interview by: Roberto Martinelli

Sometimes an album comes along that, when you listen to it, you think "man! Why hadn't I thought of that angle before?" This is what ran through my head upon listening to San Francisco based Hammer of Misfortune's debut album, The Bastard. Their unique metal/opera album is a melting pot of black, power, and heavy metal, with some medieval folk sections thrown in as well. I contacted band mastermind John Cobbett, who also happens to be in some other godly bands, not least of which is one of my all-time faves The Lord Weird Slough Feg, to talk to him about what The Bastard is all about, his influences, and how he balances all the bands he's in.

Maelstrom: Your debut album under the band name Hammers of Misfortune is a unique one. It blends many of the darker genres in heavy metal with an operatic presentation. Indeed, The Bastard is a concept album presented in acts. What gave you the idea to do this project?

John Cobbett: I've wanted to do a Rock Opera ever since I started playing. It wasn't until '96 or so that I even considered it as a real possibility, as I finally knew some people who had the desire and the ability to attempt such an ambitious project. The idea for the story itself was influenced quite a bit by watching Joseph Campell's lectures really late at night on PBS.

Maelstrom: Hammers of Misfortune was once called Unholy Cadaver. What prompted you to change your name? Did you think your band would be associated with death metal?

John Cobbett: Unholy Cadaver actually started as a solo "dark ambient," keyboard driven project. An actual band slowly began to form around this idea, and it got more and more "Metal" as time went on. The name stuck. I thought, and still think, that Unholy Cadaver is a cool name for a keyboard project, but it's a terrible name for a metal band. Especially since there is already a band called Unholy (one of my favorite bands), and a band called Cadaver. As for associations with Death Metal, the name did sound like that of a 'brutal' type death metal band, and was therefore misleading. All in all, we had plenty of reasons to opt for a more appropriate moniker.

Maelstrom: As Unholy Cadaver, you put out a demo a few years back. One of the songs on that demo is named Hammers of Misfortune, but it is nothing like the material on The Bastard. I don't have a lyric sheet for that song, but I can make out what the dominatrix with the goofy Eastern European accent is saying. What is the connection between that song and the current name of your band?

John Cobbett: Very little, except that that song is kind of a triptych, like The Bastard. When we were looking for a new name, I think it was Josh from The Fucking Champs who thought it would be a great band-name. We eventually agreed, and adopted it as such.

Maelstrom: I'd like to ask you some questions about the story of The Bastard. What is the nature of The Bastard, the character represented by the branch symbol in the booklet? What is his connection to the forest and to the spell that he will eventually break with the Blood Ax? Is The Bastard the offspring of the King and a wood spirit?

John Cobbett: The Bastard is not human at all, he just thinks he is. He was created by the Dragon/Chaos Goddess, and raised by the forest. The Dragon/Goddess tells him that he is the bastard child of the Tyrant so that he will break the spell and fulfill a prophecy. He eventually does this, and learns the truth in the end. The spell that he breaks frees the forest, not the mortals. The forest is then free to kill the mortals.

Maelstrom: At the close of the album, the Dragon says "yes, you are my son." How is the Bastard the son of the dragon?

John Cobbett: I think I answered that above... For a full synopsis go to our site at http://www.hammersofmisfortune.com

Maelstrom: What does the Dragon symbolize? Is the Blood Ax an extension of the Dragon's will?

John Cobbett: The Dragon is similar to the Hindu goddess Kali, and represents the circle of destruction/creation inherent in nature. The ax is a "power object," symbolic of the inevitable deadly force in the universe, in human interactions, and in nature's relationship with humans. There is a very strong misanthropic vibe that runs throughout the album. From the beginning, we understand that The Bastard hates mankind when he says "on her ethereal winds I rove, up above the race I loathe." When the Bastard kills the King and takes the throne, he has no feelings for his new subjects. Then, when the Dragon takes the lives of all the villagers (while sparing all other, non-human life), the Bastard wonders why he's not moved to help. Does The Bastard originally hate mankind because of the injustice done to him by the King? If so, then why does the Bastard want the King's throne? Actually, the Forest marches out and kills the villagers. The Bastard hates the villagers because of the way they desecrated the forest. The prophecy has two meanings, one for the villagers, and another for the Dragon and the forest. In the prophecy it says, 'A single stroke shall break the spell'. To the villagers this stroke is the one that fells the Tyrant, and frees them from Tyranny. To the forces of nature, this stroke is delivered against the forest, breaking the spell that keeps them from uprooting themselves and destroying the village. The Dragon has filled the Bastard with a thirst for vengeance against the tyrant, knowing that both strokes can be delivered in this way, thus fulfilling the prophecy.

Maelstrom: Is the misanthropic theme in the album a reflection of your personal feelings?

John Cobbett: Yes, it most certainly is.

Maelstrom: Why is the Blood Ax "strangely silent" during the slaughter of the villages?

John Cobbett: Its work is done.

Maelstrom: The Bastard is tricked into cutting down the trees of the forest, the only things he holds dear. The Bastard thinks he can prevent himself from doing this by killing the Dragon, and then himself. Apparently, that plan does not work, and he cuts down many trees in order to make a road (on which trolls will later use to storm the castle). How is the Bastard reconciled with the entities of the forest and spared?

John Cobbett: Actually, there are some missing "scenes" to this story (sorry). The Bastard knows he can't kill the Dragon, who appears only as a vision to him. He plans to take his own life after fulfilling his promise to her. Of course, he only has to deliver one blow to the first tree, with the Blood-Ax, in order to break the spell. He has already built a road straight to the forest from the village. The second he strikes the sacred blow; we can assume that all hell breaks loose, and the forest has sprung into action. The 'trolls of wood and stone' are the trees and earth themselves, marching on the village. "He who sits upon the throne is made of wood, wind and stone" means that these creatures realize that the Bastard is not human at all, but made of the same stuff as they. Not only has he never harmed them, but also he has built them a nice, wide road, which will lead them straight to the village and facilitate their vengeance. I know that this is all rather vague on the album, but we never intended it to be a narrated, crystal-clear tale. We wanted it to be a good, solid album musically first, so the storytelling suffered a bit. Someday maybe we'll write the missing scenes and release it as an EP or something...

Maelstrom: The story ends with the ambiguous words of the Dragon, who says: 'you have a void to fill, full with your elusive life.' What is elusive about the Bastard's life? The Dragon also says: "You are He." Who is He?

John Cobbett: He now knows that he is a god, and always was, he just didn't know it. In the end he spirals off into the ether, having become a spirit-guardian of the forest, and final possessor of the Ax. Sort of a mythical creation-story: how this god came to be, etc.

Maelstrom: In Act Three, Scene One, whom does the voice belong to?

John Cobbett: The singing voice, that's Janis, of course. The character speaking is the Dragon/Goddess, explaining the prophecy and it's twofold meaning.

[note: the following answer was added after the interview - Steppenvvolf]

John Cobbett: Janis sent me this answer to question #11 from our interview as she wrote the line in question...

Janis Tanaka: You implied that it is not germane to use the word "elusive" in the finale of the Opera. I had to recall, but I did choose my word carefully for meaning as well as sound. For one I felt like the closing statement must speak to each individual listener as well as to our very special hero. I looked at this part as the voice that says to the audience: "YOU are this hero -- go fill up the universe with your essence!" This statement for our friends and other lost souls like you and me I wanted it to hit at a visceral place. Everyone's own life is most times elusive to them (one of the big ironies of life, eh?). I thought this would touch the people to whom this is most problematic to and would somehow mitigate the overwhelming powerlessness one sometimes feels. Now, don't think I wasn't writing for our hero. Circumspect of the dangers of split meaning I felt justified in combining the direction of these words. At the same time they are the summation and the creation of our hero. They create him with a destiny and yet that destiny has just been fulfilled, is in the past. So he has a finite purpose in life (besides being god) and yet his life is elusive because that finite purpose no longer exists. The paradoxes feel good to me as they reflect the surreal nature of reality, the inconsistencies of life, the incomprehensible moment. At this point in the Opera, the aftermath, he is like any of us only worse since he's immortal and lives forever: Godlike he must go out and live life. The voice kicks him out of the nest and the closing roundabout sucks his essence up into the universe. I also like to make a play on the word "full". When I sing it I try to make it sound like "fool". How can the hero possibly be a fool? It is impossible, yet in life all things are possible.

Maelstrom: Both you and Mike Scalzi have the talent to write melodic music with very interesting harmonies. I feel that this is a bit of a vanishing art. Where did you learn how to do this? What are your influences? What is your musical background?

John Cobbett: I learned it by doing it, experimenting. A lot of influence comes from Thin Lizzy and Iron Maiden, of course. Also, I've taken some classical piano here and there, and I really love Beethoven, Chopin, Ravel, Bach and all that stuff. People really wanting to learn about music and become good, well-rounded musicians is what's dying out. These days you can get away with not knowing anything about music, and still be regarded as a musician. Music itself is a dying art.

Maelstrom: I really must comment on how beautiful the album packaging is. Especially of note are the illustrations. Are these woodcuts? Who did them? Who is the saintly figure with the axe?

John Cobbett: The cover art was designed and executed by Lorraine Rath, who is a friend of the band, and a great artist. The drawings are all pen and ink, and the saintly figure is The Bastard, after the slaughter of the Mortals.

Maelstrom: John, how many bands are you involved in now? It's hard to keep track. (feel free to plug at will.)

John Cobbett: I am in Slough Feg (with Mike Scalzi), Ludicra (Black Metal), and a few other bands, which only exist a few times a year. The other members of the band are involved in separate musical projects. Can this be a strain on the progression of Hammers of Misfortune? It can be at times, when all the bands are busy at once. The hardest part is finding time for everything, and keeping track of who's doing what when, and where.

Maelstrom: Why did you decide to have Janice Tanaka be the voice of the Dragon?

John Cobbett: Well, she is a lead singer in this band as well as being the bass player, and the Dragon is a female character, so it fell to her. Also, I can hardly imagine anyone doing a better job at this than Janis! Her vocals are stunning!

Maelstrom: Will we be hearing anything soon from Iron Cemetery or Pantz Noyzee?

John Cobbett: Those guys associated with Iron Cemetery are really shady, and I try not to get too involved with them! I hear that they are at each other's throats quite a lot these days anyway. As for Pantz Noyzee, those Posers are a scab on the face of the San Francisco scene, and if you see any of those guys, tell them that they can run, but they can't hide!!

Maelstrom: John, you run Lucifer's Hammer, offering people in the Bay Area an evening of metal (from abroad as well as locally). First of all, thank you very much for your efforts. I believe you have been organizing Lucifer's Hammer for three years now. How has that experience been?

John Cobbett: Well, Lucifer's Hammer is only as good as the scene that surrounds it, so we have had our ups and downs. Overall it's been great, and I've had some unforgettable experiences doing it. My favorite part is that rare event when someone comes along with a band that just blows me away. I'm always looking for good, interesting stuff.

Maelstrom: Thank you very much for taking the time to tell us about your fascinating project. Where will Hammers of Misfortune go from here?

John Cobbett: Hopefully on a short tour, and then into the studio!

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