Exclusive Interview: The Resurrection Sorrow-Scorpion Savior Sessions

Posted by Morgan Ywain Evans on Monday, August 29, 2011 at 9:51 PM (PST)

In the know underground dwellers have been keen to the stomping, black mass in a hornet’s nest roar of THE RESURRECTION SORROW for the last few years. The band’s self awareness yet devil may care fun yet purposeful approach and concrete riffs have made them an acclaimed cult hit with people searching for America’s next volume dealer. As it is, while the Resurrection Sorrow are still hella loud, they aren’t just out to be the loudest band on the block.

The new 3 song EP “The Scorpion Savior Sessions” shows  growth and promising range (though I also recommend their more unilateral sludge stuff). This band is style AND substance.

Front man and mastermind Alex Dementia recently made the East to West Coast pilgrimage like so many rockers before him. After hearing the new EP Metal Riot needed to check in on Dementia and get the scoop on the current and future state of TRS.

To read the interview click HERE.

First let’s get into the new EP and a few more thoughts on the group. The recent face scalding “Scorpion Savior” is the rawest track yet from the NYC turned newly L.A. based band. Some searing noise rock guitar elements and death vocal textures have been added to the usual gloom, plus an expanded sense of hook savvy confidence amidst Dementia’s raspy effusing. “Pale Kiss (The Endless Storm)” is a “Children Of The Grave”-esque stomper that kind of bridges the gap between much of the debut HOUR OF THE WOLF and the slightly artier yet still dark new material. After a string of pedal to the metal touring for the debut full length, you can tell that Dementia and co. have really settled into what the band means and are encompassing more and more cool elements under the canopy of what sounds the band “can do”. These guys have so much potential.

I really love this band. “Unholy Divine” is still my favorite song TRS have written, a must hear juggernaut of awesome, simple and effective to the point riffs plus murderously great melodic yet sludgy chord progressions topped with apocalyptic howling. I can put that HOUR OF THE WOLF track on cold sober and feel like Brad Pitt on the couch in TRUE ROMANCE. It makes me psyched. That’s not to imply the band is contained to “stoner” (whatever that means). I was listening to The Haunted’s amazing song “The Guilt Trip” before tackling this article and it made me think how The Resurrection Sorrow are also a band that have a generally high quality output but then the odd riff or song that suddenly TRULY blows you away. While they have lots of impact upfront, it is with repeated listens and immersion into the world of The Resurrection Sorrow that you get the most pay off and gnosis.

Alex Dementia (via phone from L.A.): I don’t want to say the people who I started the band with weren’t the right guys. They were very talented and were the right guys for the moment but I’m not sure we kinda truly connected on a complete musical level. Louie (Gasparro: Ex-TRS and Murphy’s Law drummer) was a real old school guy and wasn’t too into the new school stuff and Zak (Gross: Guitar) is a jazz dude. It’s down to Alex and I. Things slowed down in New York in my other career and I decided I had to make the leap out here. The band’s still out here but we’re not a full band at the moment. When we decide to make a new record we will and will take it from there.

MYE: Find other people if you need to?

AD: Well, yeah. I still consider Zak and Louie friends. They’re doing great. Zak is studying jazz and Louie is doing his graffiti. Certain people are meant to be and if not then not. You can’t fight it or force it, y’know?

MYE: Yeah. I’m glad the band is still going, though. You’re awesome. Let’s talk about the new EP “The Scorpion Savior Sessions”, man. The EP is still rocking but a bit more atmospheric in some ways.

AD: The problem with HOUR OF THE WOLF is it had zero vibe. It was awesome and dense and sludgy as fuck and had great guitar tones, but that was it. It was kind of a Manowar record but sludge metal. It was dense and rhythmic as possible. I kind of got bummed out on the last show of our Unholy Divine II tour. I think it was with you guys (* Alex is referring here to my own band Antidote 8 who shared the bill of that tour’s last night with TRS). It wasn’t that there were PA problems or that we didn’t play well. I just felt like we were so fuckin’ loud and I was tired of singing over that. It’s not what I wanted to be doing. It’s not like I am afraid of volume (laughing)! It’s just not what I wanted to be doing. There’s being loud and heavy but I think that was coming across more than the riffs and the songs.

MYE: It was definitely a presence.

AD: We’re not an experimental doom band. We’re a 4 piece, a Black Sabbath cult style band. I felt as a vocalist it was stupid. If I wanted to be that bludgeoning or loud I’d become a 3 piece and pick up a guitar again and do a Yob thing or something like that.

MYE: I didn’t know you played guitar.

AD: Yeah, I play guitar. I write all the songs with Alex (Coelho-bass and guitar). I can actually be a decent rhythm player and Alex can do good lead guitars but he’s a bass player and I’m a singer so it’s kinda weird, y’know? So when we had the opportunity to do this EP I told him I wanted to kind of vibe it out and open it up. Sing more and breathe more over it. That’s where we’re at right now. I grew up listening to The Doors and shit like that and getting into the more spiritual side of life, that’s kind of where I’m at right now.

MYE: Has the move to L.A. prompted any more creative bursts as far as your comic books that you write or anything else?

AD: Dude, everything happens for a reason. I love New York. I’m a New Yorker. I was an East Village guy for 9 years. I noticed what was happening there was that threw as a great separation between the East Village and the “hipster” metal scene in Brooklyn. I don’t want to call it hipster because that’s generalizing but…it was kind of bumming me out. I felt so disconnected because when I moved to the East Village it was kinda the end of the Coney Island High Days. Watching the end of that and Continental, CBGB’s…it was just fuckin’ over. Then all the kind of art metal dudes were in Brooklyn…I almost used a more negative connotation. The art dudes were in Brooklyn and I was going back and forth between these two scenes and feeling stuck in the middle. I felt like people didn’t know what to make of us. They thought we were sludgy but were trying too hard because the songs were catchy, like we wanted a career too much or something. No, I don’t want a career so much as this is the music I grew up listening to and I wanna fuckin’ play.

MYE: I always had that problem too, man. I love very experimental shit but also hard rock with a good chorus. I think it is harder to do stuff that toes the line between those worlds and have always tried to do that with my bands that no one knows about (laughing). It’s easier to be full niche because it is clearly delineated. I don’t want that.

AD: I saw Yob the other night and they were perfect. It was the best thing I’ve ever seen. But they’ve been doing it for years. They aren’t like people who one minute are in a black metal band and another in something else, kind of doing it because they are playing loud. You’ve gotta stick to your guns. You can’t just one minute say “I’m blackened doom”. C’mon, Dude.

MYE: It’s one thing if you are just having fun or discovered you really like a genre but it’s lame to jump on a bandwagon and then look down on people who are a little different.

AD: When I saw Yob I thought they were doing it right because they believe in it. A new band often can’t because they just don’t have it. To make a long story short, I felt there was a creative divide and I didn’t feel like living there creatively or professionally. I had to move out and I tell you…it’s been really, really good. I’m in Hollywood living it up. I love it, I really do. There’s beaches and mountains and rock clubs. Everything you want in a city but not confined in this little area.

MYE: You don’t mind the traffic?

AD: I could give a fuck. I didn’t mind walking in NYC. I didn’t come here expecting it to be anything other than what it is and it’s all that and more, so I’m fine with that. I’d never move to Austin, TX and say,”Oh man, this isn’t like New York.” Nothing is like anyplace. Everyplace is what IT is.

MYE: What can you tell us about the name of the EP?

AD: It came to me. I started studying Tarot and more esoteric studying in my last year in New York. It’s something I always wanted to do but didn’t think I was mature enough to handle. Other types of religions and occult knowledge. Different sides of the spectrum. I just dug the name (laughing). It kind of stuck. A bit Monstet Magnet inspired. White Zombie influenced. Those were my bands growing up. If anyone wants to say I ripped off two bands in my life and it’s those two bands…I’m fucking fine with it. I don’t care, y’know? (laughing)

MYE: (laughing) I was wondering if there was an astrological thing there as well.

AD: Yeah, definitely. A little bit but a name just comes to you sometimes.

MYE: What is keeping art and music exciting for you. You’ve switched head spaces a bit heading west.

AD: I think growing as a person has given me a different approach to everything I want to do than I had three years ago. I love touring but I don’t like not making money. I want to tour again but not anytime soon. I want a strong line up and just want to write the best record and best songs possible. Everything else will work itself out. I went on these gnarly tours and booked the shows. It’s cool but…life is expensive. Gas is expensive. I liked it but want a different approach. I really do. Hopefully out here I can hook up with a great producer or a label. When the new record comes out we’re definitely starting from scratch, which I’m really excited about.

MYE: What elements do you think might stay the same?

AD: My voice is growing and I’m taking vocal lessons. I do what I feel but…I also definitely want the next record to be more bass heavy. Not more bottom end, but the bass doing more and the guitar catchier. I don’t wanna say like a Tool-thing because we’re not gonna sound anything like Tool but maybe like a Bauhaus vibe. More driving rhythms but a creepier guitar tone. Intricate guitar work but ripping solos and heavy riffs and shit. I’m just going with it, man. Every day is a new adventure.

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