Brendon Small talks about “Metalocalypse: The Doomstar Requiem- A Klok Opera”

Brendon Small is the mastermind behind Adult Swim’s hit TV series “Metalocalypse” and the virtual band that has spawned from it Dethklok. It has been 15 months since the close of the fourth season for “Metalocalypse”. With fans wanting more after the cliffhanger from the finale, we finally get “Metalocalypse: The Doomstar Requiem- A Klok Opera”. The special is a one-hour rock opera featuring a fifty-piece orchestra. Media Mikes had a chance to chat with Brendon again to discuss the music behind “The Doomstar Requiem” and the future of “Metalocalypse”.

Mike Gencarelli: Tell us about your decision to turn “Metalocalpyse” into a one-hour rock opera featuring a fifty-piece orchestra?
Brendon Small: I had been toying with the idea of a rock opera going back to season three. You can see there is an episode called “Rehabklok”. It is what we called a troubled episode. We have one every once in a while were the humor isn’t working or the story isn’t tracking. So usually what I will do is go in and up root the story and try and fix it and sometimes that is done through music. So for this case I decided to write everything that this character was going through with the subtext and text and make it into a miniature rock opera. So I really like that. I grew up on musical theatre. Two of my two favorite things are music and stories. So if you can combine the two of them then for me that is a really fun place to play around in. This is part comedy, part super drama and part action, which is what “Metalocalpyse” is, so I thought it was be fun to make to really dark and really stupid and tell the story of the rescue of Toki Wartooth.

MG: How did you end up collaborating with Emmy winning composer Bear McCreary?
BS: I met Bear at a dinner a few years ago at the dinner with Scott Ian of Anthrax. I was familiar with Bear from his work on “Battlestar Galactica”. I studied a little bit of film scoring back when I was in school, so it was something that I always wanted to do. I do a ton of scoring with “Metalocalpyse” but nothing with string or bass stuff. So I always wished that I could make it sound better. Bear had liked the music from “Metalocalpyse” a lot. He usually has big budgets to play with so he can conduct a 90 piece orchestra on an NBC show. I work in cable cartoons and there is no budget for orchestral stuff. TV shows are weird since you are not in complete control of how long they are on which is up to the network. But I knew I had a shot to this one thing and I wanted to do it right and find a way to afford an orchestra. So I called up Bear and tried to get some price quotes and find out the cheapest way to do this in order to make it sound like a movie. So we went back and forth but ended up finding a way to do it. For the first time ever, I put my own money up for a TV special because I thought that it was important for me musically and that it would be an interesting project. I am not sure if I am going to make the money back but I think it was worth a shot.

MG: Give us an idea about your development process?
BS: The most important part for me is the writing and discussion behind what is going to happen on the show. In this case, it is a one-hour long special. So what I did was that I sat with Mark Brooks and Janine Ditullio, the co-writers, in a room for about two weeks. I came to the table with a bunch of the story already planned out including the big flashback for Toki. I wanted to pick up where Dethklok left off but make them have a story of selfishness, selflessness and the feeling of being brothers. After those two weeks, we developed on that and came out with a 15-page outline. I had an idea of what I wanted to music to sound like. In one part, I related to “Jesus Christ Superstar” and then the next part I was thinking about “Les Miz”. There was even a part where I thought about Annie when she went to live with Daddy Warbucks and that was energy and emotional behind that part. I took that and went into my own studio and figured by April 15th I had to have an hour long opera written and I did. In fact, it was much easier than I thought it would be. It was the easiest music to write since I knew what was the emotional center was of each piece and that indicates what the tempo is and so on. I just wanted to keep your ear excited the whole time you were listening. The other thing I like to do when I write music is that when it is over you want to listen to it again. I want to be an audience of the audience as well. I want to be able to enjoy it myself as if I am listening to somebody else’s music.

MG: Where you concerned about delivering this different kind of sound for the series?
BS: That is the thing, I think that people that are familiar enough with the show. They know that Dethklok music is not the only music that shows up in the show. There is Toki’s world, Snakes N’ Barrels, Dr. Rockzo and just stuff that has nothing to do with heavy metal at all. I love metal but I also have an iPod that is always on shuffle. The way that I have always worked with the music on the show is that when Dethklok doesn’t have a song playing it is something that is contradicting to metal, so that the metal sounds heavier when it is on. So if I were to make a full rock opera with a full piece metal band the ear will get fatigued and it wouldn’t work. What I need was a little demarcation end points, a little rest and a few different styles of music to keep your ear excited and for you to keep it on a loop. I wanted to write an album that you leave in your CD player for month. So I think that contradicting stylistically or tempo-wise has always been the easiest thing to do and has always worked when I was writing. So no, this might not be what Dethklok sounds like but it is what “Metalocalpyse” sounds like. I wanted to make sure that people know that this is not a Dethklok album, this is a “Metalocalpyse” rock opera with a 50-piece orchestra.

MG: How was it working with special musical guests like Jack Black?
BS: When I did this thing I didn’t want to be limited by anybody’s range, so you will notice that I did about 95% of the whole thing myself. I wrote for my range of vocals. I can make a lot of different sounds with my voice. So I did everybody from Ishnifus Meaddle to Magnus Hammersmith to Nathan Explosion, Skwisgaar Skwigelf, Pickles and William Murderface. I did all their voices and sang all their songs. I wanted to make sure I had some other voices here and there like Raya Yarbrough, who did Abigail’s voice. Malcolm McDowell and Mark Hamill were in there since I wanted to populate it with a couple of other people. I am able to mask my voice pretty well but at some points you can hear that it is the same guy, which is fine though. Jack Black is an insanely talented superstar. He has got one of the coolest rock voices out there. He really does. I think Tenacious D’s music is some of the best. He was really cool and just completely got the idea of this project. That is also what I love about Tenacious D is that they have this sort of rock opera mixed style with classic rock. I gave him a clip of what he would be doing and I thought it was cool because it reminded me of Andrew Lloyd Webber and classic rock on the vocals. After listening, he drove right over and went into the studio and just belted it out his part and was just super fun to work with.

MG: Many people were speculation this would be the end of “Metalocalyse” but we got left with a cliffhanger, so is it safe to assume we have more to come?
BS: It is funny because I have a Twitter account and I was just laughing watching people say how sad that this was going to be the last episode. I was sitting there thinking that maybe they knew something that I didn’t [laughs]. This is not the last episode of the show. It does have the word “requiem” in it, which is like the end of something. It is very much the end of a few characters since there are a few important deaths in this special. It is “The Doomstar Requiem”, which is a big part of where the story continues from this point and I needed to introduce that. Basically this whole one hour special was to address how we ended things with season four and this was the solution. The whole story was to take these narcissistic assholes and have them care about each other and that was the whole show from the very beginning. You watch from the first episode, they claim to not care about anything and slowly started to in season three and four. They are constantly fighting themselves. It’s their head vs. their heart, the whole time. So it is funny that people made up that scenario online. I am lucky always if I get another season and as that is not always up to me. All I can do is back the project that I have sold and in this case it was “The Doomstar Requiem” and of course I have more story to tell but I couldn’t fit it all in there. But there is still more to come! So if you want to support Dethklok and want more in the future, be sure to purchase the album on iTunes and spread the word!

CD Review “Metalocalypse: The Doomstar Requiem – A Klok Opera”

“The Doomstar Requiem A Klok Opera”
BS Records
Producer: Brendan Small/Bear McCreary
Tracks: 21

Our Score: 4 out of 5 stars

The original score from “Metalocalypse: The Doomstar Requiem A Klok Opera” is now available on CD in all its shredding glory. Written specifically for the one hour animated special series creator Brendan Small and a 50 piece orchestra helmed by Bear McCreary (Battlestar Galactica/Walking Dead) join forces to create 21 tracks the tell the story of the rescue efforts to save Dethklok guitarist Toki Wartooth arguably one of the bands most valuable assets.

Jammed pack with over the top instrumentation and guest appearance by Jack Black, Mark Hamill and Malcolm McDowell “Metalocalypse: The Doomstar Requiem A Klok Opera” will blow your face off with one fowl swoop. Songs such as “Magnus and the Assassin” and “The Fans are Chatting” are dark and heavy with comedic story lines while tracks like “Abigail’s Lullaby” and “En Antris Et Stella Fatum Cruenti” teater on the edge of operatic greatness. This is heavy/progressive metal like you have never heard before.

If you were already a fan of the television show or only caught the recent “Metalocalypse: The Doomstar Requiem A Klok Opera” one hour special the accompanying soundtrack is a must. Brandon Small and Bear McCreary have pushed the envelope with this score and the unlikely pairing has taken each of these two’s performances to the next level. For those wanting more from this monumental occasion “Metalocalypse: The Doomstar Requiem A Klok Opera” will be available in a Deluxe Edition format which includes a “Making of” featurette, interviews and the full libretto. Pull yourself up off the floor after experiencing the visual presentation of this release and get yourself the audio companion now!

Track Listing:
• The Birth/Fata Sidus Oritur/One of Us Must Die
• Magnus and the Assassin
• Partying Around the World
• Tracking/Ishnifus and the Challenge
• How Can I Be a Hero?
• The Fans are Chatting
• Abigail’s Lullaby
• Some Time Ago…
• The Duel
• I Believe
• A Traitor Amongst Them
• Training, Do It All for my Brother
• Before You Go
• The Answer is Your Past
• The Depths of Humanity
• Givin’ Back to You
• En Antris Et Stella Fatum Cruenti
• The Crossroads
• Blazing Star
• Morte Lumina
• Doomstar Orchestra

Blu-ray Review “Metalocalypse: Season IV- Church of the Black Klok”

Starring: Tommy Blacha, Brendon Small, Mark Hamill, Victor Brandt, Malcolm McDowell
Directors: Tommy Blacha, Brendon Small
Rated: Unrated
Studio: Cartoon Network
Release Date: October 30, 2012
Run Time: 144 minutes

Season: 4 out of 5 stars
Extras: 3 Out of 5 stars

When I first heard about “Metalocalypse” back in 2006, I was excited since I am big fan of brutal music and also Adult Swim’s animated show. The show has developed so well over the years and has consistently blown away any expectations I had. The show recently completed its fourth season on Adult Swim and has been the best season since the first. This season the show also returns to its original 11-minute long episode format, which I persoanlly preferred. It is so amazing to realize how far this virtual death metal band Dethklok has come since 2006 with CDs and tours. This show is totally brutal and I honestly cannot get enough of this. This release also includes a bonus of the entire season available to watch using Ultraviolet digital streaming copy. Now we just need to get seasons one and two put out on Blu-ray. You get that Adult Swim?

“Season four of “Metalocalypse” begins with our heroes, extreme metal gods Dethklok, as they ejoin from the sky to the earth to confront the evils that lay before all-human kind: the evils of dating fans; the evils of perceived racism, of the ‘tell-all’ books, of the bullying helpless diabeties, and the evil of fellatio. Will Dethklok face their fears or will they self-destruct when they world needs them most? The Metalocalypse continues…” Also the truth behind the shadowy organization, the Tribunal is starting to reveal itself and its mission to end Dethklok.

The fourth season contains the following episodes: “Fanklok”, “Diversityklok”, “Prankklok”,” Motherklok”, “Bookklok”, “Writersklok”, “Dethcamp”, “Dethvanity”, “Going Downklok”, “Dethdinner”, “Breakup Klok”, “Church of the Black Klok”. This season features guest appearances from some awesome talent like Corpsegrinder (Cannibal Corpse), Cam Pipes (Three Inches of Blood), Dweezil Zappa, actor Jon Hamm (Mad Men), and director Werner Herzog (Bad Lieutenant: Port of Call New Orleans).

The Blu-ray presentation on this season is an nice improvement over season three.  It is presented it in its 1.78:1 broadcast ratio and looks sharp in its 1080p transfers.  The star of the release though has to be the Dolby TrueHD 5.1 audio track, since the show is based around music and this does not disappoint. There are also some decent special features, adding up another two hours of bonus content.  There is fun interactive “Facebones DethGame”, which has some decent replay value.  There is a sweet tribute to all the brutal fan art that was submitted to the show.  There is a montage sequence included for the “Black Klok”. There is also “StaresDowns” with the band, a feature called “MurderThoughts”, A “Pickles Flyby” and a Tribunal BTS featurette. The feature that steals the show though is “Nathan reads Shakespeare #4: A Comedy of Errors” this is a 90 minute feature film and is a must see for fans!

2012 is a big year for Adult Swim’s virtual death metal band Dethklok. They are headlining a 34 date concert tour this Fall and also they just released a new album, “Dethalbum III”. The album also just debuted at #10 in the Billboard 200, which is the highest that series has ever achieved. If you are a fan of “Metalocalypse”, you should be doing back flips for all this brutality. Now we just have to wait for a fifth (and hopefully not last season) from Brendon Small. Let’s just hope it doesn’t take another two years to release that.  But at least for the time being we can mosh it out at the concerts and blast the new tunes!

Adult Swim Announces Details for Highly-Anticipated Metalocalypse: Dethklok’s “Dethalbum III”

 Adult Swim’s Animated Aggressors to Release New Album in North America with CD/DVD Combo and

Clean Version on October 16, 2012; Limited Edition Vinyl Follows on November 6

DETHKLOK returns this fall with Metalocalypse: Dethklok Dethalbum III, the highly-anticipated follow up album that fans of the animated band have been begging for. The stars of the Adult Swim series Metalocalypse will unleash 12 brand new tracks that are more brutal than ever before in this fall’s release, set to hit stores throughout North America on October 16, 2012 from Williams Street Records. The Dethalbum III is once again co-produced by Metalocalypse co-creator Brendon Small and Dethklok producer Ulrich Wild (The Dethalbum and Dethalbum II). The cover art was also illustrated by The Dethalbum and Dethalbum II cover artist Antonio Canobbio.

Dethalbum III will not only be released in its original CD and digital format, but also as a Deluxe Edition CD/DVD and a clean version of the CD. The Deluxe Edition CD/DVD will include a 32-minute behind-the-scenes documentary of the making of Dethalbum III, as well as music videos and much more. A vinyl edition of the album with special etching will be released on November 6, 2012.

The full track listing for Dethalbum III includes:
1.      I Ejaculate Fire
2.      Crush the Industry
3.      Andromeda
4.      The Galaxy
5.      Starved
6.      Killstardo Abominate
7.      Ghostqueen
8.      Impeach God
9.      Biological Warfare
10.  Skyhunter
11.  The Hammer
12.  Rejoin

The fourth season of Metalocalypse, created by Brendon Small and Tommy Blacha with Small executive producing, recently wrapped on Adult Swim and will be released on DVD and Blu-ray Disc on October 30. Along with all 12 episodes from the series’ fourth season, theMetalocalypse Season 4 DVD and Blu-ray releases will feature more than two hours of special features. Highlights from those features include a 90-minute feature film of Nathan Explosion tackling his latest Shakespeare reading, in “Nathan Reads Shakespeare 4: Comedy of Errors,” a series of band member “StaresDowns,” a look at Dethklok Fan Art, “MurderThoughts,” a “Pickles Flyby” and much, much more.

For more information on DETHKLOK and Dethalbum III, please visit or, and more details, including pre-order information and a corresponding fall tour for Dethklok, are set to be released shortly. Stay tuned for an assault of new information, multimedia and exclusives coming very soon.

Titmouse, Inc.’s Chris Prynoski talks about Adult Swim’s “Metalocalypse” and Disney XD’s “Motorcity”

Chris Prynoski is the co-founder Titmouse, Inc.  The animation studio is responsible for a lot of shows on Adult Swim like “Metalocalypse”, “The Venture Bros” and “Superjail”.  Chris also works on the TV series on  Disney XD called “Motorcity”.  Media Mikes had a chance to chat with Chris about Titmouse, “Metalocalypse” and Disney XD’s “Motorcity”.

Mike Gencarelli: Give us some background on how you started animation studio Titmouse, Inc.?
Chris Prynoski: I never really had a plan. I got my start in the mid 90’s at MTV in New York right after I graduated from SVA. I cut my teeth on Beavis and Butt-Head as a storyboard artist – and after directing on the B&B movie and Daria and creating a short lived show called Downtown, I felt like it was time to move out to LA. While I was directing at the studios out here, I had the idea to start an internet t-shirt company on the side. It was the early 2000’s and it seemed like a good time to try starting a business. I called the t-shirt company Titmouse. Anyways, I didn’t make a ton of t-shirts, but I kept getting freelance animation work. I had to hire a bunch of friends to help out. Before I knew it, we had a ton of employees and because I had filed the business paperwork for Titmouse, that became the name of the animation studio. I don’t think I could have started it on purpose. It just kind of happened.

MG: What is the biggest challenge co-owning and working with your wife?
CP: It’s great because I get to see her a lot, but sometimes we have to shut off the “work talk” when we get home. Just maintaining a certain amount of separation between our business stuff and the personal stuff is sometimes challenging. We are expecting our first son in about a month and a half, so she’s going to be at home for a while. I’ll shoulder more of the studio stuff during that time and I’m sure that we’ll be too busy cleaning up turds to talk very much about work.

MG: With “Metalocalypse”, you not only have produced but also directed some episodes, what is your biggest challenge with this show?
CP: There’s tons of challenges on every show I’ve ever worked on. With Metal (I directed on the first 2 seasons) it was trying to fit everything in the 11 minute format. Brendon and Tommy are both genius improv comedians. We would end up with hours of material. It’s a real challenge in the edit room to get these episodes down to time and still keep them funny and interesting and satisfying. We tried going to 22 minutes in the third season, but we are back to 11’s for the fourth season because we all agreed that’s the format that works the best for the show.

MG: How do you feel that the show differs now entering its fourth season?
CP: Well, one thing is going back to the 11 minute format. I dig it. Also, as Schnepp and I have involved ourselves in other projects, there’s more room for additional directors. Mark Brooks, who ran the writers room with Brendon, directed a bunch. Felipe Salazar, our editor, is also directing this season. Brendon is directing again as well. We are also working on new videos for the upcoming tour with Lamb of God.

MG: How does it feel going from a show like “Metalocalypse” to a complete 360 like Disney XD’s “Motorcity”?
It’s very different doing a kids show. Hopefully Motorcity is a show that adults can enjoy too. There are definitely more story restrictions – you’re not going to see any booger sugar addicted clowns, or bloody dismemberments in a show like Motorcity. But we are really trying to push it to a new level visually. The action stuff is fun to direct and we can go crazy in a different kind of way.

MG: Tell us about how you got involved directing the amazing hallucination sequence in “Beavis and Butt-Head Do America”?
CP: Basically I was a pretty new kid on the scene at that point. I came on at the tail end of the 4th season of Beavis and worked on season 5 and 6 as a storyboard revisionist, then a storyboard artist. I was storyboarding and doing layout on the movie when Yvette Kaplan approached me about directing the hallucination sequence. All the episode directors were busy on sequences that had to look like the show. They didn’t want this sequence to look like the show. I had done some crazy station IDs and weirdos promos recently, so they picked me. I was psyched. It was my first credited, professional directing gig!

MG: So what’s up with you 4-wheeling with my favorites Mike Judge and Zac Brown!!??
CP: It was pretty crazy. It was a very drunken evening involving swamps, 4-wheelers, bonfires and throwing axes. At some point soon you’ll hear about what we are working on together.

MG: How do you feel that animation has differed today from when you first started?
CP: Technology has really changed everything. When I started, you drew on pieces of paper and everything was painted on clear animation cells and shot frame by frame under a giant camera. Then it changed so the drawings were scanned and painted in the computer. Now we draw right in the computer on digital tablets called Cintiqs. That makes it possibly to operate the way we do now. It’s insane. Hooray for computers!

MG: “Superjail” has a real 90’s MTV feel to it and is so unique, can we expect a third season?
CP: We are working on a third season right now! I’m not sure when they will announce air dates, but I’m super excited about it. Christy is doing an amazing job of bringing the show back to it’s roots. He is storyboarding a lot more of the show and it is over the top bananas! It’s kind of a meld of the first two seasons – taking the most badass aspects of both and mashing them together.

Brendon Small talks about Season Four of Adult Swim’s “Metalocalypse”

Brendon Small is a God among metal fans. He is the guy behind Adult Swim’s hit show “Metalocalypse” and the virtual band Dethklok. He has even went on tour with the band across the country. “Metalocalypse” is currently beginning its fourth season on Adult Swim on April 29th. Media Mikes had a chance to chat with Brendon about what we can expect this season and also get a glimpse into the show/band’s future.

Check out our interview with Brendon Small about his new solo album “Galaktikon”.

Mike Gencarelli: Since you started “Metalocalypse” almost seven years ago, did you think this show was going to be as successfully as it has even spawning the virtual band Dethklok?
Brendon Small: Well the whole idea of the show, or any show, is to make it gets made. Then you want to keep it on the air and that is your job and your way to pay rent, feed you dog etc. What I realized what that after doing “Home Movies”, making the show costs a lot of money but making music doesn’t cost as much money. When you start including animators and a huge team of 40-50 people, it starts getting expensive. I thought wouldn’t it be cool to create a show that if it ever got canceled or ended, that it would continue on through music. I studied music forever and have been crunched over a guitar for the better back of 20 years. I always wanted to put music and comedy together but I didn’t want to be like a guitar-parody act on stage. I figured if I could talk the studio into doing 20 episodes, I could also get them into doing a record, tour and etc.

MG: The show hasn’t aired since October 2010, why the major gap? How long does each episode take to complete?
BS: It takes a lot time. We have been in production actually since early 2011 and we are in still in the same production cycle, just to give you an idea of time. I have 12 quarter hour episodes that I am doing this season and have spent well over a year in production. It takes a long time. Animation is like hurry up and wait [laughs]. All the writing has been done now. I am currently in post-production and have been writing a lot of the music. After this, I still have like one more voice to record. It takes about 3-4 months per episodes but we have them staggered, so a few are in the works at the same time.

MG: With season four, the show returns back to the 11-minute format, why was that decision?
BS: This show is huge amount of work between the music and the animation and as I get through the years I ask myself “How can I make my job easier? How can I take the weekends off?” [laughs]. So, that is what I am trying to do. This season has been plotted out more in advance than any other season. The network gave us the option of doing quarter or half hours. The quarter hours are much easier but I think the show also functioned really well in the half hour format. I thought for the story in this season, that we should do it in quarter hours. So that was the reason and I am really happy with it.

MG: What crazy brutal shit can we expect Dethklok to get into this season?
BS: [laughs] I think you will notice that we upped the brutality in a real fun and clever way. I think some people were missing the brutality a little bit in season three. Our main issue was that we didn’t just want to kill people…we wanted to find a clever way to kill people and have fun with that. I think we have a whole bunch of that put into this season. In addition to that, what I think you will also notice when you see season four is that there is a bigger “Metalocalypse” story. There is something dramatic going on, of course, also laced with tons of jokes and stupidity. The idea is to start telling the bigger story and start involving the band more and then moving on from there.

MG: How does the music in season four compare to the past seasons?
BS: I don’t really know. I really trying to do something that we haven’t done and/or keep that sound alive. That sort of changes from season to season. I still think it sounds like Dethklok and I am still using the same element. I think we have a great couple of cool musically highlights in this season.

MG: Can we ever expect “The Dethalbum III” consisting of season three’s songs? Should I start begging?
BS: You can beg. I love people are begging for me to do more [laughs]. All I can say right now is stay tuned. We hopefully will have some really cool news in the very near future.

MG: What do see in the card for the future of “Metalocalypse”?
BS: We are living in an amazing era of cable TV right now. With all cable stations like AMC, HBO and, of course, Adult Swim, you see that people are utilize the format and still able to tell a story. The way that this show works is that in order for this to be a story, it will have to have an ending. And the ending is in sight for this show. It doesn’t mean the show will be totally done but the story I want to tell has a finish to it. I don’t want to sit around and vamp for 15 years instead of telling a cool story.