Sometimes you stumble over a band that leaves you speechless. I did so with THROES. To find out more about the album I interviewed Trent Griggs. Anders Ekdahl ©2016

You have one of these names that tell me that some thought has been involved in the choice. How hard was it to come up with the name?
– You know that scene in ‘Boogie Nights’ when Mark Wahlberg’s character has that epiphany and his porn acting name comes to him from out of the blue as “Dirk Diggler”? Well, it was exactly like that. A moment of gifted perection and universal timing.

The competition is a killer these days so please tell us why people should buy your latest album?
-Because the vocals will bludgeon you to the point of hospitilisation, the guitar atonalities will keep you in trance like a good taste of opium and the bass and drums will beckon your body to move whether it wants to or not. If your kind of party is staring into the abyss and confronting everything you think you know about yourself and the people that come in and out of your life this is the music for that party. It’s a bleak trip that succeeds in rewarding any listener who commits to seeing the trip through from start to finish, and more so the travellers who willingly take the trip over and over. The strong will survive as always and the cry babies will cry like babies.

Do you notice that there is an anticipation for you to release an album? Have you built a large enough following for people to eagerly await a new album?
– Well, this is the debut after all so no one was really expecting this album except for those few I know personally. I’ve also chosen a very staunch, long running, very underground label to bring it to the world in ‘Aesthetic Death’, so there isn’t all that money going into constant internet promotion. A label like that doesn’t operate in that way. In fact it was me that convinced label owner Stu to relent and have a facebook page (as much as I think facebook is aids) so fans of the bands he represents can have a quick and easy way to interact with their work and show their support. I run the page for him so he doesn’t have to know the flow of bile that is the facebook news feed. The page has received some great support considering it’s only been around a few short of months. Be sure to visit the page and give it a like at :
As far as people anticipating my work, it’s a debut as mentioned, I don’t play live, I write and record all the music myself and play everything except drums and am also the vocalist. Kevin Talley provided the drum session and extensive additional vocals were contributed by James Ludbrook. If you don’t know either of them look them up. The album was reviewed in issue #73 of Zero Tolerance Magazine, along with a feature interview. There are a number of other reviews and interviews floating around, so if you’re unfamiliar with ThrOes and the debut album ‘This Viper Womb’ maybe check out some of that stuff. You’ll find links to most of them on the official website :
You can also stream the whole album in full HD quality, with animated lyrics for every song over high res art on the ThrOes YouTube channel. It’s only been up a few weeks. Go and check it out at the link below :

When you started the band did you do so with a clear intent of what kind of music you wanted to play? How hard was it to come up with a sound all your own?
– Yes, 100%. I knew I wanted to write really repetitive trance inducing atonal guitars interspersed by heavier rocking sections to give needed movement and drive, to keep propelling the songs foward. I also knew I wanted a really active rythm section as far as bass and drums were concerned. Very heavy and slippery groove. Not much in the way of blasts and double kicks. Only where needed to make the structure of the song have a certain urgency. Most metal drummers can play like 2 beats. I get so bored by it and was never approaching the drums in ThrOes like that, so I had to find someone who had actual drumming chops beyond being able to play fast and straight. And whilst he’s not really known for it, Kevin can really drum outside of typical metal conventions. He has a passionate grasp of beat, and gets the importance of varied and continuously changing patterns. So many metal drummers play the beat exactly the same for 4 bars until the bar changes, the new beat starts and they play that exactly the same for the next 4. Kevin delivered some of the most interesting drums I’ve heard on a metal album in like forever, and I tried really hard to glue my bass lines to his ever changing and winding drum parts. It worked exactly as I had always planned. And lastly, I knew I wanted dual vocals and I knew I wanted them to be unusually intense. The subject matter is heavy , bleak, confronting in nature and I wanted a delivery that could do justive to the pain and the emotional weight that’s carried in the words. James is an extremely intense vocalist, not just in tone, but how he goes about phrasing his vocal lines. We started talking at the end of 2011 and those seeds were sewn pretty quickly. Recording his performances started in June of 2012 during a particularly bleak week in the Tasmanian winter, and they were finished in the summer of 2013. James was never remotely on my list of who I was looking for to take care of the additional vocal contributions, and in going with him it changed the feel of the music quite drastically from I initially imagined it may sound. There’s a nasty, post punk, post grind core, post hardcore element that entered the ThrOes sound on this album once Jamie’s vocals were in the songs. Kind of reminding me of bands like Neurosis, or just generally in sound there becomes similarities to crust bands or something. I couldn’t name any to compare to because I don’t listen to that style of metal. Working with James was just something that happened out of the blue, like a million things with ThrOes. It drives itself and this particular collaboration was something I needed to explore, and see through to the end, confident that something very unique and unexpected would be the result of our work together. I definitely feel this proved to be true.

Something I have often wondered about is if you feel that you are part of something bigger and greater when you play in a band, that you are part of a movement sort of?
– Not at all. Not even a little bit. I can’t express how removed from the scene side of things I do feel. I do this for me only, confident that there will be other people that this work will touch, so I go through the torture of bringing it to release. But I’m working for myself. I’m not trying to join anyone’s club. ThrOes is ‘Dissident Metal’.

When you play the sort of music you play do you feel that you can have whatever you like as art work for the cover of your album? What is a great album cover to you?
– Ofcourse. The music is my art, so the visual work must represent the music as thoroughly as possible. I would never choose something irrelevant to the themes in the music. Even if it’s abstract it must be capable of further supporting the music and lyrics. very important. Unfortunately a lot of metal bands drop the ball on that one too. Standards. There’s not a lot of them. I’ve spoken about this many times elsewhere so will not elaborate further here.

I have a great fear that the change in how people consume music today will eventually kill music as we know it. What is your opinion on digital verses physical? Is digital killing music?
– Aaaah, I’ve spoken a lot about this before too so will keep this brief. Yes, without argument the way people consume music now is ruining music as we’d always known it, and it actually has a big hand in why there is so much weak product being made. The seas of mediocrity are so vast. Digital vesus physical? Digital is supremely inferior. I hate it.

Is the era of great arena tours as thing of yester? What kind live scene is there for bands like yours? What does the touring circuit look like today?
– Fuck I don’t know, and I don’t really care. I definitely think the days of Metallica touring a new album for 2 and a half years have been dead and buried for probably 15 years. The 90’s are gone. The product (which is what the art inevitably becomes, a product) is pushed out through a whole different network. It doesn’t work the same as it always used to. ThrOes would go great live. Those songs are structured so well and in such a way that it would engage an audience very well. However, I have absolutely zero intention of playing live at this stage. I don’t see that changing, but never say never. “What does the touring circuit look like today”? Expensive and soul sucking!

When you play live is it a happening or do you see it more as a party?
– I don’t play live, but if it did it wouldn’t be a party.

What would you like to see the future bring?
– I guess immediately I just want as many people to know about ‘This Viper Womb’ as possible, so visit the following :

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