Boargazm

...Then it’s midnight and Bittereinder are smacking the crowd with bass and rhymes, doing their thing as only they can, yet the soul craves something more and we stroll over to watch the previously unknown act, by the peculiar name of Boargazm. Oh sweet, sweet Nazgul of Mordor! Oh the hounds of Hades! This is Pigsqueal Crack City! It is almost too much metal. Almost. Boargazm take no prisoners and leave no woman without child. Imagine every awesome metal riff or part that you have ever heard, from Slayer, to Iron Maiden, to Pantera, to deathcore, all jammed together without the usual metal retardation. They play in pig masks and take the piss constantly, from the vocals in swine, to the semi-demented quips of the frontman. Easily one of the top four acts of the weekend and I freak out to their metal circus, howling for “More Boar!” After the pandemonium of Boargazm, watching BEAST is a sour disappointment... - Mahala.co.za

...Then it’s midnight and Bittereinder are smacking the crowd with bass and rhymes, doing their thing as only they can, yet the soul craves something more and we stroll over to watch the previously unknown act, by the peculiar name of Boargazm. Oh sweet, sweet Nazgul of Mordor! Oh the hounds of Hades! This is Pigsqueal Crack City! It is almost too much metal. Almost. Boargazm take no prisoners and leave no woman without child. Imagine every awesome metal riff or part that you have ever heard, from Slayer, to Iron Maiden, to Pantera, to deathcore, all jammed together without the usual metal retardation. They play in pig masks and take the piss constantly, from the vocals in swine, to the semi-demented quips of the frontman. Easily one of the top four acts of the weekend and I freak out to their metal circus, howling for “More Boar!” After the pandemonium of Boargazm, watching BEAST is a sour disappointment... - Mahala.co.za

Boargazm Interview
by: Sashquita Northey

Boargazm is the latest music creation of established musician and song writer, Heine van der Walt. The live band is comprised of members from other South African metal acts including FUCK and RhütZ. Boargazm recently hosted the launch of their debut album The Aporkalypse, then still called GoreGazm (but changed to Boargazm to avoid confusion with American death-metal band Gorgasm), at Wolmer Events Arena in Pretoria North. The event was opened by FUCK and supported by upcoming acts like Bloodbeast and Killatoria. Sashquita Northey was fortunate enough to grab a few minutes with Heine to discuss his new project and the concepts behind the album.

THE OFFERING: Boargazm is your solo project. Did you write all the music?

HEINE VAN DER WALT: Yes, I wrote and recorded all the music myself, except for the drums which were meticulously programmed. My brother Chris created the intro and outro, and I recorded the vocals and solos at Wolmer Records, which is run by my other brother Lanie. All the solos we’re done by guest artists, like my brothers Chris and Lanie, Jonathan Peyper and Hugo de Waal.

TO: How long did the album take to record?

H: Collectively, around four/five months, from conceptualisation, to writing the music and recording.

TO: Did you do your own mixing and mastering?

H: No, this was done by my eldest brother Lanie, at Wolmer Records.

TO: You had a great line up of support acts tonight, why did you choose to share this momentous occasion with these specific bands?

H: FUCK was the first band that I started back in 2004, all the members from this band plays in Boargazm and as such, FUCK is now known as Boargazm. We were all members of RhütZ as well and we’ve known each other and worked, gigged, toured and recorded together for many years. The members of this band are very close to me, and they understand me musically. We work extremely well together.

Bloodbeast and Killatoria are also long time friends. Van, the guitarist and vocalist from Bloodbeast, has been a great inspiration and mentor to me back in the days when he fronted Architecture of Aggression. We have shared the stage with members of that band many times, and they’ve helped us so much to establish ourselves in the scene, so it was only natural to ask them to join us for this experience.

The guys from Killatoria have been our long time supporters back in the RhütZ days: they are like our little brothers I enjoy their music and the band itself and felt that they would make a great addition to the line up. TO: The description of the album sounds like the George Orwell novel Animal Farm crossed with H.G Wells War of the Worlds, a dash of science fiction and fantasy. Tell us more about the story behind Boargazm and The Pig Whisperers.

H: The planet Zorg is something that William Tempest Bishop and I came up with in our earlier years of touring together, that we used in ad-lib conversations to entertain people. I’ve developed the concept a bit further, and this is it! I’ll give you a little excerpt from the concept: “The year is 2086, Planet Earth is under attack by an unknown alien force referred to as the pig people from Planet Zorg. In an assault led by the pig-lord General Barbatus, the space-pigs slaughter millions of people within the first few hours, and broadcast an ultimatum to the human race. Submit to slavery or die. Unbeknownst to mankind, the pig people have visited planet earth nearly three thousand years ago, using a calculated approach to steer civilisation into overpopulation by introducing basic technologies and sciences to nations across the globe. Throughout history, all the evidence was refuted and regarded as a hoax, until the day the pigs returned once the planet had enough protein and sentience. A rebel band of resistance fighters known only as 'The Pig Whisperers' went to see the oracle, witch doctor from the third world. Hoping to find an answer on how to liberate their race, she told them that the only way to prevent this attack is to go back in time and warn the world, through a mystical ritual that involves time-incarnation. 'The Pig Whisperers' were immediately born a hundred years earlier and received frequent visions from the oracle in one clear message: be prophets of the aporkalypse by any means necessary.”

TO: The album art fits in with the theme of pigs. Tell us more about the art work that you have featured on The Aporkalypse.

H: I found the pictures online; they were done by an artist called Rebecca Hendin from the U.K. I contacted her and arranged to buy the art for the album. She is extremely talented. The final layout and design was done by Jorik Pienaar, he is the drummer from Not My Dog and a renowned graphic artist/designer, we’ve also played in bands together a few times and more recently started a Guns ‘n’ Roses tribute band together, called Guns ‘n’ Posers.

TO: What were your creative drive and influence for creat - The Offering: Heavy Metal Webzine

Boargazm Interview
by: Sashquita Northey

Boargazm is the latest music creation of established musician and song writer, Heine van der Walt. The live band is comprised of members from other South African metal acts including FUCK and RhütZ. Boargazm recently hosted the launch of their debut album The Aporkalypse, then still called GoreGazm (but changed to Boargazm to avoid confusion with American death-metal band Gorgasm), at Wolmer Events Arena in Pretoria North. The event was opened by FUCK and supported by upcoming acts like Bloodbeast and Killatoria. Sashquita Northey was fortunate enough to grab a few minutes with Heine to discuss his new project and the concepts behind the album.

THE OFFERING: Boargazm is your solo project. Did you write all the music?

HEINE VAN DER WALT: Yes, I wrote and recorded all the music myself, except for the drums which were meticulously programmed. My brother Chris created the intro and outro, and I recorded the vocals and solos at Wolmer Records, which is run by my other brother Lanie. All the solos we’re done by guest artists, like my brothers Chris and Lanie, Jonathan Peyper and Hugo de Waal.

TO: How long did the album take to record?

H: Collectively, around four/five months, from conceptualisation, to writing the music and recording.

TO: Did you do your own mixing and mastering?

H: No, this was done by my eldest brother Lanie, at Wolmer Records.

TO: You had a great line up of support acts tonight, why did you choose to share this momentous occasion with these specific bands?

H: FUCK was the first band that I started back in 2004, all the members from this band plays in Boargazm and as such, FUCK is now known as Boargazm. We were all members of RhütZ as well and we’ve known each other and worked, gigged, toured and recorded together for many years. The members of this band are very close to me, and they understand me musically. We work extremely well together.

Bloodbeast and Killatoria are also long time friends. Van, the guitarist and vocalist from Bloodbeast, has been a great inspiration and mentor to me back in the days when he fronted Architecture of Aggression. We have shared the stage with members of that band many times, and they’ve helped us so much to establish ourselves in the scene, so it was only natural to ask them to join us for this experience.

The guys from Killatoria have been our long time supporters back in the RhütZ days: they are like our little brothers I enjoy their music and the band itself and felt that they would make a great addition to the line up. TO: The description of the album sounds like the George Orwell novel Animal Farm crossed with H.G Wells War of the Worlds, a dash of science fiction and fantasy. Tell us more about the story behind Boargazm and The Pig Whisperers.

H: The planet Zorg is something that William Tempest Bishop and I came up with in our earlier years of touring together, that we used in ad-lib conversations to entertain people. I’ve developed the concept a bit further, and this is it! I’ll give you a little excerpt from the concept: “The year is 2086, Planet Earth is under attack by an unknown alien force referred to as the pig people from Planet Zorg. In an assault led by the pig-lord General Barbatus, the space-pigs slaughter millions of people within the first few hours, and broadcast an ultimatum to the human race. Submit to slavery or die. Unbeknownst to mankind, the pig people have visited planet earth nearly three thousand years ago, using a calculated approach to steer civilisation into overpopulation by introducing basic technologies and sciences to nations across the globe. Throughout history, all the evidence was refuted and regarded as a hoax, until the day the pigs returned once the planet had enough protein and sentience. A rebel band of resistance fighters known only as 'The Pig Whisperers' went to see the oracle, witch doctor from the third world. Hoping to find an answer on how to liberate their race, she told them that the only way to prevent this attack is to go back in time and warn the world, through a mystical ritual that involves time-incarnation. 'The Pig Whisperers' were immediately born a hundred years earlier and received frequent visions from the oracle in one clear message: be prophets of the aporkalypse by any means necessary.”

TO: The album art fits in with the theme of pigs. Tell us more about the art work that you have featured on The Aporkalypse.

H: I found the pictures online; they were done by an artist called Rebecca Hendin from the U.K. I contacted her and arranged to buy the art for the album. She is extremely talented. The final layout and design was done by Jorik Pienaar, he is the drummer from Not My Dog and a renowned graphic artist/designer, we’ve also played in bands together a few times and more recently started a Guns ‘n’ Roses tribute band together, called Guns ‘n’ Posers.

TO: What were your creative drive and influence for creat - The Offering: Heavy Metal Webzine

Entrance was free, the line-up was impeccable and the gang was game, therefore our mission was clear, a mid-week metal adventure to Pretoria to escape from the mundane “back at work” regime the new year has brought with it. Armed with anticipation and metal thirsty ears, we piled into my little Chevy and embarked on our mini roadtrip into the night.

Albeit small, Factory in Centurion is always buzzing with an alternative energy and remains an underground and jock-free venue that caters for just about any non-commercial niche. Gig-goers were sauntering around the balcony area and sipping Black Label while eagerly waiting for the metal mayhem to ensue.

One of my personal favourites, Killatoria, where first on stage to release the beast and provide me with my heavy metal fix. This young and talented quartet never ceases to amaze me with their relentlessly heavy yet classic sound. While most younger metal heads sport skinny jeans, emo hairstyles and a mainstream driven liking for deathcore, Killatoria is clearly influenced by the more old school slow and heavy fundamental building blocks of metal. The moment they started ripping up the stage, my head began swaying involuntarily to the heavy riffs complimented with ease by Adri’s deep guttural growls. I always wonder where these boys will be a few years down the line seeing as they have mastered the art of heavy metal at such an early time in their lives.

Hailing from Pretoria, Boargazm were next on the menu with a set that was about to blow my mind. With members coming from well established old SA bands such as FUCK and RhütZ, I knew that despite certain stigmas attached to the ‘pig squealing’ genre, Boargazm would not disappoint or sound like a thousand other bands out there. I was all too right. To add a little something different to their performance, the band members wore latex pig masks throughout their theatrical performance making it a visually entertaining show without compromising on the quality of the music. I watched in awe as Boargazm pulled off a high-energy set that was both brutal and potent in terms of well orchestrated metal. What sets them aside in their chosen genre is the fact that they flawlessly maintain a balance between chaos and melody. Amongst the grind-style madness, they worked in classic heavy metal breaks and beautifully melodic riffs to form an interesting contrast in styles. Being partial to percussive bass, the way the bassist was slapping at the strings appealed to me deeply and added solid heavy structure to the music.

A well respected muso within our scene, Chris “Danger Thunderbolt” was very entertaining with his infamous “Fuck You” guitar, energetic stage presence and well crafted riffs delivered with so much talent. I managed to have a quick chat to Chris before they jammed. He described their genre as “swine-core” and gave mention to metal gods Pantera as one of their influences. Maintaining the thrash element in this fairly new style of metal makes Boargazm unique. Despite this genre being one our scene is rather unfamiliar with, Boargazm reeled in the crowd and had many heads banging profusely to their music. A breath of fresh air, this band is rich with versatility without over doing it.

To end off the night on a good note, Emperium played a soothing set that remains unchallenged in its slower yet intense, heavy feel. Being no strangers to the stage, they delivered a great performance despite a few technical glitches and took me right back to my metal roots.

Needless to say, my neck suffered a stiff state the following day with me being a bit out of practice after the holidays, but it was definitely worth every ounce of pain! I look forward to watching Boargazm change the general conception surrounding the “pig squealing” and experimental sides of metal. I am beyond thrilled that this exciting new project comes from well oiled and experienced musicians that can do it right and have most certainly earned the freedom to experiment and shift boundaries without taking a step backwards. - Metal4Africa

Entrance was free, the line-up was impeccable and the gang was game, therefore our mission was clear, a mid-week metal adventure to Pretoria to escape from the mundane “back at work” regime the new year has brought with it. Armed with anticipation and metal thirsty ears, we piled into my little Chevy and embarked on our mini roadtrip into the night.

Albeit small, Factory in Centurion is always buzzing with an alternative energy and remains an underground and jock-free venue that caters for just about any non-commercial niche. Gig-goers were sauntering around the balcony area and sipping Black Label while eagerly waiting for the metal mayhem to ensue.

One of my personal favourites, Killatoria, where first on stage to release the beast and provide me with my heavy metal fix. This young and talented quartet never ceases to amaze me with their relentlessly heavy yet classic sound. While most younger metal heads sport skinny jeans, emo hairstyles and a mainstream driven liking for deathcore, Killatoria is clearly influenced by the more old school slow and heavy fundamental building blocks of metal. The moment they started ripping up the stage, my head began swaying involuntarily to the heavy riffs complimented with ease by Adri’s deep guttural growls. I always wonder where these boys will be a few years down the line seeing as they have mastered the art of heavy metal at such an early time in their lives.

Hailing from Pretoria, Boargazm were next on the menu with a set that was about to blow my mind. With members coming from well established old SA bands such as FUCK and RhütZ, I knew that despite certain stigmas attached to the ‘pig squealing’ genre, Boargazm would not disappoint or sound like a thousand other bands out there. I was all too right. To add a little something different to their performance, the band members wore latex pig masks throughout their theatrical performance making it a visually entertaining show without compromising on the quality of the music. I watched in awe as Boargazm pulled off a high-energy set that was both brutal and potent in terms of well orchestrated metal. What sets them aside in their chosen genre is the fact that they flawlessly maintain a balance between chaos and melody. Amongst the grind-style madness, they worked in classic heavy metal breaks and beautifully melodic riffs to form an interesting contrast in styles. Being partial to percussive bass, the way the bassist was slapping at the strings appealed to me deeply and added solid heavy structure to the music.

A well respected muso within our scene, Chris “Danger Thunderbolt” was very entertaining with his infamous “Fuck You” guitar, energetic stage presence and well crafted riffs delivered with so much talent. I managed to have a quick chat to Chris before they jammed. He described their genre as “swine-core” and gave mention to metal gods Pantera as one of their influences. Maintaining the thrash element in this fairly new style of metal makes Boargazm unique. Despite this genre being one our scene is rather unfamiliar with, Boargazm reeled in the crowd and had many heads banging profusely to their music. A breath of fresh air, this band is rich with versatility without over doing it.

To end off the night on a good note, Emperium played a soothing set that remains unchallenged in its slower yet intense, heavy feel. Being no strangers to the stage, they delivered a great performance despite a few technical glitches and took me right back to my metal roots.

Needless to say, my neck suffered a stiff state the following day with me being a bit out of practice after the holidays, but it was definitely worth every ounce of pain! I look forward to watching Boargazm change the general conception surrounding the “pig squealing” and experimental sides of metal. I am beyond thrilled that this exciting new project comes from well oiled and experienced musicians that can do it right and have most certainly earned the freedom to experiment and shift boundaries without taking a step backwards. - Metal4Africa

Let me just start by getting all the pig-related puns out of my system – I hambly apologize in advance. Boy, do these boys like to ham it up. The really do deliver a crackling good album. It’s quite an imporkant bit of music for the industry. I’m not going to lambast them for their efforts. Alright that last one was not entirely of the pig persuasion, but as Mr. Orwell said, some animals are more equal than others.

Now, on to the meat and potatoes of the review. Boargazm‘s The Aporkalypse is a concept album, a ballsy and maybe dangerous move, but one that works if only for the sheer lunacy of it. Here’s a quick rundown of the story: The year is 2086, Earth is under attack by the pig people from Planet Zorg. The Pig-lord General Barbatus slaughters millions of people in mere hours. The humans have no choice but to submit to slavery or die. Unbeknownst to them, the pig people have been to earth before. There is hope though, in the form of The Pig Whisperers: rebel fighters who want to liberate the humans. They go and see the oracle, who sends them back in time a hundred years earlier – to the era of mullets, big hair, guitar solos and cocaine binges – to alert the world of the looming and ham-pending (apologies, I don’t know how that one slipped in, honestly) Aporkalypse.

I will be quick to admit that I am by no means a fan of pig-squeals or any music with the “core” suffix (the Boargazm Facebook page lists their music as “Swinecore”), which this album has in spades. I think pig-squealing is silly, most probably a joke gone too far. I am however a fan of melody, grooves and a sense of fun, which this album also has in spades and I am happy to see these lads have their tongues firmly implanted in their cheeks. Boargazm is the brainchild of well-known musician and South African Air Guitar champion Heine van der Walt, who is responsible for a number of metal projects such as FUCK and Rhütz – in addition to being an accomplished jazz musician and multi-instrumentalist. This shows in this album, and what I really like about it is the fact that the songs are well thought out and have a true sense of musicality to them.

To my pleasant surprise, the hardcore/metalcore elements aren’t forced and the songs don’t rely on annoying screams and blast beats to carry them. They instead opt for some plain old lekker riffs, with some thrashy bits thrown in for good measure. There is a good balance between heaviness and melody, and you can even occasionally distinguish some words. Very occasionally. The vocals however never overshadow or impede the instruments, and mostly accompany the riffs in an amiable, buddy cop kind of way. All in all, it is a fine line between homage and ridicule, with some parts more infectious than the swine flu. The album is a concept, a story, so I will take you through it one rasher of bacon at a time.

The intro track is entitled “Onslaught” and that’s exactly what it is; a barrage of machine-gun drum attacks, and panic filled screams proclaiming that indeed, “the pigs are coming”. It sets the manic and deranged pace for the album, and like the rest of the tracks, makes no apologies. “Barbatus” follows in which The Pig-Lord has descended and destruction is imminent. What strikes me about this song initially is the surprisingly melodic solo that hits about a third in, along with a grooving, bassy riff that really gets your head swaying. It’s an indication of the groove to come, and as one of the ‘catchier’ songs on the album, is probably the best indication of the album’s overall sound.

The battle is on in “Ground Zero” and the pigs have decimated millions. After some war-like sound effects and an expansive opening riff, we again have pig squeals and grunts buddying up with the riffs and drum beat, ensuring many a head bobbing. This track also has another wicked solo that’s not just 7-string sweep-picking wankery. The starting riff of “Blood Feast” has some serious off-beat groove to it. It’s basic enough to headbang to like mad, but with enough variation to not get boring. It’s one of the shortest tracks too, at just over 2 minutes.

Now here’s where the melody comes in. “Power Struggle” is a short instrumental of tremolo picking in a somber key – it gets you ready to start moshing again for the next track. “The Pig Whisperers” tells the tale of the rebels fighting for the humans. Staccato, punchy riffs again accompany grunts in a seriously mean killbeat. It changes tempo for a chaotic solo, falls back into the main riff and (just like Van Gogh) goes mad before it dies in a frenzy. Owing to that addictive main riff and insanity, it’s one of my favourite tracks.

The opening riff and accompanying tapping in “A Great War” would not be out of place somewhere on an Arch Enemy style song and it descends to yet another groove, goes a bit chromatic, sinister and finally explodes with squeals intensifying. “Intermission” is another melodic instrumental track. It’s somber, reverb and delay - Metal4Africa

Let me just start by getting all the pig-related puns out of my system – I hambly apologize in advance. Boy, do these boys like to ham it up. The really do deliver a crackling good album. It’s quite an imporkant bit of music for the industry. I’m not going to lambast them for their efforts. Alright that last one was not entirely of the pig persuasion, but as Mr. Orwell said, some animals are more equal than others.

Now, on to the meat and potatoes of the review. Boargazm‘s The Aporkalypse is a concept album, a ballsy and maybe dangerous move, but one that works if only for the sheer lunacy of it. Here’s a quick rundown of the story: The year is 2086, Earth is under attack by the pig people from Planet Zorg. The Pig-lord General Barbatus slaughters millions of people in mere hours. The humans have no choice but to submit to slavery or die. Unbeknownst to them, the pig people have been to earth before. There is hope though, in the form of The Pig Whisperers: rebel fighters who want to liberate the humans. They go and see the oracle, who sends them back in time a hundred years earlier – to the era of mullets, big hair, guitar solos and cocaine binges – to alert the world of the looming and ham-pending (apologies, I don’t know how that one slipped in, honestly) Aporkalypse.

I will be quick to admit that I am by no means a fan of pig-squeals or any music with the “core” suffix (the Boargazm Facebook page lists their music as “Swinecore”), which this album has in spades. I think pig-squealing is silly, most probably a joke gone too far. I am however a fan of melody, grooves and a sense of fun, which this album also has in spades and I am happy to see these lads have their tongues firmly implanted in their cheeks. Boargazm is the brainchild of well-known musician and South African Air Guitar champion Heine van der Walt, who is responsible for a number of metal projects such as FUCK and Rhütz – in addition to being an accomplished jazz musician and multi-instrumentalist. This shows in this album, and what I really like about it is the fact that the songs are well thought out and have a true sense of musicality to them.

To my pleasant surprise, the hardcore/metalcore elements aren’t forced and the songs don’t rely on annoying screams and blast beats to carry them. They instead opt for some plain old lekker riffs, with some thrashy bits thrown in for good measure. There is a good balance between heaviness and melody, and you can even occasionally distinguish some words. Very occasionally. The vocals however never overshadow or impede the instruments, and mostly accompany the riffs in an amiable, buddy cop kind of way. All in all, it is a fine line between homage and ridicule, with some parts more infectious than the swine flu. The album is a concept, a story, so I will take you through it one rasher of bacon at a time.

The intro track is entitled “Onslaught” and that’s exactly what it is; a barrage of machine-gun drum attacks, and panic filled screams proclaiming that indeed, “the pigs are coming”. It sets the manic and deranged pace for the album, and like the rest of the tracks, makes no apologies. “Barbatus” follows in which The Pig-Lord has descended and destruction is imminent. What strikes me about this song initially is the surprisingly melodic solo that hits about a third in, along with a grooving, bassy riff that really gets your head swaying. It’s an indication of the groove to come, and as one of the ‘catchier’ songs on the album, is probably the best indication of the album’s overall sound.

The battle is on in “Ground Zero” and the pigs have decimated millions. After some war-like sound effects and an expansive opening riff, we again have pig squeals and grunts buddying up with the riffs and drum beat, ensuring many a head bobbing. This track also has another wicked solo that’s not just 7-string sweep-picking wankery. The starting riff of “Blood Feast” has some serious off-beat groove to it. It’s basic enough to headbang to like mad, but with enough variation to not get boring. It’s one of the shortest tracks too, at just over 2 minutes.

Now here’s where the melody comes in. “Power Struggle” is a short instrumental of tremolo picking in a somber key – it gets you ready to start moshing again for the next track. “The Pig Whisperers” tells the tale of the rebels fighting for the humans. Staccato, punchy riffs again accompany grunts in a seriously mean killbeat. It changes tempo for a chaotic solo, falls back into the main riff and (just like Van Gogh) goes mad before it dies in a frenzy. Owing to that addictive main riff and insanity, it’s one of my favourite tracks.

The opening riff and accompanying tapping in “A Great War” would not be out of place somewhere on an Arch Enemy style song and it descends to yet another groove, goes a bit chromatic, sinister and finally explodes with squeals intensifying. “Intermission” is another melodic instrumental track. It’s somber, reverb and delay - Metal4Africa