Monday, 29 June 2015


Interview with Alan Lisanti (bassist) and Andrew J. Prussack (guitarist/producer/co-founder) of Dying Eyes of Sloth by Lady Kat Chaos, Geoff McGraw, Roly Moore, Haniel Adhar Markradonn, Iddimu Akhkharu and Otto Kinzel. Live on Facebook, January 13, 2015.

Lady Kat Chaos: Hails Andrew and Alan! Thanks for taking your time for this live interview. How is your writing progress going towards your full-length?
Alan Lisanti: Thanks for having us, glad to do it. Going good so far... we've been keeping busy, trying to keep things progressing.

Lady Kat Chaos: How many songs have you written thus far and how many are you are you planning for this Full-length?
Andrew J. Prussack: We have about 4 done and will be doing about 4-6 more for the album.
Alan Lisanti: We're planning about 10 for the full length, but it's also a matter of where and how things go too. It might be more or less when all is said, and done-but that's the aim. We have 3 songs that are pretty final, and a few we are working on at the moment so far. Plus, we have been tossing around ideas as well. Yes, the 4th is pretty final at this point too.

Lady Kat Chaos: Have you been brainstorming a name for your first full-length or are names still begin through around?

Alan Lisanti: The full length will be called Organized Apocalypse. I think we're pretty set and happy with that title at this point.

Lady Kat Chaos: Will "Organized Apocalypse" be a concept album?

Andrew J. Prussack: To a degree it will, but not purely a concept in whole. There will be a concept theme that is touched on throughout, but not beginning to end as normally done.
Alan Lisanti: It's kind of loosely an exploration of a theme but not necessarily to the extent of a concept...

Lady Kat Chaos: What song titles can you release at this point?
Andrew J. Prussack Severed Skin, Beyond The Grave, and Endless Suffering which may or may not be used.

Lady Kat Chaos: Where are you recording this time around?
Andrew J. Prussack: I have a home studio where most of the recording will be done as usual. Drums will most likely be done elsewhere to be determined. I engineer, mix and master all of our recordings myself.

Lady Kat Chaos: Do you find it hard to create a full-length album after the high reviews you have received for your EP, "Book Of Blood"? Does it become more demanding?

Andrew J. Prussack: Yes it is a bit more demanding because we are trying to take things to another level with the full length. It's more stressful in the sense to exceed what we have done previously.

Lady Kat Chaos: What are you trying to do differently this time around?
Alan Lisanti: Essentially, we just want to push things farther, and continue to evolve in the writing process and musically as a band.

Roly Moore: Will you guys be doing any writing in the studio or is it all done?
Andrew J. Prussack: Most of the writing will be completed before the final recording. Premix demos are made beforehand for everyone to work from. Some things will be changed and added in the studio while recording, but it is usually minimal. Mostly enhancements and layering.

Lady Kat Chaos: As the guitarist of the band, do you feel at times you may have the most pressure compared to the other members? Have you ever writing a riff you really liked but the other members didn't?
Andrew J. Prussack: Sometimes it seems to be more pressure because I do the majority of the writing, but I also do many other aspects for the band like the recording and mixing, website and social media updates, graphic design, promotion, merch, and general behind the scenes business stuff. But the other guys also help in some of these aspects so I don't do it all myself. And yes I've occasionally written riffs that just didn't jive with one of the other guys. We just try reworking it or just move onto something else. Part of the process.

Haniel Adhar Markradonn: Hey guys, can you talk about what your EP "Book Of Blood" settings are on the guitars and how you dial in your tone?

Andrew J. Prussack: I personally use a Line 6 Pod Pro for my sound. I have setting programmed and saved in it I made a long time ago. So not sure what my EQ settings were on that. That is recorded direct and then EQ changes are done in the mixes where necessary. I typically like a ballsy low end tone with midrange cut added for more punch. Hope that helps a bit.

Haniel Adhar Markradonn: Have you considered mic'ing cabs and going in that direction with recording guitars?
Andrew J. Prussack: I have done some cabinet mic'ing in the past. For volume reasons with our recording environment recording direct works better for me. I feel I tend to get a better sound now that way anyway. But I am open to doing some mic'ing if needed in some capacity like if I need to do some major feedback stuff for example.

Lady Kat Chaos: Andrew, did you go to college for sound engineering or did you learn it on your own? What are the advantages and disadvantages having a home studio?
Andrew J. Prussack: I took some audio engineering training in some personal one on one classes a very long time ago. I learned on using analog recording with tape, etc. Later on I learned and taught myself recording using digital software on computer through a lot of trial and error and studying techniques. The advantages of having a home studio is that you can take all the time you need and financially you don't end up spending a fortune. The disadvantages is that sometimes you need to work around having the lack of equipment needed sometimes.

Lady Kat Chaos: What was like for you recording with analog recording with tapes compared to digital? Do you find digital complex compared to tape recordings?
Andrew J. Prussack: To be honest I never got into recording in the professional field so didn't get to do much actual tape recording except for a few times. Doing it digital became a necessity for my own purposes so I began concentrating on that process. But learning on analog opened me up to understand the concepts of sound, levels, etc. and I believe gave me a better ear for things. I originally took audio engineering training with the intention of engineering in studios, but it never came to be.

Otto Kinzel: When it comes to being in the studio, how easy or hard was it to get the "sound" you wanted? Was everything based around the drums?

Andrew J. Prussack: For recording my own stuff it is not very hard at this point because I have most of it worked out. But it does change depending on what sound I get in the recording or if I'm trying something new. I don't base just around drums. I tweak levels and tones and do some EQing until everything seems to sit right for me. I honestly try to always use a minimalist approach when recording.

Otto Kinzel: Andrew, as someone who also has their own studio and does a lot of production work, I find that I have the most difficulty mixing my own material. I have a difficult time being objective and having an unbiased approach. So for my own stuff I prefer to have someone else do it for the sake of having a "fresh" ear and perspective. Do you ever have the same issues when it comes to mixing your own material?
Andrew J. Prussack: No I actually prefer to record and produce my own stuff. I force myself to be unbiased as if I was mixing someone else’s material. I have mixed for others and I just take the same approach. But I understand that doing that is hard sometimes for others.

Haniel Adhar Markradonn: Can you talk about some of your song titles and how you came to create those titles?
Andrew J. Prussack: To be honest the song titles and lyrical content is something my vocalist Dave would have to answer. I wouldn’t even want to begin trying to explain what his meaning or reasoning would be. He does most of that end and I concentrate on the music end.

Lady Kat Chaos: From talking with David Incognito, the vocalist of Dying Eyes of Sloth. It's interesting to hear that all of you are writing songs together for your album. Alan, since you are the newest member will you be creating some lyrics as well?

Andrew J. Prussack: We all do help to a degree in the lyrical writing to work parts out
Alan Lisanti: There is a song I helped with the lyrics for this time around, but we will see if it makes the album or not. Dave usually handles the lyrical aspects of the songs, but he was gracious enough to open that door when I joined so it's been cool to be able to collaborate on the lyrics in this case.

Lady Kat Chaos: When it comes to lyrics, do you feel that the band should sit down to have a full discussion in case other members are interviewed? How have you interpreted the songs on your own? Which is your favorite song off your EP, "Book of Blood"?
Alan Lisanti: We've had discussions to some extent about lyrical meanings and the like, because I think it's good info to know as a part of the project, but also....for me personally I like to know what I'm playing to as well and in terms of writing, I think it can help to have an understanding of these things because they do go together as well as complement each other in the context of the song.
Andrew J. Prussack: Dave has a very cryptic, read between the lines writing style. Sometimes you have to make your own interpretation of what the lyrics mean. He can explain what his intention is to me and I see it differently by what the lyrics are. It's very hard for me to explain. Thus why I said I don't want to try explaining something if it's not what he meant it to mean. If he was here he could explain every last detail. For example the song Endless Suffering is about the West Memphis 3. I never would have thought that by reading the lyrics, but it's Dave's interpretation of that subject. I just wouldn't get that until he told me what it was about.

Lady Kat Chaos: You've been playing one of your new songs, 'Endless Suffering' at your live shows. It seems to be grabbing a lot of attention from the crowds. Do you ever get sick of playing any of your songs live?
Alan Lisanti: Haven't gotten sick of playing anything yet in this band.
Andrew J. Prussack: So far I'm not sick of playing any of our material live yet.

Roly Moore: Any tour plans?
Andrew J. Prussack: We are looking into initially doing a possible east coast tour sometime this year and then plan to branch out from there.

Iddimu Akhkharu: Is there any chance you might thinking of playing live here in Asia?
Andrew J. Prussack: We would love to play many places, unfortunately it is a matter of finances to do it.

Lady Kat Chaos: I heard that you met Dying Eyes of Sloth at one of their shows, got some merch from them and exchanged numbers. What did you think of them when you saw them live and how did it come to be for you joining them last year?
Alan Lisanti: Yes, It was a happy accident scenario or a coincidental incident, but our paths happened to cross due to playing in other bands (at the time)...When I saw them, I thought they were impressive and professional. I'm the type to buy albums and shirts and whatnot from bands that I like, and supporting them because I like them. So it was a very honest gesture because the music spoke for itself (to me). We got to talking more afterwards. But, it was not quite on a business level til later on down the road. Joining started out as a very open tryout sort of scenario where I was going to continue working with my old band, and help them out as well. I was asked to learn the material and was contacted by Dave initially who was very open and honest about things with me from the get go....but long story short, I learned the material had one practice and we all reached an agreement to where I would be welcome to assist them. Things went better than I think we all anticipated, because it was sort of a shot in the dark scenario, but it was interesting for me as a musician, and I tend to welcome the "challenge" because I think those are the sort of things that can make you a better player. So, I ended up staying and ultimately joining the project full time from there.

Lady Kat Chaos: Speaking of live you've played with Cannibal Corpse this past year. What was it like hearing the massive crowd chanting "Sloth"?
Alan Lisanti: Hearing the crowd get into it like that at the Cannibal Corpse show was great, and kind of one of those "this is why we do what we do" moments...just to feel the energy like that it's definitely an experience.
Andrew J. Prussack: Playing with Cannibal Corpse was a great experience. Very good crowd and we were very well received by them. Very cool to have a large crowd chanting your band name. We were honored to play that show.

Lady Kat Chaos: I know that you guys had to sell tickets for that concert. Do you find it stressful selling tickets? I also know that venue gives opening bands their time slots the day of the show pretty much and the more you sell the better the time slot for the band. I see bands writing about this all the time. So, do you feel this also adds more pressure for you and other bands?
Andrew J. Prussack: Of course it adds more pressure. I don't mind pushing some tickets for bigger shows like that, but they want local bands to sell unrealistic amounts like 150 before they would even consider paying you for your hard work selling tickets and then performing. At least compensate the band for whatever amount of tix they sold even if it's just 50. You have to understand that most local bands only consistently have less than 20 people show up to see them play in the smaller venues. These promoters are just not realistic on what bands can bring out to shows consistently. And they put all the promotion on the bands to get people there. Many promoters and venues don't do anything to promote their own shows. Not all, but many. But we have to work with all this if we want to play shows.
Alan Lisanti: It's a lot of work I will say that...especially in the sense of "pounding the pavement" so to speak. It is a good example of the old school mentality of getting out there and getting your hands dirty, and why that aspect of that sort of promotion is still important to do even today in the age of social media. You need to utilize all of your options and promotional tools to make things happen... but when it is all said and done, you can get some sort of redemption out of the fact that you earned what you got in the end because you took the initiative to take matters into your own hands and put the effort in.
Andrew J. Prussack: Alan put things in a nice perspective. Sorry I went on a rant, but it is one of the many things that annoys the hell out of me with the local music scene. I'm very passionate about it and can get caught up in the subject.
Alan Lisanti: I do agree Jay P, it's just that as of right now in a scenario like Corpse, you have to basically make the best out of the fact that it's a shitty way to operate unfortunately.

Lady Kat Chaos: I can agree, as you know I will rant about this sometimes myself. But there are some really good promoters who do push the shows not just on the net, social media pages some actually go out and hand out flyers at other events. Are most venues in New Jersey these days about selling tickets or do some still take headcounts at the door?
Andrew J. Prussack: In New Jersey it's mostly based on ticket sales but will include heads at the door towards the total also. Some venues and shows will base it purely off door count towards your minimum to get paid.

Lady Kat Chaos: What are some good venues to play in NJ these days and what other bands from New Jersey have you been supporting as of late?

Andrew J. Prussack: There seems to be less venues available these days, especially for metal bands. But some good venues are Dingbatz, Brighton Bar, 10th Street Live, The Blue Room, etc.

Lady Kat Chaos: Do you think there are less venues today because of the lack of having your own following, and less people are attending shows? Also, do you find it harder when playing with friends who share the same fans so it splits your attendance between each other?
Alan Lisanti: Unkempt Herald, Huldra, Gathering After Ashes as far as bands. There are a lot more I could probably name.

Haniel Adhar Markradonn: What are some New York/tri-state area metal bands we should know about?
Alan Lisanti: Some New York bands and others around here I can think of...Immortal Suffering, Seeds Of Perdition, Day Of Doom, Untombed (Boston) but did you have the pleasure of checking out all the New York death metal bands (Suffocation, Immolation, Mortician, Malignancy, etc).

Lady Kat Chaos: I have noticed that you guys like to get to your shows early and stay to the end to support all the bands you are playing with. How important is this to you and do you still see many bands still doing this or do you see more bands arriving before they go and cutting out after they are done?
Andrew J. Prussack: Yes we like to and prefer to come early and support all bands on a show. I do wish more bands would do that. It does seem that many come just for their set and leave and also all their fans leave with them. It is killing the live music scene. I come from the time when everyone went to shows to see the whole show, see new bands with their favorites and have a good time.
Alan Lisanti: It's always a mixed bag with getting there early, staying or leaving before it's over etc. with bands. You see the whole spectrum from very supportive people to the more of the preach but don’t practice types, and everything in between. But I guess usually people are pretty decent for the most part. I think it's important absolutely, but I also think if you are going to expect support you should be willing to reciprocate.
Andrew J. Prussack: Honestly we try to support any and all bands that we like.
Alan Lisanti: Saying it and doing it in other words, are two different things.

Lady Kat Chaos: At times there are some bands that support other bands but at times those bands don't tend to return the support back. Does that ever make you irate or do you just brush it off and continue to support anyways because that is what you are guys are about?

Alan Lisanti: We try to not let that affect who we support or not. It does happen, yes...but it is what it is. In the end hopefully the scene and music stay strong, that's the bigger picture. Probably the financial aspects I would guess, but I'd imagine it's the same for most touring bands or bands hitting the road. The travel can be grueling too, but it’s part of it all so you tend to know that comes with the territory if you want to take it to that level anyway.

Lady Kat Chaos: I know that you like playing with all styles of metal bands, but do you feeling playing shows with the same genre seems to work better compared to mixed?

Alan Lisanti: I think it can work either way in all honesty. It's cool to do both but hard to see one as better or worse than the other.

Lady Kat Chaos: How important do you feel it is to promote your show and band? How many hours do you spend on promoting? Do you feel at times that promoting your band takes away from you creating new material?
Alan Lisanti: I don't think it interferes in the creative process but it is very important to put that time and effort in and not take the business and promotion side of things for granted. You've got to base expectations on your own efforts sometimes not just ideal scenarios in your head. You work towards the goal, it doesn't just materialize out of thin air though.
Andrew J. Prussack: Unfortunately the scene will never again be like it was in the mid 80's, but it could be much stronger if everyone including the bands, venues and promoters would understand each other and join forces to make a difference. Unfortunately it seems mostly everyone is about themselves these days.

Lady Kat Chaos: How has the internet helped Dying Eyes of Sloth? Do you still feel word of mouth works better?
Alan Lisanti: I think the internet has its positives and negatives like anything else, but I really feel like you need a strong presence in both these days. You need a balance of both of them and why not utilize both if they're there too, you know?

Lady Kat Chaos: You guys have a street-team. Does having a street-team help the band a great deal and does it take some pressure off of you as far as promotions goes? Are you still looking for more street-team members from different states and countries?
Andrew J. Prussack: We have a street team, but I feel it could be stronger and more involved, so adding more members to it would help a great deal. We need our street team to be more involved in helping to promote. We need to build it stronger. One of the many things we have in future plans.

Lady Kat Chaos: Many bands played a major role in the creation of death metal and it really does depends on different time periods. Many say that bands like Death or Possessed have torched the flames and many will also say that Slayer (even though they are not a death metal band) had a lot to do with starting it up too. 'Reign in Blood' is a very strong record, and there are still a lot of groups that strive to match a small percent of that aggression. What bands have impacted you as a fan before you picked up an instrument?
Andrew J. Prussack: Early on I would have to say Kiss, Black Sabbath, Judas Priest, Iron Maiden, then I progressed into Metallica, Slayer, Possessed, Kreator, Destruction, Death and just went on to heavier things from there.
Alan Lisanti: Black Sabbath, Exodus, Slayer, Death, Corrosion Of Conformity, Pantera, Cannibal Corpse, Autopsy and I could probably go on and on.
Andrew J. Prussack: Ah yes Exodus and Testament, Anthrax and Overkill also. Honestly way too many to list. The 80's was a huge mixing pot of metal for me.

Lady Kat Chaos: Do you feel when the Death Metal scene first started it was made up of individuals who were major music enthusiasts and what are your thoughts today about the Death Metal scene and different subs genres within Death Metal?
Andrew J. Prussack: Death metal progressed from musicians just trying to push boundaries to play more aggressive and brutal stuff. My feeling anyway. Personally I try to embrace all types of music and I think it's good that the Death metal scene has broken into different sub genres. Leads to more experimentation levels of talent to be explored. Some I like and some I don't, but I am open and check it all out.

Geoff McGraw: Hey guys, loved the EP. When can we expect a full length?
Andrew J. Prussack: Geoff McGraw we are expecting a summer release in hopefully July or August the latest. Possibly before this if we can get it done sooner.

Geoff McGraw: There is some dispute about what makes a death metal band "Death Metal". What do you feel is required to do so?
Andrew J. Prussack: That is hard to answer to an extent, because what some consider death metal these days is actually a sub-genre of true rooted death metal. Technically it is all death metal, but some who are new to it are not aware of where it all came from.

Geoff McGraw: Indeed sub genres muddy the issue, however what does it mean to you? Are down tuned guitars, types of arrangement and vocals necessary to you or can death metal be anything at all without borders?
Andrew J. Prussack: I like to keep things different and look outside the box with how we approach things. I like having no borders on playing death. It must be heavy whether down tuned or not. Certain types of arrangements and progressions are basically a necessity for it to fit the mold and generally low guttural vocals are predominant. I guess that makes it death metal to me. I have a very open mind.

Lady Kat Chaos: Take a band like Obituary who tune their guitars down to D [D, G, C, F, A, D, low to high] and Carcass who play in B if I am not mistaken (correct me if I'm wrong) and even lower. Is detuning essential for Dying Eyes of Sloth? Do you tuned your guitars then drop each string down two-and-a-half steps to low to high or high to lows?
Andrew J. Prussack: I just made a decision to play Death Metal rooted mostly in old school death with some modern elements thrown in. One of the more modern elements was the use of a 7 string guitar which is atypical for old school death. And then I decided to tune that down to A instead of B just for more effect I suppose. Just trying to do something different and out of the norm and against the grain. Hoping that others embrace that whole idea.

Lady Kat Chaos: I am uncertain how true this is but most say that you need to use heavy gauges in order to play Death Metal or it doesn't work? What size gauges and strings do you use?
Alan Lisanti: To tune down... typically the lower you go the thicker the gauge you want yes. Whether you need to I guess is more debatable, or would vary if you take people's personal preferences and such into account as well.
Andrew J. Prussack Alan likes using very heavy strings. You can build a bridge with them. It depends on the situation and the type of guitar being used. Some use very heavy strings. Personally I use just a common gauge set starting with a 10 on high E. I used to prefer 9's but the 10's seem to break less often with my lower tuning. But I don't like very heavy strings. All up to what someone prefers I guess.

Geoff McGraw: Let’s jump beyond the basic gear decisions and discuss tonal qualities. Let’s say I looked at your amp settings do you prefer a midrange sound like say Fleshcrawl? Or do you prefer to scoop your mids, or perhaps create a more rounded balanced tone?
Andrew J. Prussack: I guess I like a more balanced tone basically. More of a ballsy bottom end with some midrange for edge and punch.

Geoff McGraw: I personally also prefer 10s. However, we don't tune nearly as low as you do, sticking to D standard and Drop C.
Andrew J. Prussack: Basically, we are also in standard D but with the 7th string added as an A.

Lady Kat Chaos: I forgot who I was having this discussion with (as I am learning a lot more about guitar playing) but they were telling me that B is heaviest but also tuning to D or C# can push some limits. Do you ever find shortcomings in terms of tones?

Geoff McGraw: Pedals, or plug in and jam?
Andrew J. Prussack:  I basically keep things pretty simple. I use a Line 6 Pod Pro processor for my sound and tone and that is run through either my all tube Mesa simul class 2:90 power amp or a Laney 100 watt tube head for playing live. No pedals between. For recording I just go through my Pod direct into an interface to the computer. When using my rack with the power amp I also run it through an Aphex 204 Aural Exciter / Optical Big Bottom to mold the sound a bit for the venue. So that would be the only other thing in my path. And an AKG wireless.
Alan Lisanti: I've used a Rat Pedal for a little bit of distortion before but for Sloth I prefer to just plug in and play and keep it clean and solid.

Geoff McGraw: Continuing with tone concerns, do you prefer active or passive pickups?
Andrew J. Prussack: Generally I prefer active pickups and use EMG's for quite a long time now. I'm not opposed to passive, but active pickups just seem to sound and feel better for me for most stuff I do.
Alan Lisanti: Active for me as well.

Geoff McGraw: You may have just answered this in a way but for those reading who may be interested, EMG of course is the godfather of active pups. How do you feel about some of the others like Seymour Duncan’s blackouts, do you think they stand up to or maybe surpass EMG in any way or perhaps find them inferior?
Andrew J. Prussack Honestly I haven't gotten to try many of the newer actives. I played a guitar once that had blackouts in it and they seemed a bit more muddier or spongy sounding to my. Didn't have that edge and cut I like. I use a very bottomy tone and like to have that edge to cut through from my pickups also. I know there's more new pickups out now including new Seymour Duncan actives, Bare Knuckles, etc and at some point I'd love to check them out to see the difference.

Haniel Adhar Markradonn: Hey, real quick, what do you guys tune to?
Alan Lisanti: We tune to A.

Lady Kat Chaos: EMG's Active pickups have a lower magnetic impedance but what pickup combos did you use to create "Book Of Blood"?
Andrew J. Prussack: EMG's have lower magnetic impedance, but the sound is also created by a built in preamp. My guitar uses an 81-7 EMG pickup, not the more common 707 used by most. Again the 81-7 is like the 6 string 81 models and has more edge to its sound. 707's would be much too muddy for my sound I feel. So the EMG 81-7 was used for both recording the Book Of Blood EP and for playing live.

Lady Kat Chaos: Is your EMG 81-7 in bridge position and can you have both 707 and 81-7 in the bridge? How important is bridge position?
Andrew J. Prussack: The 81-7 is in the bridge position. You can use either pickup in that position. I just prefer the sound of 81's in the bridge position. Same with my 6 string guitars also. Bridge position is mostly used for rhythm playing especially in metal.

Geoff McGraw: Bare Knuckle pups have been around for a while and produce some very nice pups. However they are generally more about producing passives. But some of the waveforms are fantastic. Pick (plectrum) choice is one of the fastest ways to alter your tone. Different substances make for different sounds. Do you like to experiment with that at all? For instance I once used a piece of sea shell with an acoustic, or my Spitfire from SGP has a metal edge.
Andrew J. Prussack: Yes I am very interested in seeing what some Bare Knuckles sound like in both passive and active. I hear many good things. A bit pricey though I feel.

Geoff McGraw: Andrew, if you intend to try some different sounds might I suggest contacting Manlius Guitar. They hand wind to your specs and if it isn't right they fix it, about the same price as BK with more personalization. I use one set I had made and it really makes the guitar.
Andrew J. Prussack: I have tried different picks for feel and tone. The type I use most often is Delrin material rounded triangle picks in 1.14 or heavier gauge. I like the feel of the bigger size and how that material feels on the strings. But I have tried many types. I just recently got some from SGP and am liking the heavier Metal Devil model. Wish I could get endorsed by them. I spoke to them but we'll see what happens. Also spoke with him about designing a tri-tip pick with the metal edges.

Geoff McGraw: SGP has impressed me from the beginning, I started with the blue devil and then fell in love with the spitfire. A great innovative pick idea. Do you play with a straight flat attack or like me at an angle?
Andrew J. Prussack: I probably vary it depending on what I'm doing. I did to promote and let other know I use SGP picks.

Lady Kat Chaos: Have you ever thought about using an 8 string guitar?
Andrew J. Prussack: I am interested in getting an 8 string and may do so in the future. Just to have and explore more boundaries.

Lady Kat Chaos: Palm muting is one of the most used techniques in guitar playing and bass playing, do you find this technique simple? If you press to firm on your strings it tends to sound fully muffled, and if your pressing on them to soft it tends to sound like you are not muting at all. How do you find the right techniques and balance so I can try to correct my own mistake? Do you have a secret that you use to exercise this procedure and how long did it take you to master the amount of pressure?
Andrew J. Prussack: As far as palm muting it is all a matter of feel and practice. Varying pressures will give a different sound depending on what you are looking to accomplish.

Lady Kat Chaos: Alan, many bassists are intrigued with Alex Webster's three-fingered right hand technique. Can you explain your own technique a little, and how you came to start using it?
Alan Lisanti I always played with my the beginning Geezer Butler from Black Sabbath was a big part of that, and later Steve Harris and his Galloping technique and guys like Alex Webster, Steve DiGorgio, and Cliff Burton among others were influences. I guess my technique is a bit of a hybrid of all of these players.

Lady Kat Chaos: How important is theory for metal bass and guitar players?
Andrew J. Prussack: Knowing at least some theory is important to know what you are doing especially for writing songs and music in general. I am self-taught and am more of a feel player but I could always do with learning even more theory. Learning your craft is ever evolving.

Lady Kat Chaos: Do you use alternate picking or is it all down-strokes?
Andrew J. Prussack: I use a combination of both alternate and all down strokes depending on what the part I'm playing calls for.

Lady Kat Chaos: Many still have arguments about two bass players Cliff and Jason of Metallica. You have Jason with his wicked picking attacks, and then you have many who preferred Cliff's finger-style. How would you end this argument and which do you prefer?
Andrew J. Prussack: Personally I love aspects of both Jason and Cliff. What Cliff did with Metallica was great for the time we had him around and I wish I knew where he would have taken his playing and how it would influence the band. As far as Jason I prefer more what he did with Flotsam & Jetsam and other projects like Voivod because he got to actually show his talent and writing ability more. Metallica never let him shine in that aspect.
Alan Lisanti: Cliff definitely. He was more original in his playing style I think. Not taking anything away from Newstead, but Cliff was one of a kind.

Lady Kat Chaos: When you were a kid and as you got older re-examining bands you grew up listening too, did you realize you were listening bass-lines and didn't realize until you got older and started playing bass yourself?
Alan Lisanti: That's true as well, if you're talking just in Metallica alone I think the choice is easier. Certain bands had bassists that stood out, which I guess you notice more whether consciously or subconsciously but I've always been interested in all elements of music or songs, and very attentive to lyrics and patterns and riffs, rhythms etc. So in that sense I guess I've always payed attention, but I will say also, that once you start playing you begin to hear things more or in a new way too because you are comprehending them from both a musician's and a listener's perspective. I do also remember being very young and discovering the bass as far as a sound or component of the music, and trying to decipher each part for each instrument. A lot of times, back then the bass was harder to hear in the mix because of production etc.
Andrew J. Prussack: Yes that is one aspect I hate about going to live shows sometimes because I often analyze and comprehend bands more as a musician instead of a listener perspective, it drives me crazy.

Lady Kat Chaos: I agree, becoming a musician helps with knowing how it comes together. So, do you feel that some bassist are still the least recognized member of the band? What bassist do you feel are underrated in your books?
Alan Lisanti: As far as underrated Bassists go, probably all the ones besides the ones you can name are underrated to some degree. DD Verni from Overkill for one, maybe Terry Butler is a bit underrated too. Jeff Walker from Carcass has said himself, he doesn't consider himself to be a great bassist, but he plays to the song, and doesn't manage to get lost in the mix amongst his own vocals or anything else going on. Things like that can make you good too....knowing when not to go overboard and that kind of thing.

Lady Kat Chaos: Speaking of "showing talent", within Dying Eyes of Sloth, you seem to allow each member have their own creative moments. Do you feel this is important instead of holding one member back?
Andrew J. Prussack: Yes, I feel it's important for us to have each element stand out at times on its own creative merit. I believe that may also become even more so apparent on the new stuff coming out on our full length in the future.

Lady Kat Chaos: What’s the biggest challenge of pulling it off live, versus cutting it in the studio?
Andrew J. Prussack: For me it is having everyone play fluid, solid and tight. Personally the hardest part I have is pulling off some multiple guitar parts in places myself as one guitarist. The reason why we will be adding a second guitarist in the future. In the studio it is usually more laid back and less stressful when performing.
Alan Lisanti; I don't know because sometimes I think there is a flashiness to some players playing, and a finesse in others...sometimes maybe it's the music or the context of how the bass fits into it... but Bass has a way of slipping under the radar sometimes too in terms of predominance within the mix of a all depends on a lot of factors, but I do guarantee even in the most laid back or more basic approaches to players or their playing...if you take out the bass it will make a noticeable difference at the same time. Also some music is more melody based, or more guitar based, and some is more orientated around rhythms and what not...some the bass plays a bigger role, and some more in the I guess there's a lot of possible reasons.

Lady Kat Chaos: One band I grew up on was Mötley Crüe and in that time didn't realize that I was listening to doubling guitar lines until two years later. Do you like using different variations?
Andrew J. Prussack: Do you mean in the sense of layering and doubling all the rhythm tracks or do you mean one track left and one track right?

Lady Kat Chaos: Sense of doubling verse single. I was trying to edit to be clearer.
Andrew J. Prussack: Typically I don't do multi layered guitars but may experiment with it more in the future. I don't usually find it necessary and it sometimes muddies things up I feel. I typically just do one rhythm track on the left and one on the right and keep everything as tight as possible. Sometimes some enhancement tracks will be put up the center.

Lady Kat Chaos: Will you have guitarist auditions? What are you looking for in a guitarist? Will you handle all the leads or rhythms if you do add another guitarist? Do you prefer leads or rhythms?
Andrew J. Prussack: Yes at some point we will be having auditions. I'm just looking for someone who can play my stuff correctly, tightly and have a knowledge and interest in the death metal genre. I will continue playing both rhythm and lead. We will be looking for predominantly a rhythm player, but some lead ability may be fine and/or necessary at times

Lady Kat Chaos: Do you feel if you have two guitarists that the bass may get lost in the mix?
Alan Lisanti: I don't think it will affect the bass really, but I do think it would free up Jay P from having to intermix guitar parts and make the sound of the band bigger overall.
Andrew J. Prussack: No I don't feel the bass will get lost. But I feel it will make the band sound fuller and more correct when playing live shows.

Lady Kat Chaos: As we know that vocalist needs to be clearly up in the front, in the face of everybody, but do you feel that bass players has to take a step back and hold everything together instead of being out there in the forefront? Let's say if Bill messed up, how do you defeatist mentality? If you mess up in a live setting do you think the audience will pick it up from your face expressions?
Alan Lisanti: Sometimes playing tastefully means taking a step back and not concerning yourself with where the spotlight is so much as where the backbone of the song is going. If you make a mistake which all musicians do, you just need to power through it and keep your composure. That will mean the show goes on.

Lady Kat Chaos: Andrew, when a guitarist messes up, it's not too obvious as opposed to a drummer, do you also feel a guitarist could get lost

Andrew J. Prussack: I'm sure they've picked up from my facial expressions sometimes. Honestly, I feel it can be more obvious when a guitarist messes up. Beats don't need to stay in key and such, so they can just re correct themselves. When a guitar is badly off you really know it.

Lady Kat Chaos: Some bands after the set is over will get into a disagreement after their set is over because someone made an error and I have even seen some walk off the stage and end the show. How do you handle this situation?

Andrew J. Prussack: I think situations like that are mostly left alone and discussed later outside of the show no matter how annoyed we are about it. There is a time and a place for dealing with things like that and it's not in front of people who've come to see you.

Lady Kat Chaos: When you're on the road and with recording as well - do you still find the need to practice? How often do you practice together? Is there ever a time you don't want to pick up your guitar or bass when you're home?
Alan Lisanti: I always want to play, I mean you have your days of wanting to maybe take a break, but really even when I'm not playing there is a good chance I'm thinking I should be.
Andrew J. Prussack: I think it helps to practice individually if you can when on the road or recording. We usually practice at least every other week at a minimum as a band. And yes I do get lazy and don't practice for a while sometimes.

Lady Kat Chaos: Have you been approached for any endorsement as of yet? Have you ever applied to companies for endorsements? Who would you like to be endorsed by?
Andrew J. Prussack: No we don't have any or been approached for any endorsements yet, but I wish we would. Applying for most is difficult because they usually have strict requirements you have to meet and we don't yet. But I see many that don't meet those requirements get endorsed. Confuses me really. You see 16 year old kids that don't even play shows and only post videos on YouTube have like 10 endorsements. I don't get that. I play Jackson and ESP (LTD) guitars and getting an endorsement by one of them would be great, but that isn't realistic. I would like to start with at least pick or string endorsements. D'Addario, Sinister Guitar Picks, or anybody who is willing to give us a chance.

Lady Kat Chaos: I agree. I don't always get why some who only have you tube videos and get an endorsement either. Can be mind boggling at times. Is there anything you always do before you go onstage? Have you ever got a pit in your stomach before you go onstage?
Alan Lisanti: D'Addario Strings, Schecter Basses or Orange Amps if I'm just spit balling would be great to have as endorsers, hey... I can dream, right?
Andrew J. Prussack: I just usually make sure I stretch my hands and fingers out or even play for a bit if possible before performing. Funny enough the only time I got that pit in stomach thing was the very first show I ever played. After 2 songs I was fine and have never had that happen since.

Iddimu Akhkharu: I got to ask this. Why this band name?
Andrew J. Prussack: We originally came up with the name Dying Eyes was considered at first but seemed too plain in itself. Sloth was added in referring to one of the 7 deadly sins. Thus you can interpret it however you like. There's no real specific meaning overall or major concept behind the name I suppose. We like to leave it open for your own interpretation.
Alan Lisanti: It's an open for interpretation sort of thing. But, basically Dying Eyes was proposed as the original idea, and Sloth was taken from "sloth" in the sense of the 7 Deadly Sins.

Roly Moore: I like the idea. If you have the time please check out my band Sedulous Rouse (3 piece Thrash/Death prog metal band from Adelaide South.
Andrew J. Prussack: Will do Roly Moore

Iddimu Akhkharu: Ok but aren't you worry that people might mistake the sloth to an animal? And the dying eyes will give them a mental picture of a dying sloth.
Andrew J. Prussack: We’ve heard it all. But sloth we use is truly from the seven deadly sins.
Alan Lisanti: I could see how they could draw that conclusion but at the same time it's really not the case, and if you think about it... what significance would or could picturing a dying sloth have? Whereas the 7 Deadly Sins tie in there is an ambiguity to it, but it could make some sense in this context more so than the animal. But yes it's happened plenty of times lol

Iddimu Akhkharu: Thank you for the clarity.
Lady Kat Chaos: Sloth has been used as the "lazy peasants" as physical laziness and spiritual laziness. Death metal could range from the blood and gore horror imagery and so forth. Has one very bothered you or try to ban you because of your visual aesthetics?

Alan Lisanti: Evil Death Sloth? Hmmm... Could work. Some people get bothered by those elements, yes...but you know, Death Metal isn't for everybody. I don't mind if people don't get it. It is what it is. It can be funny sometimes too though to be honest. It's just music, but it doesn't hold anything back either.

Lady Kat Chaos: David Incognito is a well diverse vocalist. Do you think you would add in some of his clean singing?
Andrew J. Prussack: Probably not. I think the closest to clean is his lead in part to Dead Alive and I wish he had done that darker. But the scream is great though.

Lady Kat Chaos: What are your thoughts about extended vocal techniques; "evil" shouts and yells; low beast-like growl or a high pitched screams and pig squealing?
Alan Lisanti: I’m not big on the big squeals honestly, the rest I don’t mind though and sometimes a little variety is cool to add into it.
Andrew J. Prussack: Some of the vocal stuff I'm okay with and some I just find annoying. I’m personally not really into pig vox. Don't mind it thrown in for effect but don't like when a whole song is done with it. I like things mixed up in variety a lot of times I guess.

Iddimu Akhkharu: Black metal nowadays has become overrated over the years compared to other genres. You think this will affect other bands playing death or thrash?Andrew J. Prussack:  I think Black metal or any other genre being over rated really has no context or effect on other genres of metal. It's really all how people personally want to view things. I never let what others feel influence what I do or don't like. But that's me.

Iddimu Akhkharu: People should start thinking like you, Andrew J. Prussack. Why did you label your band cult classic?
Andrew J. Prussack: Because we base most of our underlying sound from what is considered the more cult classic and roots of death metal bands.

Lady Kat Chaos: When listening to "Book of Blood" there are some moments you will hear a tint Black Metal vocals if you listen to it clearly. Do you think you will take on more of black metal vocal approach on your full-length besides adding some doom elements within your music?
Andrew J. Prussack: We do plan on adding in more various elements. We like to keeps things open and go against the grain sometimes with our ideas. But we feel that is an element that makes us somewhat unique. Some will get it and some will not.

Iddimu Akhkharu Since you are into classic death metal bands, which band would you like to do a 2 way split if given a chance?
Andrew J. Prussack Iddimu Akhkharu I like many other types of music outside of death metal and have played many types of music too. I don't care what anybody thinks or feels about it. I'm a musician. I play music as a musician, not an elitist who only allows himself to like only one thing. Many of my influences also come from outside of metal music. One must keep an open mind when creating their art.

Lady Kat Chaos: You've created your first Dying Eyes Of Sloth's video for "Beneath The Haunting Skies off your EP, "Book of Blood". What types of reactions have you received and after this experience do you feel you will be creating more videos?
Andrew J. Prussack: We've gotten a lot of good feedback about it and the quality and the darker elements of it. The process was good and a fun one. Not all easy by any means, but great experience. We will definitely be considering another video for a song from the upcoming album.

Lady Kat Chaos: What did you learn to appreciate or re-appreciate about the music of Dying Eyes of Sloth that wasn't as obvious to you the first time around?
Andrew J. Prussack I make him extend the hell out of that when we play live and especially in practice. That we can actually have musicians involved that actually care and play the music to the best of their ability. Not having that securely is what made us go into hiatus the first time around.

Iddimu Akhkharu: I'm in a process of creating a zine.
Lady Kat Chaos: Iddimu Akhkharu is from Singapore will be creating a printed fanzine called, Sacrifice. Thanks for the interview Andrew and Alan. I know we all need to head out since its pushing 3 am. Also thanks to everyone for stopping by and given support. Before I lock the gates to my metal cave is there anything else you would like to plug?

Alan Lisanti: Thank you Kat, and thank you everybody who participated and supports Dying Eyes Of Sloth.
Andrew J. Prussack: Please like our Facebook page:
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Watch for our upcoming full length album "Organized Apocalypse" coming summer 2015.