Butch Ate The Baker

Almost 15 years ago, Butch broke up with his hardcore metal band Shudder in the parking lot of the biggest show the band had ever booked. The show was nothing short of a disaster and a decision was made by all parties involved to move on. While the other members would go on to form other notable acts (Metalcore legends Misery Signals and Sludge powerhouse Wolvhammer), Butch disappeared into the night to follow other pursuits.
Now lets fast forward to a year ago, when Butch approached his long-time friend, producer/songwriter Baker about working on a heavy metal song. This one song (which would later become the first single, Blood Runs Cold) quickly developed a following online with heavy music fans. The duo then made a decision to move forward with writing an EPs worth of material, Mid-Afterlife Crisis, which is expected to be released later this year in 2014.
Although their music is rooted in heavy metal, Butch Ate The Baker manages to pull in sounds and influences from alternative rock, industrial, electro, punk and hardcore. The end result is a surprising dose of heavy music that is not afraid to bend the genre, keeping listeners on their toes.
Twitter: @butch8thebaker

Participants /musicians must be willing to seriously meet deadlines, fulfill obligations, and accept responsibility. Equally important potential participants must pass a basic audition exhibiting their musical talent and ability to play as well as perform Heavy metal and Classic Doom metal music. Specifically music by the band Endless Void and Metal music from the 1980s and 1990s eras (NWOBHM). For more details contact James Owen/ Endless Void/ email: or telephone: 727-644-5232 or 814-823-6786. Furthermore, interested and like minded individuals are welcome to inquire and should research the validity of my musical endeavors and achievements as an Independent & Underground recording artist. I personally suggest utilizing Google and Yahoo search engines: Endless Void / Apparitions / Final Doom / Stars in the Sky." My Personal Account of Becoming an Independent Songwriter, Originator, and Founding member of the Proto Doom Heavy Metal Band The Endless Void

I. The Beginning of the Heavy Metal Band Titled the Endless Void
A. First Phase of the Band
B. Second Phase of the Band
C. Third Phase of the Band
D. Reflection and Methodology Applied
II. Technological Revolution
A. Recording the (DAT) Submission Tape and Converting to Digital
B. The fourth phase of the band and the Cycling Troll Recording Sessions
C. Submitting Music as an Unsigned Artist
III. The Academy Talent Company & Antithesis Records
A. The Recording Contract
B. The Songs Prophecy and New York Girl
C. The Task of Self- Promotion and the Gannon College Radio Interview
IV. Submitting Music as a Signed Recording Artist
A. Studio Experimentation and the Song Living To Die
B. An Additional Offer from Antithesis Records
C. Researching New Record Companies Utilizing the Internet
D. Submitting Digital Media V. A.I.F. Records and Music Promotion
A. Producing Endless Void Music
B. Hiring Local Musicians to Complete the Demonstration Disc
C. Searching for a Contemporary Sound of Music
D. The Fifth Phase of the Band and the Demonstration Disc
1. Selecting an Additional Singer
2. Selecting a Co-Producer for the Final Doom Demonstration Disc
3. Selecting a Drummer
4. Recording Tracks at Recording Studios
5. Writing the Song Andromeda
6. Selecting a Lead Guitar Player and Finishing the Final Doom CD
7. Choosing Production Instead of Touring
8. Relocating to the State of Florida
VI. Professionally Manufacturing and Distributing the Final Doom CD
A. Researching Music Contacts and E-Media Duplications
B. The Task of Self-Promotion and Distribution
C. Shopping the Final Doom CD to Record Stores as an EP
D. Utilizing the World Wide Web & Internet
E. The Advantage of Critical Commentary and the song Prophecy
F. Acceptance by Eight Music Websites and Webzines
G. Underground Webzines and Combating the Song Sharks
H. Success with Webzine Commentary
VII. Recording the Apparitions EP at Pro Star Studio
A. Recording the Song Apparitions & Undertaker
B. Recording the Song Spiritualistic Medium
C. Recording the Song Bereaved
D. Recording the R.I.P. Introduction and the Song March of the Dead
1. Album Cover Art Work and Its Origin
2. Punk Rock and Heavy Metal Influences
VIII. Theme of the Apparitions EP and My Intensions as a Recording Artist
A. Content and a Rational Explanation
B. Submitting the Music and Acceptance by Thirty-Eight Music Websites
C. Critical Commentary Comparing Endless Void to Bands Signed By Major Record Labels
IX. Music Tampa Bay
A. Bereaved Voted #73 on Best of the Bay
B. Independent Artist Interview 2009
C. Up from the Ashes 911Tribute Disc
X. Selecting the Underground Opposed to Mainstream
A. Acceptance and Rejection by Mainstream Broadcasting
B. Content and Preference
C. Personal Commentary and Rhetoric
D. HI-FI and Low-FI Technological Revolution
1. Comparing Apparitions to Final Doom
2. The Secrets of Digital Technology and Computers
XI. Reflecting On Critical Commentary and Methodology Applied
A. Future Plans and Musical Endeavors
B. Returning to the Recording Studio
XII. Goals and Objectives
A. Writing Five Additional Songs
B. Creating a Promotional Video
C. Planning a Tour Abroad and Overseas
D. Temporary Band Members
E. An Opening Act Rather Than a Headlining Act
F. Requirements and Demands
G. Additional Band Members Touring Overseas & Abroad
H. Distribution Outlets

First Phase of the Band Endless Void

The rock band Endless Void was formed during the fall of 1985 in Erie Pennsylvania. Originally, the band consisted of three members, myself James Owen (bass & vocals), Paul Sayre (rhythm & lead guitar), and Kenneth Lawless (drums). Our goal was to write and perform Heavy metal music. We were influenced by the New Wave of British Heavy Metal (NWOBHM) as well as many other popular Metal bands of the 60s, 70s, and 80s eras. The Endless Void was based on a power trio concept and we relied on specific elements to maintain a full range of sound: (1) low-end bass, (2) echo for vocals, (3) a double-bass drum kit, and (4) very loud-distorted guitar. Together we wrote several original songs but Prophecy and Troubled Times were the heaviest sounding, most popular, and the bands desired objective. Although the duration of the band was short we did entertain many devote Metal fans at a living room show. This rare opportunity gave us the chance to introduce our new Metal style and sound as well as show our musical influences. Unfortunately, subsequent to much rehearsal and experimentation with song writing the band seperated and each member went their separate ways to pursue personal musical goals and endeavors. Consequently, the first phase of the band ended but I maintained as the founding member. At this point I decided to pursue a solo career as a Heavy metal song writer and singing bass player in the new realm of Heavy metal Proto-Doom music.

Second Phase of the Band Endless Void

During the second phase of the Endless Voids development I sought new candidates for performing purposes. I recruited two brothers, Thomas Ropeleski (drums) and Joseph Ropeleski (guitar) from Technical Memorial High School and persuaded them to join the band and consider performing live. The Underground music circuit was beginning to flourish with many new acts as well as performance opportunities. Meanwhile, the Endless Void rehearsed several songs so when the opportunity to play live was confirmed we were ready. Our first big show was held on the outskirts of Northeastern Pennsylvania at a privately owned rock house named Little Hope. We performed in front of 100 people with another band named Salems Lot. All in all the show was considered successful because we accomplished some important goals, had fun, and made a good name for ourselves. Later we were encouraged to play a second show but it was going to be held within the city limits of Erie Pennsylvania. This particular show was held outdoors and included many local artists with a wide range of musical diversity. Again with much success we performed our original song material and cover songs in front of 170 music fans. The second show was also very successful because of the crowd attendance, the recognition each musician received for their efforts, and the fact we performed live. Even though the Endless Void was popularly accepted the new recruits decided to leave the band and pursue new musical direction. More than likely my original song lyrics, musical genre, and personal preference were the contributing factors leading to the band breaking up.

Third Phase of the Band Endless Void

One good thing about participating with other local musicians in the Underground music circuit was they all enjoyed collaborating with one another. The drummer and lead guitar player of the band Salems Lot were very impressed with my original music, particularly the song Prophecy. Therefore, they offered to temporarily assist me with some performance plans and join the Endless Void. As a result a third phase began. The idea started while I was running sound for Salems Lot at their rehearsal sessions and a local show. During a show held at the Asbury Barn in Millcreek Pennsylvania their band permitted me to play the song Prophecy with Anthony Laken (drums) and Mark Alley (rhythm & lead guitar). Both musicians were impressed with our sound so we decided to perform again. Our second performance together was outdoors in front of a 200 people. These band members were easy to work with because of the degree of talent they were capable of exhibiting at practice sessions and live performances. The guitarist was undoubtedly one of the best and the drummer was very accurate and solid sounding. For these reasons combined we were capable of writing good music and performing live together. Our most successful song was titled Generation X. This particular period (phase) regarding songwriting and performing is considered very successful and productive because the new members demonstrated their ability to confirm to the Underground and Main stream sounds of the 1980s Heavy metal music genres. Unfortunately the latest recruits were temporary members so they returned to their own musical endeavors perusing personal goals. Likewise, I did the same thing and intended on writing more music. Reflection and Methodology Applied

At this point I began to reflect on the past and review my achievements and methodology applied.

Eventually I realized all of our efforts as group members were very important and I consider everyone who participated in the Endless Voids practice sessions and Underground performances valuable associates. The reasons being, musicians made me realize how different people are regarding musical styles, preferences, and creativity; how important everybody is to the band as a whole regarding practice sessions and performing; how much I needed everybody to accomplish personal goals and objectives. Truly, everybody involved (including people who sat in for a jam session) became effective group members and made the Underground performance realm and band practice very optimistic and enjoyable. Soon I realized attempting to become an independent recording artist and pursuing a solo career was a good idea and my next objective!

Technological Revolution

During the early 1990s I participated in a technological revolution surrounding the recording industry. The present day recording studios were converting from analog to digital and experimentation with both old and new forms of recording technology were accepted. For example, home studio owners were using 8-track analog recorders and the financially secure record promoters, music producers, and professional recording studios were using digital equipment. Sometimes both methods were combined for sound enhancement and personal preference. Never the Less, all songs written and recorded with analog technology were eventually converted to digital. The vinyl records used for record players became obsolete. If independent recording artists wanted to evolve in the modern music industry they had to conform to the norm of digital technology. One day while researching through a local music and entertainment periodical I found an advertisement for Cycling Troll Studio located in Fairview Pennsylvania. Thomas Hitt owned the recording studio, studied music theory, and was an accomplished drummer. For an affordable fee I was permitted to record at his home studio and use his eight track-analog recorder. For an additional fee he was willing to write drum tracks so I could use the music for demonstration and submission purposes. Then, I contacted former band mate Charlie Hunter of the band After Forever (1982-1985) and relied on his assistance to record several new original songs. However, only two songs were adequate for demonstration purposes. The most popularly accepted songs were Prophecy (Charlie Hunter on lead guitar) and New York Girl (Thomas Hitt on drums) recorded during the fourth phase of the band (the 1992 Cycling Troll Recording Sessions).

Submitting Music as an Unsigned Artist

After I finished recording my original songs I prepared to submit (shop) them to professionals in the music industry. At this point I began another serious step towards becoming an Independent recording artist. My new objective was to seek and contact record promoters, record companies, A&R personal, and music publishers who may be interested in my music, specifically any company interested in signing me to their record label and promoting me. Regardless of the degree of success anticipated one thing was for certain, it is always a good idea to copyright music for personal protection. I eventually completed the necessary paper work and received the official documentation from the United States Library of Congress Copyright Office and began to duplicate a limited amount of cassettes for submission purposes. I submitted my recorded music to many contacts in the music business. Many of these contacts were credible record companies, music publishers, and A&R representatives of the 1990s music industry. I found many of these contacts listed in a reference book titled Song Writers Music Marketing Guide 1992 at the Erie County Library. This particular reference source is a very popular guide for both amateur and professional songwriters. At first things were slow and depressing as I was encouraged to shave my head, jump of off bridges, and purchase Oriental fighting weapons, as well as quite sending demonstration tapes because they were not suitable for their record labels needs. Fortunately there were always the optimistic A&R department representatives who encouraged me to feel welcome and try again in the future.

The Academy Talent Company & Antithesis Records

Eventually I found a talent company interested in my music and they offered to make me a recording deal. Nina Winberry, a representative of the Academy Talent Company located in Boston Massachusetts was affiliated with C.G. Butler the owner of Antithesis Records. She contacted me by telephone regarding an upcoming musical project named Airtrax and asked me if I was interested in participating. For an affordable fee they offered to handle all of the production and promotional responsibilities involving manufacturing and distribution. Often music production and record distribution is executed faithfully by reliable and established music personal within the record company. In order to avoid any copyright complications and participate the Academy Talent Company mailed me a release form and requested I sign it because it was Antithesis Records objective to create a series of compilation discs named "Airtrax" (volumes 1-10) and market them (shop) throughout the professional music industry. These series of discs contained many different songs, many different artists, and many different music genres. I was very impressed with this opportunity because my music was going to be reviewed publically. Therefore I signed the recording contract and gave them permission to convert my analog recordings (DAT) to digital. Likewise I granted them permission to use the song Prophecy for their upcoming release. However, the song New York Girl appeared on volume 5 /track 8 of the compilation disc title Airtrax. Never the less I achieved a very important and anticipated objective by signing the recording contract and became recognized as an independent recording artist.

The Task of Self- Promotion and the Gannon College Radio Interview

Lacking much knowledge regarding music production, promotion, A&R matters, and distribution of music, I began to get involved with matters. Although I believed these functions were the record companys responsibilities it may be a good idea to participate and experiment by becoming more involved with them. Therefore, I began submitting a limited amount of the music myself using personal copies received from Antithesis Records; I wanted to make sure my music made it to good connections in the music industry and target the Heavy metal audience. Antithesis Records had a very general outlook concerning various types of musical genre and they did not concentrate specifically on Heavy metal music as I did. For this reason I thought my music would not make it to the Metal audience I was desperately attempting to reach! Antithesis Records also claimed to have manufactured some 1,000 copies of the Airtrax compilation discs but how many of these copies were received by respected record companies and radio stations? Another reason I participated in distribution and self-promotional efforts was tracking became impossible because of my limited finances. I believed if I wanted something completed correctly I had better do it myself; I cared more about my musical endeavors than other people who I never met in person or trusted. With this in mind and needing some serious public recognition I continued exploring this new realm of music. Furthermore, I arranged to give a public interview at a local radio station named 90.5 FM owned and operated by Gannon College of Erie Pennsylvania. They aired my song New York Girl for many North American and Canadian listeners to enjoy on their weekly heavy metal show titled the Tuesday Thrash Bash. Despite the great radio interview and Antithesis Records production efforts I became thoroughly convinced participating by means of self-promotion was vital in order to achieve success and become recognized for my musical endeavors.

Utilizing the World Wide Web & Internet

With this in mind, I used the internet and the World Wide Web as a means of distributing and self-promoting the Final Doom CD to Privately owned websites, radio stations, and music ezines throughout the world. They became a great assistance to me because of their time and effort but most of all their devotion to the cause. This brought about a great deal of free recognition and attention for all people involved. Furthermore, they increased my chances of success by making the music available to the public. This outcome was certainly important and desired. By using the internet as a means of self- promotion music fans had the opportunity to learn about the Final Doom CD. As a result the music was critiqued and I received both good and bad reviews. For example, Music Tampa Bay (MTB) was very receptive to the song Prophecy and included it on their radio program. The name of the show was titled Independent Labels Interview/ Endless Void (May 2009); the internet radio stations disc jockey wanted to know my opinion regarding copyrights, record companies, and royalties from an Independent artists perspective. He played the interview and the song Prophecy for months. On the contrary, some internet ezine critics attacked my credibility as a musician and amateur music producer by stating the Final Doom CD contained poor sound quality and sloppy playing. All in all, website critics considered the CD a good slab of Doom Metal and noticed I was influenced by the 1980s New Wave of British Heavy Metal (NWOBHM) and Black Sabbath. The Endless Voids Final Doom CD was included on the internet/ World Wide Web by more than 8 different websites both overseas and abroad: (1) Doommantia, (2) Metal Underground, (3) Lords of Metal, and (4) Doom Metal Alliance as well as (5) Metal Attack Radio Show, (6) Dark Battalions, (7) Rough Edge Radio, and (8)Doom

The Pros and Cons Of E-zine Commentary

Although much good regarding musical endeavors and public recognition results from Underground webzines and critical commentary people must realize a negative side exists. For example, music webzines review the music and inform readers. More than likely this method of review is practiced in order to inform people what to expect, what to avoid, and what to purchase. Even though critical commentary has the ability to expose the lame record promoters and song sharks it can also prevent consumers from purchasing recording artists records. Websites operating for profit and depending on record sales can work against artists because they send a negative message to the general public about the music. To clarify, financially bias reporting and opinionated reviews in the field of critical commentary can be harmful to recording artists because of its ability to influence listeners for the wrong reasons. Instead, musical commentary should be considered individual preference and personal opinion as well as measured by its content, quality, and ones right to express opinion. If prejudice commentary exists than respectable bands will be judged unfairly and people will miss out on some good albums as a result. Fortunately many Metal webzines critiqued the Final Doom CD and included commentary on their websites for all to see. Their comments regarding the Endless Voids music were both good and bad but most importantly information was available to the public and people had the choice to explore the record if they desired. Cd Pulse and AIF Records included my music in mp3 format for their listeners to enjoy and Doommantia used a blog on Word Press; It was all very interesting because everybody assisted me advertising my status as an Independent artist and made known the fact I participated in the Underground music scene; critical commentary informed readers I was experiencing financial difficulties and was experimenting with self-promotion and record production. Repeatedly, critics praised and condemned my production efforts, personal playing ability, and the overall sound quality of the Final Doom CD. All in all websites were very receptive toward my music and I enjoyed the recognition I received for my efforts. I am thankful to everybody for permitting me to participate. As a result this optimistic experience encouraged me to continue writing and producing more music!.

Recording the Apparitions EP at Pro Star Studio

Because I experienced some success with my previous music endeavors as well

A Rational Explanation

All in all the previously recorded songs include the theme of death but are presented in different ways. For example, topics involving supernatural activity and hauntings by disturbed spirits as well as the animation of the dead and bereavement are present. It was my intension to write songs conveying these popular themes often included in television shows, movies, and the music industry. Besides, the thought of ghosts who haunt the living and mediums (psychics) encouraged to make known facts regarding unjust deaths is something scary to think about! By adding mystery, spooky song lyrics, and unexplained phenomena as well as ballads, narratives, and poetry, I began experimenting with a new style of Heavy metal music and attempted to capture peoples attention. Applying this unorthodox style of composition became very important to me and was successful because it was accepted by webzines and listeners. Intensions Furthermore, my intension was to capture the attention of superstitious people, ghost hunters, and obscure music collectors, but most importantly Doom metal fans and music critics. However, it was never my intension to send a negative message to the world through extreme forms of Heavy metal music. Rather, I wanted to introduce controversial topics about unexplained phenomena using fact and fiction. By using Heavy metal I attempted to appeal to Doom metal fans utilizing the most appropriate means of accomplishing my objective. Especially since such song topics are included in the contemporary categories of Heavy metal and Doom metal genres. To clarify my position regarding the matter, I want to let people know I do not want to be considered Alastair Crowley's bastard son of the Extreme-Heavy metal movement. In fact, I reject Black metal as a means of expressing myself musically but this does not exclude me from making known the paranormal experience in Heavy metal. Rather, I prefer to be considered a song writer interested in unexplained phenomena (the shadow people), supernatural activity, and mystery as well as the otherworldly by expressing myself through Heavy metal and Doom metal music. The fact that such topics can overlap at times due to similarities is unavoidable. For years, major religions, politics, and occults as well as ethnic societies have been propagating each other to these topics in hopes of controlling one another psychologically. Presently these topics are becoming associated with UFOs and human encounters with alien life forms and extraterrestrials. In particularly reptilian humanoids thought to be Demons possibly from unknown regions in outer space. Similarly, apparitions also commonly referred to as ghosts are responsible for haunting specific locations and people causing torment and misfortune and are considered strange and powerful forces controlling the destiny of man for unknown reasons. The scientific thesis to logically explain unnatural phenomena has become endless. With this in mind, I combined song writing and the unexplained with fact and fiction. This approach gives listeners the chance to use their imaginations, form their own opinions, and come to a conclusion regarding such controversial matters. All in all the CD was created to impress aggressive and obscure music fans as well as propagate others, not to morally corrupt the worlds youth and society by hinting to Black Magic and demonology as well as conjuring evil spirits and necromancy as Black metal and Death metal seems to.

Submitting the Apparitions CD to E-zines for Critical Review and the Commentery by Forty-One Participating Websites

At first the Endless Void Apparitions EP was submitted to webzines for critical review as self-produced media. Later the music was submitted as professionally duplicated media. The reason being is music production and self-promotion is extremely expensive as I experienced firsthand promoting the Final Doom CD. Therefore only serious and credible participants received professionally duplicated discs as promised. Using this method of submitting music saved me money and discs for worthy and participating affiliates. In my letter of request I promised a professionally finished product (duplication) to everybody considering me a candidate and including my music for commentary and radio play on their websites. Consequently, the Apparitions CD was reviewed, accepted, and included for review by numerous internet websites both overseas and abroad: (1) Lords of Metal, (2) IMRadio, (3) Throne of Serpents, (4) Rough Edge Radio, (5) Metal Crawler, (6) Metal Core Fanzine, (7) Web of Metal, (8) Marios Metal Mania, (9) Beowulf Productions & Treats from the Underground, (10) Born In Blood, (11) Behind The Veil Webzine, (12), (13) YouTube, (14) Symmetrical Haze, (15) Indie Power Hour, (16) Extreminal, (17) Aristocrazia, (18) Metal Cave, (19 )Last FM, (20) Fobiazine, (21) Reverb Nation, (22) Autopsy Report, (23) Atmospheric Webzine, (24) The Obelesk, (25) ARA Radio (Luxemburg), (26) Speed and Power, (27), Metal Underground, (28) Doom, (30) Explicitly Intense, (31) Femforgacs, (32) A.I.F Records and Music Promotion (Home Page & My Space), (33) Burning Black Webzine, (34) Disagreement, (35) Greek Rebels, (37) Boston Free Radio, (38) Hypnotic Dirge Records and (39) Music Slammer (40) Beatzone, and (41) Freaquency. In addition, these music webzines compared my music to the great metal masters Judas Priest, Deep Purple, Ratt, and Docken as well as Blitzkrieg, Metallica, and Paul Chain (of Italy). Furthermore, they praised my production efforts and the sound quality of the disc stating it was much more enjoyable for listening but could have been more thought out. Never the less, according to many webzines it surpassed the Final Doom CD regarding sound quality and production. All in all most of the websites critiquing the Apparitions CD and including critical commentary in their e-zines/ webzines were considered adequate in the theatre of Underground music. Obviously my latest disc reflects my personal interest with the occult, otherworldly, supernatural, and unexplained phenomena as well as paranormal activity and obscure Heavy metal. Indeed, some of the websites were much more infatuated with these topics and surpassed the norm by far. Despite some the extreme content they chose to include on their websites I enjoyed all of the recognition received.

Music Tampa Bay

Several songs appearing on the Apparitions CD were reviewed by Music Tampa Bay (MTB). The song Bereaved was voted #73 of the top 100 songs for the year 2009 and is the only Endless Void song to earn its rank on Best of the Bay. Candidates were selected by popularity as listeners tuned into the internet radio show and voted for musicians they believed were the best. Bereaved was liked and played on the Internet radio station for a short time. Similarly, two years later R.I.P. / March of the Dead was included on a 911 commemorative disc titled Up from the Ashes and also aired. These two songs from the Apparitions CD received more recognition than any songs of the Final Doom CD. Although the Independent Artists Interview and the airplay Prophecy received was truly respected and considered a good experience, it could not compete with St. Petersburg and Tampa Floridas most popular local musicians and their music. As a result, neither Prophecy or R.I.P / March of the Dead permanently ranked in the top 100 on MTBs Best of the Bay. However, almost all of the Endless Voids songs temporarily moved upward and downward on the internet radio stations top 100 voting chart throughout the months and years beginning in 2009 and ending in 2011.

Acceptance and Rejection by Mainstream Broadcasting

Independent musicians and Underground performers must consider the fact how much influence the internet, main stream radio, and professional music production has over the general public. Various genres such as Shock rock, Glam rock, Pop rock, and Techno as well as R&B, Hip Hop and Rap attracts music listeners and grosses huge profits for the Main stream music industry. These types of music as well as Heavy metal are popularly accepted and are recognized by music fans, connoisseurs and consumers. But these classifications of music combined with the internet and Main stream top-forty radio have the ability to challenge civilized society and its beliefs in morality. They raise questions regarding public opinion, influence, censorship, and age ratings. Similarly, Independent recording artists and Underground performers who participate in Heavy metal are also analyzed and condemned for their drastically bizarre content and behavior. However, many Underground artists are considered unworthy of the main streams attention and do not receive airplay. Reasons being professional music marketers, record producers, and radio station disc jockeys (program & format coordinators) do not approve of amateur music because it is deemed unprofitable and not popular. Likewise professional publishers and record promoters do not believe these Underground and/or Independent bands (acts) are credible or worthwhile of the listening medias attention because they do not gross huge profits. All in all the professional music industry also referred to as the Big Four in conjunction with radio communications and broadcasting work together hand in hand controlling the media using capitalism and financial investment. By thriving on ever susceptible teenagers utilizing hook lines in songs including romance, heartbreak, violence, and rebellion, as well as harsh economic and segregated living conditions among ethnic societies, they maintain as well as create and influence their listening audience. Also prejudice and inadequate politics is also to blame. All in all one hand washes the other but no one is to blame except the radically influenced listener and an occasional recording artist. Unfortunately by supporting the main stream music industry and accepting the moral direction it has to offer the top 40 listener can become a victim of misfortune (suicide, incarceration, and prejudice etc). Stated differently faddish and trendy Pop culture music can be considered an abstract simplification and generalization of music. This low IQ process is used to control the listening audiences and the masses through communications, politics, financial investors, and organized Music Corporation.

Content and Preference

With this in mind, the Apparitions CD contains a theme and song lyrics most main stream radio stations and listeners may consider unfavorable but most of all not very appealing or popular. As a result, songs on this disc are obviously deemed unacceptable for airplay on most top 40 and main stream radio stations because they overlap with religious and modern scientific beliefs as well as the unexplained. Reasons being it does not match many of the stations programs and format requirements. In other words, almost all of the songs contents differ greatly concerning subject matter and the radio stations mission. Their intension is to supposedly attract a respectable following and improving the stations reputation and ratings in the eyes of the public as well as generate huge profits for capitalistic music investors and radio stations owners. Conversely, my objective was to self promote, produce, and distribute Doom metal music. It was my intension to introduce more scientifically modern and controversial topics including theology and occult despite the outcome by experimenting with a combination of Heavy metal and Doom metal music utilizing internet radio and webzine commentary! Furthermore, a theme of lawlessness regarding murder and death is also included in the Apparitions CD. These topics are the subject of study by criminal justice authorities (law enforcement). Although the Final Doom CD was not as controversial regarding song topic and content it did convey the themes of death and contemplation. As a result, I believe it was more popularly accepted in different circles of music listeners. Despite some controversy regarding public influence and lyric content we do have the Freedom of Speech. If morality is the issue and matter in question than censorship and age ratings is definitely the answer to the problem. All in all, by exercising my Freedom of Speech as well as deviating from the norm of main stream radio programming, I submitted the Apparitions CD into the depths of the internets Independent and Underground music realms and became a victim of my own obscurity. As a result the CD was reviewed by some extremely radical websites and listeners.

Analytical Observations

In addition, there are other analytical observations and characteristics I found equally interesting and worth pointing out. The music on the Apparitions CD contains a predominant 21st century digital sound quality and demonstrates the advantages of utilizing high-fidelity introduced during the technological revolution. This is evident to listeners comparing the Apparitions CD to the Final Doom CD. I believe this is due to better production and methodology because the music is in fact much more thought out and easier to listen to. For example, both versions of the songs Andromeda on the Final Doom CD contain a high-fidelity characteristic because they too were remixed and mastered using digital technology. The Choir Version was equalized utilizing a computer program named the Melodeon to enhance the songs sound; the Orator version also sounds uniquely high-fi compared to the rhythm guitar tracks in Prophecy. Although the song Prophecy was originally recorded using an 8-track analog recorder, the lead guitar and bass guitar tracks did not require enhancement. Rather I utilized digital technology to re-equalize the song in its entirety in order to make it sound better. The secret of applying digital technology and enhancing analog guitar tracks is also evident in the song Apparitions & Undertaker. In summary, success with state of the art computer technology and high-fidelity is evident in the production process and the re-equalization of recorded music tracks completed at Pro Star Studio. These efforts are evident in my latest version of Final Doom and the Apparitions CDs. As a result I received interesting reviews because of better sounding music.

Financial Limitations

Conversely, financial limitations and a strict budget prevented me from doing a lot of necessary re-recording, re-mastering, and overdubbing the Final Doom CD. For these reasons the disc sounds like a combination of many different tracks recorded at many different studios by many different collaborators because this is exactly what occurred. Stated differently, all musicians are unique regarding musical preference. Even though they can add a variety of sounds and harmony to a song, combining personal styles and techniques is not always successful nor does it produce a desired outcome. Neither does collaborating and making demonstration discs at many different studios. All in all, this is not always the most effective or the best method in achieving success and certainly does it guarantee good critical reviews and airplay. Furthermore, I compare it to a rocket that blows up after leaving the launch pad. The fact it contains a capsule, astronauts, and a booster casing as well as rocket fuel and a rocket engine is all good in theory but will it actually work? In addition, which way will it go if it does fly and how long will it last? Despite the fact that the Final Doom CD contains some low-fi the music is adequate and certainly worth reviewing.

Personal Commentary and Rhetoric

Despite some personal commentary made by webzine critics I do not permit them to influence me musically. Reason being, I am controlling the direction of my solo career. Never the less, critical commentary was a valuable means of gaining public recognition and is a valued source and outside opinion. It has also assisted me in identifying flaws in my music, communicating with others, and accepting constructive criticism! I applied an important marketing strategy by producing and submitting both discs for review and gained valuable feedback as a result. I now realize I am at the dawn of high-fidelity recording in the music industry. This new realm of computerized studio recording has reached its peak during the technological revolution and is getting better every day. Again, despite some of the commentary by various websites and webzines the overall experience has been very educational and interesting. With this in mind I am presently experimenting with music production, song writing, studio recording, and self-promotion as well as copyrighting music and attempting to become recognized as part of the New Wave of American Heavy Metal (N.W.O.A.H.M.). Specifically, I need to make known I am enjoying myself and have additional musical endeavors planned. I am presently planning on returning to the recording studio as well as possibly making a demonstration video. Both will be utilized for self-promotion and public recognition purposes (2013-2016). My other objective will be to complete and produce a six-song CD (DIY recording) at Pro Star Studio titled Love Cult and will include the following songs: (1) Stars in the Sky, (2) Shes Gone Away (Love Cult), (3) Abducted by Aliens, (U.F.O. Naughts) (4) Troubled Times, (5) N.D.E (Near Death Experience), and (6) Beer Can Beach (instrumental). While writing music for the new CD I will begin auditioning and recruiting band members for recording sessions (music production), a demonstration video, and live performances. Latest Song titled Stars In The Sky Recently as of January 2014, I completed recording the song Stars in the Sky at Pro Star Studio of St. Petersburg Florida. The song was released as a single and received some very interesting & optimistic reviews as well airplay by the following websites: (1) ARA Radio, (2) MTB Music Radio, (3) Fobiazine, and (4) Aristocrazia (5) You Tube, (6) Speed and Power, (7) Behind the Veil, and (8) Lords Of Metal. Many other website reviews are pending. All in all I have recently finished writing all of the rhythm guitar tracks and song lyrics as well as other various song parts and arrangements including rhythms, refrains, bridges, introductions, and endings. However, I am still interested in collaborating with drummers and lead guitar players in order to apply some additional & professional like musical skills (talent) and writing more music. Presently I am considering rereleasing the song Andromeda with new vocals and key changes.

Goals and Objectives

Presently, I have no permanent band members working with me at this time but change is possible. Becoming part of the Endless Void project requires participating as an effective group member. In order to do so candidates must consider my direction as an Independent recording artist. More than likely band members will come and go and I will hire and utilize temporary members to accomplish goals and objectives. While touring overseas I will more than likely have to find like-minded musicians who are willing to sit in for gigs (shows) on a temporary basis. Musicians from overseas locations are welcome to perform with me as long as they are capable of playing Endless Void music and passing an audition. This approach is economical and realistic since everybody likes a home-town guitarist and drummer. Besides, I have found through past experience that group experiences become "stagnant" and I have been thought of as needing "minions" to do my dirty work (assisting me in playing shows). All in all there are many possibilities for future shows and like-minded musicians. I will attempt to play a large bill as an opening act rather than a headliner. Reasons being I am neither overly popular nor well established in the professional music scene and lacking promotional funding; I do not possess a large following and will have to rely on others for attendance and necessities; I am interested in serious and responsible participants. Musicians will be selected by the degree of talent they are capable of exhibiting as well as their ability to play Endless Void music. Drop C tuning and Grunge tuning (1/2 step) will be considered and more than likely applied. However, various playing techniques and my final decision concerning tuning for live performances must be considered and respected. Both amateur and professional musicians foreign and abroad as well as former Endless Void band mates are welcome to audition. Touring is my dream and perhaps I will find a drummer and guitarist capable of performing vibrating the roofs off of concert halls transcending vicious lead guitar riffs into the limits of outer space blowing peoples minds. With this in mind, individuals and interested parties are encouraged to participate. A professional and functional attitude is vital in order to be accepted and achieve success. Participants will be responsible for meeting deadlines and fulfilling obligations. They will also be held accountable by means of legal contract if necessary especially if many performances are scheduled. Specifically, two locations I am planning on performing at and attempting to lease are: (1) the Capital Theatre (located in Clearwater Florida) and (2) The State Theatre (located in St. Petersburg Florida). I am also presently targeting the states of, Ohio, Pittsburgh Pennsylvania (the Smiling Moose), and New York (CBGBs) as well as California and possibly some overseas locations. If everything goes as planned and finances are available I will assist coordinate (book) additional shows.

Distribution Outlets

In conclusion, interested and serious like-minded participants from both overseas and abroad locations are welcome to participate. Any musically motivated individuals or parties are welcome to contact me using e-mail (email), snail mail (postal) UPS, and FED EX as well as by means of telephone: (727) 644-5232 and (814) 823-6786). Equally important get a copy of the "Apparitions" and/or Final Doom Cds for free in the form of self-produced music media as it is always available through myself James Owen founder of the Endless Void and owner of copyright (; for professional copies research Daddy Kool Records, Asylum Sights & Sounds, Sound Exchange, Record Revolution, Square Records, and Bills Records as long as supplies last. Also try Keith Dempe formerly of Eternal Darkness Zine now located at Post Office Box #268 Coraopolis, Pennsylvania (contact by means of snail mail only), A.I.F. Records and Music Promotion (see the official record label website and the red colored more music icon), and Hypnotic Dirge Records (of Canada)

SCUORN was born to worship the cult of Parthenope by revealing the most ancient legends and history of the mysterious Neapolitan lands, known over the centuries for their hellenic and roman origins and for being fervent cradle of the Italian culture. The epic black metal atmospheres, strongly influenced by the world famous canzone napoletana, and the sound of traditional folk instruments melt with majestic orchestrals and evocative lyrics in native language, express the concept of the band at its best. Founded in Naples (Italy) in 2008 by Giulian (Vocals, All Instruments & Orchestral Arrangements), SCOURN (which means "shame" in Neapolitan language) will soon release the debut album PARTHENOPE, recorded mixed and mastered at the world-acclaimed 16th Cellar Studio in Rome in 2016 by the producer Stefano Saul Morabito (FLESHGOD APOCALYPSE, HOUR OF PENANCE) Very special guest on the album is the maestro Riccardo Studer from Italian extreme epic metal pioneers STORMLORD, who shaped an impressive orchestra who reminds of bands such as DIMMU BORGIR and SEPTICFLESH for epicness and greatness. The concept album is focused on the most ancient greek-roman origins of Naples, and each song is related to a specific legend from those times, such as the 79 a.d. volcano Vesuvios eruption who destroyed Pompeii and many others. Scuorn has recently signed a two-albums deal with the italian label DUSKTONE (Opera IX, Svartelder, Enisum), which will release "Parthenope" at the very beginning of 2017.


Parthenopean Epic Black Metal act SCUORN unveils lyric video for the song Viriglio Mago, the second track from the upcoming debut album PARTHENOPE, out worldwide at the beginning of 2017 via

The legend of Virgilio Mago is based on the famous poet Publius Vergilius Maro, arguably believed to be a visionary clairvoyant by the neapolitans, who later proclaimed his pagan legendary figure as spiritual patron of Naples. His obscure magic was always used to benefit and help the city and its population, and invoked in times of famine, drought, plague and disease, and thus his mysterious oracle was never forgotten. Official Lyric Video produced by the Italian artist Goffredo Passi at EstremArte videoproduzioni. Recorded, mixed and mastered at world famous 16th Cellar Studio in Rome by Stefano Saul Morabito (Fleshgod Apocalypse, Hour Of Penance).
Featuring special guest orchestrals by Riccardo Studer from Italian Extreme Epic Metal pioneers Stormlord and guest narrated vocals by Daniele Ogre Cristiano in the role of Publius Vergilius Maro.

The legend of Virgilio Mago is revealed
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SCUORN - Parthenopean Epic Black Metal Naples, Italy
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