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An Interview with Jesse Dracman of Darkcell.

September 24th 2019

How do you feel about having past and current members of huge metal bands on your record?

To be honest, honoured, and extremely grateful that they were more than happy to be a part of it. It happened quite easier than what we thought, because Tim [Skold] was actually a fan, having previously done a remix for us. And Lindsay [Schoolcraft] was a fan also, so it was quite simple to get them on board. Just hearing them say that they were fans was just awesome.

I hear that Chris Fehn (Ex-Slipknot) is a fan of you guys. Can you say more about that?

We don’t know him near as much as we’d like to, but the brief moments where we’ve had the chance to communicate through one of our closest friends, he was quite vocal about his admiration for the band, and what we were doing. When he heard the early demos for the new album, he was excited, but he kind of gave us an awakening of sorts. He threw a challenge at us and made us rethink what we were doing – how we were approaching the process. Chris’s advice alone gave us a lot to think about. Guys like Tim Skold have always sung praises of our production skills, and our song writing. Chris sort of took it to the next level and said look, there’s more things here that I’m hearing, that you’re not doing. It definitely helped us a lot.

Are you looking into further collaborations with these artists, or any other artists?

Yeah, absolutely. We’re already talking to a lot of awesome people that we’re fans of.

I’d love to collaborate with Chris. Chris for me is a very real person, what he brought to that band [Slipknot] was, in my opinion, irreplaceable. And I would absolutely love to do something with him. He’d definitely be open to the idea, it’s making sure that the stars align.

After releasing Darkcell’s self-titled album, what have you taken away in regards to audience response, and personal reflection?

We definitely knew that we recorded our most definitive album to date. Would I go as far to say it’s my best album? I don’t know. I don’t know if such a thing exists. That’s how an artist works, they’re always striving to improve and grow.

The audience’s response was bigger than what I expected. Definitely received a lot more love than we’ve ever had. Our Spotify has seen over 300,000 streams of the album and our single, Burn the Witches, over 200,000 streams.

Can you comment on youre next tour supporting combchrist?

They’re rad dudes. We get along with them like a house on fire. We actually helped them with a track on their new album. We’ve known Andy (Combechrist) – on and off – since our debut. We actually played our first ever show supporting Combechrist. It’s humbling knowing that Andy wanted us specifically on this tour. I just hope that people don’t miss out on this show, because it’s gonna be a killer show.

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Fear Inoculum: Diving Into Tool’s New Single

I remember a time where the idea of Tool releasing new music took on mythical qualities. Where the internet was flooded with verbose articles about the ‘progression’ of Tool’s new album – or if it even existed. And indeed, it did. While taking part in a Joe Rogan podcast, Tool’s front-man, Maynard, officially posted the album and single’s release dates, via Instagram and Facebook.

On the night of August 7th, a fresh dose of Tool’s mastery intoxicated the metal fans world-wide, in the form of a mighty 10-minute track, Fear Inoculum.

Instantly, I was hit with nostalgia, as the song’s introduction referred back to their 10,000 Days record (2006), with the incorporation of electronic percussion used on the track Right In Two.

I found myself wandering into the song’s fluid intro, a concoction of guitar swells and percussion, and diving deeper as the combination of drum and bass progress the song further into the realm of psychedelic music.

Justin Chancellor’s bass tone in this section is enough to send a gear junkie into an overdose. Clean, with heavy modulation and delay, complimenting the track’s tempo, its presence unites all sound sources in the song, creating a beautiful foundation for Maynard’s vocal melodies.

Thirteen years is a long time for a vocalist to explore and develop new areas of their voice, especially in Maynard’s case, where he had been producing content with A Perfect Circle and Pucifer. The first thing I noticed about his voice was how much it had improved – and how much clearer it had become, thanks to the progression of musical technology.

I’ve noticed that Maynard extends some of his words and incorporates subtly melodies as he sustains; a common vocal technique, but new to Maynard’s catalogue.

For die-hard Tool fans, Fear Inoculum is the is the single we’ve all been waiting for. Technical and heavy, with classic Tool characteristics, including their traditional, psychedelic single/album art, designed by Alex Grey, and complex messages hidden in their music, we are yet to discover.

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Darkcell: Advance Australia’s Scare

I’ve been listening to Darkcell since the day I found out that their lead singer, Jesse Dracman, is my cousin. As an early metalhead, starting his exploration into the endless subgenres of Metal, having a close relative immersed in the metal scene was a source of inspiration which ignited my passion for everything music.

Conjuring up a following of ‘witches, beasts and freaks’ through their dark, horror movie-like imagery and self-proclaimed ‘gothic shock-rock’ performances, Darkcell have unearthed the wicked side of the Australian metal scene, and creating their own niche fanbase. This has shot the band into popularity, nationally and internationally, with a 2014 Soundwave appearance, American tour supporting Ill Nino, and European tour back in June.

After 3 albums, an EP, and a remix of one of their earlier works, Darkcell’s fourth, self-titled studio album reveals the bands ability to produce high energy content, and keep it creepy at the same time, with songs like Reign Of Monsters and Hail To the Freaks - an anthem glorifying the band’s fanbase (a.k.a ‘Army Of Darkness’), and their eerie aesthetic.

The album features performances from popular musicians including Lindsay Schoolcraft (Cradle Of Filth), KidCrusher, and Tim Skold (Marylin Manson), a remarkable and well-deserved line-up for an Australian metal band to have on an album expressing their talent at their fullest.

I spoke with Jesse as he was making his way to a rehearsal for a Korn covers gig, and asked him about his personal reflection of the album:

‘We definitely knew that we recorded our most definitive album to date. Would I go as far to say it’s my best album? I don’t know. I don’t know if such a thing exists. That’s how an artist works, they’re always striving to improve and grow.’

I continued on to ask how he felt about collaborating with Lindsay Schoolcraft from Cradle of Filth, and Tim Skold, who had worked with Marylin Manson and Motionless In White:

To be honest, honoured, and extremely grateful that they were more than happy to be a part of it. It happened quite easier than what we thought, because Tim [Skold] was actually a fan - having previously done a remix for us. Lindsay [Schoolcraft] was a fan also, so it was quite simple to get them on board. Just hearing them say that they were fans was just awesome.

He mentioned an unexpected, and rather unique piece of advice given to the band by ex-Slipknot member, Chris Fehn:

‘…he was quite vocal about his admiration for the band, and what we were doing. When he heard the early demos for the new album. He was excited, but he kind of gave us an awakening of sorts. He threw a challenge at us and made us rethink what we were doing – how we were approaching the process.’

After a successful album tour around Australia in May, Darkcell are hitting the road again in October, supporting American Industrial Metal outfit, Combichrist, in Canberra, Brisbane, Melbourne and Sydney. Jesse expresses his excitement towards the gig, explaining the bands long relationship with Combichrist

We’ve known Andy (Combichrist) – on and off – since our debut. We actually played our first ever show supporting Combichrist. It’s humbling knowing that Andy wanted us specifically on this tour. I just hope that people don’t miss out on this show, because it’s gonna be a killer show.

Darkcell’s self-titled album is out now via Spotify, iTunes, YouTube and Google Play. More information regarding upcoming shows and new releases can be found on their Facebook and Instagram pages.

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3 Musical Discoveries which have changed the way I see music in 2019

              My taste in music is continuously changing as I immerse myself in different scenes, and surround myself with different people. I’ve always had something to do with music, it has been a part of my life – and I think everyone’s life – since day one. From watching the Red Hot Chili Peppers music video compilation DVD, to the Massive Attack CDs mum use to play while she painted, my pallet of sonic pleasures has been ever changing.

              Throughout the last few years, my career as a musician has slowly begun to take shape, resulting in an insane amount of inspirational, musical discoveries. This has led me into compiling a small list of artists which have impacted the way I play, listen or compose music.

             #1 Ben Howard

              After having the opportunity to support with Australian Rock trio, The Living End, in Merimbula, and selling out a headline gig in Wollongong, a dear friend and I embarked on a road trip to the northern New South Wales. While on the road, we cycled through countless albums, including a number by Ben Howard. What captured my attention was the intricate delay patterns he creates in many of his songs, such as End of the Affair and Small Things. The delicate voice of Howard beautifully weaves through tones of melancholy throughout his I Forget Where We Were album, and Burgh Island EP, and is something I truly admire. His talent and ability to experiment with various guitar tunings, effects and techniques has inspired me to explore different voices of the guitar, and has fuelled my interest into exploring the works of similar artists, including Hozier and Matt Corby.

           #2 Primus

              Even though they’ve been around since the late 80s, I’ve only just recently started (binge) listening to funk metal trio, Primus. The band’s ability to successfully produce an absurd fusion of metal, funk and psych-rock, with comical vocals, has opened my mind to the possibilities of genre fusion. Jerry Was A Race Car Driver[HR1]  was definitely the first track I listened to by Primus. Les Claypool’s intricate and wacky basslines convinced me to dive deeper into the bands catalogue. From there I came across absolute tunes such as Lacquer Head, My Name Is Mud, and the beautifully composed Southbound Pachyderm. Primus has had a strong impact on the way I consider typical musical aesthetics, as Claypool’s bass sits above the guitar in the mix (most of the time).

           #3 Alien Weaponry

              I think one of the most surprising emergences the metal community has seen with in the last year, is that of New Zealand’s Alien Weaponry. The three-piece from Waipu, NZ are a teenage metal band who sing in their traditional Maori language, and have surprised fans by touring with Slayer and playing huge international festivals. As an Indigenous Australian with a strong family connection with the Maori people, I am moved by what these boys have accomplished. Kai Tangata was the first tune I listened to by the band, along with its videoclip, which shows Maori warriors in battle, as the band plays in a chaotic environment. The rawness of their music, and pride of their culture is admirable. Alien Weaponry have a well deserved place in the international metal scene

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Quite Like Pete ‘Can’t Get Enough’ Review

Hailing from the South Coast of NSW, Ulladulla five-piece, Quite Like Pete, have established an impressive reputation among their local music scene. 

The band has been fortunate enough to score a number of support slots alongside many well-known acts, such as, British India, Dead Letter Circus, Skeggs, Polish Club, and Andrew Stockdale (Wolfmother).

After coming first place at XFire’s Battle of the Bands, and spending their prize at Main Street Studios (The Vanns, Hockey Dad, Lemon Row), their debut EP, Can’t Get Enough, is now available for streaming!

Can’t Get Enough harnesses the powers of pure Punk Rock, which will appeal to both die-hard 90’s punk fans, as well as fans of the modern Australian punk scene. Listeners are instantly thrown into the atmospheric intro of ‘Basement’, before getting launched head-first into one of the heaviest riffs on the EP. A strong opening track, with a chorus that’ll be stuck in your head for days, ‘Basement’ will leave you with high expectations for the rest of the EP, and you will not be disappointed.

Quite Like Pete show us what they’re made of in EP single, ‘Regret’, a sonic representation of the bands high-energy, talent and creativity. I spoke to rhythm guitarist, Logan Ritchie, who to explained that the songs low-fi guitar intro was played through a “little, shitty Ashton practise amp”, which creates an epic contrast as it transitions into the first verse.

‘Regret’ is by far the most worked on song on the EP, and highlights the bands love for Punk Rock. Logan told me that the song (similar to some of the other tracks) was written in high school, long before he joined the band. He then goes on naming a few songs which inspired the track, including Powderfinger’s ‘(Baby I’ve Got You) On My Mind’ which inspired the first guitar solo, and the killer drum solo which screams Green Day’s ‘Burnout’.

 Can’t Get Enough has set the bar high for Quite Like Pete’s future releases. On that topic, I asked Logan about new music from the band:

“We already have two songs written for the next EP,” he explains, “On of them is a reworking of an old song we never play live. The other is kind of like a ‘surfy’ Beastie Boys, where Turtle (vocalist) raps.”

  Quite Like Pete’s new EP ‘Can’t Get Enough’ is available now via Spotify, iTunes and Youtube. For future gigs and updates on new music, follow the bands Instagram and Facebook page!