Staff Cheryl Prime

Cheryl Prime

Senior Staff Writer


Cheryl Prime's last content update – March 3, 2015, 9:56 a.m.

Fat Wreck
Cheryl Prime's most recent reviews
Oruga - Blackened Souls album cover


Blackened Souls, 2014

7.0 / 10

Oruga’s sludged out sound is deep, dirty and disgusting and the French quintet move through massive pits of despair to crawl through the filth and head towards the inevitable end ...

Schammasch  - Contradiction album cover


Contradiction, 2014

9.0 / 10

Existence is a series of challenges – ones that force you to adapt, to change and to create sides of yourself that you show to the world, ones that are ...

Empty Yard Experiment - Kallisti album cover

Empty Yard Experiment

Kallisti, 2014

7.5 / 10

Music is wonderful and is one of the few things that echoes across the world and can bring people together in unity. Of course, that’s putting the most simplistic of ...

City States - Geography album cover

City States

Geography, 2014

7.5 / 10

They say that good things come to those that wait and for City States and their main member Joel Ebner, it's certainly true. Ebner has spent many years creating and ...

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Cheryl Prime's most recent features
AMSG 666

One Question Interviews AMSG 666

Posted Jan. 11, 2015, 11:29 p.m.

AngelFukk Witchhammer (AMSG 666) SPB: How important is Satan to you/the band and what does that belief mean to you? Witchhammer: Luciferianism for me is breathing /living each day ...

Pinkish Black

One Question Interviews Pinkish Black

Posted Dec. 25, 2014, 8:18 p.m.

Pinkish Black SPB: You had a curious sample from an obscure British comedy on your first record - how did you come across Snuff Box and why did you include it ...


One Question Interviews GHOUL

Posted Dec. 6, 2014, 2:19 a.m.

Digestor (GHOUL) SPB: How's Creepsylvania this time of year?  Digestor: Moist


One Question Interviews Barshasketh

Posted Nov. 20, 2014, 11:44 p.m.

Krigeist (Barshasketh) SPB: What are the origins for the name of the band?  Krigeist: Barshasketh was something I read years ago in an occult text around the time I was ...

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Cheryl Prime's most recent news stories
1QI: Rome, All Them Witches, Northumbria, Benny the Jet Rodriguez

Bands 1QI: Rome, All Them Witches, Northumbria, Benny the Jet Rodriguez

Posted March 3, 2015, 9:56 a.m.

Welcome to our almost daily quickie Q&A feature: One Question Interviews. Follow us at facebook or twitter and we'll post one interview every Monday-Thursday. Okay, sometimes we miss ...

Jerome Reuter (Rome)
SPB: You're playing some anniversary shows this year and visiting some interesting places - How did you decide which countries to play in? 
Jerome: I have to admit that there is a certain amount of randomness to some of it, but we are trying to play most of the European capitals and we want to include as many exotic places as we can. I am also throwing in some solo dates here and there to really fill up the schedule.
We just played Jerusalem and Tel Aviv. Athens is next and then we're on to Bucharest. Other confirmed shows include Stockholm, Gothenburg, St. Petersburg, Moscow, Kiev, Los Angeles, San Francisco, Madrid, Rome, Bologna, Milano, Lisbon, Berlin, London, Cologne, Stuttgart, Leipzig, Luxembourg, Saigon...and we are working on many more. I'll be living out of the suitcase more than usual this year, which I don't mind at all. I am very glad that there seems to be a lot of interest for what we do out there at this moment. I presume we'll keep on adding a lot of dates as we go along.
Parks (All Them Witches)
SPB: What is your favorite book about music?
Parks: The way I feel about books on music is the same way I have always felt about music classes, and that is that they have no place in my life. That being said, I do remember the first time I fell in love with the way an author intertwined music into their work. A Wrinkle in Time by Madeline L'engle has a way of putting music and cadence into each scene without explicitly saying so. Soon after, I began to immerse myself in Shakespeare's works where the iambic pentameter hums close to the human heartbeat and uses the full capacity of the lungs, breathing at punctuation to create music without notes.
Dorian Williamson (Northumbria)
SPB: You recorded your first album in a church - what was it about the space that appealed to you and what kind of spaces would you like to utilise in the future? 
Dorian: The main reason we chose to record in a church was because we wanted to track at a very high volume level, beyond what would have been possible in a studio environment. The reactivity of the sound changes so much at very high levels. The amps and guitars come alive, and we just act as kind of a conduit. You can feel it breathe and change shape and almost go out of control. We also knew we wanted to do everything live with no overdubs, so using an acoustically vibrant space with a combination of distant and close mics gave us more flexibility later in the mixdown.
Because our records are very much documents of a live event, we'd love to use different spaces for future recordings. Both Jim and I want to do something in giant abandoned industrial space sometime. We've also toyed with the idea of doing something extremely loud outside, far out in nature, where we can use the landscape as a musical element: like in a valley or a fjord. This music very much feeds back on itself and becomes an entity of its own, so anywhere we choose to record and play will have a big effect on the final outcome.
L. Freeman (Benny the Jet Rodriguez - vocals/guitar)
SPB: Do you wear earplugs when you play? Why/why not?
L. Freeman: I do wear ear plugs. For a long time I used to wear construction headphones at practice and on stage. Once I saved up enough I bought custom noise canceling earplugs that helped level out noise for me. I've had hearing issues since I was a kid and from playing music for this long its only gotten worse. It got to the point where I can't hear myself sing at all through a PA system unless I wear them. I recommend every full-time musician get a pair of earplugs--this company Hearos make an affordable pair that fit comfortably. 

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1QI: Seven Sisters of Sleep, Dead Bars, Modest Midget, Alexeï Kawolski

Bands 1QI: Seven Sisters of Sleep, Dead Bars, Modest Midget, Alexeï Kawolski

Posted Feb. 23, 2015, 2:23 p.m.

Welcome to our almost daily quickie Q&A feature: One Question Interviews. Follow us at facebook or twitter and we'll post one interview every Monday-Thursday. Okay, sometimes we miss ...

Brian Thomas (Seven Sisters of Sleep)
SPB: What do you think of cassettes?
Brian: Tapes are cool--cooler when it says “Megadeth” on it and you shoplifted it from a Kmart in 1994, and totally got away with it.
As they stand today, they sound like shit compared to other formats, they have a limited lifespan, and break way too easily. All that said, tapes have an undeniable charm to those of us old enough to remember why CDs coming out was a big deal.
John (Dead Bars)
SPB: What does your name mean?
Dead Bars: It comes from a long history of drinking by myself at bars with no one in them.
Lionel Ziblat (Modest Midget)
SPB: Which music by classical composers do you think has held up the best into the 21st century? Lionel: Great question! Since it's also a great passion of mine to write for Classical instances (choirs, orchestras and chamber), I try to keep in touch with contemporary Classical music as well. You'll be amazed how much good music was written since Purcell (17th Century) ‘til Ligeti (end of 20th Century).
I think that Classical music plays a much bigger role in our lives than many people realize. There are the few very famous tunes that everybody knows like the theme from Beethoven's 9th, which is one of the most popular tunes out there still(!) although most people don't even realize it. But there are also other influences that more modern composers like Stravinsky & Ravel have had on Hollywood film scoring throughout the 20th Century.
Still, I feel that nowadays well-crafted music, whether it's classical, jazz or anything else, is too often overlooked and neglected. Because we are enslaved to some amazing technology now in a way that our focus on details and on spiritual quality is getting very poor.
Alexeï Kawolski
SPB: Is today's EDM scene hurting electronic music as a whole?
Alexeï: English is not my first language, I hope my answer makes sense...
I'm maybe naïve, but I don't think EDM scene is really hurting electronic music as a whole and I don't see it as a threat to experimental electronic music.
EDM is mainly focused on being entertaining and making people dance, it responds to a legitimate need. Other music fulfil other needs. I don't see music genres as exclusive or as competing against each other. I like to think that some part of the audience that got interested in electronic music by EDM will dig further toward other electronic music genres. The same person can listen to Deadmau5, Alva Noto, and Richard Devine depending on the context.
Perhaps someday people will get tired of EDM. Maybe it is an ephemeral trend that will be replaced or maybe it will last. Anyways, the need for experimentation and innovation will always be. EDM only challenges other electronic music genres in a positive way; more than ever, they need to be inventive to stay relevant and to avoid to be shadowed.

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1QI: Universe217, Astpai, 30,000 Monkies, Girl Scout

Bands 1QI: Universe217, Astpai, 30,000 Monkies, Girl Scout

Posted Feb. 16, 2015, 1:13 p.m.

Welcome to our almost daily quickie Q&A feature: One Question Interviews. Follow us at facebook or twitter and we'll post one interview every Monday-Thursday. Okay, sometimes we miss ...

SPB: As far as I know you record your music at your own studio. Do you think that that allows you to be more creative? Having more time to try out different things?  
Universe217: We have our own studio, yes. We actually never produced a record other way, so I can’t really compare it with not doing it by our own.
We learn things: How to get a better sound out of everything, re-doing what’s not ok, having the chance to experiment and then delete it.
We even have the time to check how much microphones bleed between them when we play together, 
All these things are a big lesson that is also applied in our live gigs.
Zock (Astpai – vocals)
SPB: What is the furthest you’ve ever traveled to see a show (and who was it/where was it)?Zock: In May 1999, I woke up on what I thought was gonna be yet another lousy school day (I was 12 years old at the time), preparing myself for eight hours full of incompetent teaching and an evening of annoyingly boring homework. Little did I know that my mum had made big plans, so far off of what I thought was gonna happen. She had decided to take me out of school for two days and put me on a train to the very west of Austria to see The Rolling Stones live, as she was convinced that it’d be one of the last chances for me to see my most favourite band at that time. Needless to say, I had my mind blown when she broke the news to me over breakfast. A couple of hours later, it was my mum and me on a Rolling Stones-themed train with free drinks (lots of sugary soda for little me), a disco-carriage blasting all of the Stones’ biggest hits and lots of drugged out teens and tweens that you had to climb over on your way to the toilet. It was fucking amazing!
We arrived in Imst, Austria after a 7 hour train ride, walked up to the open air stage in pouring rain and hung out on an open field with thousands and thousands of other people, dreadfully waiting through the hour long sets of each support act, which happened to be Zucchero and Bryan Adams (!) in a very down-to-earth three-piece line up. 
The Rolling Stones were the loudest band I’ve ever watched to date. They played for hours, including a middle part where a huge ass bridge would extend from the bottom of the main stage, leading the band to a tiny, club-sized stage in the middle of the fucking crowd. I was in heaven! 
Throughout their show, I remember my mum having to randomly befriend an impressively tall guy in the crowd to sort of protect us from the mad asshole that got really upset about me standing on a little folding chair right in front of him. The jerk actually tried to kick me off twice. What a great reality check for a 12 year old!
After the show, we had to wait a few hours in the cold to catch our train back home to eastern Eustria – this time, it was just a regular ride with no other theme than maybe “no space anywhere” or “good luck getting some rest.”
I had to promise, not to mention anything about the trip to my schoolmates, so that my mum wouldn’t get any trouble from one of my teachers. Easily the unexpectedly coolest experience of my pre-puberty life! 
To be completely honest, this story is not about the furthest I’ve ever traveled to see a show, but it’s a damn good story to tell and it would still make my top 5 distance-wise.  
Ruben (30,000 Monkies – vocals/guitar)
SPB: What is the worst reunion concert you ever saw? 
Ruben: I've never really seen a bad reunion concert actually, but there is one that I attended that had some shitty consequences for us. In 2009, at Pukkelpop festival, My Bloody Valentine played their first concert in Belgium since their reunion. All in all it was a pretty awesome concert: very loud and the physical wall of sound that My Bloody Valentine is known for (including a 15 minute 'Holocaust section' in “You Made Me Realise”). They reached decibel levels between 125db and 130db, which caused some kind of outrage in Flanders and, ultimately, the Flemish government passed a very strict law to limit sound levels at concerts (a maximum mean of 100db over 15 minutes). So thanks to My Bloody Valentine, we're now unable to play loud concerts which we always thought was an important element of our live show. We did get an honorable mention as a bad example in the presentation that aimed to teach live sound techs how to cope with the norm though, which at least was a little funny to us. Oh well, luckily there are still some venues that don't follow the regulations too closely.
Jeremy (Girl Scout)
SPB: What varieties of Girl Scout (the band) cookies would there be? 
Jeremy: We always talked about making weed versions of Girl Scout cookies and selling them as merch because there is nothing more Girl Scout than getting high, turning up the fuzz and having some fun. We just wanna put the "tree" in trefoils, y'know?

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1QI: The Eye of Time, Thou, The Blind Shake, La Armada

Bands 1QI: The Eye of Time, Thou, The Blind Shake, La Armada

Posted Feb. 9, 2015, 9:06 a.m.

Welcome to our almost daily quickie Q&A feature: One Question Interviews. Follow us at facebook or twitter and we'll post one interview every Monday-Thursday. Okay, sometimes we miss ...

Marc Euvrie (The Eye of Time)
SPB: In your self-titled album, you had a more aggressive outlook and quite a different instrumentation for your music. What signaled the change from that to the more peaceful aura of Acoustic? And what does that change signify for you? 
Mark: It is not a change movement, it's just an experimentation. When I moved from my mother's house to study, I used to live in small flats in the city center, where it was really difficult to have my own piano and also play cello like I wanted to. So, for about 10 years, I did kind of a break with piano. Then when I moved to the countryside, the first thing that came to me, was buying an old crappy piano and playing cello as much as possible. Things came one after another, I had some songs from my own, so I decided to record them. So, there's absolutely no changes in my The Eye of Time project. In fact, my next record, ANTI, will be released in March 2015, and it's all about samples, ambient, dark electronica like it used to be.
Acoustic is only a different way of my artistic expression, and I really hope there will be some others. I already worked on new acoustic stuff!
I just want to express music with anything I'm capable of, may be a hip-hop record one day (to be true, there is some material already...)
SPB: What is your favorite part about the recording process? 
Andy: Overdubs, without a doubt. James Whitten, our recording guy/sound guru, is really good at helping us create outlandish sounds that end up sitting way back in the mix. I sometimes wonder if people listening to our records even notice them. Sometimes it's just banging on a metal chair with a stick, and other times it's linking up 3 heads and 3 cabs and creating walls of feedback. After a lot of painstaking tracking where every note counts, it's good to just let loose and make noise. 
Mitch: The first time we hear playback of the first thing we recorded is my favorite part. It's nice to step outside of the song and actually listen to it. 
That, or watching Bryan make goofy faces while recording vocals. 
Josh: The first playback is usually the first time I'll be able to actually hear my drums in the context of the song, so that's a neat thing. And the last handful of sessions we've done have all been at Living Room Studios in Algiers, LA, and it's just an extremely comfortable place to spend a few hours working on music. I enjoy that aspect of recording, as well.
Mike Blaha (The Blind Shake)
SPB: You have now released records on a lot of labels. What do you enjoy about changing affiliation with each release?
Mike: I think the best part about label Mormonism is discovering the newer or lesser publicized bands on a label. For example, Thee Oh Sees are one of the best bands on the planet, but without being on Castle Face's roster we wouldn't have known and played with an insane band like Running, now one of our favorite bands live and recorded. There are several more examples, but I recommend people go deeper into the catalogs of all the labels we've been on and find out for themselves how much great stuff is right within reach. 
Paul Rivera (La Armada – guitar)
SPB: What is the secret to a successful tour?
Paul: This question is more complex than it seems. I think the answer varies a lot depending on so many factors like what size of band is touring, what’s the main goal of the tour, and other logistical issues. At the root of it, if I had to say there was one thing that is the universal key for any kind of touring act, it's BEING PREPARED.
Preparation will save you time, money and maybe even your life. Having every detail of the tour readily available to everyone in the band, making sure the van is taken care of, having enough merch, having all your paperwork in order along with so many other tasks will leave you ready to tackle any situation that may arise—because, as everyone who tours knows, the road is unpredictable and things WILL HIT THE FAN. So don't be afraid to make spreadsheets, call buddies in advance to crash their couches, check your tire pressure and get a AAA card. But just be prepared.

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Cheryl Prime's most recent blogposts

Show Review: Caïna @ The Unicorn

Posted Sept. 8, 2013, 3:25 p.m. by Cheryl Prime

Caïna, Hordes, Barshasketh The Unicorn London, UK September 6 2013 We've been talking a lot about the rebirth of Caïna of late and we'll soon have a review of the new ...

Show Review: Winterfylleth @ The Black Heart

Posted Jan. 29, 2013, 7:50 a.m. by Cheryl Prime

The tiny Black Heart in Camden holds court to an evening of droned out sludge, traditional heavy doom, and more English black metal than you can shake a stick at ...

Show Review: The Great Old Ones w/Terzij de Horde and Oblivionized @ The Unicorn, London (January 5th 2013)

Posted Jan. 9, 2013, 12:17 a.m. by Cheryl Prime

The Unicorn is suffering from a severe lack of air con tonight, the tension in the air made all the palpable by the insane levels of heat and the anticipation ...

Show Review: Neurosis and Godflesh @ Kentish Town Forum, London (December 2nd 2012)

Posted Dec. 8, 2012, 8:39 p.m. by Cheryl Prime

The view that Scene Point Blank has been afforded for tonight’s performance is beautiful, and the sea of heads below on the floor is all the more astonishing seen from ...

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