Biography

Extreme Electronic Music Producer From Southern California. Specializing Mainly In Industrialized And Blackened Variations Of Doomcore, Speedcore, and Terror.
(After Recruiting Acid Enema) Founded Unsound Unltd. in 1999, His Own Label And Media Production Group, But Also Releases Through Night Terror Recordings (Aus), Viral Conspiracy (Italy), And Has Made Cameo Appearances On Atomic Annihilation, DTrash, Engineering work for Rigamortis Recs. And Various Uncredited Work On Strike Rec.
Angel Enemy Also From Time To Time Assists Other Artists Engineering Wise On Their Own Music. 1998-Present.
In 2010 Angel Enemy Launched An Online Music Community Called “The Inferno” To Better Unite And Improve Worldwide Communications In The Extreme Electronic Music Underground.

ESF: Hi Angel Enemy, thank you for taking time to do this interview. How are you?
AE: Tired, drained, and frustrated. I just got out of jail; but, I have a peace in me I have lacked for a while; but alas, clarity at times only brings more dread. I am coming to terms with a lot of issues in my life and once again it leans on the tragic. More “core fuel” I suppose.

ESF: How did you get into “extreme” music and which were the artists that more have influenced you?
AE: As a kid I was into stuff like Front 242, Nine inch nails, Skinny Puppy, Ministry, Sepultura, White Zombie, Metallica, Megadeth, Slayer, Manson, and some more gothy shit. My Mom as I was growing up listened to alot of 80s dance so Electronic has always appealed to me more than most styles of music. At an early age I got into DJing house and techno music. I know alot of people say that but we actually did. I did alot of school dances, parties, and wedding receptions even. Nothing really underground at that time but the hole in my soul and the rage inside of me would begin to drive me mad and I needed an outlet. Those styles of music of course would naturally introduce me to hardcore and I heard something in it that spoke to me. Eventually as it became darker and more aggressive the deal was sealed. My music became heavier and darker all around…but, I also like emotion in it. Metal, Industrial, and Hardcore are my life but to be quite honest I like most music out there in general. I can find a cut I dig in just about any genre or type.



ESF: What are, instead, your main musical influences today?
AE: Besides my own life experiences and aspects of my personality it is a mix of the original masters and many guys even from my generation. Some simply in the musical aspect and some I have been lucky enough to have been mentored by in many ways. Musically I would say Marc Acardipane, Miro Pajic, Oliver Chesler, Lenny Dee, Sal Mineo, Carl Carinci, Re.Pete, Rob Gee, John Bennett, Simon Underground, Lasse Steen, Martin Damm, Eau de Cologne, Euromasters, Short Circuit, and Nasenbluten. Directly I would say Dave Rodgers, Jeff Besler, Rico Schwantes, Jeremy (Vicodin HP aka Destro) and my friend Joe Arellano better known to readers probably as Acid Enema or Sangre. Luke Kenny in an email once told me to simply never give up on it. Rico took that advice one step further he said to me “You have a talent and you have to make the music. If no one listens to it [the music] so what? Who cares? Why do you care? Fuck them”. I gather inspiration though from many artists besides who I mentioned mainly outside the hardcore/speedcore scene. Inside though, I listen mainly to Hatewire, Matt Bleak, Junkie Kut, Jensen, Hellseeker, Bonehead, Prince ov Darkness and anyone else really who is doing something a bit personal and different but most of all well-structured. I like all of the Atomic Annihilation releases and I always try to check out anything from Splatterkore or SKRD. I like both the traditional styling and the crossover sound as well because they are both near and dear to me. I grew up with the original speedcore and when I got into music I was immediately already experimenting in crossover styling back in the 90s. And today I try to produce both.



ESF: When did you begin to produce your own music?
AE: The desire to produce I can remember back as far as age 10. I would try and create my own radio shows even with weird medleys; but, let’s call them remixes of stuff. By the age of 14 I already had a decent record collection going. I would sample movies from my VCR and splice them in with beats I recorded down played on 45 rpm to make faster tracks. I later got into using wav recorder on my PC to do even more stuff (and using my fingers to make the beats even faster). By this time I was like 16 and was DJing vinyl so I had a small scene presence locally and would met a lot of people (I once even played at my high school and nearly caused a riot…let’s just say a lot of LSD was floating around). We call this the FFU days which was Flame Fighters United. We DJed what we considered real Hardcore and Drum and Bass and bashed anything we considered phony or as we put it “Flame”. I was around this time introduced to Ryan k-0s (founder of Beat to Death Records) who got me into tracking music. Shit like Fast Tracker, Mod Plug, Star Tracker whatever. I never really felt comfortable with it because I couldn’t get the musical vision I had using it. After the summer of that year Acid Enema gave me Acid Pro and Steinberg BeatBox to try and it felt much better and finally I was on my way to getting a sound out I liked. Delta-9 also convinced me to try a more hands on approach and I invested in a Korg Electribe and a 64 key midi controller. Soon after I laid out my first melody (on a casio though) which I titled Turnaround. Now I actually woke up to my hand playing this melody like a sort of idle hands thing. Kind of scary when I think back, but that melody and my trademark “WAHHHH” cupped microphone scream eventually became my first completed track codenamed: Reality. You know this track as “Extract 25”. The method to my madness became whatever words were in my head as I awoke I would write down. From there a poem is formed and then it somehow hopefully got worked into a track. Some of the titles were “Last of my Kind”, “Nine Shall Die”, “Destroy You”, “Kill Me”, “I Want Your Souls”, “The Time has Come!” and so forth. Unfortunately all those tracks I just named have been lost or destroyed due to events I guess we may get into later.

ESF: I would like to know what is your music production studio set-up? What is the tool (software or hardware) that you consider essential to compose your music?
AE: I guess you mean currently but over the years it has varied a lot and included everything from hardware, samplers, live equipment and multiple computers. I guess the tool I need more than anything else is Acid Pro 7 and its little brother Sound Forge. As long as I have that shit I can do most of what I need to do. The whole set up today is shit, a lot of stuff man. I got like everything you can think of. Installed right now though is Acid 7, Sonar, Sound Forge 10, Absynth, Ableton Live 8, Rubber Duck, Komplexor, Camel Phat, Synoptic Probe, and 1000 other various wares and VSTs. Lots of the old shit and the new shit. I am constantly evolving but when you got a winning formula go with it. If the motherfucker does what I want and I am comfortable on it, it will stay in my rotation.



ESF: What is the process of composition of your songs?
AE: Originally it was poetry believe it or not. I used to write alot of poems and many of my tracks are actually soundtracks to the emotions I was attempting to communicate. Music is a universal language so what better a way to vent out my feelings. Today I would have to say my tracks are mainly audio collages of my dreams and nightmares. After having a vivid dream or nightmare I often write it down in sort of a lyric form. I guess in a way I sort of try to translate what I believe to be the symbolism inside of them. 90% of my work beneath the surface has a pretty detailed story. I bet a lot of people didn’t think it was all so deep. I am not afraid or embarrassed to admit that though. This is also why my material is not formatted in typical track fashion and has more of a “song” structure. People call it “un-dj-friendly”. I tell them real DJs can handle it.

ESF: What do you try to communicate to your listeners?
AE: That I hate them and I need to watch them die. I am just kidding; I wanted to act like I was a brutal speedcore poser hooligan for a moment. I guess to be honest mainly that I am fucking human I make mistakes and I understand pain. I feel it. I have wants, needs, fears, and desires. I am full of life but there are 2 sides to me. There’s a light side and a dark side. Sometimes that dark side of me can even be incredibly self-destructive. I am far from perfect but perhaps that balance is what makes us perfect in some ways. It is equilibrium. It is the tale as old as time. I have been bullied, rejected, denied, and accepted. I know the pain of defeat and the feeling of victory. However, negativity has mainly ruled my life. Perhaps that is why the darker side of things appeals to me and I feel more comfort there. I love life so much I hate this fucking world. I guess it is what they call a “Catch 22”. I was born to lead but I have the curse of failure. Somehow though I guess through my intelligence I find a way sometimes to weasel out of it; failure that is. Long story short I have an inner rage that can come out and destroy my life. As long as I find ways to vent it (like hardcore) I will be okay. If you feel this way too I can probably help you. One of my lost songs from the early 2000’s had these words in it…”This violent release of aggression…take this all away from me…channel it…give me the strength that I need…to never fall down again…the time has come…DIE!” Look, I pass no judgments. I do not feel it is my place. I just know what I like and what I don’t but I am not here to tell you how to run your life. Do what you want as long as you find happiness in it. Experiment and live a little. Just don’t let anything ever control and over-run your life. Learn your limits and respect yourself and those around you. That goes for all aspects and walks of life. Then the dark side of me says stomp those who refuse to show respect into the ground. I don’t know; I am not perfect like I said ha-ha. That’s my message and my advice to understanding it. Do with it what you will. Angel Enemy, Halo and Horn, Fuck The System, Freedom and Duality. Hardcore.

ESF: You are quite active in the speedcore game. Apart from being a producer, you are the owner of a label and a website and you host a radio show. Let’s start talkin about your Unsound Unltd radio show on ObnoxiouzDistortion.com. Tell us something more about it.
AE: Sadly recently after a couple years OD has closed its doors and shut down its airwaves. I am very grateful to OD for giving me another outlet for my creativity and giving me the freedom to do it in my own personal style. Not to say that it will not return one day but for now it is officially shutdown. However, Unsound Unltd in its radio show form will be moving to Ustream most likely and only on a special event basis. Rather than a weekly show like before it will be scheduled and promoted online in advance so people know we have cooked something up and can tune in. This time around due to the success of the last couple broadcasts we will continue in streaming video format. Upcoming shows will be: the return of Junkie Kut, An evening with Acid Enema/Sangre and the Nekro-Tekno vomitus blast of HateWire! I also want to get Matt Bleak up in this bitch we just need to coordinate schedules. Same goes for Strychnine and Delta9 who has agreed he will do a show but he’s crazy busy. Fiend is another buddy of mine I would love to sit down and get the story out of. He and I go back in the local scene to when we were teenagers. See, to me that’s hardcore. You live it and breathe it; I want to hear all about it.

ESF: In 1999 you have founded Unsound Unltd. Can you please tell us a brief history of this recording label?
AE: Brief. Hmmm. Man there is a lot of story regarding this subject. Let me see how I can break it down. Earlier I mentioned BTD Records and my musical vision. Well at the time the founder and I ended up having creative differences that at the time we just couldn’t resolve. We are still friends and it never created any bad blood but upon my leaving the label I also found out that my um, I guess my artistic outlook would not be readily accepted. See in SoCal there was a thing going on called SoCal Anti-Raves where basically many of us teenage Speedcore and Breakcore enthusiasts gathered to talk trash on everything that was not us; particularly, the local rave seen which we all had been active in up until when the Terror and harder-core styles were beginning to be rejected as too negative for the PLUR vibe movement. The year is 1998. Most of us were very in tune with real hardcore. Throughout our various news groups we hung out in a lot of well-known hitters in hardcore frequented. Like one time Simon Underground was coming to a show locally thrown by Acid Enema and I had him bring me out some records to buy off him, this is also how I met Mark Newlands originally and Paul Blackout and Animal Intelligence but I am going off subject and that was long ago. Anyway, hardcore was in sort of a crossroads you get the idea. Upon submitting to many record labels I found rejection left and right for various reasons. Too fast, too aggressive, hard to market, you name it. It became increasingly clear I was going to have to go my own way. The guys locally doing I guess what I considered the most similar work and on a more personal level was Joe (Acid Enema) and this guy Eric who at the time went by Defiler from BTD. I asked Joe if he would be interested in joining me in going a more “artistic freedom” direction spotlighting local artists. He agreed and brought Eric with him. They had been working on some pretty experimental shit some people said sounded like Berzerker but it was a bit rawer and disgustingly satanic. No boundaries. It was exactly what Unsound was to be about. I also recruited more local artists most of them being people I grew up with or was good friends with. These names included Dr. Klaw, Vicodin HP (aka Destro), Sine-Lab (aka Koronor) Resurrector, Nevarez, and Gordon (who at the time was Morgue Distortion and now goes by Defiler; MD was also an Unsound 10 Inch sub-label run by him that originally signed Legionz 0v Hell before Speedcore Recs. but due to scheduling conflicts the release never came to be) Lots of those guys have since then released on various other labels and have records out there floating around; some of them under different aliases. There were a couple more members even but I am not sure if they would want to be included in the roster. I still see their names around today and wonder if it’s the same guy. If so I am glad they have been successful in getting their art out there. Unsound would also play host to my very experimental side group Detrimental which was my friend Cesar Krash and I. Everyone brought their own styles and takes to the table but I was especially enthusiastic about the more industrial and metal influenced materials; and we were cranking that shit out. I credit Disciples of Belial and The Berzerker with originating the Black Speedcore / Deathcore sound but I like to think that we were early in taking that vision and creating something a little darker and more fucking necro. And we looked for anyone doing anything similar and supported them. More evil, more speed, more noize, more unique. But, we did have a quality control measure. Joe and I listened to lots of shit and if you sucked we were going to tell you. But we also told you why. We wanted people to step up their game and do something awesome. It amazes me today when people actually tell me what we did was incredible. I just say yeah well back then it used to clear out the entire party. No one wanted to see me scream on a mic for 6 minutes with a 600 BPM bassdrum. But today, there actually is an audience for this shit. It blows my fucking mind. There is an unhappy ending for the original releases you can read more about that on discogs or ask me directly. It seems to be sort of a known story floating around the scene. I have been amazed at people actually knowing a little something about it. Bonehead once told me “You got a whole fucking history bro and those are the best stories in music.” When I think about it that way it gives me more motivation to press forward. I know I must be doing something right because I feel really blessed so many people in speedcore/hardcore/techno actually give a shit. From the kids on their computers to the artists who play the biggest parties in the hardcore world. Unsound is back to claim its rightful place in the legacy of our music. No haters even have the ability to stand against it and it is welcomed arms wide open by the rest. It is a great feeling.

ESF: Do you have any future project for Unsound Unlimited?
AE: Yeah. I do not think vinyl will be our main focus anymore since times are changing but that’s not to say we will forgo limited edition press runs, it is a possibility. However, we are leaning more toward CD and Digital releases. First slated for release is a new Angel Enemy full length album that will be titled “Songs for the End Times” Some very important final touches are being put into play on it right now and it will feature some fantastic collaborations between myself and many of speed fucking core’s masters. I am super stoked on this one. Also in the works is new material finally by the one and only Acid Enema / Sangre and some new collaboration material between him and myself. Unsound is back to roots melodic industrial speedcore and blackened hate-blasts. It just takes time because we approach music not for the sake of making something but rather as an outlet for personal things. We do not care if you like it but we seem to reach a pretty broad audience using this method. I consider this our art. Unsound is a passion more than anything else.

ESF: For those who still do not know it, would you like to introduce to our readers The Inferno? What is it and why did you start this project?
AE: The Inferno is something I did to unite the worldwide “harder-core” scenes. You know, like create a little more communication between the labels, producers, listeners and promoters. Help get awareness out regarding shows/parties, releases and artists. Also to create a plus people could more so be themselves. Although I do not tolerate racism or fascism, pretty much anything goes. http://www.inferno666.com. Create a profile today if you already don’t have one.

ESF: What is your opinion about today’s speedcore scene and how do you think it will evolve in the
future?
AE: That is a harder question than it sounds because it really does depend on what you consider to be the scene. Oh boy, this is one of those times Loffciamcore told me I should keep what I am thinking to myself because even though it is probably true it doesn’t need to be said, although at the same time this is when Bonehead will say HAHAHAHA YES! Fuck those bitch cocksuckers! Okay, here goes…The Speedcore Scene in itself I feel is more of a brotherhood than an actual place you can go. However if and when the time arises and these parties do happen if your music does not at times get any play then you are not really in the scene yet either. Those of us involved, we take care of one another. WE DO NOT do this to keep people out or try and have some sort of clique…that is a bunch of bullshit. We do this to support quality music, have good friendships, bond through our common interests and keep harder-core alive. Everyone is very nice and I know around the world if I ever had to call upon the brotherhood because I needed a place to stay or something I could get that. And I love that feeling. I consider everyone a friend. If you find yourself having a fight or argument with anyone in the scene one of 2 things has happened…Either you are a jealous person or the other person is, or you are an instigator or the other person is. With such aggressive music speedcore people tend to be very relaxed in social settings. We like to boast things up and shoot the shit but it is all in good fun. You got to be thick-skinned, especially on the internet. If you find yourself constantly arguing people suck and this and that ask yourself, are you a producer too? You think so? Well I doubt you are…YET. Take time and learn to master the craft and in time you will hear what goes into a track and what causes certain sonic issues to arise. I have never heard one hater actually give a good reason why they thought something was terrible. And if I have ever been drunk and told you that you suck believe me I got a list of good reasons and I am sorry I was so brash but it happens to the best of us. We all sucked at one time. I guess I forget myself at times because growing up producing with Acid Enema who is incredibly honest to the point of brutal I took my beatings. “Angel that shit fucking sucks, it’s terrible, please delete it immediately and throw your computer away… oh, but, here is why it sucks ass”. You see, this sort of criticism was fucking hardcore gladiator school, and before I knew it I caught up to a lot of people who started years before me, and then surpassed many of them. I look at hardcore like a huge family and I think forget at times that there are slight cultural differences, and I also sort of don’t care…dark side again.( if people listen I have a lot of good information to give them regarding production as do my friends, many of whom moved on to even becoming professional studio engineers.) We had a rule back in the day; it was “do not even think of showing off or releasing anything you have produced for at least a year”. Everything year one is pretty much your training phase and I guarantee you will regret those tracks if you put them out there as you. If not then you just might not be an artist. If you were you would care about what represents you and your vision or message; AND! During those first couple years your vision and outlook will drastically change as you grow and evolve. I take it even further now and until people are on their 4th year of making music they are still a rookie. I guess at times I can be very protective of the music because I grew up with it and it is my life. I want to see everyone who loves the music (producers, promoters, and DJs alike) to thrive. There is room in the scene for everyone, just please respect the history of the sound, and make quality hardcore. Then you will see the difference. Oh, also, DO NOT begin to think that you are so important you treat others poorly or don’t have time for them either. These people are your listeners and they owe you nothing. However you owe them at the least the respect of a greeting. Remember, music is a universal language. Show humanity. Keep racism, fascism, and religious extremism the fuck out of hardcore. To all the haters…DoodSLAG MF 187.

ESF: Apart from speedcore is there some other kind of music that you like to listen or that you would like to produce?
AE: Actually, I have actually produced many different styles and genres of electronic music…which actually makes some people in my life say that I sell myself short and do not create to my ability. My passion just lies in hardcore and that is just that. However, I do have an experimental industrial side project I’ve called Execute Fate. This is my attempt at producing music that I can get behind but also create for the sake of fun. Emotionally I am very invested in the Enemy material and sometimes it is difficult to produce; EF however is like a soothing vacation at times for me. Perhaps it is this way because I do not do it alone. Because I did not want this to just become another Enemy endeavor I brought in Ostara Septik to do lead vocals. She also handles majority of the lyric writing and throws moods at me to inspire the melodies and drum lines. She says “Can we have this start really dark and gloomy then get sort of aggressive but not too fast then back into darkness?” I take that and make it happen. So far we have performed Live twice. Crowd response was great the first time. The second time it was 10 times better.

ESF: Is there an artist you would like to have collaboration with?
AE: Who would I like to collaborate with, hmmm, well my dream collaboration growing up is actually becoming a reality. I don’t want to give away too many details because you will have to check out the album once it is released. I have always wanted to work with Dave (Delta9) but we could never really get it together over the years schedule or location wise haha it was always just sort of “Hey Dave want to bust a track?” “Sure!” and that was as far as that went. Other than that I would love to work with Carl Carinci (Nukom) or maybe even Re.Pete. To work with Oliver Chesler would be awesome too. Outside of hardcore I would have to say someone like Cevin Key (who I got to meet once and is really cool) or maybe even VNV Nation.

ESF: Actually, what is your favourite song or album that you would like to recommend to our readers?
AE: I love the classics. There are definitely some must have albums if you love Terror and Speedcore. I would have to say UVC: Ultra Violent Core, DJ Tron – Massacre EP, Jack Lucifer – I Am Living Death, Delta 9 – Hate Tank, De Klootzakken – Dominee Dimitri, Stickhead – Slaughterhouse EP., Pressurehead – London, DOA – Industrial Power 9d4 and Muthafuckin’ New York Hardcore, Nasenbluten – 100% No Soul Guaranteed, Industrial Terror Squad – Da Bastards Are Back, The Berzerker – Inextricable Zenith. Late 90’s early 2000’s I would have to say: Seven Recs -Dark Carnival EP., Disco Cunt - Funky +Disco, Acid Enema – Hymns of Hate, fuck I could go on all day, but all those I think are pretty important albums.

ESF: What do u think about the free web-labels and DIY philosophy in general??
AE: This is a double edged sword. Indeed web labels and the DIY shit has brought out a lot of incredible artists. I think the movement itself was just the continuation of the “Tracker” producing movement from the late 90’s. A lot of people were out there promoting themselves and not really getting signed on to labels well because frankly often times their music left something to be desired. Majority of producers out there and even often times the people in charge of these labels do not really have a lot of the knowledge necessary to produce good music. Over time you develop an ear for things. Noize became too popular and was accepted as that is how it’s supposed to be rather than “This mid-range is completely flooded, the mix is terrible.” Once a seen developed as did egos and rather than actually learn more to perfect their craft people though they actually knew what they were doing. Enter the massive influx of poorly mixed, un-mastered, over-sampled garbage. Rather than read books, tutorials or go to school to improve their skills a pissing contest began of who could be the fastest or most hard. I think a lot of damage happened to the art form. Now you go the guys who do it all for fame or to be in some cool club. There are more producers than there are listeners. And why is this? Because it sounds like shit! I myself I know I have produced my fair share of crap but I never ever stopped trying to learn and improve. I have stacks of books on frequency, post production, mixing, you name it. Almost 15 years or so later, I know I do not know half of what I will need to truly be where I want to be artistically. Respect the music and the art-form. Learn more and practice to achieve your potential. If the shit you’re mixing down does not sound as good as a CD you buy in a store then you are not good enough yet. Strive for that. Now on the otherside of the spectrum through these labels many experienced producers have given out awesome fantastic music that may never have seen the light of day because a label would not have pressed it. Fast shit, experimental shit, crossover shit. The net labels have provided a new forum for creativity and experimentation. This is the essence of hardcore itself I believe.

ESF: In these days, with the Sopa and Pipa fact, with the closedown of some of the biggest on-line file storing services, we hear a lot about internet censorship, file sharing, p2p etc…As an artist, what is your position about it?
AE: I do believe that some sort of action needs to be taken to further protect intellectual property. But I know the SOPA bill was definitely not the way. Living here in the US we are in sort of an economic depression. People tell me well so is the rest of the world. Well yeah but their money is still worth more than ours. Half the people I know are out of work and many of the jobs lost during this time were the remnants of industries already destroyed years ago by internet piracy and theft. Piracy itself has absolutely directly affected the hardcore scene. It is no longer financially feasible to press records and CDs really. This is especially detrimental for underground music. The scene needs funding to stay alive. To sell merchandise even you got to have the shit backed with an album release. Hardcore needs money rotating. The reality is we don’t live in an anarchist society so this is just the way it is and how it has to be. Viral Conspiracy is a free label but I know it costs you guys’ money. The Inferno costs me money. I have received I think in the years it has been up now approximately $12 dollars in donations. That is not enough to cover the cost of even 1 month. Over time I had to reduce the features of the site and we have less and less cool options and freedoms. Just because it got to be too much to afford without some help. Fuck all you fucks out there who say music should be free, and real
speedcore producers don’t ask for money. Look, no one is trying to get rich. We just want to maintain what we have; for all of us. Promoters throwing the parties for everyone, they lose money each time, but they keep doing it out of love. They should be breaking even or maybe even making some profit so next time they can bring in talent from farther away or get a better system for the party. So back to my point YES intellectual property MUST somehow be protected. However, SOPA was going to cause even more job loss, reduce revenue, and hold the wrong people responsible for the crimes.

ESF: Do you prefer physical or web releases?
AE: Physical releases all the way, every day. I like to be able to hold it in my hands. I feel you get a deeper connection with the music that way. You get to see/hear the release the way it was intended. The artwork is intact, placed symbolically and the sound quality is optimal. I am very proud to own it. With web releases you get none of that. However, in these changing times I do understand how web releases/digital releases are necessary and welcomed.

ESF: When you are not busy making music what do you like to do?
AE: I don’t really do much else these days. I like to cook sometimes and I play Xbox 360 a lot. Soul Caliber V mostly lately.

ESF: Do you have any projects for the future…upcoming releases, gigs?
AE: Gigs I have been forced to cancel or turn down because for the next few months I have legal obligations. Next booking on the horizon is all the way in November. I am excited though already. As far as releases I just had a mix come out from Viral Conspiracy Records called Viral Vengeance Vol.1. I am currently working on completing the album I told you about “Songs of the End Times”for Unsound. I am working on new material for an album with Acid Enema/Sangre it is still in its early stages; this will also be for Unsound and likely a little extra to submit to labels overseas. I have a cameo vocal appearance on Schizoid’s upcoming full length album off D-Trash the track is titled “Physical is the Illusion”. Um, I have some demo mixes planned for Unsound to put out promo wise. Execute Fate will be having an album done too in the next few months, and Unsound Unltd the show is returning soon as well.

ESF: Is there anything else you would like to say to our readers?
AE: Support those who support you! Stay true to yourself, oh, and I fucking hate you and can’t wait to watch you die.

ESF: Thank you very much!

Edited by Angel_Enemy on 19 Sep 2012, 10:22

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