Jason Elizabeth Axeminster Chordslayer Knight, as his name is in your human tongue, was one of the founding members of DeathBoy as a band.

My first meetings with Jason involved a level of mutual disgust, due to his interest in metal and having long hair, and my interest in techno and having short hair. Both parties were known to have described the other as something of a cunt after initial meetings at pubs in London.

Later in life, we would be forced into prolongued contact in bars and pubs both in London and the now mythical North of England (then called “Whitby”, now known as Little Prague).

These interactions became increasingly fractious until the point where I was forced to invite the man to play guitar in my band.

Numerous hypnotherapy sessions have revealed little insight into the underlying reasons for this move, other than being as a result of subliminal messages embedded in Rammstein videos which did not exist at the time.

Jason’s time travelling abilities have been documented elsewhere, to little public acknowledgement (besides that of known recidivist Cartridge Jefferson).

During his long-serving career as Holder of the Axe, Jason weilded a number of weapons, mostly characterised for their unremitting inappropriateness on the battlefield.

From the floating bridge to the excitingly-shaped stock, Jason would plough out power chords on an increasingly unlikely range of axes. In populations undiscovered or hindered by the progress of man, primitive cultures were found to worship the Knight, or He Who Picked a Particularly Interesting Guitar for that Big Gig.

Despite his unremitting (and successful) attempts to found what has subsequently become known as the Northern London Fucked Guitar Mountain, Jase became responsible for some of the chunkiest and most questionable chords to be employed in modern industrial rock and a vast and growing pile of fire-wood emblazoned with names like “Warlock”.

As DeathBoy progressed from a studio endeavour, Jason changed the direction of the band on many levels, on stage and in the studio, providing pounding guitar riffs, and behind the scenes, pushing and promoting DeathBoy and propelling the band’s on-line presence forward through the website and increasingly wide-spread position on prominent social sites.

Through the mainstay and arguable peak of DeathBoy’s expansion, Jason punched the chords out while securing gigs and negotiating deals to see the band’s signing to Line Out Records and positioning in numerous high profile gigs.

In later years, disagreements led to the eventual parting of ways between Jason and DeathBoy, and saw a number of memberships and guest-appearances in other familiar UK industrial outfits, before an ultimately undisclosed contractual complication saw Mr Knight quietly dart out of the spotlight to pursue clandestine opportunities that have kept him largely out of the popular press.

Unconfirmed reports have placed Jason as being regularly sighted in London, but rarely as more than an ill-defined, predator-like blur.

Given his known inability to roam further north than the Watford Gap or south of Cheam, his whereabouts are not precise, but his victims lead to an increasingly accurate triangulation.