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Digital Subscriptions > Terrorizer Magazine > Terrorizer 273 > INTO THE GRAVE



So far, it’s almost as if Martin Schönherr has done his best to deny his own DNA as with both RazorRape and Splattered Mermaids, he’s been one of the very few guys in Sweden to defend a certain style of brutal death metal that actually had very little to do with their own local brand. Even his highest profile band Deranged (with whom he recorded two albums) weren’t exactly your typical defender of the HM-2 pedal either. But it seems that you just can’t run away from your musical environment for too long after all, even if he doesn’t see his new two-piece Gorgosaur (it derives from ‘Gorgosaurus’, a dreadful lizard in Latin and a pretty dangerous predator among the tyrannosaurus family) as a fatality after all, “I have indeed played in a lot of bands yet playing old-school death metal was still on my ‘to do’ list so that’s why it happened,” he says. “It’s as simple as that.” Still, by recording their debut album ‘Lurking Among Corpses’ (Memento Mori) with the one producer that gave ‘Left Hand Path’, ‘Like An Ever Flowing Stream’ and ‘Into The Grave’ among hundreds of others may be a double edged-sword, as some will instantly put them in the ‘clone’ box. “I know what you mean,” Martin says. “Yes, we recorded with Tomas Skogsberg at the new Sunlight studio (now located one hour outside of Stockholm) and since we only took three days, we basically came in, plugged in our instruments and did our thing straight away. It might sound clichéd but Gorgosaur is, in my opinion, not a rip-off band. We like to try different things: for instance, we combine death metal, thrash and even some black metal influences and we’re using two vocal grunts and that’s not so common in old-school sounding death metal. But of course, we loved all the early Swedish death metal stuff dearly. Personally, Dismember’s first album and Entombed’s ‘Wolverine Blues’ remain my favourites.”

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I know I am not alone when I say I’m a sucker for being nostalgic. The thing about loving music is that because it plays such a massive part in my life, when I listen to things, it invokes so many memories. I always find myself taking myself back to when I first heard said record, who I was with, what I was doing and so on. Right now as I write this, I’m listening to Prong’s ‘Force Fed’ album, recounting all the shows I saw Tommy and co in at the now defunct Birmingham Edwards No.8 club during my teens. Those shows were immense, even if the number of punters wasn’t! I’ve seen them in more recent years and still enjoy their musical output, but those early days to me, personally, were special. What has this got to do with anything, I hear you say? Well really, it’s the same reason as why I wanted to put Mastodon on the cover of this month’s issue ahead of their headline performance at Bloodstock. You see, Mastodon are one of those seriously special bands, who have not only etched themselves in my own nostalgia bank (hey, anyone who witnessed their debut capital gig at London’s Underworld supporting High On Fire will always remember that show) but more importantly, into the wider scheme of metal’s rich history. Never once have they repeated themselves musically and consequently they have successfully created a stunning discography that continues to remain vital as the years go by. Mastodon were a game changer and their Bloodstock show allows us a chance to remind ourselves just why we love them so much. In their own words, our cover feature allows the quartet look back at their career to date and look forward to the future too. Crack open a bottle, stick any of their albums on the stereo, flip to the interview and enjoy some nostalgia yourselves! Darren Sadler, Editor