1. Hi there! What's up in New Zealand?

Hi there. Not a great deal going down here at present. Besides spring that is - the great, all be it brief, equilibrium between bitching about it being too cold in winter, and bitching about it being too hot in summer...


2. Ok, I think most of the European shitheads do not know much about the scene in your country. So, what's up in your country. Any cool bands, zines, etc. to mention?

Due to our size and geographical isolation the scene here is relatively limited, with more or less just a handful of active bands at any one time. I think this isolation has perhaps bred a certain sense of individuality though. Rather than being part of a large scene of 100's of bands all influencing each other and ultimately all converging on a similar sound (ala Californian/Floridian/Polish), instead it's more natural in our situation to be influenced by a wider array of bands/music which in turn hopefully converges into something different again. Due to that i feel no two bands have quite the same approach. However, I'd say we do tend to share a fairly caustic overall style of music that seems particularly prevalent here. And, at least for the bands worthy of mention, a common notion that extreme metal should in fact be just that - extreme. Which is refreshing given the general state of modern death metal, particularly with the current fucking worthless trend of deathcore bullshit that appears all the rage right now.
Obviously the isolation is also severely crippling. Getting a name, and label attention to begin with is infinitely more difficult when you're coming from complete obscurity at the ass end of the world. Touring prospects are also a financial nightmare. As a result though there's a fairly clearly defined strata amongst the local bands. Dedicated bands with a sense of vision will create opportunities for themselves and have the work ethic to see it through. Your average passion-less, and generally musically/artistically apathetic band will quite simply get nowhere. More or less weeding out the weak as they say, so in that sense it does have its benefits.
Also, for Ulcerate specifically, had we found ourselves picked up by a label earlier (which one might argue could have been easier based overseas...) I'm not sure we'd have found our way to where we are musically at this point anyway. I think that difficulty is part of what fuels us to push ourselves between each release. Perhaps if we'd been recognised early on for our first demo material we may have found ourselves content to continue in that vein, instead of pushing ourselves from that archaic form to whatever step of the evolutionary scale of our sound it is we find ourselves at now.
So basically, as you mentioned, most of the outside world would have heard sweet fuck all from our corner of the globe. But the up side of that is if you do hear mention of a band from here, they'll likely display a focus and vision that is perhaps rarer to find in larger scenes more accessible to the rest of the globe. As i said above, if they didn't, their name simply wouldn't make it beyond our borders. I think this shows through with the few notable bands that are becoming internationally successful. Dawn of Azazel, Diocletian, Vassafor, and Creeping all have international releases.



3. You are around since 2000 and you have released two demos. Just go a little bit deeper in the history of ULCERATE. Did you play in other bands before ULCERATE?

Jamie and I basically started jamming together around '98 i guess, more or less when we were first really starting out on our instruments. So in that sense you could say Ulcerate basically began then. Of course over the years we played under a few different names (Bloodwreath from 2000 which was the direct predecessor to Ulcerate) with various other members and underwent several style overhauls and evolutionary shifts until we eventually found our feet with our first demo in 2003. At the same time we opted for a new name, which leads us to where we are now. As Ulcerate we've released two demo/ep's - 'Demo 2003' and 'The Coming of Genocide'. Both of which have since been re-released together on one disc by our good friends at The Flood Records, based in Italy. And most recently our debut full length 'Of Fracture and Failure' courtesy of Neurotic Records.
Bands before Ulcerate? Well, in '98 we were about 14 years old, so nothing worthy of note! haha. Everything since then has basically been a continuous development to this point...



4. Fuck, I was very impressed of „The Coming Of Genocide", everything is great, the sound, the production, your musical skills. Also the tracks from your first demo are awesome! How did you reach this high level as a demoband?

Thanks for the kind words dude!
As i mentioned above, although our demo in 2003 was our first release, we had in one form or another already been jamming together for 4-5 years. By which time, when you think about it, most bands are likely to be releasing at least their first full length. So really, although 'Of Fracture' can be considered our debut, I really feel it's more equivalent to our 3rd release and the 3rd era of Ulcerate. Also around the time of recording our first demo we were fortunate enough to be in contact with Michael MacKenzie who offered to record us as part of his final year of an audio engineering degree. You couldn't really ask for a better situation for a first recording effort than free recording in a pro studio. Through this experience and also occasional recording test runs we found ourselves in a position to record the material for The Coming of Genocide ourselves. Our gear was limited (one mic, one recording channel at a time), and the original intention was simply to demo tracks for our own benefit. But we were happy with the result and so chose to release it as The Coming of Genocide.
Also one major aspect I felt helped really separate those releases from your average demo, is our focus on the importance of professionalism. Everything we do, we choose to do 100% or not bother at all. Everything from our presentation, artwork, production, song writing etc etc. It's all equally important, and it all must be of a certain standard before we're even remotely willing to make it available to anyone else. It has also helped us that we've developed to a point now where almost 100% of any process to do with the band is sourced within the band. ie: artwork and design, photography, audio engineering etc is all the sole responsibility of ourselves. Giving us a complete sense of quality control.



5. Who had the idea to release the demos as a CD? Did The Flood do a good job, to spread your name in the world?

My memory fails me as to exactly where the idea came from, but basically at some point Dario at The Flood approached us with the idea of releasing something. Somewhere along the line either he, or we, suggested possibly re-releasing the demos. And we couldn't be happier with the result! Dario and the team have done a great job and have been really supportive of us. Especially as a band from the middle of nowhere with very little international exposure, it was a great opportunity to spread our name more off the back of the existing releases, and also to have them (at this point out of print) re-released. And this time internationally. Also as a result we've found numerous reviews online of the release, courtesy of the promo work of our friends at The Flood. Overall the perfect situation leading up to the release of our debut full length. Support The Flood and our brothers in Nefas!



6. When I'm hearing your music, I got connection to bands like ORIGIN (the technical site) or BEHEADED (the brutal site). What do you think? Which bands are your major influences?

I'd say elements of Origin is a fair call. Especially early on I'd sight them as a definite reference. The first Origin disc was one of my favourites when I was still just getting into death metal, and so that naturally found itself into our own approach. Again, specifically on our earlier material. John Longstreth put in a killer display of extreme metal drumming on I.I.I as well. In as much as any death metal drummers have influenced Jamie, I'd say Longstreth has been an inspiration somewhere along the way thanks to that record. As for Beheaded, I've never heard them, and I'm not sure anyone in Ulcerate actively listens to them so couldn't make a call on any similarities. If I was to refer to influences I'd have to say still mostly the bands that originally influenced us such as Cryptopsy, Hate Eternal, Immolation in particular. Mostly because they had the greatest effect on how we shaped our sound early on. Since then obviously new elements have been brought into the mix thanks to bands such as Gorguts, Necrophagist, Today is the Day. And more recently the likes of Neurosis, Isis, Blut aus Nord, Shining, Cult of Luna, Bohren & Der Club of Gore etc etc. But these days I really feel we're predominantly influenced by ourselves. We're now fairly comfortable with how we want to approach 'our' sound, and so the aforementioned bands aren't necessarily directly recognisable influences anymore, so much as they are inspiration. Be it their approach to their music, their atmosphere, their power, whatever aspect particularly grabs us. It inspires us to expand our own approach within the realms of what we see as our own sound. Which centres around an uncompromising approach to creating dark, suffocating music. Be it oppressive, or depressive. Layered and intricate, or focusing on simplistic power. Brooding atmosphere, or sterile and cold. Regardless of where we draw our inspiration from, we will always strive to maintain the fundamentals of what makes a our music Ulcerate.



7. Now you are signed to Neurotic Records and your debut „Of Fracture And Failure" is available. You still follow the way of your second demo, but a little bit more technical and also a little bit slower, in my opinion. How do you see the progress in the band?

More or less, I think our approach to all of our releases so far (demos & album) has been to view the material that preceded it as basically ground zero. The base of our sound. And then from there we simply try to build out from that base. And the more we develop, the more we realise and become aware of other new areas in our sound that we can push and develop. So in that fundamental sense, yes, I'd very much say that the album is still following the way of the demos. It's certainly a natural progression in my eyes. Although the areas in which we chose to push ourselves may not necessarily translate to the progression that is 'heard' as such. One of the aspects we focussed on for example was increasing the level of intensity so the album as a whole would be a confrontational listen. The added 'technicality' that you noted was in no way due to a concerted effort to make 'harder' or more convoluted music simply for the sake of it. It was more a by-product of other elements. For example the desire to increase intensity in select areas may lead to more irregular rhythm or timing to keep the music feeling off balance so you don't feel 'comfortable' in it in a sense. This irregular rhythm/timing might also be a result of simply wanting a more erratic overall vibe to a particular section, again in an effort to increase the intensity. Any sense of 'technicality' was more a tool to create something else. 'Technical' is only a relative term anyway. Relative to the hundreds who may struggle to play something. Relative to the thousands of others, who will always be out there, and who will always be better than you. And as long as there's always those thousands who can play technically better than you, music that is solely 'technical' for no other purpose is fairly artistically superficial, and a pointless endeavour in my opinion.



8. You only take one track („The Coming Of Genocide") from your demos. But also this track sounds really different to the demo version. Do you have more influences get in to the music or do you see it as a typical progress of your music?

We actually originally intended to re-record all four of the tracks from TCOG alongside four new tracks, but as we got closer we felt the older material didn't really fit the mood of the newer ones. It was also very important to us that the album didn't just sound like a compilation of new and old material slapped together, which to me it risked if we lent too much time to the older material. And so we cut it back to just three of the old tracks. And then two. But even then we weren't happy to just re-record them as they were. There were still a few elements that didn't quite gel with the vibe of the rest of the material, but also i didn't really see the worth of simply doing the same thing over again. We were happy with what we achieved with those songs the first time around, so what would be the point, or artistic merit, of simply repeating ourselves. At this point we decided to re-write a few elements of the 2 songs to be re-recorded, only to realise for the effort of re-writing, we may as well just write another new track altogether. At the end of the day, with all the other material completed The Coming of Genocide was really the only one that still for the most part felt like it fit. In the end the only substantially reworked element of that track was the intro and the outro. Both served the purpose adequately for TCOG ep, but just those two changes for me bought it somewhat up to speed with the mood of the rest of the album. Beyond that we just aimed to basically nasty it up a bit. It ended up a little quicker (again, for effect. not just to prove a point), and on the whole a little more aggressive sounding Ii think.



9. On both demos James Wallace did the main vocals, but now Ben Read is in. What went wrong with James?

In the 6 months or so leading up to the completion of writing for the album James had been suffering from a respiratory illness that unfortunately hindered his ability to do vocals. With the recording looming and James' vocal future uncertain, we had to make the decision to look for a new vocalist. We've been friends with Ben for years and Jamie and I had played in a side-project grindcore band with him a few years earlier as well so we already knew what he was capable of. Also, and possibly even more importantly, we were already fans of his lyric writing ability, and so were confident he could portray a lyrical approach that would meld with the material which was at this point already nearly completed. I personally also liked the idea of Ben's vocals not necessarily being your typical death metal fare to help continue to give us our own sound. But at the end of the day, more important than what register he sang in, was that his vocal approach be delivered with 100% conviction and match or vision of creating aggressive music. Having low vocals for the sake of low vocals is of no interest to me and I feel completely pointless unless it serves the music as a whole. I see the cultured/controlled high vocals of many of the modern hardcore bands equally pointless. In both situations I'm left equally dumbfounded as to why these people are even screaming in the first place. In a DVD of The Haunted I was watching, Peter Dolving is commenting on people asking what his vocal technique is. His response is that he doesn't have a technique. He's just pissed off. That for me, should be the fundamental base of aggressive vocals. In a similar vein, the two most impressive vocalists I've seen live are without a doubt Eric Rutan (Hate Eternal) and Aaron Turner (Isis). When they yell, they fucking yell. And it's like getting punched in the face. Above all else this is what's important for the vocal presentation of Ulcerate. And this is something both James and Ben have embodied.



10. Your lyrics are very abstract, but in one way with the typical themes. Please tell me a little bit more about the lyrics and the influences you got for it.

We began originally with a general concept I had been toying with for a little while. The idea being that the album follows somewhat of an arc - the earlier songs are directed at various aspects of society & the way the human race is progressively destroying the planet & one another. The middle songs focus more on the exasperated feeling that there is little that can be done, & short of living in a cave, by simply living day to day we too are part of this. Which leads to the latter songs that centre on the notion that perhaps the only saving grace will be to remove ourselves from the world ("Let me hang here, till sleep..."), and to take the rest of man down with us (''The Coming of Genocide"). It is not meant in a strictly literal sense. It is merely intended as a train of thought. Ben then set about constructing his lyrics using that general theme as a base to work from. As would be expected, with his lyrics he then brought his own slant to the concept as well.

With respect to the abstract nature of the lyrics themselves, that is more or less Ben's personal style making its stamp on the record. As mentioned above we already had a fair grasp on Ben's lyrical abilities and style before he joined, and how we envisioned this fitting with the material for the album was an equal factor, alongside his actual vocals, for his joining. I also particularly like the ability of abstract lyrics to leave them somewhat open to interpretation. We are very passionate about the fact that this band will never be about burdening others with our opinions. Forced opinions have a lot to answer for the fucked state of the world now anyway, so in that sense it's in keeping with the theme of the record as well. Above all the specific meanings are themes Ben is personally passionate about. Which is important because, again as i mentioned above, so long as someone is screaming it should be with conviction, and should serve a purpose. Beyond that, it's simply a form of artistic expression of those thoughts and feelings.

Regarding the base concept itself, this represents just one train of thought/theory i have. Another in a similar vein is that perhaps the cycle of destruction the human race is bringing about is a natural cleansing process of the earth. Similar to the effect of naturally occurring bush/brush fires that burn off large areas of forest & life, which in turn cleans the slate and allows new life to start free of the remains & debris of every thing that had lived and died there previously. That perhaps it is a natural path that we destroy everything, including ourselves, in order for the planet to start fresh. As I said, all just theories. The album is simply a way to present one of them.



11. Both cover artworks were made by your drummer Jaime Saint Merat. Ok Jaime, I have to say that I like both covers, but „The Coming..." cover is still my favourite one! What are your main influences to do such an art and which technics are you using?

I'll hand these next two questions over to jamie...

Jamie:  Main influences?  Well, I really dig the work of Niklas Sundin and Dennis Sibeijn, but I work as a designer as a day job and I'm immersed in design all day, so everything is an influence!  In terms of technique, I work in mixed media -  paint application, photography and digital, and it all comes together in digital composites.


12. You also created the artwork and layout for other bands like DAWN OF AZAZEL, INTORMENT BLACK or GRAYMALKIN. I only know DOA, so are these regional bands or how do you get in touch with the bands? Are you working on other layouts/covers by now?

Jamie: Dawn and Graymalkin are NZ bands, Intorment was an Australian band.  I've come to the point with my design work that I only want to be working on stuff for music that I respect and can get inspired by and for the most part, almost prefer to keep it solely for my own projects. So I'm not in the business of approaching bands to do work for them. And I always seem to be working on stuff, be it shirts/posters/album layouts...


13. There are so much technical death metal popping up out of the underground, which all have a very high technical skill, but still a great flow. What do you think about these bands like UNMERCIFUL, ORIGIN, VISCERAL BLEEDING, etc. etc.? Why are some of the most talented musicians are playing death metal nowadays and not Jazz or something like that?

Any Jazz musician could play the pants off me, so I'm not sure I'm really the best guy to be commenting, haha. If I had a guess though, I'd say it's probably part of the natural progress of the genre as a whole. Death metal is in particular a genre that tends to push the boundaries (or at least it should). And so I think it's probably natural that for some people that has pushed their proficiency. In that regard jazz musicians have always been pushing the boundaries as well, although I'd say they generally have a good few generations of evolution on death metal musicality. Another aspect is possibly due to the increase of musicians in death metal who aren't solely influenced by death metal.

I'm personally all for musicians constantly working to develop themselves, and bands that nail their shit. But I'm also a weary of bands that value the pure technicality above the music itself. The personal skill set and proficiency should be a tool to create music. Not creating music as a tool to show off a skill set.



14. Do you think, there will be a change to see you somewhere in Europe soon? How is the situation in New Zealand? You played together with CANNIBAL CORPSE!

Hopefully man - we're working on it! Unfortunately as I mentioned before it's proving to be a bit of a logistical and financial nightmare coming from the other end of the earth. But getting to Europe is definitely a high priority. If not the highest. Due to our size at this point (or more importantly, our lack thereof), we obviously have to attach ourselves as an opening band for a larger tour. It's really just about finding the right tour, and managing to pick up the spot. We've had a few possibilities in the works, but unfortunately the ass fell out of them for various reasons. And so it's very much a waiting game at this point. And proving to be a long wait at that. But I guess in turn it will be that much more important and significant to us when we do finally get there. And I suspect once we get our foot in the door it will make things a little easier for future touring plans.
As for the situation here, New Zealand for an exceptionally long time more or less never saw internationals. And I think suffered because of it. There's nothing like getting your ass beaten off the stage by an experienced international touring band to force you to lift your game. Fortunately in the last year a new promotions company has entered the scene, and is capable of pulling tours across the ditch that in the past have only hit Australia. Over the past year we have supported Cannibal corpse, Deicide, Suffocation, Disgorge, Skinless, Nile and Decapitated. And before that, Deeds of Flesh and Incantation. More or less every international that's come through. That's the upside of being from such a small scene. In Europe or the States we may not have had the same opportunities for these types of shows so early on, if for no other reason than the promoters having an abundance of support bands to choose from. It's much easier to climb to the top rungs when you're climbing a very, very, short ladder.

As for the future, we have a few shows next weekend with Australia's The Amenta which I'm looking forward to. Then in November The Black Dahlia Murder and Cephalic Carnage are making the trip down our way and we'll be direct support. Also, Behemoth will be here in December I think it is, which we're on as well.



15. Most of you guys ae playing also in other bands just like 8 FOOT SATIVA, THE HOUSE OF CAPRICORN, ABYSTIC RITUAL, ... Which kind of music you are playing in this other bands? Please give us some infos about this bands/projects!

Ben Joined 8 Foot Sativa a year or so before joining Ulcerate, and Jamie joined earlier this year as more or less a good opportunity to simply play more music and to develop in a different style. As 8 Foot has achieved a reasonable amount of commercial success in New Zealand, they also get paid. Which is a rather novel thought when you're used to playing in a broke-ass band like ours.
The House of Capricorn is a sludgy rock band heavily influenced by the early 90's sound, for which Michael R plays drums.
Vassafor is a destructive black metal band that Michael R also drums for.
Abystic Ritual was a project with Jamie, our former vocalist James, and Paul on guitar. Melodic death/black metal. More or less a project that happened when the urge happened to take them. They released an EP and played a handful of shows around the same time.
Asphyxiate is aggressive death metal for which Paul plays guitar.
Michael R is also currently working on a solo project (non metal). I'll leave it for him to elaborate when the day comes, but what I've heard so far is sounding fucking awesome.
And that's about all of them for the time being...


16. Ok, I think, that's if for the moment. Thanks for your time and at last perhaps a little look into the future!

Thanks for the interview dude. Take care and hopefully we'll catch you sometime soon in Europe...
Michael // Ulcerate