As you can see, 'Nighbreed Radio'... Great place to escape for an evening of 'Dark Nostalgia', and some 'F*cking awsome music'.... Love Ya 'Uncle Trev'....

Greeting's one and all. This site shall commemce shortly. As it's due for a re-vamp, and overhaul.


Edward Ruff...

01. Ancient Tales (Spa) - Malignant Tides '93 (Demo)...CDR
02. Christian Death (Usa) - Six Six Sith Communion...CD
03. The Eternal Afflict (Deu) - Ion...DCD
04. XIII Stoleti (Cze) - Nosferatu...CD
05. XIII Stoleti (Cze) - Werewolf...CD

Currently, thing's are quiet. Business will follow shortly...

Thanks for you patience...


Any Live Promoters / Bands
Please Mail Us at : GingeBeard@GoogleMail.Com

Like to thank the following, for inspiration:

Chris Comber
Gemma Comber
Martin Comber

Dayal Patterson
Sandra Menezes
Dave Lambley
Regina Duarte

Ross Hodgkinson
Mike Wells
Lemmy Lupine
Trevor Bamford
Ressurection Records
Alex Eversfield
Sharon Clarke
Siobhan Clarke
Sharon Des-Landes
Donna Camilleri
Kim Munday

My Late Father R.I.P.

All interview's, written by 'Edward Ruff', unless otherwise stated...

Essentialy the Best three 'GOTH', resources in EUROPE..... (We'll Certainly the UK)...

Essential Goth Supplys : -


Monday, November 22, 2010


Interview with - 'Diva Suicide', 22 Nov '10
Dedicated to 'Siobhan Clarke', my sweet 'Squidgey Goth'. Thanks honey for looking after me SAT !!! xx Plus also love to 'Sharon', my sweet girl, Carol and Michael as well. Thanks for making me feel like family.

From your BIO, it says you first emerged in early '09, after various line up changes. What can you remember from these first days, were you always called 'Diva Suicide'. When would you say you became, what we now know ?

DAV - No we started longer ago as 'Jasmine Cruel' and then changed to 'Diva Suicide,' although no one can remember cause there's no survivor from that line up... Stefano started a cat shelter in Italy, Maxim is now a porn actor and try to keep up with Belle, Benzi is into boxing...maximum weight

-XS- Yes, and Dav got manic depression and borderline and destroyed all his music equipment, he's now into video games and cooking...

Barry - The band constantly mutated throughout '08-'09, the concept started then but it wasn't until the end of '09 that 'Diva Suicide' had formed a stable lineup, and a focus that was shared by each member.

Who chose the name 'Diva Suicide', does it have any specific meaning to you. Or more a case of summing you up in one ?

-XS- The name was chosen by Dav after seeing a photo session I got done, with some white dress stained in blood... one of the pictures became the cover of their first demo, before I joined the band.

How long was it before you got the adopted sound that you required, was it an easy journey.Were there any releases, such as demos prior too the debut, and how did the differ ?

-XS- Yes, there was a demo before releasing the mini album, on the same line as this last. However, it is now that the band is really evolving and adopting a defined personality on the new tunes we are working on.

Barry – There's also that other earlier demo -XS- mentioned before that is likely circulating the underground and the sound does differ in that initially the style was more a goth industrial rock direction and of course with a different vocalist, by the time recording for the debut CD came the sound had become a lot more guitar driven with more punchy.

OK, as a new band please introduce yourselves to the masses. Who's who. Who's the genius and who's the insane ?

-XS- Dav is def the most insane...! Just drives us crazy... but we've learnt to live with it!

How would you best describe your approach and sound to new-comers, like my-self ?

-XS- Raunchy guitars and catchy choruses that will make you jump!

April '10, you release you debut to the world. 'Scars', please us me more, how was it's creation, and what secrets and tales does it hide ?

-XS- It was really exciting. We had to record lots of new tunes, decide which artwork were we going to use, etc, and we did not have much time so we were meeting every single day so we learnt to work together under pressure. It was nice to finally see our little baby being finished and released. Anyway, I think Scars is a more studio approach of the band that has changed after months playing together. The style has evolved into a more energetic live sound reflected on the new tunes.

Would you say your lyrical themes, are based around life itself, or more around particular set themes and set concepts ?

-XS- some of them are based on own experiences that can happen to anyone and some are more based on general life concepts.

Looking at your advertising, which is just so powerful. Some great imagery, especially the savaged dolls. Is something you enjoy on a rainy 'Bank Holiday', Ooh F*ck thets mutilate Barbie ?

-XS- We were looking for some band-defining images so we had this shooting done. It was real fun and there was cake and cranberries as well, we always love mixing blood and sugar!

Doe's this whole 'Punkish', carry across with your live performances. like an element of Theatre, the visual almost being as important as the music, feeding the crowd ?

-XS- Yeah, live performances are very important cause there's where you really show what you are. If there's a place to do it, that's the one!

Barry - We like to see it as a whole package, music and image comes all together. The fans want to be entertained not only sonically but visually to and putting on a good show is important to us.

So far how has the feedback been on 'Scars', are you 101% happy with it. Would you make any changes in approach for the next releases ?

Barry - The feedback has been great from the reviews received from magazines and it has helped to create a buzz about the band, we are more than happy about that.

-XS- Yeah, we have received very good feedback and indeed very happy about that! However, I believe there's always things to be improved and the personality of the band is not totally reflected in the album as it will be in the new tunes.

So far I see that the track 'She cries Lullabies', has become something of a cult track amongst the masses. What the story behind it lyrics, and what tale doe's it tell ?

Dav - Did it really, I am surprised! again don t know... go ask

Dav... I think he wrote it one night he could not sleep...

-XS- It's about a very very naughty innocent Lil girl!

Can you remember your first life performance, and how was the first reactions. How do you feel you music translates to a live environment ?

Dav - no one can...we weren't there...

-XS- Actually, yeah, Dav was the only one there... the rest weren't part of the band yet...!

I remember one of the first gigs the current line-up played, tho, and it was just great. We had a very cool crowd singing along and had loads of fun. Live music is the best thing ever, either being onstage or in the crowd!

Lastly Thanks for your time guy's and Gall's. Will be seeing you shortly in 'Dec'. Any last words ?

-XS- Thanks Edd, see you in Dec! x

Barry – Don't miss our next gig!

Out now the killer debut 'Scars'...


For more info and contact, for this new bouncy class act:






Tuesday, November 9, 2010


Interview with 'Max', of 'Helalyn Flowers', 09 Nov 2010
Dedicated to my sweet girl, 'Sharon', my blue eyed angel.
Photo by 'Mirko Rotondi'... © HF 2009

When did you first actually form, and who chose the name 'Helalyn Flowers', and does the name itself have any distinct meaning ?

(Max) We began as ‘The Claw’, which was formed back in 2003. Its style was more Goth-Rock-driven and the line-up was the typical 4-pieces band. Noemi and I felt that it wasn’t the rightest thing to express our creative needs, so we splitt the band in 2004 and started to write new stuff as a duo with the help of sequencers and electronics. That was the very first embryo of Helalyn Flowers. This name came to my mind like a blaze and both we agreed with using it as the band’s own’s.

Helalyn’ is an English Archaic term which stands for something like ‘subconscious’, ‘hidden’, ‘formless’ and so on. The idea of flowers (as symbol of life) growing up from an arid ground exactly reflects us as individuals and as a band. It’s freedom, shouting yourself for what you truly are. Nothing is impossible.

To Business, as a newcomer to your sounds, please introduce yourselves. Who plays what, and who’s behind the creative lyrical side ?

(Max) Officially, Helalyn Flowers always has been, is and will be a duo consisting of N0emi Aurora and me. At live shows, Ernst is our live-member behind drums and percussion's. All music, lyrics, imagery and everything else is ideated, done and approved by N0emi Aurora and me. Mainly, N0emi Aurora is responsible of all lyrics, visual, imagery and art, while I am more into production, music and instruments. But these are mainly ‘official’ roles. Actually, we are incessantly exchanging and comparing ideas on ideas.

The first few days, weeks what can you remember of them. Did you have an agenda, master plan. Were you surprised by what followed, and what were the first reactions like?

(Max) It can sound a bit odd, but we wern’t much surprised by what followed our first Mcd. I’d say that we were so happy with how things were going. This because we always used to project the main idea and image of Helalyn Flowers as a non-stop fluid led by our mental energy. The first reactions were wow, also including someone who scorned us!

Well, it’s N0emi Aurora who uses to write down all kind of events, but what she writes only her knows.

What was the first song you ever wrote as a functioning band, and is it still prominent today ?

(Max) “Acid Love Code” was the very first song we wrote as Helalyn Flowers and now we’re going to give it a live visibility. But “Alienate Me” is the song that really was able to increase our popularity immediately after the release of the debut Mcd. And we never stopped to play it live.

2005’s “Disconnection” MCD was your first official release, I believe after six months of being formed. What can you remember of its creation, were these easy times, or as a new band did you struggle at first. Do you think it aided as a building block, for future release's ?

(Max) Those were really joyful days that we’ll always remember. We got no expectations, just had fun and passion in doing it. We entered the studio only after a few months we started and we didn’t care about being in line with specific musical styles; we just wanted to make it our own sound. What I can remember is endless nights with tons of riffs, choruses, synthlines in the air…

Even though its differences with following stuff, of course it’s a super building block, especially for “Stitches Of Eden”. I think our next LP will have resonances and reverbs from it.

It’s an extremely important step for us, so we decided to perform 4/5 of it during our upcoming London show (on 11th December at Electrowerkz) as celebrating our first 5 years of life.

After it's initial release, how did you find the initial feedback. Plus did you find interest outside of Italy, and further afield. How long was it before you began to noticed?

(Max) Everyday I see lots of bands struggling to emerge from the deepest underground with very poor results. That wasn’t our case. We planned a massive promotion of “Disconnection” almost like a true label would. Simply we sent Cd’s to everyone: mags, radios, promoters, DJ's, websites… We self-managed site, myspace and every kind of promo tricks. We got warm responses from a lot of people, especially in the US and in the UK. We drove all this with determination and involvement, so when “E-Race Generation” was released we felt like a bomb was triggered and each step was a strong resonance.

E-Race Generation, was released. The following year, a huge change in sound feel and tempo. Stripping away the older 'gothic rock' elements. Bolder, louder and hints of modern industrial. Why such a drastic jump. Was it more a case of breaking the mould, and not just being a 'Goth Rock' band ?

(Max) Actually, we never cared of really being a Goth Rock act. What you hear is exactly what comes out from our minds and manufactured for Helalyn Flowers. Of course, we were aware of this strong diversity, but we think that one must consider “Disconnection” as a complete work, in despite of its length-time. There was no reason to enlarge it to a further Mini, single or Lp. It was perfect in its form. “E-Race Generation” marks our entry into more electronic fields. We wanted it faster, futuristic and frantic. And so it is.

Who would you say are you strongest influences. Do your lyrics and releases follow any set patterns or themes. Such as a particular concept?

(Max) As for the music, each release of ours reflects in some way influences from artists we really enjoy and make’ em our own influences in that specific moment. For example, in “Stitches Of Eden” you can hear references to Killing Joke, Gary Numan, Duran Duran, Orgy, Talk Talk, Marilyn Manson, Siouxsie… but we don’t consider them as sum points. Contrary, we like to play with them and let’ em be filtered by the Helalyn Flowers machine.

How long was it before you were approached by the 'Alfa Matrix' Label, and how have you found them since. To me, they hold certainly some of the most prolific and interesting, Industrial artists in the world. You now being one of them ?

(Max) We were contacted by the AM guys back in early 2007, thanks to our ever more increasing popularity among the Vampirefreaks network. They listened to our “E-Race Generation” that we submitted for the “Fxxk The Mainstream Vol. 1” and they offered a contract-deal after a couple of days. To be honest, we heard of them but never we imagined us as a band of their roster. We are not the biggest listeners of EBM so we expected to sign to a more metal/rock-oriented label. They strongly showed to believe in us and they have a very large distribution channel, so we accepted and signed to them in February 2007. They have great acts like Front 242 and Leather Strip, even though it’s not what I listen to every day.

Now being signed to a great label, with proper promotion and backing. Did you find you had to change your approach, or were you allowed 100% creative freedom. ?

(Max) We would not have sign to any label without having our total control on our product. Fortunately, Alfa Matrix is a label that doesn’t force its own acts to play in a specific way. Otherwise we would have fuck off.

June 2007 EPPlaestik”, your debut EP, is released to the world. Now with backing and promotion, from a great Label. How did it fare, and did you feel it bought you the attention that you deserved at the time ?

(Max) Actually, I think it added what we missed as an unsigned act. They created a big ‘boom’ in the scene with our debut and this brought us at a major exposure. It went good.

The release of the debut-album, “A Voluntary Coincidence” in November 2007, shortly followed. Do you think this was the major turning point, and put you on the Worldwide map?

(Max) I think it really launched out our name even where there wasn’t possible as unsigned act. We had a lot of support from the main press, particularly from Rock Sound UK (as best newcomer), Flash (which featured us on the front-cover) and Orkus (act of the month).

What can you remember of its initial construction, was it an easy album to put together. Now being a settled band did you find things more fluid and relaxed?

(Max) Not really. “A Voluntary Coincidence” was difficult, controversial, critical even in its working of. You can hear it from the harsher moments like “Eye For A Day” to the sweetest like “Tide Line”. Even the most pop-driven tunes were contaminated with a growing sense of anger.

With each major release, comes a 'Special Edition CD', with exclusive Re-Mix material. Out of everything so far, is there any, that really stand out to you, and make you go wow, any you think is better than your original creation. I’m partial to 'Hybrid Moments (Xelius Project - Remix)' ?

(Max) I really love the 'Xelius RMX' as well as the ones by Andy (ex-Bluvertigo) and Neurobash. I think they have the power of going beyond the remix-thing. They are felt interpretations of our songs we really enjoy and yes… make us go wow.

Those ‘special editions’ are within the label’s politics, so it’s something we wouldn’t go to do if not ‘forced’ by Alfa Matrix. I’m not puking on it, be it clear, but we’re much more focused on our own music and see the remix as an extra that could be ok for just a bunch of songs, not necessarily for a full-length Cd set.

One thing also prominent of course, is you artwork on all releases. And also your overall visual look. Is this something you like to pride yourself on ?

(Max) Everything bound to our imagery (from pictures to artwork and symbolisms) isn’t made just for fashion or to join this-or-that trend. It’s how we really feel. We don’t do things people can expect. I’d rather stop doing all this. We came from a quite dark album like “A Voluntary Coincidence” and we’re here now with white backgrounds, Cyclops Flowers, Pop/Wave-like aesthetics and with a different sound. Exactly what people didn’t expect. Even we didn’t. In 2007 never we imagined to do an LP like “Stitches Of Eden”. To me, it’s one of the greatest aspects of being an ‘artist’. I find it exciting.

'Space Floor Romance', and the second stunning 'Stitches of Eden' soon followed. Do you think each release have brought about certain evolvements, and change in approach. Looking back at the older material, with your new skills and experience would you change anything ?

(Max) Of course, I’d change a lot of things but I think that it’d be stupid. We’ve always been sincere in what we do and each song reflects our truest mood and feelings.

Must ask about 'Hybrid Moments', my favourite. What its story, and hidden meanings ?

(Max) Musically, it started two days before we officially began the recordings for “Stitches Of Eden”. Suddenly we felt it was going to be one of our best songs ever so we were much motivated in finishing it and including it in the Lp. Very fast songwriting I’d say. Probably it was growing inside ourselves and we’re glad of having had faith in us. Lyrics are about us living different moments in our lives as bipolar stages.

Shortly you hit British, shore's, what can we expect to see at a live show. How do you think your sound translates into the live environment?

(Max) Well I can tell you that you won’t hear songs as they actually play on record. They’re more electro- crushing and entertaining. As usual, tons of sweat, draining make-ups and booming power. No pretentious stuff!

Thanks for your time, see you on the road shortly. Any last words to the masses ?

(Max) Looking forward to meet you in London at Dark Souls Fest!

Let’s say that it’d be a dream come true to see people becoming individuals living their own lives not being surrogate of outer will and power. Do what do you want and don’t lie to yourselves.

Thanks to you Edd for this pleasant talk...

For further info and contact:


Monday, November 1, 2010


Interview with 'Shiv-R', 01 Nov 2010.
Photo - Mathew Burgess...

Naturally please tell me a little about your selves. When did you first form,and have you both been in any other bands prior ?

Lee Bulig: We have both had projects before and both contributed to each other’s projects in one way or another for almost the past 10 years. In hindsight, it seems kind of ridiculous that we never really did a full collaboration together until now. That said, it is really a plus that we didn’t fully collaborate until now. I think within electronic music it is especially easy to slip in to writing generic rubbish. Everyone uses the same gear, software, production tricks all pulled from the same websites and magazines. It is surprising that a lot of top acts hide how they do things like ninja secrets, because they sure as fuck ain’t doing it the way you read it on gearslutz.com

When I have seen Pete in action in his studio, I’m usually pretty bewildered by how he goes about business, and I daresay he feels the same about how I work in my studio. Put the two bewilderments together, and you get the sweet, sweet sugar known as Shiv-r.

In the first weeks and months, did you have a set first set goal, on visual attitude, and the whole initial sound of the music itself. How long was it before you were overall 100% happy ?

Lee Bulig: The project really just wrote itself out of necessity. It went through a lot of stages in the mechanics writing music between two countries on opposite sides of the globe, but that development is not the kind of thing we ever consciously discussed or tweaked. As the venerable Homer said “it’s just a bunch of stuff that happened”.

I think the thing to remember is that being an active musician is as pragmatic as it is artistic. There are plenty of great artists out there who just never seem to be able to finish a song, let alone an album. Then, if you are lucky enough to find someone to release your music, your life is full of deadlines and other commitments. Shiv-r getting to where it is today has had just as much to do with both Pete and I being able to deliver the goods in a timely manner. That might be an artistic sin to say, but it is the reality and the reason so many greater artists than us will go unrecognized.

So, to actually answer the question, from my perspective, there was never much of a goal, other than just getting things done. I don’t think either of us are 100% happy with any of the work we have done for Shiv-r, but if it weren’t for those deadlines and commitments, whether self imposed or slapped there by pimping record label folks with their fur coats and feathers in their caps, there wouldn’t be much of a project.

Please tell me about 'Parasite', your début MCD, I believe, or is there any material pre-dating its release, such as demo's etc. ?

Lee Bulig: We are far too frugal to be throwing out finished tunes. If we write a tune that turns out like shit we just release it under a different name. Why don’t you take a wild guess at what that project’s name is? Go on, take your pick, think of the shittiest faceless industrial act you know…

With 'Parasite', how was the first feedback, and are you 100% still happy with it. Do you think the press has treated you well ?

Lee Bulig: Parasite was never really intended to be a public release, or at least that was the plan when we wrote it. It was a sampler to give out to labels and the like. If you listen to the tunes on the disc you can hear that it is all over the place stylistically. The plan was to throw it out there and see what would happen. We considered making “Fractured Light” the title track, seeing as we didn’t know what kind of sound we wanted to present ourselves as. If we had found ourselves on a label that was pushing for more of the “Fractured Light” kind of sound, Shiv-r might have become a very different kind of project. I’m just too Zen and easily swayed by label folk, what with their fine jewelry and fur coats.

Pete Crane: Parasite was enough to get the interest of Infacted Recordings’ label-boss Torben Schmidt. I handed him a copy at a festival and a week later I got an e-mail from him saying he was interested in us. This was amazing because we had set our sights specifically on signing to Infacted. So our Parasite EP got the absolute ideal result for us! It also got some good feedback from the press in general, but the most important result was Infacted’s interest.

How would you best describe, your lyrical approach, do you tend to favour a particular concept, for each release. Or do you find observation and experiences, and the current climate, more leaning to your way of thinking ?

Pete Crane: With Hold My Hand and Parasite, it was entirely internal and a lot of the lyrics were stream-of-consciousness. These were written while I was living in London, which is a city which really forces you to put up a wall around yourself. There’s such an absurd level of belligerent indifference, especially in the poorer areas and it’s confronting to live on a day-to-day basis. So the lyrics are very claustrophobic and internalised, based on how I felt at the time. The lyrics for our new material are turning out a lot more externally influenced, taking in existential and activist tones. So the lyrics are constantly evolving.

Modern times and Society always labels, where do you find yourself genre wise. Industrial, is of course the obvious ! . Then there's,Metal, Industrial Percussion, Industrial Rock, IDM, Martial Industrial, New Wave ? Aggrotech, Ambient Industrial, EBM, Electro-Industrial, Industrial ?

Lee Bulig: You know there are children in Africa with no genres at all? And here we are with a gluttonous gloopity gloop of genres going to waste. Perhaps we could give them a genre we don’t actually like or need, like New-Age Ambient-Dub. If you feel like giving Shiv-r a genre, I ask you to do this… throw the some appropriate words into a hat and pull out a few at random and then put them in a logical order ending in the words “dark electro” or “industrial” . Use the following possible descriptors as examples:

Fuzzy-Noize-Bunny-Dark-Electro Diddles - Your-Skittle-Dark-Eelectro






[At last a man with a sense of humour - Editor]

Your début full length, 'Hold My Hand', well tell me more, how was its creation. Is there a set theme running through it, be it a set concept ?

Pete Crane: Hold My Hand, as an album and a concept, is an invitation. As most of the lyrics are very internal and the atmospheres of the music are very suffocating, the intention was to get under the listener’s skin.

The video, 'The End', left me intrigued. Seeing a young lady, being converted from, plain 'Jane', to 'Hot Rubberised Fetish Babe' !. When referring to 'The End', what's your initial meaning, be it the end of her life, or her way of life ?

Pete Crane
: It is the story of one girl who “accepted our invitation”, to come into our world. The girl was drawn to “The End” despite warnings along her path and the transformation is what happens when she arrives. Of course, a lot of people made the comment that they thought she was being “raped” in the filmclip. Well, it’s worth mentioning that her attraction to the world she finds herself in is of her own volition, and that in any major city in the world you can find an underground scene where you can find these torturous activities being acted out on willing participants. Flaying, bloodletting and whipping are done willingly all the time and it’s this kind of dark attraction that is the theme of our filmclip. Sometimes it’s overwhelming to let go…

Your whole feeling is very dark, almost an 'Occult' feel, maybe, is this something that interests you, and who would you say are you major influences ?

Pete Crane: I haven’t been interested in the occult since I was a teenager. With Shiv-r, we can actualise the darkest and most esoteric concepts in our music and live it in a real and visceral way. We can create a monster and wear it like a skin – so we have no need to escape into a world of mysticism.

Lee Bulig: Russian folk music, Jewish folk music and cute Anime trance. You think I’m joking?

Can you remember your first live show, what was the first reactions like?

Lee Bulig: I played trumpet at a primary school war memorial thing. It was followed by post-gig wild prepubescent sex and throwing TVs out hotel windows. I just want to see if you will let “wild prepubescent sex” go on your zine…

Pete Crane: With Shiv-r, our first gig was only last year in 2009. But of course we’ve been touring for years in our other projects, and have both been playing concerts since we were in school, in jazz ensembles and metal bands for as long as I can remember…

What can we come to expect, in the coming months, any new material in the pipeline, or live shows planned ?

Pete Crane: We have a new EP entitled “Incision” which will be released in December 2010 and is now available for pre-order from www.deathwatchasia.com. This follows the tradition of our “Parasite” EP and includes Virul3nt and Kong mixes of the title track, done by us individually. The EP will also include a collaboration with Preemptive Strike 0.1 on a track called “Zeitgeist” and an all-new Director’s Cut of our filmclip as a data-track. Our next live shows include an Australian tour with Combichrist in December 2010, and a European tour in August/September 2011.

Thanks guys... any last words to the masses ?

Pete Crane: Keep your eyes level with god… --

www.shiv-r.com www.plaguesequence.com


Skype: Virul3nt

Saturday, October 16, 2010


Interview with 'Concrete Lung', - 16 Oct 2010.
Photo by, Danni Brooks. 2010

Greeting's gentlemen, please tell me a little about your good selves. Who's, who and what musical crimes are you responsible for?

Ed: We are CONCRETE LUNG – I’m Ed - Bass/Vocals,

Will: I’m William Riever, I play synth, percussion and textures. My first musical dabblings were a bit of musical crime but it’s been up hill for the last few decades.

When did you first actually form, and are there any releases, prior to your debut, such as a demo, etc?

Ed: I started the project at the end of 2007 - But it wasn’t until the start of 2009 that we went into the rehearsal room for the first time. Yes there was demos/recordings but not much saw the light of day until our first release, Waste of Flesh EP.

Will: Yeh It’s been about 2 years in the making, with at least a year of that spent sorting out what we were actually trying to achieve.

The first thing I notice about you is the striking visuals, the strong artwork upon your debut. That of a refuse dump. The image's also relating to that of the song titles, would you consider 'Waste of Flesh', as a concept album. It being based around human waste, and the shit we create?

Ed: It wasn’t intended to be a concept album, but it could be seen like that, but yes I was searching for an image that would fit with the music after I wrote the EP. The image I found was perfect straight away, it is by photographer Frank Wright (www.frankwright.co.uk).

Will: I’ve always wanted to make a concept album, still not quite sure what it would sound like though.

How was your debut's creation, did you find it a smooth operation. Do you think you’ve learned a lot from its creation, and are you happy with the feedback so far?

Ed: Yes the songs that made it onto Waste of Flesh where incomplete for about a year, until we decided on the direction we wanted to take the music. We then set a deadline of 10 weeks to finish them, it became a little stressful, but we needed a deadline in order to get something done. So yes if I learned anything it is to set a realistic deadline on a release.

Will: The response we’ve had so far on the EP has massively exceeded our expectations and spurred us on. We are nearly out of copies of the first pressing.

From the very opening of the MLP, were hit with immense power and almost an onslaught. Do you consider yourselves almost 'Cross Genre', I.e.: a mix of Grind core / Death Metal and traditional Industrial Metal. I almost hear hints of 'Carcass', 'Napalm Death', 'Godflesh' Etc?

Ed: Those bands are defiantly an influence with me from a young age. I listen to a lot of death metal and industrial, so its only natural that I would create something in-between the two genres. I like to think that we could appeal to people’s tastes across the two genres and beyond.

Will: We are trying to cross the rawness and attitude of Punk with the texture and percussion of Industrial.

Besides the sounds, who would you consider your greatest influences, be it music, poetry or even film?

Ed: Greatest influences are Godflesh, early Pitchshifter, Melvins, Bill Hicks, and punk ethic, Black Flag etc.

Will: My mum used to take me to an art house cinema when I was kid growing up. It was called the Valhalla. It had great films and that really opened my eyes a lot.

I have to ask about 'Pyre Burns', tell me a little about it. Pretty much a very strong stand out track on its own, blending some great sounds?

Yes the instrumental part of the song was written first, then I passed it on to William who added a lot more atmospheric synths to it and also percussion, I added the vocals on at the end. The song is about the 24 hour tv news doom and gloom.

When playing live, who do you feel you fit in with the most, be it the UK Industrial / Goth scene, or more the Thrash, Death Metal scene, they both suite you well, I could see you Playing 'Bloodstock', or ‘Gotham’?

Ed: I want to try and move away from playing the Goth scene, we have nothing in common with any of the bands who play on that scene, and too be honest don't have a lot of respect for those 'bands'. It would be interesting to do some gigs on the metal scene but yeah, where too metal for the industrial crowd and too industrial for the metal crowd. Having said that we like to get in peoples faces, if they like us or not!

Will: I think we want to play to more of the punk / metal crowd, to see how it goes. The people in the Industrial / Goth scene who have a broad taste in music appreciate us but the fluffy bunny types who only like EBM don’t really get us.

In a few months’ time you hit the stage alongside 'Leather Strip', what can we expect from your live performance, will it be as brutal and dark as the debut?

Will: Expect to be blown out of the back doors. We intend to come on hard with some new material and give a sneak preview of what is to come us in the next year.

Ed: Yeah, We are hoping to play a couple of new tracks from our full-length album that we are currently writing. They are pretty much a follow on form Waste of Flesh, but more brutal and also more of a mixture of musical styles.

Thanks’ for you time Gentlemen, what can we expect from you in 2011, and any last words?

Will: Louder and stronger. Looking forward to getting in peoples faces!

Ed: We will be finishing up our follow up to Waste of flesh in the form of a full-length album. Hopefully set for release early 2011. We also have a few more gigs set for the rest of the year:

London, Leeds and Manchester.

Check our website for details


Thanks’ Ed

Tuesday, September 28, 2010


Interview with 'Vile Electrodes', 28 Sep 2010.
Deadicated to my sweet friend, 'Siobhan Clarke', Squidgy Goth.

I understand you first formed around 2008, please tell me a little about the first days and hours. What were your first intentions, and how long was it before, you came up with your particular sound and style ?

Martin: We first got together with the intention of creating music for an opera a friend of ours was writing, about a young Michael Faraday falling through a wormhole in time and meeting Anita Pallenberg and Jane Fonda on the set of Barbarella. That's kind of half true. And it WILL happen one day. But seriously, Anais and I first got together LONG before 2008 to play a one-off Burlesque party at the Theatre Museum before it closed (we performed under the name Strange Fruit). Then in 2008 we decided to have a crack at being a "proper" band. Anais had written a whole load of bluesy songs and we kind of adapted them. After a while we realised we were better off writing tracks from scratch rather than trying to shoehorn those songs into a musical space they weren't designed to fit into.

Anais: So watch this space for my blues side project!

Did you at first, have a set agenda, or are you a band that likes to evolve. Plus having members, Coming and going, do you think each individual addition made subtle differences, and added a little of themselves behind ?

Martin: We didn't (and don't) really have any agenda, apart from trying to write songs we like. We're just doing what we enjoy doing! Tess LaCoyle and Suki Maverick definitely each brought something unique to what we were doing, but we're all pretty creative people outside music and they both felt they couldn't commit enough time to the band. Since Loz Tronic joined us in May 2010 we've been much more focused and really begun to feel like a proper live band. We've come along leaps and bounds since then and we're still very much developing and evolving.

Your strong fetish image,is this a natural general interest, as well as being part of your live shows. Do have any particular influences, to partucular art, or artist's, be it Burlesque, or a Photographer etc ?

Martin: We all definitely have a whole variety of our own fetishes! Getting dressed up is really important, and the whole power dynamic thing is very interesting, particularly in a live context. We have lots of artistic influences, beyond the musical ones, but i don't think we set out to wear them on our sleeves. I suppose science - both fact and fiction - is as much an influence as art actually. Personally, i have a thing for Expressionism, Dadaism and Surrealism. Retro-futurism, or Atom Punk are probably the closest thing we have to a defining style I guess.

Anais: Hmmmm. I love Disney and horror movies. I like to think that's reflected in our music! I'd be really hard pushed to name any specific influences though - it's genuinely not something I think about! Must.... try.... harder.... next.... time.....

Do you find the whole visual side, just as important as the music itself. Plus would you say you use an element of theatre within your live performances ?

Martin: The visual side is VERY important - I think as much visually as i do aurally. Whenever we can, we run our own lights, lasers and strobes at our shows, as well as doing videos! Each song has a little abstract video that accompanies it live. Theatre - not as much as we could - i think we're still very much developing our stage shows. Come back and ask that question in a year's time!

Anais: At a show recently someone asked why we bothered dressing up and doing visuals as our "music should be able to stand up on its own". For me it's totally the other way round. You're presenting yourself to an audience so why WOULDN'T you dress up and make the biggest effort possible?! Also, I'm a jeans and t-shirt girl a lot of the time, so I LOVE the chance to don a snazzy outfit for stage. It also helps that I work for Lady Lucie Latex which means I have oodles of gorgeous rubberwear that I can borrow for shows. The theatre question is an interesting one. I'm still working on the way I present myself on stage and I'd like to be a lot more theatrical. You'll probably refuse to believe me, but I get TERRIBLE stage fright so sometimes just standing behind the mic and singing is pushing it! It's only recently that playing a gig hasn't led to me leaving stage and saying "never again". God, that makes me sound like such a diva...

Loz: Personally for me it's a bit of a Clark Kent / Superman thing. It's relief to throw away the glasses and day attire for a few hours!

What started your obsession with the 80's style of music, and old school synths ?

Martin: I've always loved and written music, ever since i was 9 when i started my first band, but being left handed found it really difficult to learn guitar. So i got a little Casio keyboard, and then i was hooked! I AM a bit obsessive though - I have a very addictive personality so my studio just carries on growing. The thing i like about old analogues is that because they have immediate control over the sound, the player can interact with the tone as well as the notes, just like a violinist or a guitarist would. I'm never going to be a great keyboard player, but the knobs and sliders on my allow me to be expressive in a way a lot of modern keyboards don't allow. They're just more rock and roll basically! Also, if you look at our list of band members you'll see that we list all our ancient analogue synthesizers in addition to the human players. They are so much a part of the band! As for the music - I grew up listening to the well-known synthpop stuff. Like a lot of people, hearing 'Are Friends Electric' for the first time was a seminal moment. As i got older discovered some of the more left-field bands and fell in love with it all over again. I've got a really wide taste in music though - everything from Kraftwerk to David Bowie... (laughs)

Who would you say are your strongest influences ?

Anais: I genuinely love pretty much all music. You'll find me dancing to pop, indie, 80's cheese, thrash metal, dubstep, electro, hard house - anything really! If it's got a beat then I tend to get caught in it. If you want specifics: more and more over time I realise I ADORE Annie Lennox. What a woman! And Steven Tyler is a God. But, to be honest, my strongest influences are my friends, family and fellow bandmates! They support and inspire me the most.

Martin: I'd say that there are a few people and bands who have managed to perfect what what i aspire to do, which is to write great pop songs with originality, intelligence and a bit of eccentricity. For me OMD, Kate Bush, The Knife and Portishead are people who do that.

Loz: I'm totally with Anais on the Annie Lennox call! I'm a big fan of any style of music, as long as it catches my attention long enough to hold it. I suppose we are victims of what we grew up listening to, in a way, so I have a bit of a penchant for poodle-permed cock-rock. In my teens I was heavily into rock 'n' roll from the 40's, 50's and 60's, and the mod scene. Led Zeppelin are a big influence.

Who writes you lyrics, and how would you best describle there creation. Be it observation, or life experiances. Or do you have a set pattern of themes ?

Anais: I currently write 99% of the lyrics, although Martin does inject amazing gems from time to time. Normally what happens is Martin will write a killer hook and it just instantly sparks an idea for a song in my brain. It does seem like a lot of our songs are about love, sex and domination - and from the stories in some of the tracks you can tell I've had my heart broken a few times. Pesky men. Sometimes the lyrics come from nowhere. I was sat at work once typing a mundane email and the opening line from Second Skin appeared in my head: "Would you like to slip inside me, can I be your second skin". When I told Martin that night he was, like, "What were you DOING at work today?!". Loz writes great songs too and we're working on building some of her tracks into the Vile canon!

Loz: Thanks!

Please tell me a little about the song 'Proximity', great vocals, and great alround upbeat sound. Please explain the meaning the lyrics, id love to learn more ?

Anais: Ah, possibly my favourite of our songs. It's got arpeggiated synths and is awesome!! Proximity is basically a song describing a desperate need to be close to someone! It centres around powerful emotional and sexual urges over which you have no control. It came to exist after Martin and I watched 'The Island' and 'THX1138' - both films explore worlds where for one reason or another human physical contact is not allowed and where we're controlled to the point that we don't even own our own bodies or minds. I was imagining how I would feel if it were me in that position. It's interesting that you say the song is upbeat - I suppose the jangly synths make it so - but we think it has an underlying brooding atmosphere which was very much inspired by the tone of those films.

Then come's of course 'Empire Of Wolves', a complete change of heart, even almost warlike. tell me more ?

Anais: The honest and simplest answer is that we decided we wanted to write a song that wasn't about sex or heartbreak! At the time of writing the song I was reading Angela Carter's 'The Bloody Chamber' which is full of violent fairy tales. The stories about werewolves were my favourites of the bunch, so throatslashing, bloodlusting, shining fanged world conquering wolves it was! I love some of the imagery in the song - and the heavy breathing at the end as well! We REALLY want to make a video for this track.

Was realy great meeting you guys live, are there any more planned shows within this year ?

We've got a few more shows planned this year. 30th September and 9th October in London. 5th October in Brighton. 6th November in Sheffield. However, we've said we want to have a bit of a live amnesty until we get some more recording done. Finishing our CD keeps falling by the wayside, and we really need to prioritise that.

Lastly you meantioned, that you have a recorded full album, how do people purchase this, and tell us a little abouts it's creation, and what can be found on it ?

See above! We have an album and then some of material, but it's not properly recorded or mixed and mastered. We've got a couple of tracks that sound good by happy accident and we sometimes give these out as freebies at shows. But we really need to get the album cut. We're really excited about it! --

For more info and contact...




LIVE 2010

Friday, September 3, 2010


Interview with 'Mechanical Cabaret', 03 Sep 2010.
Deadicated to my long time 'Industrial', buddy Chris Comber...

You first formed I believe in 1999, just before the birth of the new millennium. What can you remember from your very first days, and did you have a strong and tact first agenda?

Well, really it was more a case of continuing what I started. I began writing songs in my teenage years. I was in various bands, most notably ‘Nekromantik’, before I decided to basically go it alone in the studio and write and record everything myself, and started to use the name Mechanical Cabaret. If I had an 'Agenda' then it would be that I absolutely believe in the right to self-expression and wish to remain an individual, avoiding the pitfalls of crowd mentality or band-wagoneering, whilst doing my own thing at all times. And, that I only want to speak of the real truth of this life and this world - not just as I see it, but then I can only have my own perspective of course - at the same time coming up with a hopefully interesting, unusual, effective and very electronic based soundtrack to it!

OK, as a newcomer too you. Please introduce yourselves, who's who, and what band crimes are you responsible for ?

It’s basically me who writes the songs, and me on my own in the studio committing all manner of crimes! But Steve Bellamy, from 'Greenhaus', who joined the band last year on live synth, is now going to be joining me in the studio for the next recording session, so it will be interesting to see what comes out of that.

'We Have An Agenda', to me a great killer debut, light punk edge, with a great ambient and vibrant beats. Plus some stonking great tunes. What can you remember from it's creation, and what was the vibe like at the time. As debut was it an easy release, or was it more a learning curve, and prototype for the future material ?

Cheers! I like it for what it is, which is essentially what you say, an early prototype! It has it’s own character and atmosphere, due to songs, the equipment I was using and my state of mind at the time. I felt I had something to prove probably, to myself more than anything. I wasn’t really happy with what I’d been involved in before, and no one was doing the sort of music I wanted to hear, so I tried to do it all myself! For all my Punk angst, and lyrical disdain for certain things, I also like more ‘musical’ things too. Interesting melodies, weird sounds, pop music, dance music in general, especially electronic stuff, and disco, techno, etc. so that all comes out in what I do. Everything is a learning curve really - it’s the journey not the destination.

With your debut released, can you remember the first reactions, and reviews of the time. Were you happy with the feedback, and if you could change time, would you change anything about it ?

I wouldn’t change a thing. People kept saying I was like a darker version of Soft Cell, like a new Fad Gadget, things like that... very flattering, but don’t believe your own press, as they say! We all like to compare things to what’s gone before, naturally. That said - there could certainly have been worse comparisons!

Can you remember your very first live show, and what was the crowds reaction like, at the time, and was it ever recorded or documented ?

I can, yes - it was at the club night Electric Dreams at Gossips on Meard Street in Soho! It was a pretty good reaction as far as I remember, but it wasn’t recorded no, not that I’m aware of.

2006, a second full length follows 'Product For Your Insecurity' - as a second outing did you find things a lot easier and more relaxed, and what changes were made in your approach if any, and do you think it topped your debut ?

I think it was a better overall sound recording, as I had better facilities, and Steve Bellamy helped in the studio with two of the songs. As well as my usual equipment, I started using software synthesizers for the first time on this album. This was definitely a departure from the first album, which was done with just an Emax 2 sampler, some analogue synths, a few drum machines and effects, and an Atari ST!

It says in your 'BIO', you are currently banged up in a 'knocking shop' - erm would you care to elaborate on this, and iron out the kinks ?

Well I’m not ‘banged up’ at all actually - I love it there! Where I live and record used to be part of an old Brothel. And I prefer my kinks just the way they are thank you very much!

Who would you say you draw inspirations from, is there any particular one band or person you'd say really made you want to create and write music ?

Not one person, but many. Daniel Miller/Mute Records, Depeche Mode - especially Martin Gore, Fad Gadget/Frank Tovey, Johnny Rotten, Soft Cell, Kraftwerk, Adam Ant, Blancmange, I Start Counting, Nitzer Ebb, Killing Joke, Throbbing Gristle, Abba, New Order/Joy Division... too many to mention really.

Who would you consider the founding father(s), of the modern 'Industrial', scene. Plus who would you consider to have the largest scene, be it the 'US', or maybe 'Ger' ?

Throbbing Gristle invented the term ‘Industrial’ regarding music, in the 1970s with the phrase ‘Industrial Music for Industrial People’ and their own label Industrial Records. Everyone else since them has just joined the production line. I have no idea who has the biggest ‘Industrial scene’ but there is an awful lot of similarity and dross being produced from that production line these days. You can only paint a wall black in so many ways before you run out of paint.

Over the past years the scene has changed rapidly, and has become ever more underground. Have you found you've had to at any point change your style or way of thinking to adapt, to more modern ideals ?

Do you think I’m thought of as part of that scene then? I didn’t think I was really, even though I like lots of the early Industrial bands. ‘Sideline.com’ refer to me as ‘an alien in synth-pop land’ which I thought was very funny. I don’t belong anywhere, to any scene, and I only really inhabit ‘the underground’ area of music anyway. I would never adopt some trend or modern ideal to try to become more popular, that’s not why I do music. It wouldn’t be a true expression of myself then would it, if I did that?

Do you find as times have changed, you're becoming ever more engrossed in the new electrical technologies behind creating 'Industrial', music. Plus do you think old school technology still outstrips the modern chuck away society ?

All modern music is Industrial really isn’t it? It’s all being produced, re-produced and marketed with basically the same technology! That’s the real irony. Old technology will always have it’s place, and only a fool would think otherwise, but modern technology has a lot to offer as well, so the wisest option would be to use both old and new together, surely?

Your third full length 'Damaged Goods' throws a more lighter dancier edge, again with a little punk edge, is this a hint of things to come, IE: a more vibrant accessible sound, to gather a wider, and more and less picky audience. Would you consider this your milestone piece. It's always been considered in music the third should be the best, or at least the most progressed, or the directional changer ?

To be honest mate, the music just ends up sounding how it ends up sounding, completely by chance/luck/instinct/whatever. It doesn’t matter to me if someone doesn’t like what I do, it’s just not something that I think about, and I’m not going to consciously change a single thing just to attempt to ‘persuade’ anyone that I could be their cup of tea. I think that ‘Damaged Goods’ is my best record so far in lots of ways, but then I would say that wouldn’t I?! I like my stuff so far, but it’s bound to change a bit again for the next record I imagine - different times, different energies. Who knows what’s next - not me. And that’s part of the fun!

'Careful Careless', followed earlier this year, great damned track. Really love it, how's the feedback been, can't wait to here this one live, and what's the story behind it meaning ?

Thanks! Me too! There are several experiences of mine which might have inspired this song, but I don’t really think it’s a good idea to talk about what lyrics originally meant to the author - it could spoil someones idea of what the song is about, and what it means to them.

Your currently due to play alongside 'Inertia', have you ever played with these guys before, and what can we expect from your live approach, and are you familiar with there music. As its a 'VS' show, can we expect any stage invasions, covers or dual vocals ?

We’ve not played on the same bill before actually, I don’t think, but we’re friends anyway, and have known each other for years! There will be something happening as a surprise, but I can’t tell you about this either - that would spoil it!! Come to the gig and find out!

Thanks for your time, what can we expect in '2010',any last words ?

It’s nearly over now, it’s bloody September already. Well, after this show with Inertia on the 10th of September, we’re playing as the sole special guests of Alien Sex Fiend at the Electric Ballroom in London on Halloween! Gigs aside, the next single ‘Ne Plus Ultra’ is out on September 24th, I’m working on remixes for the single coming up after that at the moment, and have been working on some new material too.

Check out this Stunning band at :