Napalm Flesh Local Artist Spotlight: Odium Totus

Posted April 19, 2012 in

This week's Napalm Flesh features a local artist spotlight with Dyingnysus of Odium Totus—read the interview and check out their show with Gravecode Nebula and Blood Purge on Saturday April 21 at the Dawg Pound. As usual we have your weekly event rundown and album reviews of the new Municipal Waste ( interview coming soon) and Prong.

Check out a hefty dose of local metal on Friday April 20 with Visigoth, CastleAxe, Diforia and Year of the Wolf at Burt's (21+). $5 at the door, music at 9 p.m. (

On Saturday, April 21, SLUG Magazine and Napalm Flesh present a local metal showcase at the Sandy Graywhale to celebrate Record Store Day. Check out rare all-ages performances from INVDRS, Cornered by Zombies, Eagle Twin and Gaza—and it's FREE! It all starts at 6:30. (

Blasphemic Hymns presents local extreme metal from Gravecode Nebula, Blood Purge and this week’s local artist spotlight, Odium Totus, Saturday at the Dawg Pound (21+). $5 at the door, music starts around 9 p.m. (

More local metal from around the valley plays out Saturday, April 21. Ritual of Terror, Incendiant, Reveeler, KHP, Cave of Roses and Project Blackthron all play the (16+) showcase at Club Sound, $13 at the door, music starts at 7:30 p.m. (

Of note, the scheduled Untimely Demise (from Canada) concert on Monday April 23 will go as a locals only showcase. The band was denied entry to the US, hence disrupting their entire US tour. Blood Purge and Year of the Wolf let the show go on at Burt's (21+). $5 at the door, music at 9 p.m. (

Odium Totus interview

SLUG: How would you best describe the sound of your band to someone who has never heard it before?
Dyingnysus: I would say that we land in the realm of atmospheric black metal that is influenced mostly by the 1980s and early-to-mid 1990s sound—Bathory, Hellhammer, (old) Darkthrone, Burzum and Mayhem—as well as some of the stuff like the French “Les Legions Noires” scene. Some of our more obscure inspirations come from some bands from the 1970s like King Crimson, old Pink Floyd and some other groups like Ved Buens Ende, (old) Ulver, Katharsis, Grand Belial’s Key, etc.. While influence is drawn from certain sources, musical and otherwise, I think we manage to have a fairly unique approach, but I guess I am supposed to say that. Perhaps it doesn’t matter, because I think we just like doing what we do, regardless of all that formulaic tried and true method. I must mention that one thing we try to make sure is that all the guitars, amps and effects are based on the old analog effects/old equipment from the ’70s and ’80s so it sounds a bit ancient and old school. Overall, my opinion is that it’s very raw, aggressive, dark, and maybe even a bit thought provoking, and it tends to take the listener to a more considered and reflective state, I hope. That might be stretching it too far, actually. I can’t say that there are many people in SLC, or elsewhere really, that are capable of such reactions with music—nothing against them, I suppose, and there is plenty of palatable nonsense for the masses. Oh, I can say this is not thrashing or “headbang” music, that is definitely certain. So if you’re looking for the next rifforama, breakdown or drop tuned slam fest, I suggest you steer clear and go for the latest, greatest that scene has to offer and leave us alone. We will do you the same courtesy, I assure you. Always aiming to displease!

SLUG: Give us a bit of background information about your band. When did you start? Why did you want to start this band? Have any of the members played in other bands?
Dyingnysus: This group started out of rehearsals between our drummer R. Sodomizer and I, around May of 2011.  Originally, I think I was trying him out to possibly play drums in another band I am in, but that idea was abandoned since we had a strong desire to come up with a completely different sound regardless. Hence, Odium Totus established the Spring of 2011. Yes, all of the members have played in previous bands and other current bands as well—I would name them but I don’t care to.

SLUG: Do you have any recorded material available to purchase or to listen to? If so, where can people pick it up/hear it?
Dyingnysus: As of now, we do not have our first demo, “Nullam Congue Nihil,” recorded, but all the material is prepared and we do plan to start recording it this month of April. We have some live samples and a few Youtube videos of some live performances (as of now, we have played live twice). You can look us up on Reverb Nation and Facebook, and maybe we will have a website soon, maybe not. I really am tired of this whole Facefuck, Myshit, Reverb Crap. I guess they serve their purposes and it’s pretty stupid that I even complain about it in the first place since this interview is going on the Internet! The Internet is the new opiate for the masses, after all. This is a very new band, so we have not been established with a multitude of recordings yet. More or less, the point of this Q&A here is to change that and have some new awareness among the populace happening. The demo will be in promo CD form as well as available as a digital download (there goes that Internet again!).

SLUG: What is the mental mindset of your band? Basically, what is your band trying to convey to listeners?
Dyingnysus: I think we have a lot of common outlooks and such, and for certain, a lot of differing ones. As of now, I have written all of the lyrics for this group, and for me personally, the basic ideas and philosophy that I am trying to convey is that we do not wish to follow any set or preconceived doctrines, dogmas, or ally ourselves with any political or socially acceptable (or so-called unacceptable) ideals. I think everything that provokes against any system is essential personally. I have found throughout my on this planet that existence is either a process of conformity and acceptance or one of non-conformity and basically being ostracized. Within every social structure there is maybe a subconscious desire to not go too against the grain for fear of being ostracized, it seems. As I get older, I find that I must not only go against the grain, but set the wood to the fire as well. I can’t say much for everyone else’s feelings in the band necessarily, but I feel that I do not want much to do with the so-called ideals and structure of being part of the greater humanity and ultimately modern society. I am forced to do what I have to do to live in this society—to pay bills and to have a job. A lot of great opportunities arise from that ability to do so—having fundage to buy new gear and enjoy myself—so that is what it is. I guess what I am trying to say, though, is that I’m not very content about it. I think the world we live in will never be set right, but I would be happy being a part of it. Through apathy and, unfortunately, a degree of complacency, I have to play this game too. I think the frustration and the longing for more of a colder, realistic and honest world is what the message is all about with the lyrical content. It is very Nietzsche inspired in some respects. I suppose I could pull a Zarathustra and hideaway in the mountains for 10 years—trust me, it hasn’t been ruled out—but I suppose this is my coming down from the mountain to spread the ideal of order through chaos, and chaos through order. I must say that it is also a flat out refusal to appreciate or believe in the concepts of pity, mercy, equality and tolerance. Take that as you will. I have an ideal of what a cold and detached person is, in what I see truly as a cold and detached world. The one we live in now is fooling itself into being one of peace and togetherness (which it is not, never will be). I get pretty agitated and indignant towards people who try to spread ideas and values of tolerance and togetherness. It really aggravates me to no end. At the same time, I can be a pretty thoughtful and caring person to those near to me and more importantly, those who deserve it. What does that mean in this little scene, or the whole grand scheme? I often contemplate if any of it is all worth it. Will I get burned in the end? Then I think, who cares after all. I know that I find a degree of pleasure in having this particular outlet and it is satisfying to me. Overall, I think maybe I am inspired of some notion that possibly someday there could be the ideals of an elite and ordered society in place, where you are trumpeted for your strengths and nobility. Plus I would like to see a society where people that are weak, unintelligent, and useless should not be allowed to breed, let alone breath. Whether that is up to me—obviously it wouldn’t be—is of little or no concern. That is just one of my dreams.

SLUG: How do you feel about being part of the music scene in Utah? Who are some of your favorite bands? If there’s anything you’d like to see change in the local scene, what would it be?
Dyingnysus: I don’t feel very good or think about it much overall as a local “scene,” at least for what we do. There is not much unity or support in our scene to begin with, at least on par with other scenes I have seen in other cities. I find that the mentality here in Salt Lake, and maybe this is due to all the oppressive religious influence that permeates the community here, that there is a lot of cliquey crowds, a ton of back biting and plenty Schadenfreud! Hey, I’m guilty of some of those things, so are many others and that is just how it is. At least I am honest about it! The underground extreme metal bands get very little respect here and maybe that is the way some people want it. Maybe I want it like that as well. Maybe we all even take some pleasure in that. Who knows? I don’t really care, as it will not stop us! I most assuredly don’t want 200 poser kids with an emo haircut, gauged ears and snot noses at our shows anyways. I do not want the passive and hippie like indie rock crowd coming to our shows. Anyone into hip hop can fuck right off as well. I am not looking for crossover appeal. I always said I’d rather play for 10 diehards than 1000 posers any day. I enjoy a negative reaction and try to provoke one from almost anyone I oppose or differ from. I guess that is a double edged sword anyhow as you cannot provoke and forsake an audience out there then turn around and expect a lot of accolades and unequivocal support from a large number of people. Perhaps that is why this scene will never be larger than it is—not many people “get” it. That is in no way saying that it is more special than anything else anyone is into, just saying the appeal is selective for a certain mindset. Still, who wants to conciliate to crowds like I just mentioned? Who wants to be a slave to trends and what is fashionable anyhow? There is plenty of that shit out there, so no reason to associate with other music “scenes.” There is definitely no point in placating any person through music to begin with. Honestly, people picking up or appreciating what you are doing creatively is all one big byproduct.

To be a little more positive (ugh), I really do appreciate the folks that are a part of what this local scene is here and enjoy the extreme underground sound. I appreciate those who are dedicated, and come to the shows and all that, as well as all the other local bands here I like who put on killer shows etc. All those people are great. The others—venues, bands, “promoters,” periodicals—it always changes over the years, some come and some go. Why waste our breath? At least, I feel and I think that our whole crew is a blight on this scene that will never go away! I enjoy putting shows on and making sure everyone has a good experience, even if it is a rather small audience. Why play live if not to share the music with an audience too? On that subject, one of my favorite venues to play though is Bar Deluxe. They are easy to work with, total no bullshit and always supportive. Kaci is an awesome woman and friend. I don’t really like too many other venues I’ve played here really other than them, and maybe a few others. Also, I don’t like to name drop local bands really so I will forego that. I do this for two reasons, a. so I don’t forget anybody, and b. no pissing up rope competitiveness etc. The bands I support know who they are, because I go to their shows, or ask them to play my shows I put on or I jump on their shows etc. So, with all that said here are the biggest things I would like to see change; I want all indie rock bands to overdose on drugs. I would like for all venues that have asshole shitty staff members to burn down. Above all, I would like for all jack off, cash eyed, promoters to wrap their lips on a shotgun and put their minds somewhere more useful (the wall behind ‘em). I would like all snowboarders to break their legs, and I would like all the hot girls to blow my friends who need to be blown. I would like to be able to drink every night and never be hungover the next morning Etc. Ad Nausea Etc. That’s not a lot to ask for, really.

SLUG: What do you think makes your band unique?
Dyingnysus: Hmmm, musically, maybe the fact we just don’t give two god damned shits what people think? Some things I have mentioned previously. Perhaps the fact that we are unashamed and callous assholes is a big boon. Selfishness is a big one! Well anyway, we are in it for ourselves, and if you like it, great, and if not, then fuck yourself. Also the guitar players in this band are married too. That’s pretty unique! How many extreme metal bands in Salt Lake can say that without being gays?

SLUG: Do you have any recording plans? Do you have any upcoming live shows that you would like to let our readers know about?
Dyingnysus: Yup, mentioned the recording previously and I will add that it should be done and out hopefully end of May or June. We will be playing in Salt Lake City at the Dawg Pound with Gravecode Nebula and Blood Purge on the 21 of April. On May 12, we hit Bar Deluxe to play with Visigoth and what is to be Beyond This Flesh’s last show, as Jim is moving to Texasl; they say only steers and queers come from Texas ya know, so he is going back home to be with the other steers, or wait? Did I get that right?. Also we have some out of state shows planned, like the Gathering of Shadows Black Metal fest in Colorado at the end of July. We are working on setting up a show in Los Angeles, CA for June, not sure where that one stands as of now, but we will get there soon enough I’m sure. We will play out other cities as much as possible. One goal is to get back to the east coast. To release some good records and tour a lot with this band is my hope and I will do my fucking best to make that happen.

SLUG: If there is anything else you’d like to add, consider this question a free-for-all or a soapbox for whatever else you’d like to
Dyingnysus: Trust no one, life is worthless!

Exclusive Reviews

Municipal Waste
The Fatal Feast
Nuclear Blast
Street: 04.10
Municipal Waste = Exodus + S.O.D. + Gama Bomb
One of my fondest showgoing memories was Municipal Waste, '06 at the Keswick Democratic club in Louisville. Small stage, boogie boards, Lords opened (Tony Forresta made jokes about "The Phantom Lord" and clowned on Mike Muir for being a crappy vocalist) and a kid broke his leg. Perfect show. While I adamantly try to avoid being that dorkus that gets all uppity when something he likes gets popular, Massive Aggressive was (arguably) Waste's big break...and it mostly sucked. 'Waste's power lies chiefly in their ability to freely cop from their influences (Kreator riffs, second tier Bay area bands, comic books, etc.) without sucking like some weezy weak-ass nostalgia project, injecting millenial freshness, catchy 'tudes and beefy studio strength to the mix...and so in that regard, The Fatal Feast is a return to form. Gone are the "we're trying to be serious for a minute" bits found on Massive Aggressive as it opens up with a schlock-ridden ’70s style synth instrumental, good samples (River's Edge? I dig) and guest vocal spots from John Connelly (Nuclear Assault) and Richmond alum Tim Barry (Avail). Goofy songs rife with conviction ("Jesus Freaks") that can run a little samey (Bitchin' lyrical sentiment, the title track is a little too wonky for me) and it generally lacks the spazz and urgency that made Hazardous Mutation such a riotous blast. It's definitely not a radical departure from that earlier sound, but somehow comes off a wee bit neutred from the production. Still, "Crushin' Chest Wound" and "Covered in Sick/The Barfer" roar as the canon standouts that will surely work their way into the live show and Land Phil's bass, rumbling and nimble, might just be Fatal Feast's strongest asset. Solid and full of promise, here's to having it bore into your sub-conscious like some ‘70s B-movie spore to rear its head back tenfold at the eleventh hour. –Dylan Chadwick

Carved into Stone
Long Branch
Street: 04.24
Prong = Pantera + Helmet (old) + Fear Factory
With the first spin and instantaneous head-banging that occurred while blasting the new offering from Prong, I wondered if the nostalgia factor was at play. Prong was one of my high school bands—badass memories populate my brain from the frequent blasting of Cleansing and Prove You Wrong as loud as possible in my ’84 Buick Skylark. To my dismay, Prong broke up pretty much at the same I discovered them. When Tommy Victor, the main man of Prong, regrouped his band in 2002, I had low expectations but was excited. However, the albums Scorpio Rising and Power of the Damager were trepid and bumbling attempts at the former glory of Prong. Carved into Stone is the record that should put Victor and Prong back in the spotlight. This is a bastard riff machine record; it kicks your ass to a black and blue slurry. Expect some powerful grooves that bring back thoughts of ’90s to ’80s-era Prong as well as the thrash elements that Prong held dear during that time. This isn’t all sucker-punching beefy riffs, either—Victor’s guitar work wallops with mesmerizing and brilliantly catchy leads and soloing. Victor’s vocal performance elevates the record and gives Prong that edge, because really, nobody sounds like Victor. I don’t care what genre of metal is your favorite, this is the best metal record of 2012, and anything that may be able to trump it, please go ahead and try. –Bryer Wharton