I am not a huge fan of radio. But with internet you can catch an American radio show whenever you like. Like for instance METALIX. Anders Ekdahl ©2016

Something I’ve always wondered is why you start working in radio? It’s not the most glamorous job.
-Actually, I took all the glamor out of radio. My bad. I started in radio as a technical producer on news talk stations. I never thought I would get a chance to work with music until I met Uncle Nasty. He is far more glamorous than I am. He was the rock station afternoon DJ in Denver, Metalix was originally his overnight show. I try to uphold his living legacy by using Metalix to expose the best metal and hardcore bands in Denver along with the best new music from the rest of the scene.

What kind of radio show is it that you produce? How far does your show reach and what kind of audience are we talking about?
-Metalix is the launch pad for new music on idobi Howl. I also showcase music from Denver bands and interview them in studio. idobi Howl is worldwide 24/7. Here are the links:
Live: Monday 9pm ET

In Sweden we have something called local radio that is produced by amateurs. It is very local.
-It is better to be very local than very amateur. Honestly, amateur radio has the best potential for great content because the people involved aren’t chasing money. On the other hand, if you’ve heard really bad college radio then you hope the best hosts, producers and programmers on “for-profit” stations are getting paid well.

What state is the metal scene in today? What new trends do you see?
-I can’t claim to know the state of the entire metal scene, but I feel like I hate way less music now than, like, five years ago. Maybe I’m getting more chill with age.
I noticed nu metal coming back but I predict it will go away soon. Either nu metal goes away or the metal scene has some tough times ahead.

Something I wonder about is how you put a together a playlist. Do you listen to records and pick what you like or do you get suggested songs to play? How does that work?
-It’s a longer process than you would think. I get music from labels and third party press people all over the world. It takes a long time to give everyone as fair a chance as possible. I won’t get into specifics but basically I make a huge playlist every week and then whittle down what I really want to play on Metalix or add into the Howl rotation, then keep everything left over for future weeks. There are over 13 hours of music on the Metalix cutting room floor right now.

We are soon three quarters into 2016. What have been the highlights of this year so far?
-Fleshgod Apocalypse King is still my favorite album of the year so far. They also played an intense show at the Marquis in Denver, which was one of my favorites in 2016.
Helleborus is a fantastic black metal band from Manitou Springs. I interviewed Wyatt a couple months ago, then he gave me a ride to The Faceless, also at Marquis. It was a good time.

Do people still listen to radio? Has the way people listen to radio, apps and the internet, meant that there is a renewed interest in radio?
-Metalix is on idobi Howl, which is internet radio. Do people listen? Hell yes they do, more and more every day. I’m realistic, though. I know people have more options and control over what they hear now than they did 20 years ago. I also know that I am more likely to check out music when people I trust recommend it. Metalix and idobi Howl are your trusted authority for all the best metal, hardcore and generally heavy music in the world.

I remember when college radio was the big thing. But from what I understand even those stations have gone mainstream. How do you avoid being affected by the over commercialization that is so obvious in the States?
-I didn’t know radio was so under commercialized in Sweden. Sounds like I need to visit your awesome country.
Terrestrial radio is “over commercialized” because listeners won’t pay for it, and rightly so. Programmers ignored public criticism for decades and owners got rich selling advertisements based on flawed listenership metrics. Also, why pay for something you can pull from the air for free with an antenna?
Metalix and idobi Howl are free if you have the internet. You don’t even need a really fast connection. Plus, we are able to focus on quality programming because everyone earns income from other jobs rather than sacrificing creative control to advertisers and labels.

One of my fave movies is Airheads. How important is it to feature smaller bands? What is the scene like for new bands in your broadcasting area?
-One goal of Metalix and idobi Howl is to get more exposure for new or under-recognized bands by playing them along with more familiar names.
Denver is an ideal place for new bands because the entire city is growing quickly. National and international bands want to tour in Denver too, so local bands have more opportunities to open now than they did 10 years ago.

What do you predict for the future of metal?
-Again, I cannot speak for all of metal. The internet makes it easy for artists to collaborate across long distances by sending tracks to one another. Axeslasher does that really well. Fans can get music more easily now as well. I predict the scope of “metal” will be much more diverse 10 years in the future because young fans of that era will be exposed to so much more music than we had 10 years ago today. I just hope it’s not nu metal.

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