07/31/2026
Festergore – Band Links
Bandcamp: https://festergore.bandcamp.com
Flashback of Conversation: Mad Bi***es Zine Interview with Festergore – 8/24/24 when OCZ was planning on doing another comp.
The Hustle and Bustle for Local Bands for Decades!
MBZ: Thanks for speaking with me today. How are you and the rest of the guys doing?
Hey, yeah, of course. No problem. We are doing well, just getting ready for summer to roll around this year.
MBZ: Back in the day, our country, and especially New York, was in a recession (from the ’60s to the early ’80s), and I feel like I am reliving it all over again. How are you dealing with it?
Oh man, we are, in New York at least, definitely regressing. We are dealing with it okay. Thankfully, the five of us all have big-boy jobs and are making do with everything. Being in a band is certainly an expensive hobby.
MBZ: Has it made it much harder for your band to play shows locally and throughout the USA?
Well, we haven’t played much across the U.S. yet, but we are hoping to get out to see it sometime next year. Locally, we have been doing okay, doing our shows as far as Salem and Baltimore so far.
MBZ: It became extremely expensive to tour. Have you ever toured outside of the USA? Who books your gigs, festivals, and tours?
We do all of our booking ourselves so far. We are still pretty underground, so all of our shows are easily handled in-house.
MBZ: Back in our day, bands got paid by the headcount. What are your views about selling tickets and paying to play gigs?
We haven’t played any pay-to-play gigs as Festergore, which is nice. I had done them in previous bands and always felt like it was a rip-off. I didn’t like having to hound and annoy friends and family all the time to buy tickets in advance. I feel like headcount is the best way, and just make sure you are a draw and you will get paid.
MBZ: Did you ever have a show you promoted where the turnout was so low that the promoter or venue wasn’t going to let you play?
Thankfully, no. We have had shows canceled the day of, but that was a weather-related thing. Then, like two hours later, they decided to have the show. I think we played with two other bands for a total of 10 people that night.
MBZ: How much notice do you give your fans that you’re playing a show so they can save up for it, especially now that times are hard with money for some?
We give as much time as we can, really. Usually, once we get the flyer, we at least post it. Then when it is the next show, we promote it heavier. We are still very underground, and our shows are usually $10 entry, thankfully. I have not gone to see bands because I thought tickets were too expensive, and I hope we don’t get to that point for people.
MBZ: Do you feel that when times are rough and tough, creating art and music becomes more necessary, not only for yourself but for your fans also?
As a fan of music in general, I think music can be such a huge distraction from what is going on around you. There are definitely times where an album I connected with felt more special than even some family members, haha. As someone who makes music, I think it is more of a relief to have that kind of talent. I can sit down with a guitar in my hand and forget that anything else exists, and it has probably done better for me than anything else.
MBZ: What are some of the biggest challenges you’ve faced when it comes to maintaining writing creatively?
I think for me some of the challenges are mostly self-critical. There are times when you sit to write that just anything coming off the guitar feels like it has been done before a thousand times, or just doesn’t have that edge to it. I think that is why it is good sometimes to take a step back and write something that isn’t death metal for a bit and just appreciate playing again. Come up with something completely out of your wheelhouse and bring yourself back into the state of mind to write that new Festergore joint.
MBZ: Back in the day, the downtown scene had issues getting a gig unless they were a cover band. Do you feel that cover bands have a higher rate of getting a show compared to a band that creates original music, even today?
We actually played in a bar in Philly that you were not allowed to do cover songs at all, which I thought was cool. The sound guy said something about not having the funds to pay for the rights for the songs, but I think it was just more like, “I don’t want to hear the cover thing.” People also don’t seem to grasp the music we play sometimes, coworkers and family, you know? They will ask why we don’t play at weddings or why we don’t do three 45-minute sets at bars, and it is hard to explain to them how much dedication goes into creating this original music and how much it means to us.
MBZ: Do you also include cover songs in your setlist, and if so, who?
We joke around at rehearsal sometimes and cover a bit of Megadeth, Nirvana, Autopsy, Death, Sanguisugabogg, Midnight, and what have you. We never actually learned a song enough to play a cover live, though. It could be fun to do one day when we have a longer set.
MBZ: As I wrote, back then there were no places that bands could go in and play original music until Hilly Kristal opened CBGB. Did you ever have the opportunity to play there, or did you ever attend a show?
I think none of us played there or attended a show. We were too young at the time, but we wish that it was still around because we would have definitely played at CBGB.
MBZ: Did you know that Hilly did not want bands to play covers in CBGB and wanted only original music?
I think I heard that from somewhere, in a documentary or something like that. Pretty neat that Hilly kept everything original.
MBZ: He didn’t intend for CBGB to be a punk, hardcore, metal, or rock club. It was branded off country, bluegrass, and blues. There is a story that the band Television told him their music had some blues, and he gave them a chance. Most of us know Television wasn’t a blues band, so I believe they were the anecdote that changed his full outlook. Have you ever performed at a venue that usually didn’t book your band’s style of music, and how did that go over?
We played a show that was supposed to be outside somewhere in Northern New Jersey. The venue was a local dive bar that let this dude book shows there. Seemingly, he secured the date with the bar but forgot to book bands until a few weeks before.
At any rate, the day of the show was a complete washout, with rain coming down sideways and all that. When we had to play inside, two of the bands that were booked ended up leaving because they didn’t want to play in a small dive bar to no crowd, or at least one that would be disinterested.
We played after two pop-punk/emo-type bands and had such a great time. We had to squeeze into this place, and if someone opened the door to leave, I would get hit by the door of the bar. Just one of those early memories that will always be fun to look back on.
MBZ: Do you feel that for decades New York bands have had this good attitude that they will perform anywhere?
They have been playing shows in Tompkins Square Park over the last couple of summers with death metal and black metal bands just playing out amongst the NYC streets. I think we will still play anywhere you let us.
MBZ: Do you like playing with bands of the same style as you, and have you ever played with a mixed night?
We play a very aggressive style of death metal, and it is probably best when we play with bands that are along the same lines so we get a crowd that will be more receptive.
However, it is a lot of fun talking to the other bands and seeing their reactions when they hear the tones of our guitars and the cannon fire from behind the kit.
MBZ: What promoters from New York do you enjoy working with?
Definitely Zakk Mild, Jeff Enrage, Carlos from the Wild Goose Pub over in Brooklyn. Some more to name, but it’s usually bands booking other bands.
MBZ: Do you have plans lined up to play gigs in 2024–2025?
We have some shows booked in Brooklyn and on Staten Island that will have already played by the time the deadline for this interview is out.
We have plans for a weekend run in late July out to Ohio. I’m not sure if this will be out before then. We are right on that line of going from a local band to a regional/national band, and it is very exciting.
By far, this is the most successful band I have been a part of, and I am lucky to share it with these dudes.
MBZ: What was the longest set you’ve ever played?
I think we played a 40-minute set before. We played at the end of the night, and after we were done, we got asked to play a little more, so we played another one. I would say 35–40 minutes is the longest.
MBZ: What past venues have you played or hung out at that aren’t around today?
CBGB, haha. Have to see what ends up happening with Saint Vitus too. That one would be a big loss in my eyes.
MBZ: We all know venues come and go. If you could bring one back, which one would you like to see make a comeback?
Definitely Saint Vitus, The Acheron, ABC No Rio, and The Hill Tap Tavern over in Queens. These places are dearly missed.
MBZ: Have you ever performed at a dive bar that was so disgusting but had the time of your life and loved it?
The more disgusting, the better, I feel. So yes, it’s always a good time when the filthy atmosphere compliments the filthy music.
MBZ: We all know CBGB was disgusting, but they had a great sound system and I loved the atmosphere. Some of the best live demos came from CBGB too. Speaking of demos, do you still own yours?
I have a bunch of our first demo recordings. They are all cellphone recordings that you can barely make out what is going on, and they sound so slow in comparison to how we play the songs now.
We have a video of us working on the second song we ever wrote, Surrender to Madness, and it is so early in the writing process that I am still dropping out at points because I don’t know the riffs yet. It’s fun to go back and hear the differences.
MBZ: Do you travel to a recording studio, or do you have your own home studio? What is your recording process like?
We have recorded most of our songs on Staten Island for the EP and the full-length album. We did record a single over at Hellhound Studios in Rahway, NJ.
MBZ: Who is the writer of the lyrics?
Ryan writes the lyrics. We usually come up with a concept and present it to him, and he does his thing.
MBZ: How did you hear about Obscure Chaos Zine, which has been around since 2010?
From Kat. Thanks, Kat!
MBZ: Do you feel compilations are extremely important to your band?
I feel like compilations and splits are very important to the underground in general. It is a great way for fans of a band to find another.
I recently picked up a split with Encoffination and Rotting Kingdom that blew me away. I had never heard of Rotting Kingdom, but I went back and listened to a bunch of their other music based on those two songs.
MBZ: Tell us the details about your song that will be released on this digital compilation to help promote your band and other bands on it.
For the NY compilation, we are using a song from our upcoming debut album entitled S.M.A., which stands for Senselessly Mutilated Appendages.
Originally, this song was called Septic Munt Asphyxiation, and we had written it mostly about accidentally feeling the forbidden smelly flesh hole at the downtown glory hole. We even had a call-and-response of “Munt” from the crowd.
I personally hated it and tried talking to other bands in the area to get their members to convince my guys that it was very silly and needed to be changed.
As the song shifted closer to recording, we removed a riff, which was a suggestion from our bassist, who was new to the band at the time, and sped up the tempo. It just felt right to change the lyrics.
The song is now about a body that was found in the woods on Staten Island and is a dramatic telling about how the murder might have gone. The “Die Dammit, Die!” chorus chant now hits so hard.
MBZ: Is this song off an upcoming album, or was it on a past release?
You can find S.M.A. in its original form on YouTube somewhere, I am sure, because we played it a few times live. Its first official release will be on the album coming out later this year.
We got some tracks back from Mike, and he did such a great job. He really understands what we are trying to do with Festergore.
MBZ: Where was the recording done?
We recorded the album here on Staten Island at Graveypit Studios, run by our buddy Alex, who plays drums for Graveywhore.
He has his own setup in their rehearsal space, and they lent it to us for about two months. We are hoping to repay their kindness this summer by bringing them out on the road with us.
MBZ: Do you plan on making videos for your album?
We have one lyric video out right now for our song The Lurker’s Gaze off of the split we did with Plasmodulated, Necrovision, and Ectospire called The Mire of Absolute Repulsion.
We are hoping to get some footage or find someone to help us make an actual video at some point. I don’t think they are as important to music as they might have been back in the ’90s and early 2000s when I was growing up, but it would still be fun to do.
MBZ: What do you feel is the biggest cost these days for bands when it comes to writing, recording, or packaging your release?
I think we didn’t do so bad on the recording side. We had some help from friends and a DIY-type attitude that came out incredibly well. Definitely a bit of learning as we go, but it helped keep costs down. The packaging and stuff like advertising, I guess we hit that stage now and see.
MBZ: Do you feel the full band has to hustle and bustle to get your music heard because there are just too many bands on streaming sites?
I think it is a bit unfortunate that it is mostly how people find bands nowadays. You have to try to get your song onto playlists that people just shuffle, and it can easily get frustrating or just get lost in the mix of everything.
I remember like 20 years ago just going to the record store and flipping through CDs for the most badass-looking artwork and playing it on a Discman on the way home.
There is definitely more access to underground bands now, but there are so many underground bands that can put their stuff out that there is no way to hear them all.
MBZ: What goes through your mind when someone uploads your album on a site and other people can get it for free?
Hell yeah! We aren’t at a stage yet where money is making its way back to us, and I would rather have exposure anywhere than nowhere. Stream the songs, learn the songs, come see us live, and hang out.
MBZ: Are you signed, looking for a label, or doing it all on your own?
We are all on our own doing the thing. A label would be nice, and if I remember correctly, we had some approaches, but I don’t think we were ready to make any decisions yet.
MBZ: What format will your new album be released on, and where can people purchase your music?
People can find our music free on all the streaming platforms, but they can be more helpful by going to Bandcamp or BigCartel and purchasing a cassette.
MBZ: How many releases do you have available? Do you restock after it sells out?
Right now, we have two physical releases that you can purchase through us. Both are on cassette, with no plans to restock.
You can also find us on cassette with the Noxious Ruin Vol. 8 compilation.
MBZ: Do you feel that streaming sites are taking advantage of paying bands money?
Everyone takes advantage of everyone all the time. It is what it is, basically. Exposure is good until we have to start actually worrying about money.
MBZ: How about Bandcamp Fridays once a month?
I always forget Bandcamp Friday isn’t a sale for me, haha. I save all my purchases for that day and buy from every band I can.
They say it all goes to the bands. Who actually knows? But I do hope they keep doing it.
MBZ: Do you think having all New York bands on the compilation was a smart move? Do you still feel NY bands are extremely supportive of each other?
I really love this idea. I think there are bands that are supportive and bands that are not as much. You can’t really do much about it except make sure you are supportive.
Going to shows when your band isn’t playing, hanging out, and having a good time.
MBZ: Back in the day, we would see the same 200 people at punk shows made up of both fans and bands. Do you need to bring a certain amount of people to your shows?
We haven’t needed to bring a certain amount of people to any shows, but it is obviously always better when you do.
I think the more people who give our name at the door is a good way to get invited back to a venue to play again.
MBZ: Most people talk about tape trading from the old days, but no one talks about trading T-shirts while living in NY. Times were rough, so we would trade our shirts and even worn-out jeans or sell them cheap to help pay for our $60 apartment, food, or even a show. Did you ever trade your shirts with other bands or even your bandmates while on the road?
Sometimes we trade with other bands because we liked their shirt or they liked ours, so a trade-off happens, but not often.
Our drummer, Steve Pro, has a huge old-school metal shirt collection. He has been collecting shirts for 14 years, and if he were to sell his collection, he would live well for the next couple of years.
He often trades, buys, and sells from others and was featured in the New York Times once because of his collection. Hit up his line if you want to learn more about it. I’m sure he’d be happy to share.
MBZ: What type of merchandise do you have available, and how will you avoid giving a venue a percentage of your merch profits?
No one has asked us yet, but I would absolutely try to sell merch outside of the venue. I think between the bar, food, and whatever else the venue gets money for, they can leave the bands alone.
MBZ: Do you like any female punk singers or bands?
Yeah, Derketa, Mythic, Joan Jett, just to name a few.
MBZ: Are there any New York bands that are most significant to you?
New York has such a reputation for death metal. I am a big fan of Mortician, Suffocation, Incantation, and Morpheus Descends, to name a few.
MBZ: What NY musician blew your mind away with his or her playing? Who would you say were your biggest influences that wanted you to play your instrument and form or join a band?
I know for our drummer Vinny, Dave of Demolition Hammer is a big influence on his drumming. Another one would be Iggor Cavalera of Sepultura. You could probably hear some of that style of drumming in our songs.
MBZ: New York has many styles of music, such as jazz, blues, punk, rock, hardcore, metal, hip-hop, rap, dubstep, house, disco, and the list can go on. What were you listening to growing up with your family, and what do you listen to today?
My family listened to a lot of classic rock growing up. My dad was into The Rolling Stones, The Cars, and The Grateful Dead.
I was lucky enough to hear some great guitar from The Allman Brothers and Lynyrd Skynyrd, but it wasn’t really until I heard Black Sabbath that I made a connection with music.
Today, it is a lot of my own peers, which is such a cool sentence to say out loud. Underground bands from across the country like Unembalmed and around the world like Ashen Tomb out of Finland.
MBZ: How do you think the New York music scene has changed over the years? Do you like newer bands?
Over the years, it has grown so much, especially in the death metal scene, not only in NY but on a national and international level.
There are so many death metal bands signed to underground and big-time labels that it is sometimes hard to keep up. I can say that this is a great time to be a metal fan. So much good stuff is happening right now.
MBZ: In any era of the scene, did it ever feel like it was running on fumes?
I would probably say in the ’90s when grunge took over, along with nu-metal, which is fine, but the true form of metal around that time was a dying art.
MBZ: What would be your top five challenges that bands are facing in the music industry?
I guess not having mainstream support from big media like MTV, VH1, and any other major media that once stood for music television.
Another one may also be major rock radio stations not playing new music, but rather catering to classic rock, stuff that you have heard a million times.
Sure, there are college stations too, but they themselves are very selective with the stuff they put on the air instead of focusing more on what others may enjoy rather than what the DJ enjoys.
Another challenge is some promoters not doing the actual promotion. Sometimes the band themselves will need to promote as much as possible while the promoter only collects the sales and distributions.
Another challenge would be how expensive it is to be a musician. There is no money in this business unless you are a big band like Metallica.
We still enjoy what we do because we do it for the love of the music.
The final challenge would be exposure. You basically have to be creative with your promos to be as engaged as possible on social media to get your social interaction up.
MBZ: What hustles and bustles have you overcome as a band?
I guess not agreeing to play pay-to-play shows has served us well so far.
MBZ: To sum up our interview, in the punk scene, we had no issues getting in your face, so pretend you’re getting in my face in a good way for the first time at a show to tell me about your band...
Deadass Death Metal FESTERGORE.
Merch from FESTERGORE
