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dvrkentries · 4 years

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oi pessoal, tudo bem? agora que estou finalmente de férias depois de um semestre infernal consegui arrumar minha página de muses e vim aqui pedir plots com alguns muses abertos~ embaixo do read more tem um resuminho de cada um mas se quiserem mais detalhes me chamem!! caso queiram pegar algum muse como opp, chega no chat pra gente plotar <3

anneliese jung ( irene ) — 27 anos

sua troublemaker next door, a lizzie passou a vida toda acreditando que sua mãe biológica era sua irmã, então quando a verdade veio à tona ela surtou e virou uma mini rebelde sem causa. costumava aprontar bastante na juventude, mas acabou descontando isso no esporte e agora é uma skatista profissional bem sucedida. tem vários problemas com disciplina que precisam ser resolvidos. ela é sapatão, então só plots fxf com ela.

harold kim ( mark ) — 23 anos

semideus, é filho de dionísio and it showssss. cresceu rodeado de vinho porque a mãe é sommelier e ele acabou indo pra esse ramo também. passou por umas poucas e boas até encontrar o acampamento meio-sangue, mas hoje é monitor ajudando os mais novos, lá fundou um clube de teatro pra descontração e também faz os bicos de sommelier pra pagar a faculdade de engenharia química, porque quer viver uma vida o mais normal possível apesar de seu parentesco divino. é panssexual, jogo mxf e mxm com ele.

herin seo ( gahyeon ) — 20 anos

bolinho de gente, foi criada a vida toda na igreja católica mas aí encasquetou que queria virar idol, foi lá e fez audição escondida. hoje é rapper de um grupo mas é conhecida por ser meio ~quieta e misteriosa~, na real é só timidez mesmo. tem um senso de humor meio duvidoso, rainha dos dank memes e gay panic total. é bissexual no armário, só beijou um cara na vida toda e seu conhecimento de relações amorosas vem de fanfic. pra ela é tanto fxf quanto mxf.

ingrid askeland ( nancy ) — 21 anos

a ingrid é DOIDA. a mãe dela era metida nos rolês da loja helvete e da banda mayhem enquanto o pai era fundador do movimento black metal na coreia do sul, então assim né... cresceu na noruega ouvindo metal a vida toda. os pais eventualmente se separaram e agora ela mora com o pai na coreia, estuda filosofia na snu e de noite/madrugada é bartender de um bar de rock. prefiro mxf com ela mas aceito fxf também!

joshua hong ( one ) — 25 anos

ele é coreano-americano de 3ª geração portanto muito mais acostumado com a cultura americana do que com a da coreana mesmo. mas teve que se mudar pra coreia com a transferência do pai pra um emprego bom que pagava bem. ele é o típico rich kid que faz merda sem se importar em ser pego mais como reflexo da relação ruim que tem com os pais, porém pouco a pouco vai ganhando responsabilidade. é vocalista e baixista de uma banda punk. com ele só mxf.

karina zhu ( zhong feifei ) — 23 anos

doçura em forma de gente e figurinha carimbada do carnaval de salvador, karininha é filha de um imigrante chinês com uma antiga cantora de axé. a mãe eventualmente desistiu da carreira porque não deu certo e depois foi ajudar o pai dela numa lojinha de eletrônicos que a família por parte de pai mantém desde que chegou no brasil. ela é apaixonada por dança, faz ballet desde criança e pra custear a carreira de bailarina, é tradutora-intérprete de português-mandarim numa multinacional. também é bem vocal na militância antirracista negra e asiática. é demissexual, tanto mxf quanto fxf com ela mas o slow burn é intenso, já aviso.

leo inwood ( calum hood ) — 24 anos

nasceu na capital da nova zelândia e é muito orgulhoso de suas raízes maori. fez um curso de técnico em elétrica e eletrônica, mas não queria seguir com isso pra vida então se mudou pra rotorua, onde faz reparos e manutenção num hotel. mas gosta muito da vida na ilha (que vive praticamente de turismo) e pretende ficar lá o resto da vida. ah, e onde ele vive é uma cidade predominantemente maori, e é um dos milhares motivos pelo qual ele ama a vida lá.

rosália ji ( aisha ) — 21 anos

a lia nasceu em são paulo e veio de uma família muito trabalhadora de imigrantes sul-coreanos que não tinham muito dinheiro, mas o talento dela no basquete lhe garantiu uma bolsa de estudos no melhor colégio da cidade e a vaga de ala-armadora titular do sub-13 do bradesco. ela foi seguindo a vida, entrando em uns times cada vez maiores, ganhando campeonato até que recebeu o convite pra jogar no keb hanabank da coreia. se mudou pra incheon, onde tá vivendo até hoje e não só vive como respira basquete. lésbica futurista sapatona convicta, então só plot fxf com ela.

ryujin song ( rosé ) — 24 anos

essa é outra doida, menina de interior com o sotaque carregado que foi tentar a vida na cidade grande depois de conseguir uma bolsa de estudos numa faculdade top de música. seu maior sonho é virar uma cantora de sucesso, mas o caminho é árduo e ela não conseguiu nenhum contrato por enquanto, daí passa a vida cantando em barzinho noturno pra se manter. é muito amorosa e sonhadora, mas meio iludida e diferente das ideias. aceito tanto mxf quando fxf pra ela!

chanthsiri ‘siri’ bhuvanatkul ( lisa ) — 19 anos

a siri é mutante, veio do interior da tailândia e depois de uns eventos nucleares ela e os irmão adquiriram poderes, ela no caso pode controlar a terra e tudo relacionado à ela (geocinese). os monges budistas da cidade acharam que era uma manifestação do divino, mas uma outra seita ruim sequestrou ela e os irmãos pra abusar do poder deles. eles foram salvos, hoje ela treina pra controlar melhor, mas é meio traumatizada ainda que mascare isso com humor&piadas. demissexual também, topo mxf e fxf mas o slow burn vai ser mais slow do que burn. kkkkkk

winona redfeather ( kawennáhere devery jacobs ) — 28 anos

deusa perfeita militante e nerd, nasceu numa reserva indígena em nova iorque e foi o orgulho da família por ter sido aceita no mit, morou uns bons anos no vale do silício e trabalhou no google logo depois de se formar, mas se sentia presa àquela vida e só pediu demissão do trabalho, deu tchau pros pais e vive agora em um eterno mochilão, morando em hostels onde trabalha em troca de comida e moradia e fazendo uns freelas na área de programação. é cidadã do mundo e não tem próximo destino. muito militante sobre a causa indígena e lgbt. com ela tenho preferência pra fxf, mas topo mxf também

#( 𝐚𝐫𝐧𝐚𝐦 ) personal : 𝗹𝗶𝘃𝗲 𝘁𝗼 𝗳𝗹𝘆 𝗳𝗹𝘆 𝘁𝗼 𝗹𝗶𝘃𝗲 𝗱𝗼 𝗼𝗿 𝗱𝗶𝗲 #( 𝐫𝐨𝐥𝐞𝐩𝐥𝐚𝐲 ) wanted plots : general #krp br #rp br #1x1 br #1x1 brasil

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doomedandstoned · 5 years

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Conan Bring Cold Blackened Violence to France

~By Clem Helvete~

For the penultimate show of a European tour that lasted over a month, CONAN played the Westill Festival in Vallet, France. For the occasion, I reached out to Jon and asked him if him and Dave (who was playing bass on this tour) would have a minute to answer a few questions. Although they were both quite tired from a month of hopping from one city to the other, they still managed to make time to talk about the tour, Blackskull Services, guitars, pedals, and amps. We nerded out about gear for a bit, right before Conan went on stage and literally blew up the PA. And I literally mean literally...

So, how did the tour go?

Jon: We’re two shows from the end now, and I could probably still go on a few more shows. I’m a bit tired but we’ve been out a whole month. We’ve been to fifteen countries or more all across Europe. So, it’s been good.

Dave: The tour was great. I haven't done anything like this for 25 years when Fudge Tunnel was touring. The whole thing was fine though, well organised and we had Un and Sixes from the USA along on all but the last two shows so we all made a lot of friends.

Dave, how did you end up playing bass in Conan to occasionally replace Chris?

Dave: I got to know Jon a little via Facebook, as he's a big fan of my old band Fudge Tunnel. Last year he asked me if I fancied filling in on bass for a couple of shows while Chris got married. That went OK, and he asked me to do a few more shows that Chris couldn't make due to his producing commitments. Then earlier this year he asked if I could do a whole four week european tour. Chris and his wife just had a baby, so I'm like "maternity cover" this time out.

Does it bring a different vibe to Conan to have Dave on bass?

Jon: It is a tiny bit different and it’s interesting. Dave and his band have alway been idols to me, so being on stage with him is really great. We’re very comfortable playing and working together, and we get along great. So, it’s brilliant.

You toured with Un and Sixes, which are two bands who have releases on Jon’s label, Black Bow Records. In addition, the whole thing was booked through Blackskull, right?

Jon: I released the first Un album on CD and digital and I think Translation Loss has picked them up for the subsequent release. I distributed Sixes’ more recent album in Europe.

Between Black Bow records, Blackskull Services and Conan, which is a very active band, how do you manage all of this?

Jon: With some difficulty, but it’s fun. I enjoy it, so I keep busy with it. I don’t do everything on my own. Blackskull is myself and my other half, Sarah. There are other people who work within Blackskull, who do the booking. On this particular tour Marie, who does some of the booking with Blackskull, handled all of that. So I can’t take any credit for that really. The tour is going really well and that’s because of Marie, really. She’s been really good at booking everything.

You basically started the booking agency and the name Conan has gotten some momentum, to say the least, over the last few years. It feels like you’re giving back by helping smaller bands.

Jon: I always get asked for advice, and I’m not an expert on everything by any means, but there are a lot of ways that you can help bands get over some of the hurdles, particularly in the early stages. That’s really why it was set up, just to help bands move forward. Obviously there are more serious aspects of what we do, such as negotiating with labels, booking tours, all the transactional things that we do. But on the other hand, we’re here for advice and guidance. I wish I had someone like this when Conan was starting out. There are certain things that we probably wouldn’t have done if we had the correct advice. So you can pass on your experience to other bands and we decided to make a business out of it.

Can you tell us about the bass and guitar you're using in Conan?

Dave: Up until this tour I had been borrowing Chris's Dunable Thunderclapper, which is a beautiful instrument. Conan plays in drop-F and his bass was custom made with that in mind, longer scale etc. As we were going away for a lot longer this time I put something off my own together. It's a P-bass body which I stripped down and re-finished. I put in a DiMarzio DP122 pickup and upgraded the wiring. it has a Gotoh bridge which I set back an extra inch to lengthen the scale. The neck is a fairly cheap jazz style thing which I got on eBay. To make a bass that plays in drop-F you need to use extra thick strings, Rotosound Dropzone+. The thickest string is a 175 and it still flops about and slaps on the fretboard.

I believe Jon started out playing Gibsons and then moved on to EGCs for a while, is that correct?

Jon: The first guitar I started using in Conan was by a British company called Gordon Smith. I had an SG and I recorded the first two albums on that. Over time I’ve used different guitars, I used to have an early ‘80s silverburst Les Paul custom. It’s a beautiful guitar but I didn’t really like the way the strap is bent at a sharp angle the way I wear it. There was once or twice where it actually popped-out of the strap pin. Not cool on a guitar that’s worth about £2,000. Around that time I had an Electrical Guitar Company all aluminium, which is a bit trendy I guess. They are great instruments, but I didn’t want to have two guitars that are worth so much money on the road. I sold that and I ended up noticing Dunable Guitars from Los Angeles, so I bought a couple from him. I have a Dunable R2, I have a Flying V, and I have another guitar that’s being made for me at the moment. It’s like a reverse body clone of a Guild S200. I’ve always loved the shape of this guitar, but not necessary all the switches that are on it. So I wanted that shape but with something more traditional in terms of options, just two pickups, tone and volume.

What about the scale?

Jon: These are not baritones, they are Fender scale [ed. 25.5”]. I’ve always had the Fender scale. The Gibson Les Paul obviously isn't a Fender scale, and the Gordon Smith was also a Gibson scale [ed. 24.75”].

Do you find the Dunables more comfortable to play due to the scale or is it more of an overall thing?

Jon: I find the overall comfortable enough and they hold the tune a little bit better.

Which is important since you guys are way down-tuned.

Jon: Yes, we’re dropped tuned to F. So it’s important that the strings are tight enough so they sound clear enough when you’re playing. So, that little bit of extra length on the neck definitely helps.

What string gauge do you use?

Jon: The bottom one is a .8 and then I go through to 14 I think. Right now I’m using Ernie Ball heavy gauge strings. They do an 8 strings set, which goes from 80 to 11. I use the first four wound strings and then I don’t remember what the 2 thinnest strings are. I don’t really worry about changing them because I don’t really use them when I’m playing. The other day, I replaced all my strings and just did the first four because they’re the only ones I use, like a poor man’s Max Cavalera.

Dave, I assume your rig is a bit different from what you were using in Fudge Tunnel. Are you trying to get close to Chris's sound or are you really just going for your own thing?

Dave: In Fudge Tunnel I used a very different sound. Much more top end, and standard tuning. So I mostly used Marshall solid states or Ampeg SVTs with Fender Jazz, Musician or Rickenbacker. When I play in Conan, I try to make it sound good to my ears. Chris is a producer and has much better ears than me, so it probably doesn't sound the same. He also has a much better beard.

I believe you are using an Orange OB1-300 and QSC RMX 850a (I could be wrong on this one) both rack mounted. Can you tell us a bit about this pairing and how it came to be ?

Dave: My Orange amp is an OB-500, which I really like. It's ridiculously loud and a bit more reliable than a full-on tube amp. The power amp is there just to run the Peavey cab, which is a 1x18. It's Conan's cab, and it's just there for the low end (there's a lot of low end). As far as I know all the speakers are stock. The 8x10 is one that we bought on the road, towards the start of the tour in Copenhagen. The one we brought over was a little worn out, and I managed to blow three of the speakers (oops!), so we upgraded. All three bands were using the 8x10 every night so it had to be done.

I saw that the guitar rig you’re using on this tour is different from the one that you’ve been using for a while now. Can you tell us about your current touring rig?

Jon: Very early on in this tour there was a signal problem with it. I haven’t tried it since so maybe it was my cables. But because of that I’ve switched it to two old Peaveys amps. I’ve had these Peaveys in the studio for years now and I’ve never really used them, but I had to bring them out of retirement for this tour. I actually had them fully overhauled and serviced just before we started the tour. I must have had some sort of premonition or something, like I knew this was going to happen. I started using them in Hamburg, which was only the 4th or 5th show on this tour and I’ve got two shows left and so far it’s been good.

I have the Hilbish rig at home and I’ve got the Peaveys now that all of a sudden have caught my attention, but I’ve just taken delivery of a valve rig made of a separate preamp and a power amp.

Are you going back to tube amps?

Jon: I’m just going to try it and see. I’ve got another band, Ungraven, in which I want to run two full stacks with two 8x10s. For that set up, I’m going to run two full stacks with this new rigs if it sound good. It’s a Mesa Boogie Studio preamp, the same one that Kurt Cobain used, and that is going to be run into a Mesa Boogie 295 power amplifier. This is a stereo power amplifier and each channel is 95 watts. That’s all tube. I’m interested to see how that sounds, I think it’ll sound cool. Then I’ll use the Hilbish or the Peaveys through 8x10s. I’d rather use the Hilbish if I figure out what’s wrong with it. That rig could run two 8x10s very easily so that’s what I’d rather use.

What made you decide that you would switch from tube to solid state? This is not a very popular move within the doom scene.

Jon: On our last album I used the Hilbish rig in which I ran a Boss HM-2 clone. I’m not using that pedal live right now, but I’ve been using it quite a lot. I don’t really know why people would have an issue with solid-state. Some of the coolest albums were recorded and played live with solid-state amps. In Crowbar Kirk uses the Orange solid-state 100 watts head, Jimmy Bower from Eyehategod uses a Randall solid-state. Buzz from the Melvins uses the exact same Hilbish rig I have, it was through him that I’ve heard of this amplifier. I like the versatility of it, I love solid-state.

Speaking of amplification, do you have any issues with volume restrictions? France and Belgium are known for having fairly low limitations.

Jon: It has been an issue in some places. Yesterday in France we were a bit louder than they would have liked. It was around 109 decibels and their limit was 102 or 103dB. Some of the shows it’s a little bit of a restriction but nothing too crazy. We played at this place called Fundbureau in Hamburg, which is actually a techno club, and the PA in there is for techno. It was the most powerful PA we’ve ever played through. Our sound guy is good at making us sound good while respecting the dB restrictions, but when he’s let loose on a loud PA it’s awesome. The sound in this venu was crazy. When we were playing the floor and the stage were vibrating all the time. After the set my feet were tingling. I’m not sure if I enjoyed how it felt but it sounded amazing.

Gear is an important component of your sound, so how do you make sure you have the gear you want when touring the US or Asia for example?

Jon: In America we’ve got our own cabs and I’ve got two Hilbish rigs out there. Friends of ours in a band called Serial Hawk in Seattle keep all of our gear in a storage room. We have a bass rig and two guitar rigs out there. We have three 4x12s and an 8x10. So when we go in America on tour it’s all there for us. It costs us less than we spent renting gear on the first two tours. So it makes sense. Rather than spending a fortune renting it I’d rather have some consistency. A lot of bands use Orange amps, and they’re great amplifiers. If I ever have to rent it, I’d rent Orange for sure. I like owning what I use. I can maintain it myself and I know that nobody abused it a week before. Touring through Asia, we played Japan one time and I just used two Marshall JCM 900 full stacks and on bass we used an Ampeg and an 8x10. Australia and New Zealand we just rent whatever’s there. Last time we went over it was Marshall. But if we can specify what we use, we just go for a cleanish sound and two full stacks. So Marshall can do, Orange would do.

Basically a loud pedal platform.

Jon: Yes, my pedalboard comes with me no matter where we play, so I know that’s always consistent. For distortion I’m using a Fuzzthrone, which is a really high gain Big Muff. It works really well for Metal, it works really well for slow, drony parts. I’ve got it dialed in quite well. Although, when I change my strings it sounds a little bit brighter than normal, so the last couple of shows was a struggle to get the feedback swell the way I like it. As long as it’s a clean sounding, loud amplifier I can probably sound quite consistent through them.

So let’s talk about your pedalboard. You’ve worked with Dunwich Amplification for the Fuzzthrone, how was that?

Jon: It’s a Fuzzface stacked up on a Big Muff tone, but I just told him what my favorite sound was and he made it, but louder and with more power to push the amplifier a little bit more.

You tried out prototypes?

Jon: Yes, he sent me a prototype, then I used that and he sent me the real thing. Since then I’ve had three or four different ones and they all sounded the same. He’s a great pedal builder. Right now I’ve got a Fuzzthrone and I’ve got a Nihilist, which is an HM-2 clone. It’s the same pedal I use on the album. The one I use right now has a clean blend, I think it would make for an amazing bass distortion pedal. I don’t use the clean blend for guitar, though.

I’m guessing your pedalboard hasn’t really changed since what you showed in the video you made a few years back.

Jon: Yes, it’s the same thing.

c/o The Doom Doc (2017)

What about bass effects?

Dave: My pedalboard is pretty simple. I use a T-Rex power supply, MXR bass compressor, Boss tuner and a SansAmp bass driver. There's also a Boss Bass Overdrive just in case the SansAmp dies.

I saw on social media that you picked up Ground FX pedals. Are you using them on this tour?

Jon: No, when we played in Hamburg we went to my friend’s music store and we stayed just above it. This music shop is like a treasure trove. He has amazing instruments in there. I got to play on a late 60s Fender Jaguar and he’s got loads of cool Hiwatt, Orange, and Roost amplifiers. My friend Christian, who runs a festival called Droneburg, told me a friend of his made a couple different pedals and wanted me to try them. So I got one which is a bass distortion and one that is like a Sunn Model T preamp. I tried them out there and it sounded cool, but I wasn’t using my gear. So I’m going to try them once I go back in the UK and see if I can maybe use them on a record.

What piece of gear would you say is at the heart of your sound?

Dave: The modified bass is essential, along with unusual amounts of volume and drive. I wouldn't want to go "unplugged" in Conan.

Jon: Without a doubt the Fuzzthrone. I’ve been using that since Blood Eagle. I love how it sounds and it makes me play a certain way. It’s taken a new lease of life with these Peaveys that I’m using now, which I didn’t really expect. I love how it sounds. It’s a simple pedal and I have my sound dialed in so it stays pretty consistent no matter what amp I use it with.

You don’t play around much with pedals in studio then? Aside from the HM-2 clone on your last album, would you say that you don’t really stray from your sound?

Jon: I used the HM-2 clone mixed with a fuzz pedal. I didn’t use the Fuzzthrone on the last album at all, I used a Meathead [ed. by D*A*M]. I like mixing things up, maybe on this new album I’ll use the Fuzzthrone because it sounds pretty cool at the moment.

Is the new album ready to go?

Jon: Yes, I got some songs written. We just need to rehearse them a little bit and get them ready for the studio.

It’s impressive how active you guys are. It is something a lot of musicians can look up to.

Jon: It’s something I’ve always been interested in since my mid teens. Writing music has always been a goal of mine. Performing kind of took over and became a thing all of its own. I’ve never had any idea of what it would be like to go on tour, I’d never thought for a minute that we’d do that. We tour quite a lot, we’re very lucky. I don’t have a day job holding me back, neither does Chris. He runs his own studio so he’s flexible. Johnny is also very flexible with his work, so the three of us are lucky. It’s like the stars have aligned most of the time. When Chris isn’t available we can call Dave, which is great.

Thanks again to Jon and Dave for their time and for being so friendly and accessible after driving around Europe for a month. It goes without saying, but Conan played loud and hard and I’m very much looking forward to their next show in our neck of the woods.

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#D&S Interviews #Conan #London #England #Doom #Metal #Clem Helvete #Westill Festival #Vallet #France #2019 #Doomed & Stoned

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