What Goathorns can do now that they couldn’t have in the early career

Goat horns guitarist Sammy Duet was the latest guest on Full Metal Jackie’s weekend radio show. The group released Angels hung from the arches of heaven last year, which marked their first new record in five years, and much of that was thanks to being able to record in a way that Goatwhore couldn’t previously afford.

As we all did, the New Orleans extreme metal band had a lot of downtime amid the early stages of the pandemic, and it was a refreshing break from their usual way of doing things, which is to tour relentlessly behind an album and then take a little time to get another record out and get back on tour.

For Duet, he was able to spend time really developing songs in ways he had only previously imagined, and the siren song of the road always beckoned.

Much was different about this album – they used their front of house sound person Jarrett Pritchard as their engineer this time and also chose to experiment with songwriting more than before, all of which excites Duet.

Read the full interview below.

Like other albums written and recorded during the pandemic, you had unlimited time to work on Angels hung from the arches of heaven. What anxiety comes from the unknown of having unlimited time to make songs?

Every time we went to write a record it was always something last minute. We like to tour as much as we possibly can, and in the past it was always put the record out, go on tour for two years and come home, hurry up, write a record and put it out.

The good thing about this, as one of the only good things, was that unlimited time to really sit down and not just pump out a record. You always come back and listen to the songs and think, “Well, if I had another month or two, I could have made this song so much better.”

The future was very uncertain. No one knew what was going to happen the next day. All I had to do was just sit here, think about the songs, get them where I wanted them, and listen to them thousands and thousands of times before we recorded them to make sure everyone was happy with the final result.

Gedeshore, “Born of Satan’s Flesh”

You are a well-established presence on the New Orleans metal scene. Going back to your Acid Bath days, how is New Orleans unlike any other place in terms of nurturing musicians?

It’s a very eclectic scene.

You have the metal scene and you have a very underground punk scene that a lot of people don’t really realize what’s going on there. You have all the stuff like Funky Meters and Dr. John and all these different types of music.

As far as those who support us here, it’s great – everyone supports everyone else.

As far as the influences on the music, what makes it so different from any other metal scene is that there is a heavy blues vibe embedded in the ground. When you’re born here, it’s kind of injected into your spirit, for lack of a better term. All the music that comes from here, you don’t hear very many very melodic metal bands. It’s all very dark and I guess it all comes from the blues.

The album was developed by your live sound man Jarrett Pritchard. How does having a front of house guy improve college admissions?

Jarrett Pritchard engineered the record and Kurt Ballou produced and mixed it.

As for what Jared did on the record, he’s been mixing us for 10 years so he knows what Goatwhore should sound like. He did a great job of capturing the performances and capturing what was coming out of the amps and the drums and the vocals, rather than another guy who’s familiar with us but not as familiar as Jared is. Working with someone who is extremely familiar with you is basically like a fifth member of the band and he probably knows what Goatwhore sounds like more than we do.

Gedeshore, “Angels hung from the arches of heaven”

Appreciation of everything changes with age and maturity. What do you now recognize about goat horns that were previously taken for granted?

Nowadays, we’re not really painted into a corner anymore, especially on this new record. We did a lot of experiments and things that we really wouldn’t have thought to mess with when we first started – the addition of some acoustic guitars and the addition of the piano and some of the layering of the guitars or melodic parts underneath .

It’s something we’ve never really messed with, especially when we first started. What I appreciate most is that we are almost fearless in trying different things instead of just sticking to the same old, same old.

A good example would be the song “I Was Delivered From the Wound of Perdition”, which is the last song on the album. I wrote that song with absolutely no intention of using it as a Goat Slashing Song. And we were going through some demos one day and the guys were here and we were listening to them and they were like, “What’s that song?” And I pulled it up and played it for them. They said, “Oh my God, this is great. We’re going to use this.” So I didn’t expect that song to be Goatwhore material, but it ended up being Goatwhore material.

Thanks to Sammy Duet for the interview. Get your copy of Goatwhore’s latest album Angels Hung From the Arches of Heaven here and follow the band on Instagram, Facebook, Twitter and Spotify. Find out where to hear Full Metal Jackie’s weekend radio show here.

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