subterraneandisposition-news

Subterranean Disposition Interview with Doom-Metal.com

Wed, 27 Jul 2016 21:57:23 +0100

Interview: Doom-Metal.com

Date: July 11, 2016

Language: English

"It took some time for Subterranean Disposition's sophomore album 'Contagiuum And The Landscapes Of Failure' to materialise, but when it did, it dropped straight into our Album of the Month slot. We spoke to SD's founder Terry Vainoras about the band's early history back in 2012, when the self-titled debut was released, and now seemed like a perfect time to catch up with what's been happening in the meantime."

(1) Hello Terry. It's been a while - nice to have you back in the Doom-Metal hotseat! Can we start with the traditional quick introduction?

Hello Mike, thank you once again for the opportunity to have a chat!

I am Terry Vainoras, Metal musician from Melbourne, Australia. I play Guitar, Bass, Keyboards, Tenor Sax and Vocals. I have been in bands for 23 years now, some of them being Order of Chaos, Earth, Damaged, Hellspawn, Cryptal Darkness, The Eternal, Insomnius Dei and of course Subterranean Disposition!

(2) Last time we chatted was in 2012, just after the release of Subterranean Disposition's debut, and you told me: "a second album has been finished in the demo stages and it will hopefully be recorded and possibly released in 2013". Well, we've got it now - where did all the extra time go, in between?

Time flies when you get older! It is true that the demos for this new album were done when the debut was released back in 2012, and in that same year I got married and had my first child. Beginning family life is a time consuming thing, and on top of that my lovely wife's health took turns for the worse during the last three to four years including many hospital visits, surgeries and a couple close calls with mortality, so my priorities shifted focus from solely music and work to caring for my family with music when time permitted. Looking back on it now the material did develop as I would go back to re-listen and play with embellishing ideas and when it was time to finally record I think the songs had finally settled into themselves after a long gestation, kind of like a wine maturing.

(3) I'm really sorry to hear of your wife's health issues: I'm aware they're serious enough that you've reluctantly had to consider a fundraising appeal to help rebuild the financial destruction caused by having a family member so seriously unwell for such a long time. Would you like to say a few words about that, and how successful the campaign's been so far? Are people willing to help out?

The campaign came about through close family and friends who wanted to help out. My wife Elle and I both were initially reluctant to have our story out there, Elle being scared and wary about what it might mean for her having her life on display, I guess that negative can also come with positive in these situations.

In light of that It has so far been an overwhelming experience of people coming forward to help in many different ways. In particular interest and help has come from fellow musicians and faces past and present from the Melbourne music scene, a fundraiser gig is organised for September and another one in July is pledging the door takings to the campaign itself. Some amazing people I have shared stages and good times with are keen to jump on board and the community feeling of their actions are deeply humbling to me and my family.

Editor's note: If you wish to assist in any way, the appeal details are at Gofundme.com:

(4) We covered the band's start-up and early history in the last interview. Besides the new album, have there been any other significant milestones? I see, for example, that you did put together a live line-up for some shows a while back.

After the debut album's release I did get a few musician friends together to perform the material for a small run of shows in Australia, which was both a satisfying and a learning experience. Being without a steady group of people to constitute a 'Band' it was gratifying to have trusted musician friends subtly re- interpret the music through their playing and I plan to use this same approach to do some shows here in Australia again later this year.

The one and only milestone for me is that the album is available for everyone now and not just a bunch of files doing nothing on my computer!! It was a lengthy labour of love.

(5) We also covered a fair bit of your musical background, but I know you've spent some of the intervening years learning to play sax yourself. Was there anything in particular that prompted you to do that? And have you been branching out with any other musical developments?

Much like anybody that has picked up an instrument, especially in the rock/metal world there is always usually a hero or idol you worship for a time and want to emulate. I am a very big fan of German group Bohren und der club of gore, so I have spent two years in my room trying to play like their horn player, Christoph Closer!!! Coming from the string side of instruments the sax was always this mysterious thing for me and when my good friend Darcy Molan performed tenor sax on the debut album, I would ask him all these questions about it. After awhile Darcy kindly offered to lend me a beginners horn so I could have a go and the rest is history.

Another point of view was that for the aforementioned live shows I had to book separate sax players for each show in a different city which was logistically tough, so I thought if I learn to play that next time round I can just perform the parts if no one else is found to do it.

Right now I am writing for two different projects with sax as a lead instrument, one is very much a Doom Jazz style and the other a power trio with drums, distorted bass and sax.

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(6) Do you consider Subterranean Disposition still, effectively, a solo project? You still do all the composition and most of the instruments, but Dan Nahum is fully credited for drums/percussion - is that a collaboration for album recording purposes, or as a fully-fledged band member?

For all intents and purposes it is still just myself coming up with the vision and execution of music apart from drums, although I do write drum ideas in the demo stages. I guess now after collaborating with Dan and mutually having a cool experience, I know there is a good friend there who is open to recording again and doing a couple shows if time permits between the many kick ass bands he has full time commitments with.

I am enjoying this way of operating solo and then collaborating, it's liberating to have it not be a full time proposition for anyone and it also entails new experiences with different musicians over time, instead of the same number of people over a long period of time.

(7) So, the new album is entitled 'Contagiuum and the Landscapes of Failure'. What was the inspiration and significance behind that name? And did it come before or after the choice of cover art?

Initially the title was "Soundtracks for the landscapes of failure" inspired by my finding a rough connection between all the lyrics, a pseudo concept looking at the decline of our world from different points of view. For example "Wooden" begins with the aftermath scene of the apocalypse, where "Embittered" takes it back into the heart of one individual's downfall, "All roads" looks at the surveilance culture, growing prison planet and wage slavery apsects, "Slumber" deals with the majority of people being asleep at the wheel and "Aggressors" shows the ruling classes hand in it.

When proofreading my lyrics, Dan Nahum came across a misspelling of 'contagion' as Contagium and joked it was an amalgamation of continuum and contagion. Instantly I knew that it should be in the title instead of soundtracks!!

The amazing art of Coby Obrien came last, I went to his instagram at the referral of Nick from Hypnotic Dirge and scrolled down to see his piece "Painting of a photo that never existed" and again instantly connected it to the body of work of this album. I was very lucky Coby graciously let me use his art.

(8) I've recently reviewed it - do you think that's a reasonable assessment? Is there anything you'd like to respond to, correct or add to it?

There is nothing I would add to anybody's review, either good or bad, as it is that person's conception of what I made and not my own! I was humbled to read what you had to say and felt that you had connected with what I was trying to do and convey within the music, so thankyou, very well written!

(9) What about other coverage - how has that been? I don't look at other reviews until mine's completed, but I've seen some fairly baffling attributions since, like the one which filed you as Funeral Doom, or one which patronised you as a young band apparently needing to rectify the saminess of your songs! Hopefully most would-be reviewers are a little better-informed?

First and foremost there have been some wonderful and enlightening overviews of the album from a great amount of reviews I have seen which is an added bonus to being happy with the final product myself. As happened with my debut album, there are unfavourable or critique reviews and I can respect those points of view, I guess sometimes the person assigned to write a review hasn't always had the temperament or taste for the length of the songs and finds it boring!

(10) What do you consider to be the most significant differences between the debut and 'Contagiuum...'? Were they deliberate intentions you set out with, or more of a natural evolution that happened along the way?

Looking back I guess there was a natural subconscious desire to see where else I could take this dynamic song format and add different elements that may not be traditional doom/death. For the ambient passages the idea was to incorporate different guitar tones, in particular a more dark country or Americana vibe in there. I worked with my old friend and ex band mate Mark Kelson at his Kelsonic studio to capture those clean guitars and sonically I believe that stands apart from the debut. So the path was part natural, part intentional.

Also having Dan play on this album pushed the feel of the music beyond what the debut could do. Adam from Toyland studios brought so much clarity to the mixes this time too.

(11) I must say I was very impressed with Gelareh Pour's contribution, both of voice and instruments. How did that come about? Did you write 'Embittered' as a vehicle to include that, or did it just naturally fit into the existing structure?

Gelareh's performances were phenomenal and really took the song to another level. The song in demo form was calling for a real droning sorrowful aspect in the ambient part that I didn't think would work with say an ebowed guitar or violin or sax etc. I remembered hearing her album " tannin e Melbourne" - available at Bandcamp - when I worked in a friend's CD manufacturing plant and then got in touch through her partner who I knew from the Melbourne scene, to see if she might be open to collaborate. I am so happy she decided to.

(12) There's clearly a lot of work gone into the finished album. Was it a technical challenge to compose, record and produce, or was it more of an aesthetic challenge to get the detail and polish to your satisfaction?

The composing part was intuitive and fun, then to record and try to produce at the same time can definitely be a technical or hat juggling challenge! When recording individual parts the focus can be great, the attention to detail blocking out the whole view so to speak. Having Adam at Toyland there with his opinions and ears took the pressure off and the days spent recording were mostly fun. And once we had recorded everything I knew the performances were right, it was easy to trust the material in Adam's hands to bring out the nuances and provide the polish.

(13) It's again released through Hypnotic Dirge, but this time jointly with BadMoodMan Music. I've seen quite a few inter-label collaborations recently: are you affected by - or involved in that - as an artist, or is it more of a commercial decision taken purely between the labels?

It is really a mutual decision from both labels from the release view point, they distribute each other's releases so I think it was a natural evolution in their dealings, which has happened on a number of releases before this SD album too. I believe it to be a very positive thing, I am a fan of some of the music that both labels put out and am honoured that they are both working with me on this new album.

(14) Are you satisfied with the final product? Is there anything, in hindsight - or if you had unlimited time and budget - you might have liked to do differently?

I believe this is the most satisfied I have been with an album I have been a part of, and to be saying that after twenty odd years of recording music is a great feeling!

I feel like it's too early to hear lessons for the next time around as I am still too close to the music, perhaps in a year if I revisit I will start to hear things I would have improved upon, but at the end of the day it is a series of moments in time that I will remember when I hear it or perform it.

(15) I think I missed this one last around, but it's never too late to ask: what do you actually consider to be the essential qualities of Doom, and how do you go about realising them in your music?

For me some of the key ingredients are the tempo, the feel of the musicians playing and the atmosphere they create together. So for a one man band I'm looking for the guitars to counterpoint each other with unison heaviness, minor harmonised melodies, layered atmosphere and dissonant weirdness, and for the drums and bass to give them space but step up when the time arises, and for the vocals to match the feelings of the guitars with different techniques for each change of feeling.

(16) Maybe it's a little early to be asking, but do you have anything else planned, or in mind, for Subterranean Disposition at the moment?

There is definitely a third album in the works, a whole instrumental album is demoed and when I have the chance to focus I will begin writing the lyrics. Other than that there will be a small amount of shows in Australia to celebrate this albums release later on in the year.

(17) And in the longer term, do you have any particular vision for where you'd like to take the band? Any idea how would you like it to be spoken of, looking back from sometime in the future?

For SD I just want to follow the ideas as they come up, make and explore what is possible to do within the freedom of this music project and hopefully others can enjoy and connect with that. I would also love to travel and present the material live overseas if the opportunity comes up.

(18) What about the other projects you're involved with? Have you been doing anything with them recently, or have anything planned for the near future?

My main other project is the long running Order of Chaos - website - which is more of a death metal/ hardcore punk hybrid type of band. Both Order and SD are great to be able to go between one then the other and not get bored within the same style of metal!

O.O.C have been playing shows regularly around Australia and recently we went from a power trio to a four piece where I stopped playing bass to concentrate solely on vocals. There is an album in the works to follow up 2014's "Deadweight Undertow".

(19) So, outside of music, what other hobbies and interests have you been keeping busy with? I've seen some pretty nifty-looking skateboard footage...!

Beyond being a music fan one of the other passions I have is indeed Skateboarding! It will be thirty years since I first began riding this year and like when I began the fire to skate is still there and I hope to share that with my son as he grows up. I have also been an avid reader since I was young to this day.

(20) To close, I hope we've covered some interesting ground, but if there is anything you'd like to add, please do.

I just want to thank you for the great questions Mike, and also thank everybody who has checked out this new album already.

It only remains for me to thank you for your time and the opportunity to talk with you, again and to wish you every success with 'Contagiuum...'.

Again thanks for this opportunity and more power and success to you and Doom metal.com !

Subterranean Disposition Interview with Last Day Deaf [June 26, 2016]

Wed, 27 Jul 2016 21:27:15 +0100

Interview: Last Day Deaf

Date: June 26, 2016

Language: English

Original Link

Terry Vainoras has been an important musician of the Australian metal scene working on various projects for two decades, such as Damaged, Order Of Chaos, Hellspawn, Cryptal Darkness, The Eternal, and Insomnius Dei. Collecting all of his musical experience he created his own band called Subterranenan Disposition. In 2012 he released his first self-titled album and this year, after hard preparation, he released his second album called ‘Contagiuum And The Landscapes Of Failure’ by Hypnotic Dirge Records and Solitude Productions.

Tell us a few words about you and Subterranean Disposition.

Hi I am Terry from Melbourne Australia, a musician since 1993. I have played in many bands through to the present day in all different genres- Thrash, Death, Black, Hardcore punk and of course Doom!! Subterranean Disposition started as a project inspired by collaboration with another musician Mark Kelson; we did an album under the name ‘Insomnius Dei’. The first album was released in 2012 and now the second album has just been released!

‘Contagiuum…’ is released four years since your first self-titled album. Were there any difficulties in-between until the new release?

This new album was written in 2012 while trying to get a label to release the debut album so there were no difficulties in the music coming to fruition. We released and did a couple of shows for the first album and also a lot of life went on… Marriage and children and other bands too. Finally, last year was the right time to record properly in the studio and now it’s ready for everyone’s ears!

How has the new album been received so far?

So far, from the early reviews, there has been the consensus that there has been evolution since the first album, which I agree with, and mostly favourable opinions of it which is nice.

Other people participate in this album. Is it just participation or is there musical contribution on their part to the album as well?

Dan Nahum contributed to every song with drums— I had written demos with guide drums and some things he kept the same but mostly he added his own personality there playing wise. With Gelareh on ‘Embittered’, I gave her vague ideas on which she improvised too and created from and brought in a poem for the lyrics. And with Daniel in ‘Wooden Kimono Fixative’ I basically had the spoken word part for him to do.

How did you come up with the saxophone idea? Do you have other musical influences except for metal?

In the debut album I experimented with the saxophone on one part of one song and there was lot of positive feedback on it so with this second album I had ideas to do more; this time I had already started learning to play the sax so these are my first recordings of playing this instrument! I do love many different styles and genres of music besides metal, some of those include Hip Hop, Funk, soundtracks, noise, Jazz to name a few.

In the past you participated in various projects which covered a wide range of metal genres. What is it that ultimately drew you to post-black metal?

While I do recognize elements of black and post-metal in SD’s music, I would say that the style that is the foundation for the songs is Death/ Doom metal with a lot more running through it. I guess I wanted to use my songwriting voice in this ballpark of metal to see what would happen and see where it went.

In extension to the previous question: is it the genre itself which requires a dark atmosphere, or is it (also) your feelings, the way of thinking, etc. which reflect on this atmosphere?

I would say that both are correct for me in different ways. The feeling has to be there when writing the music to get into the frame of mind required to embellish the same feeling through the lyrics. Or sometimes a lyric comes first and the music takes its cue from the feeling of the words!

Tell us a few words about the Australian metal scene. Is black metal a popular genre in the local scene?

I think when I started playing music here, with no internet back then and being isolated from America and Europe, it allowed some unique bands and music to come through. Black metal is quite popular here as is death and thrash, the faster forms of metal. However there is people interested in the slower bands now too, much more so than ten, fifteen years ago.

What are your plans for the future regarding live shows, tours, etc?

As with the last record I will get some of my friends together to perform with me live for one or two shows in Australia. I would love to get out to Europe and perform this music there, no plans as yet though. Another album is already written as demos so I am starting to go back to listen and experiment with what is recorded.

What would you like to tell to the people who will get to know you from ‘Contagiuum…’ and what should they expect from you in the future?

This is the sort of music that takes a while to get to know and asks much from the listener, but, I believe, rewards in return. Expect more evolution from the next album in unexpected ways!!

Subterranean Disposition Interview with Ultraje Zine [June 21, 2016]

Wed, 27 Jul 2016 21:25:45 +0100

Interview with Ultraje Zine

Date: June 21, 2016

Language: Portuguese

Original Link

English version [Google translate]

O australiano Terry Vainoras demorou quatro anos a confeccionar o segundo álbum “Contagium And The Landscapes Of Failure” ainda que o esqueleto tenha sido construído mesmo antes da estreia com o disco homónimo. De forma detalhada e muito honesta, Terry conta-nos tudo sobre este contágio musical que envolve vários convidados, incluindo o português Daniel Lucas, dos Painted Black.

Quatro anos depois do primeiro álbum, finalmente temos o segundo. Dirias que estiveste a cozinhá-lo durante todo este tempo?

Os anos entre o álbum homónimo e o “Contagium…” foram um caso de cozinha intermitente. As demos foram gravadas antes do lançamento do primeiro álbum em 2012, e revisitava-as periodicamente, ouvia e revia pequenas partes aqui e ali, até que tive a oportunidade de iniciar a gravação em estúdio no final de 2014, o que demorou um ano a finalizar. Pelo meio, casei-me, tive um filho, andei em digressão e gravei um álbum com a minha outra banda, os Order Of Chaos. Portanto, as coisas seguiram muito lentamente, assim como a música. Mas foi a maneira perfeita de o fazer; sentir-me capaz de reflectir cada etapa e criar o melhor álbum possível.

O nome do projecto liga-se muito ao som que exalas – muito subterrâneo, térreo, condenado. Sentes o mesmo?

Concordo totalmente. O álbum homónimo foi maioritariamente composto antes de ter um nome, e um dia surgiu nos meus pensamentos; instantaneamente soube que era assim que tinha de ser chamado. Musicalmente, sinto que há muito de um sentimento cavernoso e claustrofóbico, e vejo a dinâmica da música como mudanças de cenário – portanto enquadra-se bem na minha mente. Liricamente, subterranean pode ser tomado como pensamentos internos de uma pessoa e disposition como um estado de espírito.

“Wooden Kimono Fixative” é a minha faixa favorita no disco. Lida com a obsessão humana perante a morte, certo? Temes o fim dos tempos?

Obrigado, também é um tema que ressoa fortemente em mim. A letra lida com a nossa ganância, com acções insustentáveis enquanto humanos e familiarizar isso com um secreto desejo de morte para continuar a encarar o fim dos tempos que pode acontecer na nossa vida. É resumido da melhor forma com a linha “until the skyscrapers mark our tombstones here”. Não diria que temo o fim dos tempos, mas tenho uma resignação perante isso já que é uma realidade para todos nós.

Costumamos dizer que há um português em cada canto do mundo e isso acontece com Subterranean Disposition, uma vez que temos o Daniel Lucas (Painted Black) numa canção. Como é que se conheceram e qual é o significado da parte do Daniel?

Conheci o Daniel e os Painted Black quando fazia parte dos The Eternal, e toquei em Portugal em 2007 e depois, outra vez, em 2009, onde partilhámos alguns palcos. Boa gente e grande banda! A parte em que o Daniel participa é originalmente um diálogo de um filme espanhol, sendo que o significado geral diz que as coisas não são sempre aquilo que parecem; por vezes, o reflexo de algo sente-se mais vivo do que o objecto que está a ser reflectido. Penso que o rico barítono da voz do Daniel e o diálogo português fez com que a parte atmosférica da canção ficasse muito misteriosa.

Devo dizer que adorei a inclusão do saxofone. Sentiste que isso iria funcionar instantaneamente ou fizeste algumas experiências até teres a incorporação certa?

Na verdade, o meu amigo Darcy Molan tocou saxofone na canção “The Most Subtle Of Storms” que está no álbum debutante e isso recebeu críticas positivas, então quis saborosamente adicionar algo mais disso no segundo álbum. Tornar-se um pai caseiro entre os álbuns fez com que aprendesse a tocar saxofone tenor, portanto o que ouves é a minha primeira gravação com o instrumento!

Quanto à capa e ao título do álbum, dirias que a personagem está a aterrar nas paisagens do falhanço com todas as flamas infernais à sua frente ou está a fugir de um falhanço e disposto a afundar-se nas chamas?

É uma questão muito boa, e penso que deveria ficar aberto à interpretação individual, mas, pessoalmente, diria que a personagem chegou ao fim da estrada nas paisagens do falhanço que o próprio ajudou a criar, e as chamas representam o apocalipse.

És o cerne do projecto, mas tiveste alguns convidados que te ajudaram com vozes e outros instrumentos. Quão bom é ter pessoas talentosas à tua volta?

O álbum não poderia simplesmente ser o que é sem a contribuição de músicos maravilhosos – Dan na bateria; Gelareh com instrumentos persas e vozes assombrosas; a voz e as ideias do Daniel; a gravação, mistura e masterização do Adam Calaitzis. O que deram às minhas músicas traz mais dimensão e profundidade do que aquilo que podia imaginar, e sinto-me honrado por terem tirado tempo para o fazerem.

Como foi trabalhar com o Coby O’Brien para desenvolver a capa? Outro cheio de talento, não?

Coby é um artista fenomenal. Primeiramente reparei nele quando fez um trabalho para uma compilação da Hypnotic Dirge Records. Quando vi mais sobre o seu trabalho na Internet, cruzei-me com a capa do [meu] álbum e senti instantaneamente que era o corpo visual da música que tinha escrito para este novo álbum. Por sorte, ele foi generoso o suficiente em deixar-me usar a sua arte para representar a minha música.

Não te pergunto como artista, mas enquanto ouvinte: quando e onde aconselhas alguém a ouvir Subterranean Disposition?

Como ouvinte, acredito que é preciso paciência para explorar música que não se revela logo directamente. É música lenta, mas dinâmica que precisa de foco único e leva o seu tempo. Luzes apagadas, auscultadores postos. Quanto mais investes nisso, mais recompensado és.

Preferes rotular Subterranean Disposition como progressivo ou experimental?

Enquanto artista, não me quero preocupar com termos, nem pintar-me a mim mesmo no canto de um suposto rótulo. É mais um diálogo com a música que sai, vê-la através de todas as ideias que surgem e fazer dela o que precisa de ser. Assim, é aceitável se alguém disser que é progressivo ou experimental. As bases são death metal e doom metal e tudo aquilo que surgir para ajudar as canções a viajar a sua jornada. Portanto, acho que podem ser estados de espírito progressivos e experimentais ao mesmo tempo. Uma vontade de evoluir e experimentar.

ALBUM RELEASE: Subterranean Disposition - Contagiuum and the Landscapes of Failure

Wed, 15 Jun 2016 20:24:20 +0100

Today's the day! The second album from the eclectic apocalyptic doom band Subterranean Disposition is officially released through Hypnotic Dirge Records / Solitude Productions!

Nearly four years after releasing the debut self-titled album, Melbourne based Experimental Death-Doom band Subterranean Disposition returns with a massive new full-length album entitled “Contagiuum and the Landscapes of Failure.” With over two decades of experience in various projects, (including in bands such as Cryptic Darkness, The Eternal, and Insomnium Dei among others), Subterranean Disposition founder Terry Vainoras brings with him a plethora of writing and recording experience, and has used that to his advantage, in crafting an unmistakably bold, creative, and forward-thinking album that incorporates as many elements and techniques outside the doom metal genre as within it.

Asides from a wide variety of guitars, bass, and vocal styles, Terry also plays saxophone on the album, and enlisted the help of Dan Nahum (Bleakwood, The Veil, Dead River Runs Dry) on Drums, Gelareh Pour on Kemancheh, Qeychak Alto and voice, and Daniel Lucas on guest vocals. All-in-all, a wide variety of sound textures, dynamics, and emotion are incorporated into this album, ultimately crafting an album drenched in atmosphere and post-apocalyptic fervor with subtle and careful deliberation in every aspect of its writing and recording.

“Contagiuum and the Landscapes of Failure” was recorded, mixed, and mastered by Adam Calaitzis at Toyland studio in Melbourne Australia, and the album cover was crafted by acclaimed New York artist Coby O’Brien (whose cover art also appears on past HDR compilations). This album is available around the world now!

Links:
Order "Contagiuum and the Landscapes of Failure" CD
Download / Stream "Contagiuum and the Landscapes of Failure"
Watch "All Roads Lead to Perdition" Music Video
Watch "The Making of...Contagiuum and the Landscapes of Failure" Mini Doc
Read Reviews
Band Page

Bandcamp Player:
<a href="http://hypnoticdirgerecords.bandcamp.com/album/contagiuum-and-the-landscapes-of-failure">Contagiuum and the Landscapes of Failure by Subterranean Disposition</a>

ALBUM PREMIERE: Contagiuum and the Landscapes of Failure on "Invisible Oranges"

Fri, 10 Jun 2016 21:43:33 +0100

Ahead of Mondays release of the new Subterranean Disposition album, "Contagiuum and the Landscapes of Failure" head over now to Invisible Oranges to stream the album in its entirety, with an eloquent introduction and overview from Jon Rosenthal.

RECORDING DOCUMENTARY : The Making of..."Contagiuum and the Landscapes of Failure"

Thu, 02 Jun 2016 03:20:15 +0100

Subterranean Disposition's second album "Contagiuum and the Landscapes of Failure" is due to be released on June 13, 2016. [Pre-order CD here]

Watch this mini-documentary about the recording process and creation of this album including a lot of behind the scenes footage, and an interview with SD founded Terry Vainoras!

VIDEO PREMIERE: Subterranean Disposition premieres video for “All Roads lead to Perdition” ...

Tue, 17 May 2016 20:01:57 +0100

VIDEO PREMIERE: Subterranean Disposition premieres video for “All Roads lead to Perdition” on No Clean Singing | Pre-orders being accepted!

May 17, 2016

Subterranean Disposition’s new album, entitled “Contagiuum and the Landscapes of Failure” is less than a month away! Thus we - with the help of No Clean Singing who is hosting the premiere - are releasing a new video clip for the track “All Roads Lead to Perdition” a song and video which conjures up images of collapse and apocalypse.

Terry Vainoras comments: “ All roads lead to perdition” touches lyrically on many facets of our decline as a species that could attribute to an extinction event or apocalypse in our lifetimes. To me the tone of the music invokes a similar feeling when reading Cormac Macarthy’s “The Road”- a post apocalyptic journey down that road to hell, so I have tried to combine that feeling with the lyric concepts in an open to interpretation way, following the dynamics of the music very close visually on its long trip, from ignorance to disorder, death and beyond.

Watch "All Roads Lead to Perdition"

No Clean Singing also provides some thoughts on the song and video on their article: "From the rising sun over a desolate landscape that accompanies the song’s opening, bereft notes to the scenes of a bleak and crumbling urban wasteland that soon follow, the imagery in the video begins to unfold in a rapidly changing montage of sights that provides a creative match for the haunting music.

The song itself is cloaked in gloom, with a heavy, rumbling undercarriage anchoring increasingly intense riffs and vocals (which vary from caustic shrieks to tyrannical roars to distorted yells and croaks). The band ratchets the tension as the song moves forward, like a spring coiling past the breaking point, the dissonance of the melody increasing… until it breaks, with a ghostly instrumental section that combines guitar, violin, and the rhythmic patter of drums (both mesmerizing and distressing).

The music’s desolate, anguished intensity returns soon enough, but the back half of the song also includes a sublime guitar solo that oozes pain like sap from a felled tree. The discordant sounds that flicker across the drifting ambience of the song’s finale seem a fitting way to conclude this hopeless but hypnotic journey."

Besides this, we’re now also accepting pre-orders for anyone interested in the CD version of the album, which includes full lyrics and artwork by Coby O’Brien. $10 + shipping for the new album, or $15 + shipping to include Subterranean Disposition’s 2012 debut self-titled album.

Again, the tracklisting for “Contagiuum and the Landscapes of Failure” is as follows:

1 - Hungry Ghosts on Rotten Soil

2 - Wooden Kimono Fixative

3 - Embittered

4 - All Roads Lead to Perdition

5 - A lifelong Slumber

6 - Aggressors Clothed as Victims

Links:

Watch “All Roads Lead to Perdition” Video Premiere (+ Full "No Clean Singing" Article)

Listen to “All Roads Lead to Perdition”

Pre-order “Contagiuum and the Landscapes of Failure”

Pre-order “Contagiuum and the Landscapes of Failure” + “selftitled 2012 album”

Subterranean Disposition Website

Subterranean Disposition Profile

Subterranean Disposition Facebook

Bandcamp Player:
<a href="http://hypnoticdirgerecords.bandcamp.com/album/contagiuum-and-the-landscapes-of-failure">Contagiuum and the Landscapes of Failure by Subterranean Disposition</a>

Upcoming Subterranean Disposition Video Premiere

Tue, 17 May 2016 19:50:59 +0100

Tomorrow is the video premiere of Subterranean Disposition's new track "All Roads Lead to Perdition" on No Clean Singing. There will also be a pre-order link for the new album tomorrow!

Here are some stills from the video.

New album "Contagiuum and the Landscapes of Failure" to be released on June 13, 2016 ...

Thu, 21 Apr 2016 20:41:56 +0100

New Subterranean Disposition album “Contagiuum and the Landscapes of Failure” to be released on June 13, 2016

April 20, 2016

Melbourne based Experimental Death-Doom band Subterranean Disposition reveals the track “Wooden Kimono Fixative” from their upcoming sophomore album “Contagiuum and the Landscapes of Failure” which will be released on Hypnotic Dirge Records / Solitude Productions on June 13, 2016! Taking the name from a Tom Waits coined phrase – ( Wooden Kimono being slang for a casket ) the track is a meditation on the human obsession with death and folklore of the end time.

With over two decades of experience in various projects, (including in bands such as Cryptic Darkness, The Eternal, and Insomnium Dei among others), Subterranean Disposition founder Terry Vainoras brings with him a plethora of writing and recording experience, and has used that to his advantage, in crafting an unmistakably bold, creative, and forward-thinking album that incorporates as many elements and techniques outside the doom metal genre as within it.

The tracklisting for “Contagiuum and the Landscapes of Failure” is as follows:

1 - Hungry Ghosts on Rotten Soil

2 - Wooden Kimono Fixative

3 - Embittered

4 - All Roads Lead to Perdition

5 - A lifelong Slumber

6 - Aggressors Clothed as Victims

Links:

Stream / Download “Wooden Kimono Fixative” on Bandcamp

Subterranean Disposition Website
Subterranean Disposition Facebook

Bandcamp Player
&lt;a href="http://hypnoticdirgerecords.bandcamp.com/track/wooden-kimono-fixative"&gt;Wooden Kimono Fixative by Subterranean Disposition&lt;/a&gt;

NEWS: Subterranean Disposition begins recording sophomore album

Tue, 16 Dec 2014 21:30:32 +0100

Subterranean Disposition begins recording sophomore album

December 16, 2014

Subterranean Disposition, the one-man Doom/Death/Ambient recording project helmed by Terry Vainoras (Insomnius Dei, Cryptal Darkness, The Eternal) from Melbourne, Australia has entered Toyland Studios to begin the recording process for the sophomore album Soundtracks for Our Landscapes of Failure. For this album drummer Dan Nahum (The Veil, Dead River Runs Dry) has handled all percussive duties. More recording will follow in 2015 with a Fall release on the cards.

Says Terry:

‘I am honoured to have Dan play on this new Subterranean Disposition material, He has laid down a huge sounding drum foundation for me to build upon, a very tasteful “for the song” approach with some added percussive filigree that will bring the ambient passages on these epic songs to another level. And another chance to work with Adam Calaitzis at Toyland is always a great experience, the drums are massive even at this stage!

Says Dan:

‘Working with Terry and Subterranean Disposition has been a privilege. This is one of the most dynamic and carefully thought-out representations of extreme doom metal that I have come across, and to contribute my playing to it means a great deal. Props also to Adam Calaitzis at Toyland, who pulled great, organic yet clear sounds and put me through my paces in terms of feel and arrangements. I can’t wait to hear the finished recording.

Listen to a demo version of the song “Wooden Kimono Fixative” which will appear on the forthcoming album.

And the debut self-titled album in full, available as a free / donation-based download

Subterranean Disposition Official Website

Toyland Studios