I caught Eli Mardis, the vocalist and guitarist of Lawrence-based blackened thrash/speed metal band Sarkatha (as well as the current host of the KJHK 90.7 FM metal radio program that is this blog’s namesake, Malicious Intent), before he was going to embark on the four-hour (and change) drive to St. Louis to play with the mighty Sölicitör. Sarkatha is a relatively young band, both in terms of the age of the band members and how long they’ve been around. But, in that time, the band has been able to secure opening slots for touring bands such as King Parrot and Tómarúm among others.
I talked with Eli about the band’s recently released debut demo, Rock Without Mercy, the guiding creative principles of the band, and how the band has been able to secure so many high-profile shows as a young band.
Note: the interview below has been edited for clarity and brevity.
(Eli was in the middle of dubbing cassettes to sell at the Sölicitör show in St. Louis)
Eli: So it’s just a matter of dubbing. I don’t imagine us selling more than 20 tapes. So I just made the 20. We’ll see, we’ll see.
Judge Dredd: Dude, Sölicitör is so good.
Eli: Yeah. I’m really excited. This is going to be a crazy show. I just know that there are people coming in from different cities and States for this one, so it’s crazy. And we’re going to try to record our set too with some ghetto recording equipment. We’ll maybe put [it] out [as] another single or tape or something, but yeah, it should be a good one.
Judge Dredd: That’s awesome. So you’ve played this venue a couple of times, right? Or is it a different one?
Eli: Once before. Yeah, The Sinkhole. I think Taylor from Midwest Metal Punks either works there or has some sort of connection or working relationship there. And it’s just like a little hole-in-the-wall shoe box thing, kind of similar in size and scope to the Replay, I’d say, in downtown St. Louis. And we played there on New Year’s Eve last year, and it was really awesome.
Judge Dredd: For some reason, I think in my head [that] it’s a DIY venue like Howdy or Farewell, but is it actually?
Eli: I am not sure how DIY it is, but it is extremely comparable to Howdy. Maybe it is DIY. I don’t know. I haven’t looked into it particularly, but I know that there’s also a legit bar there.
Judge Dredd: So is this going to be like unofficially your release show or no…you had one on Sunday, right?
Eli: Yes. We had a show with King Parrot that Shane Murray got us onto. It was a cool show. It was a bit of a low turnout, but we had a good response online to our digital release. And so this will be our first show where we have like tapes in the booth. When we put out another single here later this month, I think we’re going to try to do a proper tape release thing for that. Like an extremely limited release of just like cassette singles.
I feel like that’s insanity, but I want to do it.
Judge Dredd: So tell me a little bit about the recording. It’s a four-track demo called Rock Without Mercy. And from what I could gather, it looks like you had recorded it live and on your own…? So do you have your own studio equipment? Or how did you go about that?
Eli: So that demo was recorded in two places. There was our old drummer’s, Adrian’s, practice space where he had a lot of stuff set up to record demos.
And then we also kind of drew on the knowledge of our bassist, Jack. He had taken a recording class at KU, and so he kind of does some audio engineering stuff. And I’m actually looking into checking that out too because I want to know how to do a bunch of that. But between us, we all put our heads together, and what we ended up doing was [recording] the drums live, so the drums tracks were done when everyone was in the room.
And then we isolated the drums as best as we could. Our friend put like a million plugins and everything on it to make it sound halfway decent because we did it in kind of slapdash [way], which was cool. Kind of low-tech. I love using what we have. And we ended up making a killer sound with what we have. I think the drum sounded awesome.
At [KJHK], we used the live studio/recording space up there to track guitars and whatnot when people weren’t there.
Judge Dredd: Awesome. Well, it sounds like you’ve been very resourceful in the whole process of recording and everything.
Eli: We’ve been trying to. It was a lot of fun to figure it out as we went along, I think.
Judge Dredd: Cool. So what was the writing process like? I know some of these songs have kind of been in your repertoire for a while, but what’s generally been the writing process for the songs that you’ve developed for the demo and beyond the demo?
Eli: So most of the songs that are on the demo, like you said, [have] been around for a while and were things that I would just write in the recording software that I was using. So a lot of it was just in GarageBand.
It was actually written during the pandemic and was one of the first things that I made that was like, “Oh, yeah, this is a really good brashy demo.” “Blight” [and “Banquet”] were completely written by me. And then there are two tracks on the demo that are more collaborative.
“Seven Days Gehenna” I feel like it is the best song we’ve written so far. That came out of an idea for a riff and then we were jamming around with it, me and our old drummer, Adrian. And [we] ended up getting a good bit of the jam [onto] tape. And then we just took that and ran with it. Composed it with the drum machine.
The first track, “Untitled”, is also written by the trio of us during that time period with Adrian. Adrian’s no longer in Sarkatha. He moved to Seattle. [Now] we have Isaac Stout as our drummer, but a lot of this stuff on this demo represents the Adrian Cullen era of things. It’s basically our set lists from the early Sarkatha days, which was a year ago.
I guess that’s how I would slice up how we approached writing the thing. I think moving forward, I want to do a more collaborative approach with my bandmates. I like being in my wizard tower and making my spells, but I want to make some art with people too.
Judge Dredd: It definitely seems like “Seven Days Gehenna” is your current definitive statement [as a band]. You’ve made a music video [for] it. And it kind of acts like the central point in your set lists.
Eli: Yeah, we usually do it last or kind of put a big like period on the things or whatever [with that track]. I feel like “Seven Days Gehenna” embodies the idea of rocking without mercy. It’s kind of a mix of different influences from stuff like Artillery, but also Midnight and Motörhead, are really big influences of ours. And we definitely wear it on our sleeve in that track. And I want to write more stuff like that.
Judge Dredd: Yeah, well, that brings up another question I had, which was, based on the demo that I’ve heard and your live performances, it seems like you’re drawn toward rawer and older forms of metal rather than more modern and like polished sounds. What accounts for that? Why do you think you’re drawn toward rawer and more traditional styles?
Eli: I’d say that for all of us as a unit, that’s been a consistent theme throughout. [That goes for] all of the members that we’ve had.
We were all sort of influenced by stuff that we like that’s very raw. I really like stuff that would be considered virtuosic, but I don’t like stuff that’s robotic, and I feel like a lot of modern metal, even stuff that I really like, can end up like [that]. Modern production can totally wash out a track and make it just not have as many of the human elements as I would really like. We just really like drawing on, you know, old-school punk influences, early thrash that…you know, where they play hard and with feeling, and [it] just kind of channels this rock and roll energy that we really dig.
Um, or like, yeah, or, you know, a lot of lower five stuff where they’re like making the thing just to make the thing and then it comes out, however it comes out. Um, that tends to be our favorite. Yeah. If that makes sense, let’s start with a statement.
Judge Dredd: No, yeah. I mean, it comes to a point for me when I listen to modern, newer metal that’s coming out where if the production is too polished. It does sound too inhuman. And I especially find that with the drums.
Eli: Totally.
Judge Dredd: The drums just sound like they were programmed or [that it’s simply a] drum machine. Why not just have a drum machine then, you know? Or why not just program the drums if you just want it to sound like that?
I don’t listen to a whole lot of new death metal that’s coming out, but I [recently] listened to the first [new] technical/dissonant death metal album that I’ve liked in a long time. And I think that a big reason is because the drums sound very natural. They’re not super polished. So, I definitely follow you on that.
So, what are some concepts [or] themes that you explore in your lyrics and what do you think draws you to those concepts or themes?
Eli: Well, a lot of the way I’ve approached [them] as the main lyricists, um, I was just trying to figure out themes and stuff that would be on like a classic record. I like thinking about writing songs the same way I feel like Maiden approaches lyricism in some ways. Having a theme or a horrific or morbid idea that’s the central focus of the song. One of our songs, “Banquet”, for example, [is] about a lizard cult that eats people, and they worship a serpent deity. Part of the song is in the second person where it’s like you’re taken by the serpent cult and then it switches to the perspective of the person who’s about to be fried in oil so that they can be an offering for the serpent deity.
And then it switches back to the cult’s perspective. There’s like, you know, I’ve just kind of, uh, we thought, uh, the way we’ve approached it is kind of the traditional heavy metal thought of like, “Oh, we are making a horror film [into] a song. So we have some songs like that, but we also have songs like “Seven Days Gehenna”, [which is] specifically a critique of Abrahamic faiths and the concept of sin in some ways. So, we’re kind of trying to cover classic territory [while also] trying to stay away from the cliches, but also flirting with them a little bit.
You know what I mean? Like the stuff that’s really heavy metal: Satan and hell and all that stuff without outright saying it.
Judge Dredd: Yeah, that’s fair. So going off the lyrics a little bit, what would you say that Sarkatha presents a worldview? And if so, what kind of worldview?
Eli: You know, I’m not sure. I’ll definitely say “yes” in a way because it’s a lot of thoughts on philosophy and being. Two of the songs I’d say are pretty anti-authoritarian. But through the lens of craziness. Like “Blight” is about a mad sorcerer who’s commanding and frying the minds of hordes with his ideological spells or creating zombies. It uses imagery from Warhammer and Morrowind lore, though.
So it’s like, on one hand, I think we’re, we’re not trying super hard to make a statement on a worldview, but that inevitably comes out because we’re human. But as far as there being like a thesis or something behind Sarkatha and the stuff that we write, I wouldn’t say there’s anything except for “be yourself” and “freaking rock and roll”.
Judge Dredd: Right, right. Well, I mean, [there is often a] subtext in horror movies. Zombie movies often critique conformity and the [the idea of the] “masses”. So I think if you’re lyrically going off of horror or morbid themes, then I think, naturally, you’re probably arriving at similar critiques that horror films are, you know? That’s a good assessment.
Shifting focus a little bit, it seems like you have been able to secure plenty of shows. Not only in the Lawrence and Kansas City area, but now also in St. Louis. So how has the process for getting shows been going for you, for such a young band [as yourself]? Do you feel like it’s generally harder for young bands to get shows? From the sound of it, [it seems] like you haven’t had those challenges.
Eli: We’ve been super fortunate to have built a good little network here of people who want to have us play. I would attribute a lot of that to the DIY scene. We got on some gigs pretty early on that were just pretty lucky. Um, like. I remember we, uh, one of the early ones we did actually like in July, like at the toilet bowl and toilet bowl was still going.
We got on that bill and had a couple, we had a really good gig then made friends with a bunch of the people. And then it’s just kind of gone from there. That’s how it’s gone. And a lot of these gigs, it’s like, we’re just out in it. And then we ended up meeting these people. We’re all friends and plug each other in different places.
That’s how we’re friends with Sarin Reaper and Casey. Their singer Luke actually plugged us with Midwest Metal Punks initially last year. That’s how I got the first gig with them. And then, we’ve since done more stuff with Midwest Metal Punks. We hang around the Replay a lot. We have friends in other bands that are who work at the Replay. So, we have a little community here in Lawrence [that] seems to support each other. We’ve just been trying to be cool and nice and a good hang and personable and just have a good time. And it seems like people respond to that.
Judge Dredd: So would your advice be for other young bands, both in terms of bands that are just starting out, but also bands that are made up of young people? Would your advice be to network?
Eli: I don’t even think of it as networking. I’m not going out to network. I think of it as just like, “Oh, I’m going to like hang out with these people and you know, maybe meet some cool people who are like-minded and maybe we can get something going”. That’s kind of how I think of it. That’s how we’ve found success…so far at this stage.
Judge Dredd: Right. So going off that a little bit, what challenges do you think young up-and-coming metal bands, specifically in the area, face?
Eli: Well, you know, Lawrence specifically is an interesting case because there aren’t too many metal bands around here. I mean there are some good heavy bands around here, but it seems like generally that the frequency is a little lower. Sometimes it’s hard to grab up spots for opening [for] touring acts. Sometimes it’s the amount of people who will show up to a show and Lawrence is less than.
Well, lately, you know, post-pandemic numbers have been really weird. But, I’d say it’s overall pretty positive in Lawrence’s because it seems like there are people who are hungry for good music. So if you make good music, then there’s an audience for you. Casey [of Midwest Metal Punks] is also in a cool situation because we got all this stuff kind of going on with the underground hardcore punk and heavy metal scene [in St. Louis].
There are a few bands like Final Atomic Battle, Sarin Reaper, and Spinal Fetish, all of those bands kind of have a similar thing going on: an obsession with old school, like Slayer-[influenced] death metal or Celtic Frost stuff.
So, I’d say that it’s a good moment overall, at least from my point of view. In my naive point of view seems to think things are going well. But, I’d say [my advice would be to stand out]. Getting people to come to your thing because there’s a bunch of good stuff going on, but…I think there’s a lot that people can do to try to stand out from just that baseline.
Judge Dredd: So as the programming director at KJHK, I would imagine that you’re around people with diverse musical opinions and tastes, so how do [other KJHK DJs] tend to react to Sarkatha? Do you find that [KJHK] people at least understand it on some level? Or do they generally…
Eli: The DJ mateys? Yeah. I’d say that people generally react pretty positively. From the people that I’ve seen who have come to Sarkatha shows who generally aren’t into metal…an example of that was, Clara, somebody who photographs for KJHK recently, somebody who…she runs Flashback [Dredd’s note: Alternative Flashback, KJHK’s weekly classic alternative program], so she’s into old school alternative stuff.
She came and she was like, “Wow, I wasn’t really expecting to really like Sarkatha, but this is pretty awesome.” So that’s good to hear! Yeah, generally positive vibes. And you know, we try not to be “gatekeepy” about our space or anything. If people dig our stuff, we’re into it.
We’re kind of here for a good time, you know? People seem to dig that. Yeah, I’d say that the reaction is generally pretty positive…if I’ve thrown out some metal stuff to them, either through the radio or through encountering Sarkatha.
Judge Dredd: I think it’s generally been the case that like Malicious Intent DJs have always been left to their own devices. I remember hearing Malicious Intent DJs never attending any of the [KJHK staff] meetings or anything like that. They’re just like, “Oh, they just kind of do their own thing”. So, I think it’s cool you’re the first Malicious Intent DJ who’s gotten really involved in the station.
So what are Sarkatha‘s short-term and long-term goals and how do you envision the band sound evolving over time?
Eli: Well, we kind of have a plan for writing some new stuff and getting some new stuff out there hopefully by the end of the year. In the short-term: hopefully getting some singles out, getting some live recordings out, and maybe getting that kind of thing rolling.
And then eventually I want to, there were some rumblings of perhaps a, I don’t want to say anything too committal cause we haven’t figured out the specifics, but, [we might have] a split coming up with another righteous KC band. So that should be cool. We want to hopefully [put] some more DIY demos [out].
Hopefully, next year, I want to get a full-length going once we have a set of material that we’re really, really happy with. As far as sound goes, we’ve experimented with having a second guitarist in the past a little bit. We might bring that back. We might not, we’ll see. We haven’t really decided yet.
I’d say people are probably in for a mix of more crazy old-school Chuck Schuldiner-style stuff and especially Scream Bloody Gore-style stuff. We’re also moving towards more like Motörhead slash Midnight-style two-minute songs. Hardcore punk-style stuff too. So kind of melding those things in and rocking without mercy.
We’ll see. We’ll see what’s on the horizon. We’re just, we’re just going to try to make a bunch of stuff basically. And whatever comes out will come out.
Judge Dredd: That’s a good plan. Cool. Well, that’s all I got! So, thank you! I know it’s a weird time right now for you.
Eli: I hope my rambling fucking answers from my stressed-out brain were alright. Thank you for the opportunity to interview.