IRON FIST Magazine (UK) feature about Underground Never Dies! Thanks for the support Louise! Respect! THE UNDERGROUND NEVER DIES! CHILEAN METAL AUTHOR PENS NEW UNMISSABLE BOOK You may not be familiar with Andrés Padilla, but he is no stranger to the world of underground metal. His love affair began as a teenager in Santiago, Chile in 1986 when his impressionable mind was completely blown away upon hearing thrash for the first time. Instantly infected, intense tape-trading ensued and in 1988 he stepped into the print arena editing his first zine, Impulso Repulsivo. Violence Zine followed in 1989 until 1991. In 1991 he decided, once again, to go it alone with a bigger and slicker endeavour, Grinder Magazine (still in production both in print and online). Andrés’s experience with zine production, tape-trading, his undying love of the underground and the associated aesthetics led him to compile and write his first book in 2009, ‘Retrospectiva Al Metal Chileno (1983-1993)’, which detailed the origins of the largely unknown Chilean thrash scene. Now, in 2014, with the help of Doomentia Records Andrés has released his second book, ‘Underground Never Dies!’, an impressive and singularly massive, 500-plus page predominantly visual document of the world-wide underground metal movement. Featuring a cover drawn by Mark Riddick, a foreward by Watain’s Erik Danielsson, thoughts on the underground by ‘The Complete Headbanging History Of Heavy Metal’ author Ian Christie and Nuclear War Now!’s Yosuke Konishi’, answers from other scene veterans to the now age-old question ‘Can you explain what the word Underground means to you?’, demo reviews, reminiscences about the impact of fanzines, band photos (many seen here for the first time), an amazing flyer gallery that will make you absolutely sick that you either weren’t there or weren’t even born, and an afterword by Autopsy’s Chris Reifert, ‘Underground Never Dies!’ oozes death. “This book came to me in mid-2009 when I was working on a book that focused exclusively on early metal in Chile, where I was born,” says Andrés. “When I was more or less done with it, I was thinking about the possibility of doing something devoted exclusively to concert flyers. Their aesthetic is amazing. Since 1988, I did tape-trading and I accumulated a lot of flyers because we used them to write long letters. From this distant country, isolated at the end of the world, there were many who were connected with the international underground. Over time many other friends of mine who did the same had a very different, but equally interesting collection in terms of having very basic posters, the first shows of bands that today pack stadiums. To make a book collecting all this was always a dream for me. “Since 1988 I have made fanzines, so doing these books was a step forward in what I love doing, which is covering and leaving a mark on the underground. One day, I do not remember exactly when, I came up with the idea of the name of the book. And so little by little, in my head, I put it together. It was a great project that had me excited in recent years. Also, I am a collector of books related to metal, and I knew exactly that such a book had not been done so far. It was a good opportunity to do something interesting in this regard.” When you consider the scope of such an endeavour it almost boggles the mind, and as comprehensive as ‘Underground Never Dies!’ is, it still only represents a small portion of the ephemera associated with the underground. “From the beginning I knew this trip would be very long, with many obstacles. It was complex to mentally organize the project, which ended up being monumental and overwhelming. I also feel lucky and grateful that this work fell into the hands of Doomentia. And of course, I had the dilemma of having to decide the ‘this is as far as I go’ part. There is just so much material that was left out that it was impossible to include everything in this book. Economically, it would have been suicide to make a book that included all that, price-wise. That perhaps was the only limitation. The issue of text editing was a mental stress. I rented out my apartment where I live, and used that money to pay for the beach house, where I disconnected from the routine of the city and completely dedicated myself to just lay out the 500 pages of the book in almost six months. That’s all I did, other than going out for fresh air and some swimming or jogging to distract the mind. It was intense, but also invaluable to be in that magical place listening to the roar of the Pacific Ocean. From there everything was possible.” The need to try to define what exactly is meant by “underground” proved a pivotal point in the book’s development. “Originally, the idea of the book was simply a graphic project, purely dedicated to rescuing the flyers. But I always thought that I could take advantage of all that space to include some content, something that has never previously been used in any other book or magazine. What is underground (death metal)? How did this trend emerge in the ‘80s and spread throughout the world with a very particular aesthetic and philosophy? These were questions I wanted addressed in the book and when I read the responses of the musicians, each convinced me more that it was a good idea to investigate and try to explain this phenomenon. Today I see many contradictions in the activities of the underground scene and somehow, this was a way of explaining a little understood world and concept. I had to make something clear: the underground will not go to you – you have to go to it.” Facebook/Underground.Never.Dies Nuclear Blast USA, Nuclear War Now! Productions Iron Bonehead Productions, Doomentia Records, Autopsy (Official) Bazillion Points HELLS HEADBANGERS Invictus Productions WATAIN
Posted on: Wed, 30 Jul 2014 15:33:44 +0000
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