“I tried to situate my narratives within the matter-of-fact nature of our dire contemporary circumstances: not only the pandemic and the disturbing realities it has revealed about our social structures, but also the increasing transparency of systemic corruption and oppression writ large, the unspeakable social/psychological ruptures created by social media, and the rapidly worsening climate emergency and other environmental catastrophes. This is a bleak book written during bleak times. What I have sought to do here is curate a sonic representation of its tone.”
“Heavy metal has always shared a close relationship with the horror genre. From metal grandaddy Black Sabbath’s very name (lifted from Mario Bava’s 1963 anthology film) to the occult aesthetics of black metal and the grisly imagery of death metal, this diverse sonic universe overlaps with horror in varying noteworthy ways. Indeed, I found my gateways into heavy music around the same time I discovered horror fiction and cinema, and it all seemed somehow connected.”
“Exhume to Consume” was my working title for the second story in my new duology, Dreams of Lake Drukka & Exhumation ; unfortunately, the title already belongs to a song from Carcass’s Symphonies of Sickness (which is included on this list). Like many of the pieces in my collection Darkest Hours, this new story owes something to the atmosphere and imagery of death metal and black metal. For Night Worms, I’ve listed and (very, very roughly) ranked my 100 favorite metal albums.
“Darkest Hours is brutal. I mean that in the best way possible. The stories here range from cosmic horror to real horror and everything in between. I, myself, am a massive fan of heavy music and it was great seeing stories interjected with death and black metal imagery and references.”