Coroner's Report: The Spawn of Satan Interview (2003)

This is an interview with Jim Konya that I did for his bands All That Is Evil and Spawn of Satan, back in 2003. Jim passed away in 2015, and preserving this interview seems like the right thing to do. I looked up to Jim a lot, especially in the earlier days of me being in bands and doing work in the underground. People even compared my attitudes to his at one point, but whether that's correct or not, I can't decide. I always enjoyed hanging out with him at shows - when he wasn't bouncing around the room talking to a hundred different people! Read on for a good interview, and some insight into some of his music.

Andrew Parrish:  Hails Jim!  How are things in your satanic camp?

Jim Satanic:  Hails Andrew! things are as evil as ever. Metal still rules the fuckin world.

When did you decide to begin ALL THAT IS EVIL and SPAWN OF SATAN?  Why are these important outlets to you?

ATIE began in early 1997 right after my departure with FTD. I still had some ideas that I wanted to express musically so with the aid of Chris Dora [SOULLESS, ex-RINGWORM -ed.] and Wayne Richards [SOULLESS -ed.], ATIE was born. SPAWN OF SATAN was an entirely different situation. We have been writing and rehearsing in some capacity of what is now known as SPAWN OF SATAN since late 1988.  I was never really able to maintain a solid line-up with anyone who was committed to making satanic thrash. I moved out to Kent rejoining the original guitarist who moved out there a few years before I did. We jammed once a week, but I could tell that it was painstaking for this dude and it wasn’t going to last.  It was at the very end of the Kent days that I met Wayne Richards, who was an acquaintance of our drummer at the time. When I moved back up here [Cleveland  -ed.], Wayne and Chris assisted me in the writing of the material that is on the split cd/lp with BLOODSICK.  It was Dora and Richards to rescue again!! Both of these projects are creative outlets for me certainly. Metal has touched my life in such profound ways, that I feel compelled to express myself artistically.  These bands, as well as the others that I am involved in, provide these channels for me to do so.

 saw you perform with SPAWN OF SATAN last year at the Revolution in Cleveland when you opened for another band you're in, the mighty NUNSLAUGHTER, which just happens to be my favorite fuckin' band ever!  I remember the SOS show as being theatrical, with you using various props, and the stickiest goddamned fake blood!  Do you plan on continuing that sort of thing with SOS?  Do you do similar things within ATIE?

SOS has only played 3 times in its entire existence. The shows were all at the Revolution and were within a one year period.  Each time we perform, I like to go beyond the parameters of the last performance.  There was too much blood the last time. The reason that it is so sticky is not because it is fake, but because it is the blood of Christ.  To those who graze in the fields of filth, it is sticky and rancor. It is a mess for sure. ATIE is a little different live. I deplore a different set of props and the costumes are of more of an unusual nature. ATIE is more of a seasonal thing. We go for that autumn theme. We usually look to do shows around Halloween. It is the season of the witch. If you dont believe me, just ask DEAD OF NIGHT  [hahahah! I get the joke.... -ed.].  I would like to continue to do these things certainly. It really all depends on the input that I am able to get from the other guys who have dreams and goals that go beyond what I am trying to do musically.

I've noticed that a lot of times, especially with ATIE, your lyrics flow like a story.  What's your inspiration for doing that?  Do you like concept albums due to their story-like nature? 

The story thing is a two-edged sword really. I enjoy doing it and I often try to but on the other hand, I see myself falling into that scheme almost every time I write.  SOS allows me to not be so fluid with ideas and to not have to tell a complete or organized fable.  I have found myself listening to concept albums in the past, but they are not a source of inspiration.  My visions are more of collections of short stories, whereas a concept record depends on each song being a facet of one or many occurring themes.  There are ways to convey messages or tell tales in your music.  I have always relied on the very direct approach where the characters and plot are pretty cut -n - dry.  I used to be into a lot of old Hitchcock and Carpenter stuff and thats probably where it came from.  And of course there is KING DIAMOND. Thats all that needs to be said about him.

You use some different names in your projects - such as Malcolm Anthony, Jim Sadist, and Jim Satanic.  I take it that you like to fit your name to fit the persona that you feel is necessary for that band?

Guess what?  You're exactly right on that.  Some people have told me that they feel that it may detract from one's recognition of what we have offered the world because there just isnt one set moniker or name being used by myself.  But, as you already put it, I like for the persona to coincide with the music or the bands image. Certain looks or vocal angles do not match up with a certain groups sound or vein of music.  I am a huge proponent of diversity and I feel that having several outlets rather just one or 2 best exemplifies that.

What's in your CD player, tape deck, or - and this is the one I prefer - record player?

Lately, it has been good old Black Sabbath.  I am also really into the Chicago based outfit known as AVERNUS as of late. Their 2nd record features the vocal talents of Cleveland's own Rhiannon who was in SOMNUS.  Its great stuff.  I listen to a lot of classic rock and 70's easy listening.  I am trying to catch up with all of those great classics that were the soundtrack to my childhood.  70's and 80's all the way!!!

Tell me about the label, Hell's Headbangers, who are releasing a lot of the material you're involved in right now.  You have the SOS / BLOODSICK split CD, the NUNSLAUGHTER / CENTINEX split 7", and vinyl version of the SOS CD, as well as a NUNSLAUGHTER / SOS split coming out?

HHB is a new and aspiring record label and distribution service.  They are very young and have a surprisingly good ear for metal music [I'll say - those guys have a killer selection of cult items. -ed].  They are based out of Medina, Ohio and are SOS' record label for the most part. I run a makeshift label myself called Metal Enterprise, but it is nothing official. We are collaborating on the lp version of the SOS/BLOODSICK split that will be out in June 2003. The guys at HHB had seen SOS play a few times and liked the advance of the split so they were interested in doing the release. It is also their first actual release so it really wasn’t a big gamble for them. The NS/CENTINEX is out and I am pleased with the the end result.  There will NOT be a SOS / NS split release. They will now be 2 separate records.  Neither band could agree on terms, so it will not exist after all. This SOS release will be late 2003 or early 2004.

How does it feel to know you're well-regarded in the underground?  Every old-school maniac I know digs most of the stuff you write and play.

Well, honestly I really had no idea. If this is true, then I say "Thank You".  I really appreciate it. It really makes it all worth doing and I thank all of those people whoever they may be for their support and acknowledgements.  The old schoolers are true demons and they love and know their metal.  If they have taken notice, then maybe we're doing something right.

What bands do you dig the most in the Northeast Ohio scene right now (hardcore bands included, since I know you're involved in that scene as well)?

I love SOULLESS obviously because they are the best band in the land.  RINGWORM is fuckin' great too.  I was into DEAD OF NIGHT when they were raging.  HOLY GHOST was pretty cool too.  I have lost touch lately, so I don't really have an answer.  Cleveland has had some of the best bands ever. Most of them are defunct now but I will never forget them.  Some words to the wise: check out as many local bands as possible.  You never know when they will cease to be.  Living in Cleveland, I would have to say that I have been fortunate enough to see some of the best.

Tell me something about the hardcore bands you're in.  I know you're in 9 SHOCKS TERROR and SCARVER'S CALLING and SCHNAUZER.  By the way, thanks again for the SCARVER'S CALLING 7", excellent stuff!  It has a sense of humor about it, and I like that.  Killer blood-red vinyl, too!

You Are Welcome!! Thanks for the feedback on the 7".  I am involved in several other bands that you have so kindly mentioned. NINE SHOCKS TERROR is a crusty fast loud band that i am playing drums for.  My old longtime pal Tony Erba started this band about 7 years ago.  They have quite a following and a nice discography under their belt and it has been a real pleasurable experience playing drums for them. SCARVERS CALLING is just a side project that we want to release records and play an occasional show with.  SCHNAUZER is a horrible display of musical incompetence and complete nonsense.  Anyone who has purchased a SCHNAUZER product and is dissatisfied can kindly write to the address below for a complete refund.  Thanks.

My absolute favorite SOS song is "The Everlasting Terror."  Tell me a little about that one.  

Thank you again for the compliment!!  I am glad that you like that one.  It really has a lot to deal with a sense of eternal despair when one is confronted with the temptations of Satan.  Inside of that, the song deals with a preachers plight with what he once thought to be an impossible outcome of his mortal life and salvation. The rest is up to the listener.  SOS has a lot of open-ended songs that you can kind of create your own ending and develop your own interpretation.

Now, let me take you back in time a little, back to FROM THE DEPTHS.  I've had the self-titled CD that was put out on Dismal since it was out, and I still think it's the highlight of the band's career.  The stuff they did afterward was too melodic for me.  The self-titled disc was more primal, more evil.  Plus, it thrashes!  Tell me a little about your time in FTD.  "Curse of the Scarecrow" rules!

Ah, the demons of my past, hahahaha.  Again, I am impressed with your knowledge of our work.  I am very touched by that.  Thanks. The year was 1995 and I was out at Kent when Matt Sorg approached me about doing some vocals for a band that he was working with. I went out there and started rehearsing with them which led to the first 2 recordings that became the debut lp.  This was the first time that I ever just sang for a band so I was excited. I put my little spin on songs that they had written and Duane from Dismal Records [and now NUNSLAUGHTER -ed.] released it in summer of 1996.  There was some differing opinions as to how lyrics and ideas were being laid down and eventually that same obstacle rolled over into musical ideals and the band's overall mindset. I was fired as their lead singer in January of 1997.  I was upset and felt that there was still some metal left to be played in that chapter of FTD.  They went on, as you mentioned, to release 2 more records. I love Bereavement but felt that Elysium lacked in production.  I really appreciate what you said about the stuff that I was involved with.  It means a lot to me.  I think that its cool in a way that people have 2 separate entities of FTD to listen to.  There's something for everyone that way.

Dude, how do you balance all the stuff that you do?  Do you think you'll ever burn out?

The metal flame burns in me like a ball of hellfire. I have really enjoyed releasing music and have even enjoyed listening to the music of others more than playing my own.  Most of the bands are just projects that stop and start up for a few weeks at a time. They may have a record out, but are in no shape to play out. I am not as busy as it appears at times.  Maybe I am minimizing it all because of how long I have been doing this.  I don't see any burn out coming but then again I am no psychic.  From the Womb to the Tomb: Its Death Metal....

Can you tell me any titles of any new SOS material, if there is any?  Leak it to the press!

I am glad that you asked this one because I havent been thinking about what some of them are going to be lately.  The ones that will appear on our one-sided 12" pic disc are:
1. Sempiternal Doom
2. Fatal Blessing
3. Deliverance
These are old songs from the late 80's being played by the current line-up.  Some of the new titles to appear on the full-length are: The Devil's Ransom, Witchcraft, Circle of Seven, The Master, Darkest Domain and Ritual Murder - just to name a few.

Ok man, that's all I have right now.  End this interrogation any way you want to!

Andrew - I want to thank you for this cool interview and for your awesome support of our musical efforts.  I also want extend gratitude to anyone who has taken the time to listen to any of our projects or attend any of our performances.  Thank you all very much.  Andrew, I will see you again at a dark metal show....  Metal rules!

Black Hole Deity--Profane Geometry (CD/LP/CS) {2024 Everlasting Spew Records}

www.everlastingspew.com

9/10 CRUSHED FUCKING SKULLS

Black Hole Deity play wickedly technical death metal that doesn't lose its roots amid all the fancy playing. The riffs may take a few listens to sink in, but sink in they do, and with a vengeance. Their technical playing adds so much intensity to their sound since so much of it is done at light fuckin' speed. I can hear some Nile influence in their sound, but just enough that it doesn't ruin their originality, and is simply a case of wearing their influences on their sleeves. The vocals are strong yet understated, delivered primarily in a mid-range growl. The riffing is mighty, with totally unpredictable passages that take the listener by surprise, but do not descend into tech-wankery or overcomplicated bullshit jammin'. They're perfect for what this band is trying to accomplish. An acoustic interlude with a guitar solo appears in the middle of the record, and is a nice change of pace to get us set for the second half of the record. I love when bands do this - I was always a fan of Broken Hope's interludes for the same reason. Anyhow, tech death freaks should check this, as should anyone into fiercely musical death metal. It's a monument to death.

Cemetery Reign--Confined to Time (CD/LP/CS) {2026 Carbonized Records}

carbonizedrecords.com

5/10 CRUSHED FUCKING SKULLS

We have here some morbid and obscure death metal that reminds me a little of the Swedish sound, but without the chainsaw guitar distortion. The vocals are cavernous, which is a quite popular thing to do at the moment, and the words are unintelligible. Which is ok - they don't have to be. This is wonderfully underproduced and a bit raw, with a bit of mud in the production, which I really like. There are a handful of good riffs on this record, some that zig when I thought they were going to zag. That's an unexpected treat. The problem, though, is a lot of these songs just blend together, with very little to distinguish them from one another. The same guitar techniques are used in most of the songs, leading to similar riffs. I think it's the constant tremolo picking that's at the heart of the issue. Overall, this is just ok stuff, and we've heard it all before.

Devilpriest--Where I Am the Chalice, Be Thou the Blood (CD/LP) {2025 Nuclear Winter Records}

www.nuclearwinterrecords.com

6/10 CRUSHED FUCKING SKULLS

This is the third full length from these Polish deathmongers. They play dark death metal with a tinge of blackness and a cornucopia of blastbeats. The lyrics are like occult rites put to music, pure devil worship, and they appear rather sincere! The songs are a bit longer than I usually like, but their compositions are dynamic enough for the music to withstand it without being boring. There are plenty of changes and riffs in these songs that prevent boredom on the part of the listener. This is intense stuff, blasting along at ripping speeds most of the time, with the singer raving over top of it all like a demonic high priest. This is by no means something we've never heard before, but it's an enjoyable listen, and worth tracking down.

Pyre--Where Obscurity Sways (CD/LP/CS) {2025 Osmose Productions}

www.osmoseproductions.com

5/10 CRUSHED FUCKING SKULLS

Pyre hails from Russia, and this is their third full length, the first for the venerable Osmose. Their sound is sort of like a mix of Grave and Asphyx, with the barreling riffs of Grave and the vocals and sludginess of Asphyx at the forefront of their sound. Lest you think they're purely derivative, they have tricks of their own, like excellent guitar solos and well-developed vocal patterns. The production is warm and easy on the ears, and ear fatigue from this release is not a problem. My only issue with this record is that the songs themselves aren't terribly memorable. There's just not much here to vary things song to song, and the riffs aren't that imaginative. It's definitely not intense - it's quite laid back, actually. Your mileage may vary of course, and the musicianship is just fine, this just isn't something that tripped my metalist trigger is all.

Skullhammer--Where Skulls Pile High (LP) {2026 Fucking Kill Records}

skullhammer.bandcamp.com

7/10 CRUSHED FUCKING SKULLS

This is Skullhammer's first full length and only release other than a handful of singles. They play absolutely crushing death metal with a very bright production that accentuates every instrument equally. The mix is perfect. The drums hammer like a machine gun, especially the double bass that's galloping along most of the time, and the cymbals have a crisp hiss. Vocally, the singer has a similar cadence and style to Johnny from Unleashed, but his tone is more extreme, with much more growl in it, but he remains very understandable and intelligible. The songs are mostly mid-paced, meaning they're extremely heavy, and you won't find many blastbeats on this record. They rely on the mid-paced groove to be heavy and it works well. They actually have some things in common with death doom acts, using an even slower pace to build back up the intensity. I thought this record was quite enjoyable, and definitely worth at least one listen. I imagine it will grow on me over time.

Tymvos--World of Abominations (CD/CS) {2024 Iron Fortress Records}

www.ironfortressrecords.com

8/10 CRUSHED FUCKING SKULLS

Hailing from Scotland, this is the first full length and only release from this band other than a demo in 2021. They play a bastard cross of styles, between Morbid Angel and Benediction. I mention Benediction specifically because of a few of the riffs and the vocals, which call them to mind. The production is nice and warm and really gets that '90s death metal sound right. The bass guitar is especially audible on this record and his sound reminds me of DD Verni a little bit. They've masters the rolling tremolo picked riff and the songs have a great flow to them because of this and the double bass technique used. The vocals patterns are especially noteworthy, the singer's breathy, chesty style bringing the lyrics to life, accentuating the music perfectly. He also knows when the shut the fuck up and let the music do the work! This is not a skill that some vocalists have, and must be learned. I really enjoyed this one, and I'm sorry I was late to the game on it! 

Sulphuric Rite--Wormgod (CS) {2025 Deepswarming Bloodmagik Records}

dpswrmngbldmgk.bandcamp.com

5/10 CRUSHED FUCKING SKULLS

This five-song EP is the only release from this Ukrainian band. The band reminds me a lot of Grave and Autopsy, with perhaps a bit of the old Floridian sound in the riffing. The problem with this EP is that it's just so helplessly average, and nothing really sticks out that makes it special in any way. This is death metal we've heard a thousand times, with nothing to propel it out of the murk. The vocals are cavernous, which is in vogue right now, with a lot of reverb on them, but not enough to make them too muddy. They're indecipherable anyhow, which is fine. All the musicianship is tight and the instruments are well-played, it's just that this style has been done to death in the last few years, and my ears are tired of it. If there was something more unusual about this band to help them separate themselves from the pack, I wouldn't just dismiss them like this, but unfortunately that is not the case here. 

Caesarean--Wretched Decrepitude (CD) {2025 Horror Pain Gore Death Productions}

horrorpaingoredeath.com

10/10 CRUSHED FUCKING SKULLS

This six song EP is full of deadly riffing and tight blastbeats, resulting in strong grind-influenced death metal. They remind me a little of the first two Gorerotted albums, Mutilated in Minutes and Only Tools and Corpses, which are classics in my mind. The dual vocal attack is excellent, and the high vocals are an especially intense screamed style, while the low vocals remind me of Bill Steer. The intensity never lets up from any of the instruments, and forward motion seems to be these songs' defining trait, alongside brutality, of course. Every riff is catchy and every song is memorable. We also get an excellent guitar solo in the song "Perverse Formulary of Human Fluids," which doesn't last long but really adds a dynamic to the song. In a scene where so many bands don't seem to care about writing forceful and intense death metal, this band is a breath of fresh air. I am now a fan, and I look forward to more from this band. Give me more of this intensely performed death metal!

Necronomicon Ex Mortis--Zombie Blood Nightmare (Digital) {2026 Independent}

necronomiconexmortis.bandcamp.com

7/10 CRUSHED FUCKING SKULLS

It appears this band has a habit of releasing a swath of singles digitally before a release, and that seems like a good way to promote engagement, especially if the single is a different version of a song. Smart tactics. On to the music. Necronomicon Ex Mortis play death thrash with tight musicianship, and there's no slop at all. I feel like fans of the old Razorback roster, like Ghoul and Frightmare, would like them a lot with their focus on '70s and '80s horror films. The vocals are snarled in much the same way as Jeff Walker's vocals in Carcass, especially when compared to the Necroticism era. They use blastbeats judiciously and it really helps to make the music more intense at certain times, making certain of their riffs shine. The guitar playing is absolutely perfect, with complicated solos, intricate riffs, and impressive arrangements. Does all this translate to great music? Yes, for the most part. They do a fine job, and don't get lost in their ability to jam. Solid horrific death thrash here, and worth the time and effort to go find.

Fecundation--Moribund (CD) {2025 Obliteration Records}

www.obliteration.jp

8/10 CRUSHED FUCKING SKULLS

I don't know if I've ever heard a brutal death metal band from South Korea before - I can't recall any. This reminds me of Dying Fetus musically and vocally, but there's almost an Indonesian style of brutality going on here as well. The songs are quite good, and they really sink in on multiple listens. There are plenty of little catchy hooks in the midst of all the wildly technical playing. The musicianship on display is astounding - we even get great guitar solos in some songs, which is very unusual for brutal death metal. It speaks to a depth of composition that most bands cannot summon. If you, like me, are sick of all the Devourment clones and Disgorge clones in the scene, this is one band that will act as a palate cleanser, and it's worth going to the effort to track down their material.

Carbonized Eyesockets--Morbific Putrefaction Accidents (Digital) {2025 Independent}

carbonizedeyesockets.bandcamp.com

8/10 CRUSHED FUCKING SKULLS

Carbonized Eyesockets hails from Russia, this being their first full length and only release other than a single that arrived prior to the album. They plays Repulsion-style deathgrind that may also have some Terrorizer influence, and some from goregrind like old Carcass. The vocals are quite muddy in the mix, making them sound truly extreme, just a low-level deep roar that's growling away over the music, half buried by the guitars. The blasts are extreme, and we get gravity blasts occasionally. They're tight and they're intense, bringing a real personality to the grind. This is important when operating at speeds like this, because suddenly the drummer almost leads the band since boring drums can really harm deathgrind. His double bass work is lightspeed-fast in certain songs, too. Carbonized Eyesockets do what is so difficult in grind, and that's writing memorable songs that really catch the ear of the listener, even with all the relentless blasting. This is truly a great release, and I hope for continued success from this band.

Dysmorphia--Morbid Atrocities (CD/CS) {2025 Iron Fortress Records}

www.ironfortressrecords.com

9/10 CRUSHED FUCKING SKULLS

This is the third EP from this heavy-ass band, who as of yet have no full lengths in their catalog of releases. We get five songs of serious nastiness on the EP. Dysmorphia plays relentlessly heavy death metal infused with some influence from hardcore, mainly in the big breakdowns they use in their songs. It's not an off-putting amount of hardcore influence, and it seems to make the music more song-oriented and catchy. Punk sensibility, in other words. They're definitely a part of the new wave of death metal bands with their focus on groove and stomp over straight-up brutality, and honestly it makes them heavier than most brutal death metal bands. Brutal bands too often get trapped by speed and can't be as heavy as they truly ought to be. I happen to prefer death metal with powerful vocals and riffs and we get that here, and tons of it. If adding hardcore to our revered death metal means bands get heavier, then I'm all for it. This EP is heavy as fuck, and I loved every minute of it. Speed can only go so far, and Dysmorphia has figured that out. Plus, the cover is fucking amazing, and it caught my attention immediately. 

Inhuman Condition--Mind Trap (CD/LP/CS) {2025 Listenable Insanity Records}

This band was formed by ex-members of Massacre, so it's no wonder they sound a lot like their former band, and with the addition of Terry Butler from Obituary on bass, you can imagine that they get compared to them as well. They operate in the same thrashing death metal space that Massacre does, hearkening back to the late 1980s and early 1990s with their sound. I think the vocals could be more powerful, and the singer is quite breathy. I want to hear some real roars, and that just isn't on offer here. The songs seem a bit overwrought to me as well, a bit long-winded, just going on for a little too long in each instance. I respect what they're trying to do and have done, but it's just not as good as it should be. This is my first exposure to them, so it's possible the first two albums are a bit better. I'll have to investigate.

Dying Remains--Merciless Suffering (CD/LP/CS) {2025 Maggot Stomp Records}

maggotstomp.bandcamp.com

10/10 CRUSHED FUCKING SKULLS

Dying Remains hails from Calgary, Alberta, Canada, and this is their first full length, and a mighty one it is. They definitely fit in with the new wave of death metal that's occurring right now, and all the hallmarks are there - straightforward brutality mixed with heavy groove, chunky riffs, and a nod to the bands who came before. They keep it heavy and keep it groovy, and this is what makes them great. It's just good, solid death metal with few frills. The vocalist has a mid-ranged hybrid yelled growl and it helps to set this band apart from the imitators. This shit crushes everything in its path with stomping riffs and mid-paced violence. Some of the grooves remind me of Dehumanized, but with a less New York approach if that makes sense. This is a perfect death metal record, and you won't find many of these new bands that are this good. This is a monumental effort, and one that belongs in any death metal collection. I know it will be in mine.