Torture's Anti-Imperalist Slam Is Changing the Gore Game

"You could talk about murdering women or an exploding head or something, but that's just not as scary to me as genocide."

Torture's Anti-Imperalist Slam Is Changing the Gore Game
Torture's K.K. / Photo by @rottenlens

An Angela Davis shirt. An impassioned cry onstage to free Palestine. An entire four-part album cycle based on the U.S.A.'s war crimes in Iraq. What kind of band popped into your mind's eye as you read those words? Did you envision a feminist punk outfit, or an anarchist black metal trio, or a leftist hip-hop collective? Any of them would've made excellent guesses, but you'd be wrong. If, like me and so many others, you grew up on gory death metal, that particular genre would've probably been the absolute last thing you'd equate with socially conscious, revolutionary music... but this time, you'd have been right.

Today, we're talking about Torture—the upstart slam death metal project that's taken the scene by storm and redefined what it means to be brutal.

Torture is a startlingly young project, having been founded by mastermind K.K. in 2022. Since then, the 24-year-old Chicagoan has released four (!) full-length albums. The Torture quadriptych revolves around the horrors of the Iraq War, and the U.S. military and CIA's depraved physical, psychological, and sexual torture, rape, and murder of Iraqi prisoners in Abu Ghraib. The first three albumsWar Crime: 37 Tracks - 37 Homicides, Exhibit B: Dehumanization Tactics, and III - Thrill Kill: The ‘Kill Team’ Murders—are exercises in gorenoise, heavily inspired by free jazz, avantgarde death metal, and field recordings (let's call it "free death"). They're raw, abrasive, chaotic pieces, punctuated by samples of recorded testimony from military operatives.

4 - "Enduring Freedom" is different. It's much more in line with what you might call traditional slam, rife with straightforward, groove-forward riffs, inhuman gurgling vocals, and the requisite bludgeoning breakdowns. There's an artistry to it, though, and hints of K.K.'s love for experimental music peek through here and there. It's very good; addictive, even. Live, the songs are seismic, and those lucky enough to catch the full band's first run of live shows earlier this month clearly felt their power.

In addition, Torture's unabashedly leftist political stances and lyrics (or, rather, song titles; there aren't any actual lyrics) have won them a great deal of support from slam fans who are tired of the rampant violent misogyny that defines so much of the genre. One could even argue that Torture has singlehandedly opened up an entire new audience for the genre, and drawn in listeners who would otherwise be immediately turned off by the imagery or song titles from bands like Cephalotripsy or Vulvectomy. While death metal writ large is not entirely devoid of political content (especially when it crossbreeds with grind—Misery Index, I see you) it's truly bracing to find something like this in a subgenre like slam, which tends to pride itself on its overwhelming unpalatability to the mainstream and prioritize extremity over all else.

I'd honestly almost given up on slam; it's been a guilty pleasure of mine since I was a teenager, but it feels irresponsible to support or promote most of the bands involved. Torture is an exception that, as K.K. has proven, should really be the rule. Slam certainly doesn't have to be safe, but there's no reason for it to continually embrace its worst instincts. The real world is much more violent, gory, and nightmarish than any bargain-basement torture porn fantasy, and it's been around long enough that the stock "let's describe a bunch of weird ways to injure or kill a woman" approach is getting old. Even grandaddies of gore Cannibal Corpse's lyrics are gender neutral now.

Recently, Torture has blown up on social media, inasmuch as an anti-imperialist slam band can "blow up," and the crowds (and merch lines) at this run of shows have been bonkers. K.K. himself is a little mystified about why the latest album has summoned such a robust response, but he's over the moon about it. "With Torture, I never expected any of this attention," he tells me. "I just wanted to make some weirdo gorenoise and slam death metal." Mission accomplished.

K.K. and I chatted over email a few days after Torture's first tour wrapped up, and he didn't hold back on, well, anything. Read on for our in-depth, lightly edited conversation, and get to know the fascinating young hesher who's making slam genuinely dangerous.

Cover art for Torture's 2023 album 'Enduring Freedom' / Stream it here

SALVO: Thanks so much for taking the time to answer these questions! You just finished up Torture's first tour. How did you go about bringing your one-man project to the stage? How have the crowds responded?

K.K.: Absolutely! I love doing interviews and answering questions, so this is a pleasure for me! This tour is actually my first ever tour! I've played smaller shows in the past, but yeah I've never toured before. It has been absolutely amazing, I kind of thought that I would easily get burnt out from being on the road, and was worried about that, but I don't mind it too much! What's made it really easy is that I have my best friends by my side. I've been friends with my guitarist Tone and my bassist Jake for around 11 years now, and my guitarist Xander for around 6 years now. I feel as though we have a very unique/special bond, one that contributes to our musical chemistry, as well as the strength of our friendship.

We're all just always on the same page and understanding of each other. It's so beautiful, and I owe the entire world to them. I love them so much and I always will. They are some of the best musicians I've ever had the pleasure of knowing as well. They learned five songs just from tabs in only two months max!!!! That's absolutely insane to type out—massive, massive respect and appreciation for them.

To answer that last question, the crowd response has been unbelievable. I never expected people to go SO DAMN HARD to this stuff!!! But I ABSOLUTELY LOVE IT !!! My whole life, I have been fascinated with how art and human emotion intertwine. I love when pieces from all types of artistic media make me feel something. No matter what emotion, it's just so beautiful to me that someone's artistic expression can inspire, and elicit a response from another's emotional expression, almost uncontrollably sometimes. This is why I absolutely love live music, and especially moshing. For live music in general, I love hearing vocal reactions to moments in music. Like when a band is building up to a super sick riff or breakdown, and you can hear people yelp and scream in excitement of what's about to come, or when the riff hits and it overwhelms you with emotion so much that your body literally forces you to vocally express that, because of how much the music is emotionally impacting you.

Thinking about it and typing about it makes me tear up, in a very good way. Art is just so beautiful. That's also why I love moshing, you can take what I just said and apply it to physical expression rather than vocal. "Hardcore dancing" is especially awesome to me because it's its own art form, that birthed from these immediate physical/emotional responses. I also love when art makes you forget any regard for your own or others' lives, and that people are willing to hurt and get hurt because they love this form of art so much. This is also why I love performance artists like Chris Burden or Marina Abramović. This is also why I love professional wrestling!

I first heard Torture pretty recently, and felt like I was super behind until I realized you've only been releasing music since 2022! Can you give me a little insight into Torture's origin story?

So Torture originally started out as a gorenoise project. For years and years I had so many ideas for so many musical projects, but they would always fall flat because I lacked motivation. In 2022 I was diagnosed with ASD (Autism Spectrum Disorder) as well as ADHD. I started on meds that fixed absolutely everything for me, and a few months later, I came across the pictures from the Abu Ghraib prisoner abuse. I had never heard of this before, and I became extremely interested in it. Ever since I was a kid, I loved reading Wikipedia articles and other non-fiction types of stuff. Real-life topics impact me emotionally a lot more. I believe it's because I'm super hyper-empathetic. But nonetheless, reading about Abu Ghraib and other war crimes that got swept under the rug essentially, both enraged and intrigued me at the same time.

Around this time, I was listening to a lot of gorenoise, as well as a ton of avant-garde music. Bands like Last Days of Humanity, Craniorachischisis, Effluence, Acid Pouring, etc. etc. as well as artists like Fred Frith/Henry Cow, John Coltrane, Cecil Taylor, Sonny Sharrock, Peter Brötzmann, etc. Bands were already doing "free death," but I wanted to contribute my own spin on it. I wanted to make it pure improvisation, with a late '60s/early '70s free jazz/free improv vibe, but make it gorenoise essentially lol. The goal was to take the passion and emotion from the free jazz artists, and combine it with the head crushing extremity of gorenoise and brutal death metal, to attempt to create the ultimate emotional sonic experience, or how I see it at least!

I think relating it to a real-life issue that I'm legitimately extremely angry and passionate about in turn makes it easier for other people to connect with it since they're as angry and passionate as I am about it. But anyways, it was a few weeks into June when I saw the Abu Ghraib stuff. After several hours of reading and watching things about it, I kept seeing the album cover for War Crime: 37 Tracks - 37 Homicides in my head exactly as you see it today—military stencil font with hella outer glow in front of a fading American flag and all. On July 1st I realized it would be perfect if I actually banged out a whole project and released it on July 4th. I spent a very long time recording, mixing, and making the visual art, but I was actually very proud of what I did. So that's how all that kind of got started!

Torture 2024 / Photo courtesy of Torture

I've always loved slam and brutal death, but as my own politics evolved, I started to feel uncomfortable with going to those shows or really supporting the scene. As an antifascist feminist, it just got too hard to reconcile my love of the music with the violent misogyny that so many of those bands embrace. Torture is different, though. What made you want to pursue a more political aesthetic and themes in your music? It's very unique (in a good way!)

Yeah, I totally get that! I think it's really the worst part of the entire genre/scene sometimes. I struggle sometimes, because the music will be so awesome and will make me feel such wonderful joy and happiness, but then the title is some crazy, directly misogynistic shite and I'm just like... there's a disconnect here. When I listen to slam, all I see in my head is the band performing the music live. I love picturing the swinging hair, clenched teeth, and full body contortions set to extremely brutal grooves. I never read any lyrics ever for slam, because there has never been like a slam concept album (unless I haven't heard of it!). Even my album doesn't have any lyrics! I just always heard the vocals as another percussive instrument, which is honestly a lot cooler to me than having lyrics.

When I tried to write lyrics for Enduring Freedom, I felt like the creativity of my non-lyrical vocals became inhibited. This is why I became confused as I got more and more into slam, why are so many of these lyrics so damn misogynistic?? This music is angry and fun, and allows for so much since it abandons so many rules of its predecessor genres. How has there never been any prominent slam albums that are political?? Or gorenoise?? I wanted to break out of this mold and talk about topics with real-life consequences. You could talk about murdering women or an exploding head or something, but that's just not as scary to me as genocide, war crimes, and hundreds and thousands of innocent people dying for absolutely no reason. Systematically, at that. These are things that genuinely disturb me.

I grew up watching LiveLeak stuff like a lot of people around my age did, and none of that ever disturbed me as much as seeing U.S. soldiers jokingly taking pictures with a human being that they abused, neglected, and/or killed. I knew the U.S. military has done some messed up things, but I had never seen it that extreme before. Why don't they teach us about things like this in school? Shouldn't we own up to our mistakes and learn from them? It makes me so angry to the point where I feel like I have no choice but to create art and express my anger through that.

4 - Enduring Freedom is a searing indictment of U.S. imperialism and its catastrophic interventions in the Middle East, as are your other albums; can you tell me a bit more about how you landed on this theme in particular, and what media sources informed your perspective here? What story are you trying to tell with Torture?

I think that the reason I'm drawn to those themes you mentioned is this: being born in 1999, tons and tons of media I grew up with was riddled with some sort of Islamophobia or racism towards people from the Middle East, whether it was a microaggression or direct racism. Looking back on all of it now, it's so glaringly obvious that it's a direct result of the propaganda pushed by the U.S. during that time. They justified their war with the September 11th attacks, and instead of trying to understand why these people would go to such extreme lengths to get their message across, they saw it as an opportunity to invade their land, culture, and lives, all while making a quick dollar drilling oil and taking over opium farms, as well as satisfying their revenge fetish, killing 432,000 civilians. They had to trick their people into thinking this was the right thing to do, so they created this stereotype of people from the Middle East as terrorists, savages, animals, all these disgusting words. Why couldn't the U.S. have just listened to these people? Why did they have to kill 432,000 because of one attack that killed 3,000? What makes these people think two wrongs can make a right?

The answer is money. Even American citizens who have Middle Eastern heritage were harassed endlessly due to the U.S.'s propaganda campaign. It makes me so angry and sad. I was lied to my whole life, and so was every single American citizen. So it's very personal for me, having gone through the American education system and realizing later on how much I was lied to and how much I was never told.

Unfortunately for me, reading books is really hard due to my disabilities, but I have seen some incredible documentaries on this subject matter that really influenced my opinion on it: Michael Moore's Fahrenheit 9/11, Ghosts of Abu Ghraib (directed by Rory Kennedy), and FRONTLINE's Truth, War and Consequences. I mostly try to just read into the facts of the matter and form my own opinion based on my morals. I'm not too big on philosophy, but I would say I'm a humanist first and foremost, and a utilitarian. I just want what's best for everyone, and global peace.

You've mentioned in other interviews that System of a Down was a huge influence on you when you were first getting into heavier music. They're also one of the few well-known metal-adjacent bands that have spoken up very publicly about the Armenian Genocide, U.S. imperialism, and capitalism in general. How much of an influence was that on Torture's own perspective?

I could talk about System of a Down forever. Some of my earliest memories involved that band in one way or another. My dad was super into them when I was growing up, and would play them every chance he got. My dad is huge on prog rock, and out of all the popular metal bands coming out in the early 2000's, SOAD was definitely the most prog. I will admit, I kind of had no clue what any of their lyrics meant until a little bit later in life. I think my dad didn't explain things like the Armenian Genocide and other topics explored by the band until I was older. I think when I finally understood what they were talking about is when I really began adopting basic anti-war, anti-imperialist views at a younger age. I didn't care much about real-world issues that much until I was around 17 years old, when the Parkland High School shooting happened.

It really influenced me to actually become passionate about politics. I was also in a government class in high school that really inspired me to start actually caring about real-world issues. I also had a partner around this time that was super passionately left wing, that influenced me to heavily lean left as well. After all this, it was so great being able to listen to System of a Down with this full understanding. It makes it even more interesting to listen to, even though I've already listened to their music countless times. Musically, they're one of the most unique bands of all time. If you haven't listened to every single one of their albums front-to-back, you need to stop everything you're doing and do that RIGHT NOW!!! It is essential listening for any human being.

What are some of the big issues you're paying attention to right now? In a perfect world, how would you like to see the extreme metal scene get involved in them?

There's a lot I'm really passionate about, I'll try to elaborate on some of them.

Pro-Palestinian/Anti-Zionist: I can't lie to you when I say that before October 7th I didn't know much about the situation in Palestine. I think in the past it's been really difficult to be aware of the suffering Palestinians have endured when you're living in a nation that gives so much money to Israel, and propagandizes its citizens into thinking genocide is okay to justify maintaining its capital. Sound familiar? This isn't the first time the U.S. has shown its greed and selfishness, and it will most certainly NOT be the last. I think it's really sad that I didn't fully understand this situation until much later on in life.

EVERYONE should know 100% of the *true* facts of what is happening. But they make it so hard to understand because there's no accessible information readily available for everyone. If you're reading this and are in the boat of not understanding the situation, all you need to know is that people who believe in a Jewish ethnostate are called Zionists. ANTI-ZIONIST DOES NOT MEAN ANTI-SEMITIC. Israel has occupied Gaza and the West Bank since 1967, and even when Israeli forces withdrew in 2005, they maintained a blockade against Palestinians, which is still ongoing today. They control the borders, air space, population registry, etc. which is ILLEGAL according to INTERNATIONAL LAW. This has been happening for almost 70 YEARS.

It's no wonder why something like October 7th happened. These people are enraged. Their families are being bombed, starved, and abused. There is no reason to block humanitarian aid other than to block basic access to food. There's pictures of humanitarian food trucks with a hole blown directly in the middle of their roofs. And Netanyahu just sits in his comfortable little spot and says "Uh oh that was an oopsie, sorry!!" whilst the same thing happens literally 30,000 times over since Oct. 7th, with no repercussion whatsoever. The IOF screams "It's Hamas! It's Hamas!" yet THEY'RE LITERALLY THE ONES WHO FUNDED HAMAS TO COUNTERBALANCE THE PLO BECAUSE IT WAS MORE LEFT-LEANING. LITERALLY A LITTLE LESS THAN HALF OF THE CURRENT PALESTINIAN POPULATION ARE UNDERAGE, HOW CAN THEY DO ANYTHING ABOUT HAMAS????

Yes, Hamas has done horrible things. I don't agree with the steps they've taken, however I understand why they would go to such lengths. I think any human being with eyes and ears would. Imagine your nation and people getting killed time and time again, and getting blockades put on them. But it's just the fact that they were funded by Israel, and that Israel blames Palestinians for not voting Hamas out and not themselves is just absolutely insane to me. I know the focus of my music is mainly in Iraq/Afghanistan, but I feel like Palestine just needs to be talked about WAY more. That's why in our live performances I talk mainly about Palestine. I wish I could speak up even more about this stuff, but my disabilities inhibit that a lot, and I'm really sorry if I get numbers wrong, or communicate messages in strange ways. I'm not very good at speaking in general, I do much better when I'm not under pressure.

There was some interesting backlash on the clip Hate5Six (big gigantic shoutout) put up of me talking about Palestine. I don't let it affect me too much because that's not what's actually important. I'm so glad I even have the chance to say anything about this, and I wish my brain wasn't so inhibited in-between our songs. I get choked up really easily talking about this topic, I certainly did in the Hate5Six clip. Please just know I'm not just saying this stuff for clout or attention or whatever. I care about this stuff so much and I just want to speak out against it. This is the perfect platform to do this on.

Trans & LGBTQ+ rights: everybody deserves equal respect and treatment. I never and will never understand why people hate people expressing their true self. What is the point? Transphobia and homophobia benefit nobody. Accepting everyone for who they are and what they like, so long as they're not harming anyone, benefits everybody. It's that simple to me. How is it not to others? Stop the hate, and appreciate & respect people for who they are.

Veganism. Don't get me started! I've been vegan for 5 years now, and it has benefitted me so greatly. I think everyone should at least reduce the amount of meat/dairy/eggs they consume. Stop supporting killing without consent. Cows are r*ped to produce the milk and cheese you consume. Most of the crops we grow goes towards animal feed. It's super unrealistic, but we could literally reallocate all that land for human consumption, and feed the world several times over. The only thing holding anyone back from becoming vegan is the taste of meat/dairy/eggs, which can be easily replicated via seasonings. SEASON YA DAMN FOOD PEOPLE THAT'S WHY YOU'R VEGAN FOOD SUX !!!

Pro-choice—I am AMAB but I sympathize with the 170 million American women who've had their bodily autonomy threatened many times in the past. I don't understand forcing your beliefs onto everyone, especially when it forces women to undergo nine months of pregnancy as well as childbirth. These things can be extremely traumatic. Not only that, they're forced to raise a child they didn't want, and be financially responsible in this predatory capitalistic nation. If you're not rich practically already, you're screwed. This is what pro-lifers want for people. On top of all that, they slut-shame women for getting pregnant. They act like sex is this sacred thing only meant for making children, which sort of reinforces this nuclear family-esque belief that women should stay at home and only be good for making children, which is absolutely DISGUSTING. Women should do whatever they want, just like every human in the world. Natural things don't necessarily have a purpose. Stop the slut-shaming and keep abortion legal !!!!There's a lot more I would want to talk about but I think this is getting too long now, haha!

Torture has really popped off lately, so much that there's even been online metal discourse about your marketing strategies and whether you're an "industry plant." It's super funny to see that kind of speculation around a DIY slam band, but clearly you've struck a very real chord with people. Why do you think people are so stoked on what you're doing? 

It is super funny. Fun fact: I never paid one penny for advertisements or anything. It is quite literally just me. Because of my autism, I like to do things on my own, and I don't really like putting myself out there too much. I really hate the business side of things actually. I hold the belief that once you start creating art for money or profit, your artistic potential becomes limited. You need to create art for yourself, and not anybody else. When you're only satisfying what you want in art and not what others want, that's what makes for the best art in my opinion.

For example, my artistic desires always relate to pushing boundaries of music and being the artist that redefines their artform. I want to revolutionize the artistic medium I create. I never expect any monetary compensation for this. If I was guaranteed to never make any money off of art for the rest of my life, I would be okay with that. So when I see people calling me an industry plant or whatever, I just laugh. Because I know my core beliefs directly oppose what they're implying. I am literally just one (1) autistic kid with a gigantic special interest for music, and for politics. The drive in my soul for artistic satisfaction is what motivates me to create art, not money. It never will be money. But to answer your question, I think people are stoked 1. because they agree with the politics, and 2. because they recognize my genuine passion for music and art in my works.

Let's talk about the last two tracks on Enduring Freedom, "Finale II. "Wounded/For P.K. Reprise (Blue)" and the bonafide epic, "Finale III. "Crosses (White)." Those were a big surprise, and really show off your love for anthemic progressive rock. Can you tell me a bit about what's going on in those songs, the stories they tell, and what made you decide to end this brutal-ass album on such a gorgeous, almost orchestral note?

I really appreciate your kind words about these tracks. I'm extremely proud of the concept behind them. Thank you for giving me the opportunity to talk about them, because I have always wanted to. They mean so much to me. My second album, Exhibit B: Dehumanization Tactics ends with a track titled "09/11/01 7:45 PM (For P.K.)". This track means a lot to me. It's very inspired by the movement in classical music called minimalism, and specifically a piece by composer Gavin Bryars called "Jesus' Blood Never Failed Me Yet." It features a sample of a homeless person singing a Christian hymn, looped endlessly, with orchestration overlayed on top of it. Even thinking about this piece makes me cry. When I heard it for the first time I cried for 19 minutes straight.

It was one of the most emotional listening experiences I have ever gone through. I struggle a lot personally thinking about death. I grew up Catholic and am now a pure agnostic. When you start to realize there may not be an afterlife after growing up thinking there was for sure, it hurts your soul, or at least it did for me. When I hear "Jesus' Blood," I hear a human nearing the end of their life, grasping for their last hope of happiness; an afterlife. So as you can see, I was very influenced by this piece.

I wanted to do my own after hearing and seeing the video of the U.S. Congress singing "God Bless America" hours after 9/11 happened. Throughout Exhibit B, there are many themes relating to mirrors, or things mirroring each other. If you look and listen hard enough, you'll find them all, but the most obvious example is the two ending tracks. As the album starts with a sample and a sudden explosion of intensity followed by a decrescendo, it ends with a crescendo followed by a sudden stop, which is then followed by the ending track which starts with a sample. The sample of Congress singing God Bless America is played forwards then backwards, another example of mirrors. When I was composing the ending track, my dad underwent surgery that had the possibility of ending his life. This definitely influenced the composition and energy in the track. Ever since I composed and released it, it'll play in my head from time to time.

Uncontrollably, lots of times. I am always hearing music in my head, most likely due to being autistic. That has been happening ever since I could remember. But it had never hurt me before, and almost every time "09/11/01 7:45 PM" plays, it gives me a little emotional sting in my belly. Sometimes I can't help but to flat out cry because of it. It reminds me of death, how scared I am of it, and the anxiety/extreme sadness I felt not knowing whether my dad was coming back from the hospital. That's why it's dedicated to "P.K.", that's my dad's initials. So this piece obviously means a lot to me to say the least.

As Enduring Freedom was the fourth and last piece of the "Torture Quadriptych," I wanted to have a grand finale of sorts. When I had this idea, the first thing I thought to do was a reprise of "For P.K.", since the piece meant so much to me. I thought it would be perfect to recreate it for a band to play, rather than an orchestra. I wanted to have almost exactly what you described: a sort of prog rock anthemic ballad. When I pictured Torture playing live, I always heard the intro exactly as you hear it today. I always, and I mean ALWAYS tear up and/or straight up cry when we play it. I can't control it. I'm crying as I type this actually. The track just means so much to me, and I'm so glad I can recreate it with my best friends in the world for everyone to see.

As for "Crosses (White)," that was composed in 2020, during the height of lockdown. Tone very graciously gave me a harmonium, and I would sit there for hours playing it. I kept playing the melody you hear in "Crosses" over and over again, and immediately thought it would make for an amazing minimalist piece. I worked on that piece for three years, and I am so happy with how it turned out. I actually never thought it would see the light of day, but I decided it would make for an amazing outro piece for this album. I wanted to end the quadriptych with a great big grand finale.

Endings and grand finales make me very sad. I can think back to when I was a little kid, when summer was about to end and the new school year started, there would always be one last "hurrah" me and my family would do, like go to the beach or Six Flags or something like that. Or when it was July 4th and we're about to watch the last grand finale firework of the fireworks show.  It gives me this bittersweet ache in my soul and my belly. I think it's the idea of transitions that messes with my autistic brain. So to try to invoke this feeling in others, I finished composing "Crosses" and put it on the album. I think it worked out perfectly.

Are you planning to stay DIY for now, or are you interested in finding a label and trying to grow the band outside of the scene?

Right now, I would love to stay DIY. The shows in the DIY scene have been absolutely incredible, and I also love being able to stick it to predatory record companies by 100% organically growing an audience. I also absolutely love working with Lumpy/Daze Records. I've been asked several times on tour whether or not we're "signed" to Daze which I just kinda find really funny. Can't people just work together without these sorts of labels?

We're working together on stuff because we have mutual admiration for each other and we're friends. That is WAY cooler to me than getting signed or whatever. I'm not really down with corporate-ass terms like that. It makes it seem like a business, money is a complete afterthought for me. Like I said, if I was never paid for anything I would still be at the same level of satisfaction and happiness with this project.

What's next for Torture? I'm so bummed to have been out of the country when you play Philly—you'll just have to come back!

More merch, new music, and LOTS more shows. We love playing out so much, and have lots of fun things in store related to that :) I wish you could've been at the Philly show, it was legitimately the greatest night of my life.

Before we close this off, I just want to thank a few people. Thank you Lumpy for everything. Thank you Cody/Fix My Face Records for everything. Thank you Julian/Sickening Shit for everything. Thank you Internal Bleeding for everything. And thank you Kim, for the opportunity to write about everything I'm passionate about for everyone to see :) From a fellow K.K. I really really appreciate it !!!!!!


Listen to 4 - Enduring Freedom here, cop some Torture merch while it lasts, and subscribe to Salvo to support leftist extreme metal reporting!