Who is Noise Maniakk?

Real name: Federico

Date of birth: January 1st, 1998 (yes, really!)

Place of birth: Catania, Sicily (Italy)

Profession: Lazy ass motherfucker, sonic terrorist, porno-exhibitionist, olympic blasphemer, perverse polymorph, sadomasoasshole, full-time whore, deviator of young minds, serial predator of aborted fetuses, free-charge onlyfanser, offender of public decency

Religious orientation: Anti-theistic dipreist

Personal heroes: Julien Offray de La Mettrie, Marquis De Sade, Tom Angelripper, Peter Steele, Bruce Dickinson, Steve Harris, Lemmy Kilmister, Algy Ward, Evo (Warfare), Max Cavalera, GG Allin, Seth Putnam, S.B. Reder, Lori Bravo, David Lynch, Peter Tägtgren, Dan Swanö, Justin Broadrick, Trent Reznor, Al Jourgensen, Steve Albini, Wendy O. Williams, Siouxsie Sioux, Cosey Fanni Tutti, Avvofatto Andrea Diprè, Ceppaflex, Christian Ice, Mister Max, Elio, Caparezza, John Waters, Divine

Albums that changed my life:

• Mister Max - Super (2005)

• Metallica - Kill 'em all (1983)

• Iron Maiden - Brave new world (2000) / Powerslave (1984) / The number of the beast (1982)

• Prophilax - Coito ergo sum (2008) / Vent'anni di analità (2010) / Il signore delle fogne (1993)

• Venom - Welcome to hell (1981)

• Sodom - In the sign of evil (1984) / Obsessed by cruelty (1986) / Persecution mania (1987) / Agent orange (1989) / M-16 (2001)

• Type O Negative - Slow, deep and hard (1991) / Bloody kisses (1993)

• Voivod - Killing technology (1987)

• Vomitory - Blood rapture (2002)

• Dissection - The somberlain (1993)

• Godflesh - Streetcleaner (1989)

• Sacramentary Abolishment - The distracting stone (1997) / Axis of Advance - Strike (2001)

• Lymphatic Phlegm - Pathogenesis infest phlegmsepsia (2002) / Show-off cadavers: The anatomy of self display (2007)

Complete discography:

• Autospurghi Vol. 2 - Pure Fucking Autospurghi (compilation, 2020): MedjuGORE - I just saw the gayest guy on Earth (Anal Cunt cover)

• Rotgod - Before the impact... (single, 2021)

• Rotgod - Sybaritic metal (single, 2021)

• Rotgod - Paranoid Superstitious Schizoids (single, 2021)

• Rotgod - Organic machine (single, 2021)

• Rotgod - Jesus Christ pornostar (EP, 2022)

• The Ineffable - Defeated by Chaos (single, 2022)

• Rotgod - Uncertain future (single, 2022)

• Last Action & Friends 2: Return to the underground (compilation, 2022): Rotgod - Torn between two sides

• The Ineffable / Lutto (split, 2023)

• Fistful of Thrash - Vol. 2 (compilation, 2023): Rotgod - Uncertain future

• Rotgod - Sonic degeneracy - A senseless selection from the insane complete work (full-length, 2023)

• Rotgod - Hipster holocaust (single, 2023)

• Rotgod - Sonic degeneracy - Vol. I: Cynical humanism (full-length, 2024)

• Rotgod - Sonic degeneracy - Vol. II: Psychotic crescendo (full-length, 2024)

• Rotgod - ROTGOD NOISE MASHUP (single, 2024)

• Black Katharsis - Demo 2024 (demo, 2024)

• Black Katharsis / Rotgod - Demo 2024 / Fragments of degeneracy (split/compilation, 2024)

• Foetophile - A serbian demo (demo, 2024)

• Rotgod - Polemics and obscenity - Part 1 (EP, 2024)

• Rotgod - Polemics and obscenity - Part 2 (EP, 2024)

• Rotgod - Polemics and obscenity - Part 1&2 (compilation, 2024)

• Metallurg Music Compilation #5/2025 (compilation, 2025): Rotgod - Sado-death

• Rotgod - Raw is the law (EP, 2025)

A chat with Mr. Noise

If you're on this page, whether you're fans, haters or - most likely - simple curious bystanders, I guess you'll be interested to know what brought me to make the music that I make.

I'm not even sure if there's any exhaustive, definitive answer. One thing's for sure: the disgrace of being born in a place like Sicily, developing an ever-growing intolerance for people around me and the culture I've been raised into, was a decisive factor. So, unlike many other metal acts from Sicily who have been able to create great music and great art by embracing their sicilian heritage and using it as a personal trademark (see: Inchiuvatu), I could never bring myself to sincerely espouse my own roots, since I never felt any real connection to them: rather, I always felt in conflict with them, with the typical sicilian - and italian - mentality at large, especially the south-italian mentality. All those centuries-old traditions, all the folklore, the superstitions, the catholic hegemony, the worship of saints everywhere, the aversion to any institution other than the Church, all the various good mannerisms, double standards and arbitrary prejudices towards anyone not conforming to their models of behavior (by this point, obsolete for the majority of the western world) - and most importantly, the so-called "warmth" southern people are known for, which in reality is just a codeword for being invasive towards other people's spaces, being overly expansive and judgemental towards whom would rather just mind his own business, having asked for no one's input.

Basically, those "human qualities" that are usually appreciated in south-european populations compared to the "coldness", the individualistic isolationism and the "grey institutionalism" of nordic populations, to me on the other hand are the most disgusting, despicable qualities of all. So yeah: first and foremost, Rotgod is a project born out of hate and intolerance - emotions from which, over time, an unbearable need for some kind of outlet has grown, in order to express my aversion and my outsiderness to all this.

Of course, as it is to be expected, religion plays a huge role in all this, since I always had an awful relationship with it. As a child already, having to submit to something I couldn't even see was enough as an annoyance, and this caused me to swing almost schizophrenically between periods of contrived devotion and periods of absolute rejection and even defiance against God. However, at that age, your critical thinking has not developed yet, so you take pretty much for granted that God does in fact exist, whether you like it or not. But at some point, around your teenage years, you start questioning things, realizing that some of this stuff doesn't really add up. And so, in the blink of an eye, around 12-13 years old I shifted from christian to agnostic and finally atheist.

However, the truly pivotal moment for me was around 16-17, when I reached the point of non-return - i.e. the utter nihilistic rejection of any spiritual, transcendental ideal in favor of pure hedonistic materialism. At that point, it became clear what the source of my suffering had been, all this time: not merely having to submit to an invisible God - but to ANY kind of abstract, intangible, empirically non-testable imperative aiming to restrain my so-called "lower", more bestial nature, the latter being generally debased and stigmatized in favor of some nonsense gibberish about "spiritual elevation". All that folklore, all those superstitions, all those traditions and those restrictive, standardized codes, all that "popular wisdom" and "common sense" I had never tolerated - they all traced back to these spiritualistic abstractions which at this point have been outsmarted by more efficient, rigorous, accurate, "down-to-earth" methods of knowledge.

I had an epiphany in this regard while watching the movie "Devil's advocate" for the first time, seeing Al Pacino in the role of Satan laying down with absolute clarity in his spectacular monologue the sadistic conflict that exists between human instincts and divine dictates ("look but don't touch, touch but don't taste, taste but don't swallow"): it was such a powerful and influential scene for me that I would later end up quoting it in the lyrics for my song "The serpent's speech". Some time later, I started getting into the more radical libertine writers from the Enlightenment, such as Diderot and most notably La Mettrie - an atheist/materialist who wasn't just content with stating that our nature is 100% physical (as already done by other contemporary writers such as baron d'Holbach): he also brought this idea to the only possible logical conclusion, embracing hedonism and sensualism as inevitable natural tendencies, to the point of putting into question the concept of "free will" at large, way before it became such a widespread topic of research. An extremely cynical view of humanity, sure, but also the only convincing one from what we can gather today: for instance, the crisis of free will is quite a huge issue within modern neuroscience, and many scholars keep losing their sleep over it.

As I state in my song "Organic machine" (inspired indeed by La Mettrie's book "L'homme machine" - perhaps an influence on Kraftwerk as well?), La Mettrie came to the radical conclusion so many fellow thinkers at the time had right on the tip of their tongues, yet everyone feared saying out loud, and tried to circle around with some mental gymnastics in order to preserve at least some remnants of "traditional morality" and, therefore, social respectability. He didn't: as the shameless loudmouth he was, he just said what was on his mind, what by that point was the obvious thing to say, screaming "the emperor has no clothes!" with a bratty, lighthearted, almost defiant tone - and for that he paid dearly, living on the run from various persecutions all over Europe and getting often mischaracterized as a clown not to be taken seriously. But this is exactly the type of people I hold in highest regard: the "shameless", unhinged ones, devoid of limits in what they say or do. Think of John Waters' horrifying movies, lyrics for Violentor's song "Senza limite", Prophilax's "Voci dall'oltrechiavica", GG Allin's "You'll never tame me", or my own song "Sybaritic metal", which was inspired by yet another champion (of italian nationality, to add insult to injury) of hedonism and bad taste - the controversial lawyer Andrea Diprè.

Legend has it that La Mettrie died of an indigestion after gorging himself at a banquet: whether it's a real story or just a hoax someone made up to further discredit his name (and his gluttonous philosophy), it's still a death I can respect far more than most others - the same way I'm going to feel utter respect for the highly likely future demise of Andrea Diprè due to cocaine overdose or something along those lines: a much preferable alternative to a career as a preacher on TelePadania, surrounded by filthy religious hypocrites, or as an "art critic" who makes a living out of showering mediocre artists with hyperbolic compliments and niceties. Yes - speaking in general, I find death to be a much better alternative to enduring the company of the vast majority of human beings out there: well, I had warned ya - Rotgod as a matter of fact is a project born out of hate and intolerance.

My relationship with music has always been interesting.

Raised by my father with The Beatles (which I paid tribute to on the artwork for "Polemics and obscenity", with it being a parody of the "Revolver" theme), as a child I actually used to be pretty passive and unenthusiastic in my approach to any musician or band. Moreover, in my late childhood years I already had grown bored with all the trendy commercial radio trash all my peers listened to, and I was also disgusted by their sheepish approach to popular hits, which over the course of a few months already became "old" and "out-fashioned" by more recent radio hits. The problem is, at the time, I thought this was the be-all-end-all of what music had to offer in the current day and age, being still too little to explore by myself what laid beneath the tip of the iceberg.

Prior to discovering metal at the age of 13, the only music genre I was truly passionate about was trash/comedy/parody, but of course in that case my interest lied mainly in the lyrical department, while the music remained secondary: whether it was an ingenious, original Zappa-like prog piece or a rude, vulgar parody of the latest dance/pop radio hit, to me it was all the same as long as it made me laugh. When I was seven, my grandma introduced me to Mister Max, a renowned sicilian parodist, with a tape featuring his versions of Daddy Yankee's "Gasolina" and Povia's "I bambini fanno ohh": I still remember laughing my ass off to the point of not breathing - so of course I soon became a die-hard fan. That's how I spent all my pre-teenage years: listening to Mister Max and some other comedian/parodist from Italy discovered by chance on YouTube such as the band Gem Boy (in their pre-Colorado era of course, back when they were still funny) - along with various trashy content from unknown authors that we used to exchange on our phones back then via bluetooth, such as the unbearably filthy version of Albano's classic song "Felicità" in south-italian dialect, not to mention the numerous gems from Sito Esaurito (tributed in my own song "From the depths of Satania"). Later on, as a full-blown teenager, I would also get into "heavier" bands like Prophilax and San Culamo - and of course, some historically significant names for italian comedy/trash music such as Elio and Skiantos.

How did I get into metal?

Once again, thanks to the Internet. Many online spaces I used to navigate/lurk back then were filled with users who kept praising metal as the coolest, most badass genre ever. Well - right around turning 13, with puberty kicking in to full effect, I guess I got curious about exploring and understanding what all the hype was about: thus, I searched Metallica's "Master of puppets" on YouTube, and... fuck, they were right. This shit was truly badass. More than that: it was like a call, a revelation I had apparently been waiting for all my life. At the time, a huge friend of mine (the legendary drummer/co-producer credited as "Er Magnotta 666" on Rotgod's releases) helped me greatly by recommending me the "Kill 'em all" album - a stepping stone in my path to get into thrash and speed metal. Meanwhile, I was also getting into other big bands such as Iron Maiden - which would become my biggest musical love of all time, right from the moment my grandpa (may he rest in power) bought me a "Brave new world" CD. Since then, I started hunting down record stores, searching for all the Maiden CDs I could get my hands on. Just a few months later, july 2011, I had my "baptism of fire" with my first metal gig ever: none other than the Big 4, in Milan. Aside of course from Metallica, which back then were the band I was most familiar with out of the four, I was shocked to my very core by Slayer: I only knew their main hits, but their show was wicked, heavy as hell and ultimately unforgettable.

Since then, it would only be a matter of time before my listening habits got significantly heavier: the turning point was discovering Venom and Sodom, who were my "gateway drug" into the world of raw old school metal and the more extreme subgenres I had only listened quite superficially and absentmindedly up until that point - such as death metal, black metal, grindcore and most notably the rawest, heaviest forms of thrash. Right from the start, it was clear to me that 80's extreme metal in the vein of bands like Sodom was definitely my thing, due to the crude violence and the blind fury that perfectly resonated with the way I felt (and still feel) on a daily basis. It was at that point that I started thinking about forming a band, in order to give a voice to the fury I had been bottling up over the years.

Yes, my initiation was rather conventional - many of my peers might even call it "boomer-ish"; actually, I think my journey was a much better option than getting into metal through flavor-of-the-week novelties that have actually nothing in common with metal, discovered via TikTok or the Spotify algorithm, with zero historical perspective on the genre. Web 2.0 is a boundless encyclopedia (much moreso than the 1.0 era, back when infos were much more sparse and incomplete), but this seems to be of little to no interest to the average Gen Z kid, devoid of any curiosity and way too accustomed to the algorithm doing all the research for him and telling him what to listen to. I can tell you for a fact that I explored my favorite music genres with motivation, genuine drive, curiosity and a systematic, methodical approach to my discovery - and that's how I was able, over time, to attain a precise understanding of what metal actually is and what instead is only marketed as such by record companies and music journalists (read: overpaid hacks) who use this definition for anything featuring heavy guitars and screaming vocals.

To be clear: I don't mean this (at least not always and indistinctly) as an attack against genres and bands not adhering to orthodox metal paradigms, deeming them as "shit" for this reason alone. Being metal, per se, is not an automatic quality certificate, the same way not being metal does not equate being crap by default. There's plenty of music I like outside of metal - and that includes even some music that's usually passed off as metal despite not being that, if not very marginally at best. The difference, indeed, is that I'm aware of said distinction, having studied in detail the historical and cultural roots of said music genres, with their identities being very clear in my head by this point, and definitely separated from the heavy metal formula - which goes well beyond simply adding more distortion/loudness to a generic rock song. For instance, the "noisiness" we can hear in the sound of a band like Korn actually draws from the noise/jazz/funk elements of bands such as Primus and Helmet (the latter most notably coming from Amphetamine Reptile, a pivotal record label for the noise rock genre) - definitely not from the neoclassical shredding of a Malmsteen, nor the furious metal/punk filthiness of Venom and Hellhammer, nor the intricate proto-death metal compositions of early Slayer and Necrovore. The only faint connection between Korn and the metal genre was represented by Pantera and "Chaos A.D." era Sepultura - but after all, what was the so-called "groove metal" subgenre, if not a streamlining of the thrash sound of Metallica, Slayer, Prong and Exhorder over radio-friendly rhythms and structures, as an attempt to compete with the commercial/alt-rock of the time? Even Pantera themselves admitted taking inspiration from Helmet, before Korn did; the same goes for Sepultura, which at the time were absorbing an enormous amount of influences ranging from hardcore to industrial to noise rock to crossover/alternative - and on their next record "Roots", they would even end up embracing Korn's sound after being the ones to influence it. Mind you, I'm not opposing experimentation and hybridization - of which I want to stress I'm a fan in many cases; the matter being discussed right now is how catastrophic the alienation of "metal" as an idea has been throughout the 90s, causing a gigantic collective amnesia about the essence of 80's metal we still haven't fully recovered from. Not even among certain young kids preaching about listening to the "old school" without really understanding the meaning of the word - just listening to the big old bands everyone knows while ignoring all the less fortunate bands who nonetheless still had a huge impact over the underground at the time, therefore influencing even the bands who would later become famous. Ask any modern "OSDM" kid (that being the "kool", up-to-date label for "old school death metal") if he's ever heard of Death Strike or Necrovore, and you'll be sure to get a negative answer, busy as he is spinning "Left hand path" or "The end complete" for the billionth time on Spotify, perhaps along with some trendy groove/slam Maggot Stomp braindead garbage marketed as "old school death". Yet again: passive subservience to social media algorithms, and zero motivation in searching for music by yourself.

Of course, musically, Rotgod is a reaction against all this: I never wanted to offer a standardized, paint-by-numbers revival, just parroting your usual 80's thrash/death classics everyone and their mother knows, with the slickest, most orderly presentation, just as required by the modern metal industry; nor have I ever wanted to present my stuff as "old school" and then churn out some high-schooler groove metal tunes filtering the sound of 80's bands through a predictable 90's-style Pantera approach, flattening and leveling everything to make it fit the "radio-rock song format" I was talking about earlier, removing any quirk, any deformity, any idiosyncrasy, any deviation from the norm - basically, anything that makes extreme music more interesting, chaotic, unpredictable.

My love for 80's underground is visceral and all-encompassing, not just limited to the few bands that emerged from it and became big, famous and well-known by any average metal listener. I adore sonic extremism at its absolute rawest, crudest, most savage, primitive, unrestrained, deranged, chaotic state - down to pure sonic nihilism. Within the catalogs of well-established death/thrash bands, my favorite records tend very often to be the rawest, most extreme ones. More importantly: among my personal favorites, there's a large amount of cult bands and historically marginal bands I nevertheless happen to enjoy a tad better than undisputed titans of extreme metal such as Morbid Angel or Death (which, to be clear, are still among my favorites bands as well). To the flawlessly calibrated, calculated and controlled type of assault, I find myself preferring the hysterical, messy, at times clumsy form of chaos coming from someone attacking you in a furious frenzy - like a rabid dog being unleashed, devoid of any lucidity and not fully in control of itself. I go nuts while hearing the frantic, whirling, spastic thrashing from works such as "Into the macabre" by Necrodeath, "Obsessed by cruelty" by Sodom, "Pleasure to kill" by Kreator, "I.N.R.I." & "Rotting" by Sarcófago, "Immortal force" by Mutilator from Brazil, "Bride of insect" by Nuclear Death, "Impulse to destroy" by Blood, "Uh!?!" by Incinerator from Italy, the demo "Omens of dark fate" by Mutilator from France; I adore the ultra-raw guitars and razor-sharp riffs from Schizo's "Main frame collapse", Kreator's "Endless pain", Merciless' "The awakening", Sodom's "Persecution mania", Destruction's "Eternal devastation", Wehrmacht's "Shark attack", Voivod's "Killing technology", Protector's first demo "Protector of death"; I cum profusely while listening to killer drummers such as Peso from Necrodeath, Carlo F. from Schizo, Mick Harris from Napalm Death, Jackhammer from the french Mutilator and Scott Peterson from Cryptic Slaughter - as I prefer this more chaotic, savage, primitive style of blasting compared to the modern, "tighter" form (Morbid Angel / Cannibal Corpse style) which became the norm by the 90s; I get emotional and resonate with vocalists such as Schmier or Ingo screeching out some creepy wail or high-pitched snarl, giving form and meaning to the words "sickness" and "insanity"; most importantly, I WORSHIP the punkish, demented, randomic, tongue-in-cheek approach of certain old thrash, thrashcore, crossover and grindcore works whose tracklists were utterly fucking bananas and totally unpredictable, such as "Speak english or die" by S.O.D., "Old Lady Drivers" by O.L.D., "Salomo says..." by Chronical Diarrhoea, "Get what you deserve" & "Til death do us unite" by Sodom, "Game over" by Nuclear Assault, "Experience a new dimension of fear" by Torment from Germany, the apeshit demos by Brazil's Necrobutcher, the earlier works by D.R.I. or Cripple Bastards' gargantuan debut album "Your lies in check". By the way - I think purging extreme metal from this spastic, randomic attitude, relegating it to awful meme/gimmick-ridden bands (usually belonging to "low effort"/"low entertainment" genres such as slam or groovy pornogrind, therefore musically vapid), is yet another big damage left by the 90s: it's only from that point on that extreme bands, in order to be seen as legit and worth checking out, were expected to present themselves as stiff, serious, cold, tough and stoic as possible, forgetting the punk-influenced, extremely chaotic and over-the-top roots that make part of the genre's lineage from the 80s (starting with Venom, all the way to the thrashcore/crossover/grind era) - and it's no coincidence that, throughout the 90s, killer old school metal/punk records such as Sodom's "Get what you deserve", Impaled Nazarene's "Latex cult" and Autopsy's "Shitfun" got unfairly panned and mocked. However, seriousness and stoicism are often just boring to me, and I perceive more madness and vitality in those older records that keep influencing me to this day, in full continuity with my older background in comedy/parody and my dedication to irreverent desecration in pure La Mettrie style (who, speaking of stoicism, wrote a nice little pamphlet called "Anti-Sénèque").

These are my roots, these are my inspirations: if you read the last paragraph carefully, well - that's the key to understand pretty much everything I've released as Rotgod, and why it doesn't sound like Nervosa or modern Destruction. Retro-metal as paint-by-numbers low-brow entertainment, tamed and overproduced, isn't interesting to me: I feel a constant, neverending drive towards rawness, extremism, noise, chaos. Small details such as the sloppily timed yet bestial screams on songs by Brazil's Mutilator (the chorus from the song "Butcher", badly pronounced as "BUCHA!", is unforgettable), Igor Cavalera's chaotic fills from Sepultura's "Morbid visions" sounding like he's briefly fallen off beat (while in reality, as the marvelous drummer he's always been, he always lands on his two feet), or the drum cymbals creating a puzzling, indecipherable wall of mayhemic noise during the fast parts from Napalm Death's "Scum", give off the perception of a more genuine, out-of-control, deranged kind of fury - therefore, a more authentically "dangerous" one. This "imperfection" is an integral part of my musical vision, oftentimes starting already at songwriting stage: I don't see it as a flaw to avoid, but as an integral part of what I want to communicate - the insane, destructive, formless, psychotic chaos I've always felt the need to manifest for some reason or another. To me, Rotgod is not a mere old school "revival" or "tribute", even though reverence toward those older records is obviously a primary component: I'm not merely "tributing" that sound - I'm regaining it in the form I consider to be optimal (therefore, bypassing most of the "innovations" we've seen over the last decades, and the standards imposed nowadays by the music industry even on retro bands) in order to harness it within a precise vision of mine, expressing through chaotic sounds what I would never be able to put into words, or alternatively, what would mean serious consequences for me to put into words.

In 2015, back when I wrote my first song ("Denial of nature"), I was 17 and was just going through that sort of "rejection of transcendental morality yadda yadda" thing I was talking about earlier - but I was also starting to sense an impending threat, that was both ideological and existential in nature. This bad feeling was channeled in my writing, proving to be hugely influential for the "Sonic degeneracy" album - and while I was busy working on that record, all my fears did gradually materialize: as I was demolishing and leaving any ancestral value behind me, on the other hand, a subtle yet tangible sentiment of nostalgia towards those same values was starting to take off among people; even more worryingly - not just older ones, but younger ones as well, including my peers and those younger than me to an even more alarming degree. Over the course of this decade, seeing Gen Z (which by this point I feel ashamed to be part of) reevaluating religions after a period when atheism seemed to be on the rise (especially among millennials), condemning hedonism and trivializing the freedoms we have achieved over the last few centuries, fabricating and spreading absurd conspiracy theories like a bunch of boomer morons, turning to tarots, astrology and silly new age superstitions even our grandfathers would laugh at (at least they didn't have to scroll on TikTok to find their fortune tellers...), longing for the most miserable, authoritarian times in human history (or alternatively, dreaming of fluffy, sugar-coated utopias whose outlines are way too blurry and confused, therefore irrelevant for real social progress), creating an increasingly polarized climate with their worryingly vigilante-like mentality based on rough justice and kangaroo courts towards their enemies... all that, has been really demotivating, and has made me feel more and more hopeless even toward my own generation, which I once thought would be the one to bring positive change.

The "uncertain future" I was dreading in the song with the same title has turned into a bleak present. The ancestral mentality I already detested in my homeland since I was little - the bigot and prudish italian mentality everyone wanted to escape - is now the flavor of the week amongst newer generations. Being devoid of critical thinking and logical reasoning, prone to easy indignation, bigoted and inclined towards various possible forms of authoritarianism, is the new idea of "cool". What on "Sonic degeneracy" looked just like a bad omen, is now reality: the existential threat I feared back then has now arrived, and I'm forced to coexist with it every day of my life, with music being my only outlet. Rotgod, as I said earlier, has always been a project fueled by hate and intolerance... and given how things have changed since "Sonic degeneracy", I can pretty much be sure (and you can, too) I'll now have thrice the amount of hate to vent out compared to when I wrote my first songs, a decade ago - back when I was just a bratty, arrogant kid.

In case you've made it 'til this point - thanks for your attention, an increasingly rare quality in the "short form content" era. This likely means that you were either really curious to know more, or you're just as mentally fucked up as I am... and I couldn't be more glad about that.

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