As far back as the late eighties, I have been experimenting with sound/noise-making whether by banging on earth-moving equipment with found pieces of metal, circuit bending, patching modular synthesizers, or the occasional murdering of a saxophone. Early influences include Nurse with Wound, Throbbing Gristle, Zoviet France, and Nocturnal Emissions. I’m fond of all formats, but I am currently enamored with the re-emergence of tapes.
I am the proprietor of Obfuscated Records, publisher of Parallel Cosmos Megazine, and time traveler in the solo project Pulsating Cyst. I reside in Los Angeles in the hills of Topanga which is the unlikely wilderness just outside of the land of traffic jams and work as a lead technical director of virtual production at a visual effects company.
Born and raised on the northern rim of the Pacific ocean, and a lifetime of Alaskan storms and tumult have always been a shaping influence on Andrew. When not cultivating their horizon-locked stare, they find solace and joy in experimental circuitry, layers of static and feedback, and the warm blanket of oblivion. Hobbies include: production, theory, and history of ethanol-based fermented beverages; electromagnetic generation, manipulation, and corruption; ravenous consumption of research and information; and long walks into and around the inevitable void.
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I’m a Polish American immigrant/multi-
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Motion: Thought, travel, touring, and nature.
Art: Observing/experiencing. Creator of illustrations, paintings, installations, and performance pieces.
Music: Listener/record collector, spectator/show goer, songwriter, 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. Neofolk, 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.
Raised by two singers in a household where there was always something playing or being played, Ben has obsessed about sound since he was a kid. A multi-genre DJ and music crafter/advocate, he’s always searching for new treasures to add to his ever-expanding record collection. As a result, he has developed a crippling addiction to Bandcamp. He finds the idea of “genres” fairly repellent, but recognizes their use for guiding people to releases they might like. However, he himself has never shied away from listening to something simply because of what it was tagged as. He’d never eat the same thing every day (and he eats a lot), so why would he listen to the same thing every day? He also indulges in several musical projects of his own, all of which are pretty much unlistenable, but fun regardless.
Questions can be annoying even though they’re most natural; I’d be lying if I said my interest in music has grown because it helped me find more answers than questions. The longer I listen to, play, and now write about music, the more I’ve had a desire to question or wonder what the origins are of a variety of cultures and languages. For most of my life, I’ve enjoyed taking pictures in an attempt savor moments from the fast paced cycle of life; through my reviews, I do my best to share a retelling of the relieving and visceral nature of both live & recorded music.
Freelance music journalist since late 2007 for numerous magazines, fanzines, and webzines. Blog editor / architect and social-media manager for Recordisc since 2013. Above all, a real music fan, no matter the genre. The last few years have seen me involved with music ‘creation’.
“Here comes I that never come yit with my big head and my little wit.”
Colin Z. Robertson is the musician behind Hands of Ruin. At the age of fifteen, he discovered In Slaughter Natives and other Cold Meat Industry artists and has since been trying to capture some of that magic in his own music. He earns a living as a software developer, and outside of music is interested in philosophy, economics, typography, and tea.
After getting into Metallica at age thirteen, things quickly went downhill for me. Now I write for Heathen Harvest along with the other outcasts and am a co-host on The Forest Passage podcast. Expect audacious articles and a slightly worrying obsession with all things folk and black metal.
Although currently discovering the nerdy joys of economic consulting, Dennis has been on a covert mission against the indifference that besieges all life since his early teens. Starting among the concrete blocks of Moscow’s outskirts, it has eventually led him to the frost-covered fields of Trondheim, Norway, where he presently resides. Music has been his longest source of inspiration and obsession, a journey within a journey that has started with metal and has ever since been carrying on through all genres thinkable—from ambient to punk, from extreme doom to folk, from 80’s pop to noise, from trip-hop to obscure death metal—anything that pushes some kind of limit and has a sense of adventure in it. When not ranting about music, he’d be happy to converse about philosophy, all things Conan Doyle, doomsday prophecies, cats, horror flicks, language nerdiness, folktales, and how awesome the nineties were. The ongoing search for collaborators, free-thinkers, or simply partners in crime, has resulted in a number of current occupations including writing a thesis, spending time around board-game tables, messing around with instruments, studying tarot cards and runes, frequenting theatre and art exhibits, trying to become a better person, and now, writing for Heathen Harvest.
Eames Armstrong (they/she) is an artist and curator based mostly in Brooklyn, NY and often in Washington, DC. Eames likes brutal noise, funny paintings, and the ritual celebration of confusion and illegibility.
Raised in the forests of Alaska and pretending to be a British commando storming bunkers in World War II (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, musique concrete, and obsessions 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/musique concrete since 2005. I also record and perform as Sterile Garden. I recently moved to Portland, Maine from the desert hell-hole of Denver.
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Jael Edwards is a musician and writer based in Melbourne, Australia. Active in the Antipodean underground since the late 90s, 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 subjects from across the political, religious, and social spectrum.
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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, Heathenism, modern versus traditional societies, philosophy of life, sociological questions, etc.). 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 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 resacralisation 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).
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June A. Jung (Yuna Yune) is a multi-instrumentalist, writer, and essayist. She currently plays violin for the Southern Californian neofolk project DEAES, and also is a contributing member of the art collective Annex 46, with which she assists in developing and curating various art shows and happenings around the greater Los Angeles area. She studied English and German literature at the University of California, Irvine, and currently resides in Santa Ana, CA with 3 cats.
Colourful of hair, Loud, Opinionated and questionable appreciator of all things noise.
I live and work in England. I have been a fan of music since my early teens. I am interested in experimental, noise and, power electronics at present. I have reviewed these genres for Judas Kiss and Heathen Harvest in the past. My other interests include veganism, environmental awareness, and contemporary art.
My pig mask photograph represents of my love of the artist Rozz Williams, particularly his project Premature Ejaculation. I have written in depth about this in the past which led me deeper into industrial and noise music over a long period of time.
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I fell into the post-industrial scene in the early nineties via Endura (Endvra), Current 93, NON, Coil, Death in June, and Throbbing Gristle; and was blown away by what Id heard.
Between 1995 – 2006, I edited, produced, and published the post-industrial magazine The Judas Kiss, which started as a little photocopied zine and ended up a sizable book-like publication. It ran for ten issues and also featured a compilation CD released by French label Kaosthetik.
Since then, I’ve continued to write but focusing on one of my other musical passions: Rockabilly, psychobilly, garage, trash, surf, and related music.
I’ve still watched the post-industrial scene from afar and felt now was a time to make the jump back into it, which is how I find myself here.
Aside from post-industrial (in all its guises) and rockabilly (and related) music, I have a passion for soundtracks, post-punk/80s goth and 80s/early 90s indie/alt. music. Other interests include English and European folk-law, Morris dancing, 20th century occulture, modern underground political movements, and Teddy boy Culture.
I can say with confidence that post-industrial music led me to my current mindset, which I describe as “open to the Gods.” Having always been an inquisitive fellow, willing to buy randomly discovered used CDs in the budget sections of record stores, I recall stumbling upon and purchasing NON’s God & Beast, sound unheard. This was a pivotal moment. Two other pivotal moments involved becoming acquainted with the neo-folkish sound of David E. Williams and the power electronics / harsh noise of Jonathan Canady’s Deathpile. These three artists sent me on three different trajectories of discovery that changed my life forever. While more popular forms of music seem to program the listener to think a certain way, the striking thing about post-industrial music is that it acts to deprogram the listener. A lifetime of conditioning can be undone in a few years by listening to post-industrial music on a regular basis. To understand the post-industrial spirit is to realize how living an industrial existence has diverted human life toward a path of self-destruction, out of balance with nature. The solution is to find our way to a more balanced and sustainable path. This path can only be located when we go where most people fear to tread. We must question much of what is now considered normal. This is what I hope to do with my contributions to Heathen Harvest, mostly book reviews.
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A science writer for a research university by day, M. A. Spiro is the founder of Shadow Woods Metal Fest, first held in September 2015. She books diverse metal shows in Baltimore, Maryland-area venues, and writes about local metal at her blog.
Madeleine Ledespencer is a visual artist, author, and demimondaine. Her interests range across modern experimental art and sound, transgressive outsider musicians, French decadent art and literature, 19th century occultism, European traditional Witchcraft, and the feverish surrealism of 1970s European exploitation cinema. She loves to grow poisonous plants and is a passionate absintheur. In addition to her own writing and art, Madeleine also works with the Abraxas journal out of London curating artists and authors for publication. When not working she can be found in the garden sipping la fee verte among the Belladonna and listening to something challenging.
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 was going to let me go to the UK, but I bought an army jeep instead. I drive it every other weekend to buy meat and beer.
I am a traveller, musician, curious creature, fisherman, festival junkie, and stargazer, to name a few.
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I am a writer. In fact, I’m a multi-award-winning professional writer for television (Good News Week, The Glass House, Wednesday Night Fever, etc.), but I don’t actually own a television. I am a reclusive troglodyte who spends almost every spare moment creating unpopular music in a variety of guises (GRIST, THE HORN, HARAAM, ICE COLD, etc.), with the remaining few moments spent parenting and trying to be a decent person. My musical tastes range subjectively across all spectra, from black metal to drone noise to abstract art-sound to Turkish hip-hop to ultra-minimalism to outsider pop to glitch electronica to raw field recordings to novelty songs by chickens—and everything in between. My favourite music is music that I’ve never heard before. Oh, and I also have a novel about love and vat-meat, called Beef, which is has been described as, “Margaret Atwood with more swearing,” and, “Douglas Adams meets Kurt Vonnegut.” I also have too many cats, and not enough beard.
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 films. 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 CDs 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. It diminished it, turned it from the sound of the universe into a series of little atomised things stacked one on top of 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.
Art is my life, and music was always its crown jewel. I have been collecting records for most of my lifetime, and I spend a vast amount of time listening to music, getting lost in it, and making my own. For the past fifteen or so years now, my main musical outlet has been Kadaver through which I am draining the pus of my negativity in ‘creative measures’. Noise has been my therapy from the get go, and it still is today. I create because I need to; I create because if I don’t, the ugliness in life will take over me, and this is what this project is all about.
Besides Kadaver, I also took part in a few local black and death metal bands as well as Mashina (R.I.P.), which was a side-project I joined and was active in between 2009-2010. Nowadays, I am a regular participant in the Zimmer’s Witches Nights Orchestra, HaMechashefot, and deeply involved in a new project called Necromishka which I am doing together with my wife Tamar Singer (of Cruel Wonders), where we both spit our darkness into the same pot.
Besides music, I am also a visual artist doing mostly paintings and drawings as well as collages and graphic designs. When I am not doing anything ‘useful’ with my time, I waste my youth in front of the screen watching obscure horror movies or cartoons and reading nonfiction books.
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.
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I love harsh noise. I like power electronics, metal, 60s French girl pop, 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.
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Nordr Sunn is an unabashedly creative writer, having written for publications such as Post-Punk.com and his own Repartiseraren (ex-Invisible Guy); he challenges the conceptions of what a writer should be and how a writer should write.
I’m a half-German military kid raised in the South, yet with deep roots in the Pacific Northwest where I currently reside. I have a strong passion for literature, nature, and music from the extreme to the sublime. I strongly advocate for basic Civil Rights, yet am equally opposed to PC-Leftist ideology. I have been writing about music for most of my adult life in an attempt to share my passions and hopefully offer something back to that which has enriched my life.
I came late to industrial music (and thus its bastard post-industrial offspring) through the likes of Throbbing Gristle and Coil through Nine Inch Nails and more electronic stuff like the Warp label—especially Aphex Twin and Autechre. I got into metal through mainly black metal (Burzum, Beherit, Bathory, Gorgoroth), so I was never into thrash or anything like that (though I do love some grindcore and death metal these days). I was always into more electronic and abrasive sounds rather than lyrics. I think EBM, future pop, and harsh electro are quite underrated. I still enjoy techno and some hardcore. I think it’s important to be as open-minded as possible to all types of music. Listening to any particular genre for too long bores me. I also tend to prefer recorded music to live shows.
Amateur linguist and semi-professional historian based in the United States by way of Eastern Europe.
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, 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 Throbbing Gristle 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 Current 93 collection and feed himself (no mean feat), Simon also teaches English and Ancient Greek literature. Fresh harsh music is a necessity to get through the early morning/evening marking sessions.
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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, 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.
Book editor/proofreader/reviewer, writer, occasional artist, and model-maker. Born in the heaviest winter in the UK in 1963, which is probably a factor in my unfulfilled desire to live in Scandinavia, but somehow I ended up in Milton Keynes, home of concrete cows and road roundabouts. Since 1970, I’ve been a hippie, a metaller, and a goth, then went to art college, published an industrial music zine called FRACtured, travelled around following bands, went to university, had a stroke, been an alcoholic, got married, started a record label (FracturedSpacesRecords), written for Heathen Harvest (SMJ63) followed by a publishing house (Spectral Press), and am currently transitioning from Simon to Siobhan (pronounced Shiv-awn, for those who don’t know). I spend most of my days wrangling words and infuriating authors, and my spare time is spent painting up resin bust figures and reading about vintage commercial vehicles. Oh, and I like non-mainstream music.
I am interested in underground culture, arts, and sounds. I believe that sound can create a much bigger impression than image, and without sounds, God knows where I would be today. My biggest passion is industrial music and culture, its power, and its effect. As I was deeply into the black metal scene some years ago, the feeling of unity and the herd mentality was superfluous and repellent (even though I sometimes listen to metal music even now and have some fantastic recordings [music of strong personalities]). Somehow I found the industrial scene where most projects were filled with only one member, sometimes two, and that’s it. I just loved this idea of individualism in the scene, where one is free to express his opinions and ideas 100% freely without any agreement from others. I also have a passion for writing reviews, which has been with me for some eight years now. Heathen Harvest is my first attempt at writing reviews in English as I’m from Lithuania and typically write in my native language.
Tenebrous Kate is a New Jersey-based writer and artist whose work explores her longstanding fascination with all things dark, fantastical, and forbidden. She is the editor of the Heretical Sexts micro-publishing imprint and writes for publications including Black Ivory Tower, Slutist, and Ultra Violent Magazine. Love Train for the Tenebrous Empire is her long-running blog. Her interests include psychosexual cult films, downer vibes, basement bars, surrealist and decadent art, and all manner of esoteric nonsense.
Musician, artist, videographer, workhorse. When not recording, dubbing tapes, or endlessly booking, you’ll usually find me in a perpetual haze of cigarette smoke. Drawn to extremes and negative outlooks. Self-motivated and underpaid. Proprietor of FUCK MTN. LTD. RELEASE, man behind/apart of Straight Panic, Family Planning, GASP., Exploding Dye Pack, Meth Predator, and Frey FX. I live in Minneapolis with my papa bear and our dog.
A wilderness-loving multidisciplinary artist from Finland with an interest in all things beneath and beyond the surface.
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.
After a few years in hiatus from the journalism world, Vlad McNeally returns to the fold for Heathen Harvest. Having cut his teeth for such publications as Side-Line, ReGen, Sick Among the Pure, Virus!, and The City Morgue, this Washington, D.C. critic has been published by one or the other for around a decade. Stylistically, Vlad feels himself well versed in the realms of dark ambient, odd industrial, and neofolk, with a smattering of black metal, power electronics, and dance EBM thrown in there for good measure.
When not travelling to destinations cold and mountainous in Europe, Vlad is also fairly well-known in the ne’er do well industrial genre circles for his artwork under the moniker, Kallisti:Design.