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Birmingham, 2013: duo Andy Swan (Iroha, Final) and Damian Bennett (Carthage, Cortex) came together to realise doom metal duo Khost, and now, over a decade later, have released a phenomenal album - 'Many Things Afflict Us, Few Things Console Us'. We here at Novacaine had the pleasure of listening to and reviewing this masterpiece and, now, have a little peek behind the curtain to share with you all, courtesy of Andy and Damian!
The Interview
Starting off with a classic; tell me about the story behind your name and where Khost, as a concept, came from.
AS: I was reading a book about the CIA's involvement in Afghanistan a few years back and the city of Khost was mentioned frequently. I thought it was such an evocative name and perfect for the
project.
What was it that sparked your interest in this specific sub-genre of music? Any artists, music or other media that drew you into it?
DB: It's an interesting question, as there's many facets to this whole discussion. The spark was was more just the ambience coming from all sorts of music. Even some parts of early Genesis. Bands like Codeine, Rex, people like Lou Reed, 'Cop' by Swans, Siouxsie and 'Night Shift'... it's a huge list.
In terms of slow, hard guitar music, there were some notable moments in time; for example, when Black Flag alighed in a way with St Vitus in a live capacity and - alongside hearing the early work from St Vitus themselves - there was the B side of 'My War' which seemed to come out of nowhere; slow, lo-fi, agonised music.
The 'filters' of hardcore punk, of the SST ethos, the turmoil of the era really forged something else/other and it was really not to be discussed, just absorbed. As was the case with the early Trouble albums.
For actual doom, and metal: personally, it was to witness the early Type O Negative, live, touring the early albums. I saw them in a mid size venue with the 'Bloody Kisses' era and I haven't experienced anything like that sonically, not even close. This was a fully-fledged NYC hardcore band, but chanelling slow, visceral doom metal and it was like a 747 taking off. The full spectrum: Peter's processed bass sound, layered with guitar, underpinned by Josh's keyboard. The volume for this gig, well... I am sure it was not 'legal'. And I never expected Peter to be so legitimately tortured and articulate with it, still screaming into the fade out ambience of the last song.
For 'noise', my favourite recollection is Vomir in Birmingham, which was perfect: wall of sound like a truck hitting you from beginning to end, while he faced the wall behind him.
AS: AS: My parents were huge Carpenters fans and I loved the melancholy of their songs then, later, in my teens I started listening to Crass alongside the original wave of post punk. Discovering Throbbing Gristle changed everything though. Tape swapping was huge in those days and it introduced me to a while new world of music - Un Kommuniti, Ramleh, Whitehouse.
Additionally, what were your personal introductions to music?
Which bands and artists most caught your eye growing up?
DB: Just some snapshots: Birthday Party, and that includes live. I totally love the early Birthday Party - tracks like 'The Friend Catcher' and 'The Hair Shirt'. Later, 'Mutiny'.
Severed Heads. King Crimson, Fripp & Eno. 801. Entertainment by Gang of Four, 154 by Wire, The Thought Criminals. Voice of America. 'Double Dare' by Bauhaus. All Banshees up to and including Dreamhouse. Pornography by The Cure and all leading to it. Robert Rental and The Normal.
AS: Cabaret Voltaire were massive for me as were early SPK. Killing Joke were hugely influential too. The early PTV releases were incredible. Earlier than that I guess PiL's 'Metal Box' was massive.
Could you share with me a unique or poignant memory from your musical career and journey?
DB: Well, on the 'journey' side: as a kid seeing skating in a Devo video - 'Freedom of Choice' - was insane. Skating is and always was hardwired with music: punk, hardcore, hip hop, you name it.
AS: Being a huge Cabs fan it was amazing when Stephen Mallinder provided the vocals for 'Yellow Light'.
What would you consider to be your biggest/proudest achievement to date?
DB: Playing St Vitus in NYC.
Could you give me a little insight into your creative process when making music?
DB: Going into battle with one riff for hours until something 'else' appears.
AS: For me, it usually starts with a found vocal sample that I try to fit a riff around.
And, as a little bonus, what is one thing you have to do or have while working? (For
me, I can’t write without listening to Creep Cast podcasts in the background!)
DB: I listen to D&B, the 360.
AS: When I'm recording vocals I try and have a scrying mirror nearby. Most of the vocals are stream of consciousness and the mirror seems to help with that.
Having listened to your latest album and thoroughly enjoyed it, I'd love to know which track was the first brick to be laid.
DB: Personally saw it evolving from a core of 'Apotropaic', 'Death Threat', 'Transfixed' mainly. We wanted to do some different takes and approaches and also channel people like DAF and Warsaw and others, but mainly try some different territories.
AS: 'Apotropaic' was a definite starting point. It's one of the fastest songs BPM-wise that we've recorded. I've got a fascination with protection symbols and beliefs and 'Apotropaic' was born from that.
Countering that, which track took you the longest to bring to fruition?
DB: In one way, 'Hands in Broken Time' with Axebreaker. Because it took time to evolve, it has its own DNA and it was a struggle - a really good one - to get it realised. It's like a sandstorm where you try to find something in zero visibility.
AS: Yes, definitely, DB did most of the work on 'Hands in Broken Time'. I found it really hard to mix that one, there's so much going on, multiple layers.
Could you tell me about some of the challenges you faced when creating this album?
DB: 'Define the Edge of Someone', in terms of lyrical content, was hard to define, ironically. It's about time passing and recollections of people changing and in some ways disappearing/eroding, and having the ability to accept this. There's a lot behind this. The way the vocals are is almost reflecting the process too. It's a difficult song about a difficult subject. Not a simple song.
AS: This is quite a theme with Khost but I had so many technical problems with the PC I was recording on. It would crash for no apparent reason, plug-ins wouldn't load, samples would literally disappear. There's a few glitches that made it through to the final mix on a couple of t racks that remind me of Raudive voices, distant whispers almost.
And, once again, could you shed a little more light onto the name itself and the concept of the album?
AS: The title is a quote by Isidore Ducasse.
Are there any specific memories or experiences that fuelled parts of this album?
DB: 'Transfixed' was written fast, same with 'Death Car', to channel the atmosphere of rehearsal room or bunker with big speakers bolted to the walls and ashtrays on the ground.
After such a fantastic release, what is your next goal from here?
DB: Rock to fakie. Scary AF.
If you had the chance to collaborate with any artist, past or present, who would you choose and why?
DB: Cryptae.
AS: Jhonn Balance/Sleazy. I think we had/have a lot of the same influences.
What is a guilty pleasure song or artist of yours?
DB: Not guilty pleasure per se but I know what you mean: so... I love radio metal like Ratt and Winger, and pomp metal with extreme vocals, like TNT.
Other things too like 'Over' by Peter Hammill, a wonderful breakup album full of tangible misery. From a different but very familiar world - 'familiar' in as much as you feel like you could walk over to a TV set, turn it on and Hammill is playing this material, and looking at you from a TV studio lost in time.
I love the sound and sounds on this and imagine what sort of studio sessions these were.
Judie Tzuke's 'Stay With Me Till Dawn' is from another plane entirely.
Video is beyond words: https://www.youtube.com/watch?v=dGIe0M7GbEY
AS: Oh, wow, yes that Judie Tzuke song is on another level.Gorgeous. 'Just Another Dream' by The Professionals is a big favourite. And I've got a soft spot for early 80's Garage (the stuff that was played at the Paradise Garage).
If someone were to meet you, what is something they'd notice from a first impression?
AS: A Brummie accent maybe? Haha.
What is a talent or interest you have that most people don't expect you to?
AS: I recorded and released a lot of House tracks back in the 90's which always seems to take people by surprise.
And, to tie this all up in a slightly convoluted little bow; what's your strategy plan for surviving a zombie apocalypse?
DB: We are already in it: they are consumers, 9-5ers. George Romera was on to it.
These automatons are destroying this planet, driven by a savage 20th century mindset embedded chip.
A massive thank you to Khost for a fantastic insight into the workings of their minds, the story behind their latest album, and a peek under the hood at their roots!
Stream Khost's latest album on Spotify / Apple Music / Youtube
Find more Khost content via Facebook / Instagram / Cold Springs Records
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