Napalm Flesh – Local Spotlight: Ravings of a Madman

Posted December 30, 2010 in

This week the blog features an interview with local metal group Ravings of a Madman. Read on for a review of their self-titled album and to find out when and where the band is playing this week and for some blog exclusive CD reviews.

Ravings of a Madman is
Jeremiah Hammon “Madman” – Vocals/Guitar
Ricky Mundt “Mace” – Bass/Vocals
Jeremy Pappenfus “Pabst” - Drums

SLUG: How would you describe the sound of your band to someone who has never heard it before?
Ravings Of A Madman: That is one of the toughest yet most common questions for a band to answer, and usually most of the responses are cliche, fake and full of cookie cutter bullshit. To be honest, we feel we have such a wide variety of influences as well as such diversity in sound from song to song that it’s hard to pinpoint one area. Personally, we think Ravings of a Madman must be experienced by the listener first hand in order to formulate their own opinion.

SLUG: Do you have any recorded material available to buy/purchase/listen too? If so where can people pick it up/hear it? Do you have any recording plans?
Ravings:  Yes, we just released an album called "In the Time It Takes to Hate." You can pick it up at any of our shows for only $5.00. You can also purchase our single "Take" on for .99 cents and listen to all the other tracks from the album. We are looking for local and national distribution as we speak and you can go to, or!/pages/Ravings-of-a-Madman/102695813110437  to get updates on that info. We love to record and do it quite a bit—next year we plan on releasing another album.  
: What is the mental mindset of your band? Basically, what is your band trying to convey to listeners? You can be as specific or non-specific as you’d like.
Ravings: Ravings is far deeper than a six foot hole, our music tackles life, death, and everything in between. Songs of ours like “Atomic Forty-Five,” “S.O.S.,” and “Cauterized” are about the destructive nature of the human race, how humans have the potential to be good and do great things, but choose a path of ignorance and self destruction. That is a frustrating fact for us to deal with because we care about people and know this planet could be a better place for everyone but you always have things like organized religion, corporations and the political system that seek to control you and take your money, whether it be through forcing you to live in fear, hidden agendas or war tactics. Other songs like “Flowers for the Dead,” “Take,” “In the Time it Takes to Hate,” “Persona non Gratis,” “Doomed to Fail,” “Seasons in Hell,” “Awake,” and “I.V.W.R.I.P.” address other subjects such as suicide, rape, self-torture, child abuse, pain, and madness. Like we said, Ravings of a Madman covers life, death, and everything in between.

SLUG: How do you feel about being part of the metal scene of Utah ? Is there anything you’d like to see change in the local “scene”?
Ravings: Aaaaaahhhhh Utah. Despite the fake beer here there always seems to be plenty of titties floppin around at the shows. Everyone has a good time and is drunk by the end of the night anyway, so it’s no big deal. But what the hell is up with the hangover? It’s notorious worldwide. "Sin tax." But on a serious note, after our adventure of relocating from Montana where there is real beer and plenty of sheep, we feel very fortunate to be a part of this scene. We have met a lot of cool people and had the opportunity to play with a lot of very cool bands from the local level to the national level, and it seems there is an endless supply of venues that welcome metal music. The biggest complaint that we have with the local metal scene is that we see bands dividing the scene by fighting amongst themselves. These petty indifferences and pissing matches between band members and there so called "rival" bands punch a hole in the entire scene and take away from what all the bands are trying to do. It’s more beneficial for bands to unite the scene because that brings more new faces to shows.
SLUG: What do you think makes your band unique not just to locals, but the metal scene entirely?
Ravings: They don't call us Ravings of a Madman for nothing. Come to a show and see us live, then you will really understand.  
SLUG: Is there anything else you’d like to add?
Ravings: Well we recently have been formulating an acoustic side to our music. It’s heavier and edgier, and delves into different avenues of Ravings Of A Madman, which is great for us because our diversity keeps us fresh and new. Check it out at
Ravings of a Madman play live this week:

Friday, December 31 at the South Shore Bar and Grill as part of the clubs New Years Throwdown.

Saturday, January 1 at Club Vegas as part of the Club’s Hangover Ball

Wednesday, January 5 at Liquid Joes.

Ravings of a Madman

Self Released
Ravings of a Madman = Anthrax (post Persistence of Time) + Deftones (Adrenaline era)
Yes, it’s true I suffer from white man’s syndrome: I have absolutely no rhythm. If I attempted an instrument I’d fail horribly. That’s what makes critiquing any musicians’ work difficult. All that said, Ravings of a Madman’s self-titled album doesn’t suck or anything, but with any band there is room for improvement. For ROAM it lies mainly in the songwriting. They have unique bouncy-style thrash metal playing about them and there are some leanings of old nu-metal bands, but no rapping or any of that painful stuff. The album has that garage-band quality to it in its production. Everything’s clear, but it could use a bit of thickening on the guitar and bass. The album is only 33 and a half minutes, but the songs sound too similar and get a bit dull after repeated listens, making the album feel longer. Negative thoughts aside, the record has a great live sounding quality. Hell, I’m a picky cynical bastard and I’d check the band out live. –Bryer Wharton

Blog Exclusive CD Reviews

Yogsothery: Chaosmogonic Rituals of Fear
I Voidhanger Recordings
Street: 11.15
AA. VV. = Aarni + Umbra Nihil + Jaaportit + Caput LVIIIm
Yogosthery is a highly intriguing compilation of four artists inspired by H.P. Lovecraft’s Cthulhu Mythos—a common inspiration amongst many metal artists. All artists represented here paint similar pictures with their songs but are able to distinctly display their own style. Finland’s Jaaportit sets the stage early with a spacey, ambient-type track “Kuihtuman Henkivi.” At over 25 minutes, it’s dark as hell but it contains a brilliant subtle beauty to it as well. Following the first track is Umbra Nihil, one of the more known artists in the avant metal realm on the compilation, with their contribution “Suur-Nikkurin Virsi.” It’s an oddity of a track with straightforward doom portions and noisy space moments, flat out noise and vocal weirdness. It encompasses quite a bit in its almost 11 minute playing time and plays to Lovecraft’s odd writings. Fellow avante Finnish metalers Aarni follow Umbra Nihil with their equally odd “Lovecraft Knew,” that has standard doom riffing and drumming, but also plentiful keyboard/programming oddities and a highly distorted vocal approach that sounds like the Necronomicon is being read by unknown and definitely unseen demonic forces. The album closes with “Resurgent Atavism” from Italy’s Caput LVIIIm, a collaboration of members of Malasangre and Tronus Abyss formed solely to create a track for this compilation. The track provides a monstrously epic and blackened atmospheric doom piece of music that runs at almost 30 minutes. Every collaboration on this compilation is unique, the artwork is stunning and the CD version comes with a 20-page booklet. Really, what’s not to like here? Doom, ambient, black, space, metal and H.P. Lovecraft. –Bryer Wharton

Reaper Subconscious Guide
Agonia Records
Street: 10.26
Although I have not listened to Furze’s previous work, to classify this album as “black metal” would be extremely misleading. After a few minutes into my first listen, I understood why Furze is sometimes considered a joke band. Without trying to suggest that this is a bad album, it was initially a struggle to listen to this album multiple times. Reaper Subconscious Guide sticks mainly to a mid-tempo pace and simplistic drumming, but that doesn't necessarily mean he's playing it safe. In a strange way, the interesting thing about this album is that it seems relatively uninteresting. But something about it makes me keep questioning why I dislike it. The vocals explore all kinds of ranges—sometimes effectively instilling an eerie feeling to the music. But there are some eyebrow raising moments where it sounds like a bored Les Claypool singing to himself, or a shriek that hits such a pitch that I questioned question "the seriousness" of Furze entirely. It's not that this is bad, but I can't quite figure out how to like it. –Conor Dow