Of The Twilight

GHOST IN THE STATIC

2011-04-11T13:46:00.001-07:00

Interview with 'Ghost In The Static', 11 Apr '11

Firstly welcome to 'OfTheTwilight', please tell us a little about your selves. Who's, who, when did you first form etc?

We formed in the summer of 2009, based around the idea of doing some Industrial Metal as a side project for the other two initial members (Gareth - Guitars, backing vox and extra Synth and Lewis - lead guitar, synths and backing vox) who were already in a band, and as an outlet for some ideas I had carried for a concept based project for some time. Mike (my brother) joined us as a live bassist towards the end of 2009, and Martin (drums) joined us more recently to complete the line-up. Everyone is now part of the full band, live and creatively as we wanted to expand our influences and ideas as much as possible to stop ourselves writing in too formulaic a fashion.

We sat down together with little or no knowledge of how to make Electronic music, and just plotted out what we wanted to achieve.

I had a basic 'plot' for the album, involving tracks which would act as 'scenes' akin to a movie. We started with the intro track 'prophecy' and just started writing. It was actually a very easy and exciting process as we had given ourselves complete musical freedom to get to the end result, and we found that our personalities complimented each other very well.

How long was it before you started to create the form and sound that you wanted? Plus what were the first initial reactions like. Can you remember you're first live Gig?

I think it took 3-4 months before we really started to realise that we were on to something with Ghost In The Static, as I started to improve Vocally, and Gareth and Lewis' other band broke up, meaning they had more time and drive to put behind the project. I think once we had Pursuit, Change and Downer semi-finished, we could see that we were already very different to what was out there, certainly in the local area at least. It was around then we started discussing playing live, and how we would handle both the technical aspects and the show itself.

Quite early on we had spoken about putting on a 'show' which is still something that is a bit of a faux pause in the music scene outside of a few bands, with most going with the Jeans and a band shirt whilst jumping up and down approach.

We realised that with such a different sound, and a grand scheme behind the music we were making, that the only way to compliment that is to ensure we have the visuals to back it up. We spoke about projectors, movies and costumes from very early on, and it was always part of our aim.

In the first show, we used a CD player for the backing track as I recall, and we had problems with the CD skipping throughout the gig at key moments, but were able to cover most of them up with some improvisation. I was a pretty rubbish vocalist back then, and we were still finding our feet, but I think the impact in being so different from what people were used to be the important thing, and we learnt a lot from our first gigs.

The CD player was actually a last minute choice, I remember we were originally going to go with a laptop, but it kept overheating, so we all went into Curries and bought a cheap CD player. The bloody thing was determined to ruin it for us, but we got through it.

'Sands Of Fate', I believe your first official release, what’s the Story behind it creation, and what’s the tale behind its lyrical base. What made you choose the whole Middle Eastern sound, for the opener?

Ironically, Sands Of Fate was the last track we had written before we went on hiatus in early 2010, long after the album was effectively finished, and the first we had written that was made with out a concept or 'scene' in mind.

It stemmed from me trying to incorporate elements of tracks I had heard by Nitin Sawhney and 'Jagged' by Gary Numan, without really knowing what I was doing (a familiar theme you will find).

I researched some eastern scales, and built the core melody around them. After that it was simply a case of piecing a song around it. I still remember sitting at my computer, singing what was to become the chorus hook to myself and getting a tingle as I realised that this song was coming along nicely.

I then took it to Gareth and Lewis who took the pieces and made a song out of it. They really excelled themselves in managing to get it sounding as good as it does, and I think it still stands as one of the best examples of what we have achieved.

The lyrics stemmed from a difficult time in my personal life, where I was being forced to choose a path I didn't want to walk, and I lacked the courage at the time to do anything about it. So my frustrations emerged as 'I won't walk these steps to hell, I won't, I can’t. Accept this future you have shown me, I believe in a better tomorrow'

I never realised the significance of those words until much later when the dust had settled and the problem was solved.

The whole alternate, Future idea has baffled and intrigued man for many Centuries. Be it the great Science Fiction Writers, or Legendary Movies, such as 'The Terminator', 'Blade Runner', or say 'Ray Bradbury'. Is there any one particular source that has inspired you the most?

Personally, I have always been a Sci Fi fan, and fascinated by the future, but I think the 3 biggest things that drove me toward the dystopian future theme would be 'The Matrix', 'Do Androids Dream of Electronic Sheep' by Phillip K Dick and the artwork of 'Giger'.

There was something fascinating about all three of these things, wonderfully dark and yet very relevant. All of them had contemporary commentary hidden in their essence, whether it is the dangers of conformity, the arrogance of believing Humanity is the pinnacle of evolution, or how easily the veil of civilisation and morality can drop when our own desires are involved.

There is also a little of my political ideals in there, as I see a lot of dystopian stories being achievable if people don't take more notice of who they are electing to power.

I think I have always looked back, rather than forwards. History, rather than Sci-fi was always my main interest, and it gives me a whole different out look on the dystopian future scene. I think normally, people look to the dystopian future as the end, the ultimate culmination of the conservative state. I see it more as a phase humanity will go through, just as it has always entered and emerged from darkness throughout it’s time on Earth. For me my influences would be times like the dark ages, and the Black Death. Periods of absolute bleakness for mankind as a whole. How a man deals with these situations will not change on a personal level, regardless of it’s placement in time.

Where would you say you're personal 'Dystopian', ideal fits in? Could you almost bring in say 'Steam Punk', idealistic?

Personally, I see dystopian stories in the same way that people see parables in the bible.

They help me focus on living the right way and avoiding a path that can lead to '1984' or 'Equilibrium'. I don't pretend to the most dedicated 'Rivethead', 'Goth' or alternative type, as I don't often dress the part, and I am not strongly aligned with any group of people.

But I do hold at my core a belief that apathy is more dangerous than zealousness, and that if people do not take responsibility for those they assign to power, they may find themselves in a 'V for Vendetta' world.

Steam punk is an interesting genre, and not one that I pretend to be very knowledgeable about, but I suppose they see the same problems I do, but see a different solution to them.

When shit hits the fan. Man always wants something to blame. Be it GOD, or is it more 'DARWIN', I.e.: were evolving into bloody idiots. Where do you think were really heading, and is there anything to blame but our selfish selves?

There is always a danger in mistaking development with evolution. Evolution is a series of random mutations that happen to be beneficial, and this leads to this trait featuring prominently in future generations due to the increased odds of survival of that phenotype.

Where humanity is concerned, we have artificially improved our chances of survival through technology and 'civilisation'.

There is no blame to be assigned, as it is in our nature of overpower, dominate and consume and to blame a human for greed or aggression would be like blaming a dog for barking.

The problem lies with the hypocrisy that underlies it. If we are truly 'civilised' and 'enlightened' and hold ourselves to a moral standard, then we should stick to it.

It is always the way for the existing generation to decry the next, and say that with their ascension, the world is doomed. However in reality, a situation can emerge overnight. Take the recent Middle East revolutions, this time last year, no one would have predicted these events, but all it took was a single spark and their world was alight. One of the biggest factors is chance.

The World right now is in utter Chaos. The West seems to be the Bully, and we perceive the East, as almost primitive. Yet in hindsight that is the more evolved. We who rely on technology which fails, or an Arab with a sharp twig?

Evolution is relative, I can't breath underwater so am I less evolved than a fish?

We have developed in our own way in different parts of the world, and we are now clashing over what we perceive to be the 'right' way to do things. People need to learn to agree to differ on some things.

It depends on the situation, drop me in the jungle and I would die of starvation, drop a Jungle Tribesman in the city and the same thing might occur. We are all the kings of our own little bubbles.

The Bombs are falling, you're ushered in to a Bunker, you've gathered you're lover. Food isn't a problem. The head Paladin say bring minimal items due to space. You have Space for 30 CD's, which 'FIVE' would you consider the most important?

Hmm an interesting setting....

Gary Numan - Pure (Fave album ever)
Metallica - S&M
Celldweller - Any of them..
Skunk Anansie - Stoosh
Zeromancer - Eurotrash

Muse – Origin of Symmetry
Iron Maiden – Brave New World
Rammstein – Mutter
Queen – The Greatest Hits
And…
Aqua – Aquarium (Because we’ll need evidence of where we went wrong)

NIN – Pretty Hate Machine
Metallica – Master Of Puppets
Celldweller – Celldweller
Flogging Molly - Drunken Lullabies
Nightwish – Dark Passion Play

You're debut LP has an immense great flowing structure. So many different styles and sounds. Be it METAL, and naturally INDUSTRIAL elements. Yet the voice stirs for me, elements of PROG, DOOM, be it like modern 'Anathema', that kind of soft gentle foreboding sound of despair etc ?

Honestly, I don't listen to a lot of Prog rock, and the only Doom Metal band I ever really got into would be Paradise Lost. I think it’s because we all have such varied tastes and influences that we can swing between several genres without settling anywhere too long.

Vocally I am still learning, and the vocalists that have been the biggest influence on me would probably be Gary Numan, Scott Stapp (Creed), James Hetfield (Metallica) and James Maynard Keenan (Tool/APC).

Once again, it is the same thing with me. We all have so many influences in our music that if we settled somewhere for too long, we may find it would get a little boring. There’s nothing quite as dull as the same repetitive crap over and over and over and over…

From your perspective, who would you most love to support. I can see you more befitted alongside the naturally more Guitar, driven acts. The Likes, of say 'Midnight Configuration', or even maybe 'Descendants Of Cain', be it the Occult Dark Style, Nefilim, any band that paints Darkness ?

Personally, my dream would be to support Gary Numan, but others would include Deviant UK, Zeromancer, The Prodigy and Celldweller.

I see us as fitting best with high energy Industrial acts, as opposed to the more club based acts. but we are equally at home with melodic metal or gothic bands.

With the debut, would you say, their are particular favourites. be it the fans request particular songs, and what you would say you personally enjoy playing live the most. Really love 'Hope', myself the most, such an awesome chorus line ?

Hope was pretty special in as much as that from the first time we put all the parts together in a practise room, I think we all knew that chorus would be great. I spend a lot of time on trying to find vocal hooks that do justice to the rest of the song, and I think that and SOF were the quickest to come together in that respect.

As for favourites, we all have our own, in fact I think each band member has a different favourite track! Fan favourites vary from 'Change' to 'Sands Of Fate' and more recently we have seen a lot of interest in 'Nihilism II' which led us to making a remix EP based on it.

My favourite live track is probably 'Pursuit' at the moment, as it allows me to play some keytar live, and allows me to rock out for a bit.

For me it would have to be Rammstein, at our heaviest we do take some influence from them, and they have one of the greatest live shows on Earth.

There would be many bands, I would be so excited to play with Celldweller though… we could fit with quite a few bands due to our diverse sounds though

You’re currently under way working on a new and yet Untitled LP, how’s it going. Having heard a new opus 'Not Enough', things seem most promising. OK it's a rough working, at the same time, just bloody awesome?

The new album is being put together in a very different way. We had a lot of song ideas already floating around, and rather than try to force them to fit a concept, we decided to have a free form album and just write songs as they come to us.

This has meant a little more freedom, but a bit less control so we are all interested to see what happens.

'Not Enough' is the first track that we have 'finished' (whatever that means) mostly due to its simplicity of purpose. It’s a high energy song that thunders along, and we are working on it to get into the live set as soon as possible.

Our production and song writing skills have improved tenfold since the first album, and this next one should be a real humdinger, and we are hoping to have the album out for early 2012 if not before.

The overall feel is very different, also as the band has expanded from G, Lewis and Steve, to include myself and Martin, there are some new elements in there which while not radically changing the overall ethos of the band, are providing new ideas.

This is an interesting one, the writing format is currently taking a different path. Before, it was me, Steve and Lewis sitting in a room together and making music until it was done. This time round we are getting mike and martin involved, and a lot of the music ideas seem to come from us working alone and bringing it to the group before we develop it. Not Enough was one of those moment where we all worked together though. It is an exciting time, and if you liked the first album, this could be very promising!

Thank you Gentlemen.............. Any last Words ?

Thanks for the opportunity.

The music scene can be what we want it to be, so get out to gigs, buy albums and support your favourite artists!

Yeah, thanks for this, and for the readers, keep supporting the music scene!

Steve
Mike
Gareth

NINJA SPICE

2011-04-11T10:42:00.001-07:00

Interview with 'Christina Monk' Aka - 'Ninja Spice', 11 Apr '11

Please tell me a little about yourself. How long have you been writing and creating music ?

I've been making music to some degree since around 84, when I got into electro. stuff like afrika bambaataa, egyptian lover and hashim. and early hip-hop. I made hip-hop for quite a while with increasing influences from other types of music, including jazz, funk, reggae, and later on jungle. After hearing chu ishikawa's soundtrack of "tetsuo II, bodyhammer" I got interested in industrial, and as I became increasingly frustrated by the decline of the hip-hop scene from being counter-culture to the lap-dog of capitalism, i started to replace it with industrial more and more.

The name 'Ninja Spice', is this a cheeky poke at thoose vile Girls that peaed everyone off in the Ninety's ?

No, it's a homage to the musical geniuses who inspired a whole generation in the nineties. particularly ginger spice (Geri Halliwell - ambassador for the UN if I remember right).

How would best describe your musical approach, and writing style. Are you a person who collects from whats around you, or more a book worm, and film buff ?

I do use samples from films, and did a film degree, but most of my song meanings come from my reaction to things that happen around me, either locally or nationwide. But some tracks will go more into the realms of fantasy and so might be inspired from ideas in films or TV shows (particularly "Being Human" and "Doctor Who")

If you had to Assassinate the 'Spice Girls', but save one. Who would it be, and what demise would the others meet ?

It's tough. it would be between saving ginger, or sporty. I think ginger, but it would be a close thing.

Prior too 'Ninja Spice', have you worked or been a part of other bands ?

Not really, I used other names before, but they were even worse names than Ninja Spice, so I'd rather not say. and it was before the days of the Internet, or me having any proper recording equipment at all, so nothing I did then survives, or probably really would have deserved to anyway.

Where would you say you draw your influences from. Has there been one artist in your life that really drives you ?

It's changed through the years. at first, definitely Egyptian lover was a big influence, then early hip-hop like public enemy, ultra magnetic and overlord x. Over the last 10 years though, which is probably the most important, my biggest influence by a really long way was chu ishikawa, who is criminally underrated, but still a legend for many. Lately 'Angelspit' and 'Combichrist' to a very large degree. Also 'BAAL', 'Modulate' and 'Punish Yourself 'are influences. And 'Skinny Puppy.' but it is very hard to emulate them!

Have to mention 'Kill Leona', any one person in particular, or just a Fictional character. What the story behind this, dark track ?

Leona Lewis. She won X-factor a few years ago and I got sick of hearing her. One time I was in a pub and she came on the juke-box and I started spitting blood. I got into a huge row with some guy and said at some point, if i could have her killed I would. or at least give her throat cancer, a few people got quite offended and I very nearly got thrown out. (Anything X-Factor, deserves a painful death)

'Kanashibari', or 'Sleep Paralysis !!!. What made you write a track around this bizarre disease. Is this something you've actually witnessed, or even suffered from ?

Yes. I had it for a while about 20 years ago for a long period of about 5 years. At the time it wasn't very well known about (or at least spoken about) in the west so I was quite freaked out, and the only people who I spoke to who knew what I was talking about were Japanese. so I knew it as kanashibari for years before I'd heard the term "sleep paralysis".

'Kirikaeshi', simply a cutting movement used in 'Kendo', is Japanese culture something that really fascinates you. Have you ever visited or studied their Culture?

I've not visited as I'm penniless and passport-less. I really would like to though. to be honest, I think I'd be frustrated just going a few weeks though. I think I'd rather try living there a while if I could. as for the culture, I watch a lot of Japanese films, and listen to Japanese music. For a long while I've been interested in both modern, and traditional Japanese culture.

Where would you say you draw your visual side from, again I guess the kitch, the kinky and Fetish culture. Be it the ,'Cyber Goth' look, you look bloody amazing ?

I tend to mix my image around and go through phases too. I've often had a cyberpunk look even, before I knew what it was. when I was about I wanted to be a punk with pink hair, but my parents wouldn't let me for some reason or other. Even though I only knew one song of theirs, I liked the look of 'Strawberry Switchblade'. for a while I started getting closer and closer to the Japanese Lollita look - even before I really knew about the scene. Lately I tend to be going for a sort of cross between Punk Lollita and Cyberpunk. My style icon would probably have to be 'Amelia Arsenic' from 'Angelspit'.

So far there loads of material, between various sites, has there been hard copy's available. How long have you been writing, is there a Discography, or official siter availible. Is 'Fukushuu' / 'Revenge', you debut as such ?

Nothing on CD. the place where the most of my tracks are is soundclick.

http://www.reverbnation.com/ninjaspice

http://www.soundclick.com/bands/default.cfm?bandID=502336

http://www.myspace.com/ninjaspiceattacks

I see from 'Spineless', you hate the music industry, or certain artists. I have to agree, combination of overpriced music, and ready made crap. Problem is, there's no Soul left, everythings dictated, sterile. Pop Idol, The X Factor, Britain's Got Talent, and American Idol. Really are screwing the UK's music style ?

I don't think it's just music. globalisation, particularly Americanisation has been detrimental to many forms of media-culture and society - not just in the UK but worldwide. I think we get it worst because of sharing a language. But in the UK for a while we have been known for being able to make good quality music that can be critically acclaimed and still commercially successful. When we put faith in our own musicians and music scenes instead of trying to emulate. What is popular in 'America' we can make world-class music. Like with the 'Brit-Pop scene - whether or not you like them, 'Oasis' were good at what they were doing, and 'Blur'. and then later on 'Gorillaz'.

Recently there was the thing of British female singer songwriters - most notably 'Amy Winehouse' and 'Lily Allen', who were making music that was critically acclaimed, that sold shitloads of albums and actually deserving it, and it was a uniquely British sound. There aren't many countries that have a music scene strong enough to create genres that spread around the world.

The UK at it's best can do that - look at Jungle/Drum and Bass. That's everywhere now, and still, a lot of mainstream music, particularly the R&B and what used to be Hip-Hop scene has become all about either sex, or money, and nothing more. It's one thing Hardcore rap, or underground Rock using sex and violence in it's lyrics, but where music is aimed at a child and teen audience then it seems a bit screwed up to me. Like a few months ago, I had the telly on mute with subtitles while something was playing on my computer (Yeah, I'm fucking the environment with waste) and there was 'Rihanna' performing live, followed by 'JLS'. 'Rihanna' aimed at probably young adults I'd say, but 'JLS' 100% at children. both songs were about shagging as many people as you can while drunk and rowdy at a club.

Why not Ninja Kill 'Simon Cowell', I'd Paid too watch ?

I don't really blame Cowell. He's honest about what he does, and doesn't claim it to be any more than what it is. What's worse is when someone claims to be more, and are in the end just putting out what is fundamentally the same as every other average act. If i could have someone in music killed at the moment, it would be far more likely to be whatever 'Puff Daddy' is calling himself these days, or 'Gaga', or N-dubz.

So far you have around over 100, song's to boot. what would you say are you're overall favourites. Plus what would you say your fans love the most ?

A lot of the time, annoyingly people will like a track best that I want to forget about, and a track I am expecting will completely blow everyone and everything away will go completely unnoticed. But tracks that seem to have been the most well received lately were...

Ninja Spice - 'Fukushuu', 'God's Work', 'I Bloody Love You Guys', 'Bakemono'

Haru Yasumi - 'Eva Braun's Sex Tips For Girls', 'Ophelia As A Cyborg' I'm particularly proud of specially enhanced 'Silver/Chrome Alloy Battle Chassis'

Thank you young lady for you time.... any last words ?

Goodbye cruel world...

LIVE 2011

2011-04-05T03:16:00.001-07:00

NANO INFECT

2011-03-02T10:55:00.000-08:00

Interview with 'Nano Infect', Mar 02 '11.
Dedicated to 'Alex Everfield', Cheer's for the intro Bro !!!.....

Please let the world now, when did you first come into creation. Plus were you part of any other bands prior ?

NI were formed by Lunarian and myself at the 25th of April 2008.We wanted to work together since 2004.Back then I was into many projects from Ambient to Black Metal and some strange rave stuff. Lunarian was already into Industrial music with his personal project and Cybergoat also. So that day we decided to start a project together and then NI was born!

How long was it before, you created a sound that worked for you. Was it an easy affair, did you say right were creating this !, or was it more natural evolvement over time ?

It took a long time to create a sound I liked.Lunarian was into totally different direction from what I was dreaming about NI so at some point i started composing my first NI songs but they sucked haha.At first after we got a sound that worked for us most of the songs were Suicide Commando influenced but after that Dark Electro influences were more and more obvious so at that point it was hard for us to combine those styles,but I guess we did it.

How does 'Greece', itself accept the whole 'GOTH / INDUSTRIAL scene, certainly Greece is known for its strong Death And Black Metal. Can you point me to you're new comers, and any bands we should watch apart from yourselves ?

Greece could not deny to accept those bands cause in my opinion all of them kick ass! Every Greek band has a small fanbase...

The already famous bands are Siva Six, Virgins Or Pidgeons, PreEmptive Strike 0.1, Inline Sex Terror but there are new bands also like Hydra Division,Child From The Crypt,Red-Line,Technology, Contact Zero, 6.Aborted.6.Fetus.6, Orgasmic Chaos and Foresin, all of them are great in my opinion although I don't know all of the personally.

Agrotech is a strong word in itself. What are you guys shouting about. What pissing you guys off in these last days of Man ?

Every single song is based on a specific event in my life or points of view concerning religion,life and death. What pisses me off is definitely backstabbers and bitches,but if they weren't present in my life the songs would not exist

What would you say are your strongest influence's. What makes you tick, hows do you create you're whole persona ?

Definitely first and strongest influence is Suicide Commando, also Dawn Of Ashes, God Module, A7IE, Acylum, Agonoize etc.

Ok to 'Gas Chambers', aptly named. What we call a UK Curry House. Please tell me more, what can be found on it. Was this an easy affair. Plus naturally is it still around to Purchase ?

Gas Chambers was our first ever demo.It included the songs "Betrayed,Hell Invaders,The Mark Of Death,Black Combat and Till Death. All of them were way different than our present sound.It was self printed in like 30 copies so you could say it's extinct I mean I don't even have a copy haha.At least you can find the song Black Combat on youtube.

Due current times after a few line up changes, I understand. The debut LP, is in progress. Do it have a current working title, and are any of the earlier demo tracks going to feature ?

Yeap at first as I mentioned earlier NI was Lunarian and me,afterwards Insomnia-X was added to the band (the only female member so far). The second line-up was Tanziktator Saffer,X-Hazard and me. I am still in touch with every single one of them. At least for now the band is Tanz and me later on no one knows if anyone will be added or leave,time will tell. Concerning the CD it will be a full-length which will be called "Circuitry Of Blades".There won't be any tracks from the "Gas Chambers" demo but concerning the tracks that are already known such as "Fall Asleep" and "Abortion" are remade and sound even better.

Does the new LP, follow any set path or concepts in its creation. How would you best describe its current sound. Plus are you 100% happy with it's current direction ?

As I said before the album follows the concept of a specific period of my life.I assure you the lyrics are not happy at all. As for the sound I don't think I am the one who can tell since I just compose the songs i can judge them,but I would say that some of them are slow and majestic some are raw and straight to your face and yes I am definitely 100% happy with it's direction! I really love it I've been working this album for like a year and a half before mixing and mastering it so yes I am pretty sure about it!

Last I wish you well, can we expect you on English, soil any time soon, any last words ?

I wish we could perform in UK soon,I've been there once and it's really beautiful.
I would like to thank you Eddie and also all the people who support NI especially Alex Eversfield ;) ...

Spread the infection!

LIVE 2011

2011-03-01T02:23:00.000-08:00

NIGHTPORTER

2011-01-27T11:41:00.000-08:00

Interview with 'NightPorter', 27 Jan '11
Deadicated to my new found sweet friend 'Laura Puckett'...
Photo, by my good self May '10...

When did you guys first form, and have you been members of other bands prior ?

The concept of NightPorter was born in Belfast, Northern Ireland in Feb 2009, we became a fully functioning band, some considerable time later when live appearances were demanded! Everyone bar Raven have been in bands before!

Please introduce yourselves, who's who, and who plays what ?

Our current live lineup has: Raven on vocals, I'l Dottore on Bass Guitar, Zee on guitar and The Preacher on drums.

When you first formed, did you have a set initial goal, on your appearance and overall sound ?

Our influences are vast and we don't like to pin ourselves down to a particular sound, we are continually developing and like to take the experimental approach to what we are working on at any given time.

Who writes your lyrics, and do you have a set pattern and themes. Or more a case of what pops into your head, by observation or inspiration ?

Our original material is always written within the band in a sort of organic process, so yeah I guess there's a certain amount of "what pop's into your head" involved but it's not quite that easy! There are no set patters or themes as we wouldn't like to limit ourselves, I think it goes without saying that we do however have a leaning toward all things dark!

'Victoria', I believe was your first song (Please correct me here), what the story behind its creation, I understand it relates to the girl in the video. Is this more a ballad to a girlfriend. Of has a more deeper meaning ?

Victoria was indeed our first project, as mentioned earlier NightPorter was initially more of a project/concept than a band and Victoria was the first result of this experimentation... It certainly isn't a ballad to a girlfriend and it was named by the fact that the girl in the video is called "Victoria".... The true meaning is much deeper and is "hinted" at in the video, other than that it has to be left to your imagination!

Have to mention 'The Sickness', a great show stomper. When referring to the 'Sickness' are you referring to dear old 'Humanity', I feel this has a deep and strong message ?

We love The Sickness and think it is one of our strongest songs to date, the beauty of the lyrics is that they can be applied to many different scenario's so it can mean one thing to some and something else to others, we feel if applied to society in general then it is currently very topical even though it was written some time ago!

Currently is there anywhere to purchase your material, Ive found sites with all your current songs, but no way to buy, or download ?

We have various web pages with players that live stream our demo's and have a few You Tube releases. We have yet to make a "commercial" release. The original songs in their current form were recorded as Demo's and never intended to "sell" commercially, they were intended as "A Taste of Things to Come" and there are a few promo CD's in the hands of various DJ's that are entitled just that....

Currently is there a debut under construction, or do intend to continue your touring schedule. Or release an EP, to wet our appetites ?

We hope appetites have indeed been wetted and we are currently recording our, as yet, untitled debut album, some of our original songs have already been re-recorded and we are very pleased with the results, in line with our organic approach the songs have developed with a year or so of rehearsals and gigging, along with some new material we hope the anticipation of our fans will not have been wasted!

Your new song 'The Box ', features reference's to 'Clive Barkers', 'Hellraiser'. Do you consider him a major influence, on your bands output, and lyrical idea's ?

The Box is just one piece of a project that currently consists of a trilogy (including "The Black Lodge" and "The Demon is a Liar") of work called "The Maldine Square Tapes" that may yet continue to grow, fundamentally they are "tribute's" to some of our favourite Movie's, the project is still current and there are several "unfinished" possible additions to the work...

Lastly what can we expect from you in 2011?

We hope 2011 is going to be a good year for us, we will announce the album release as soon as it's finished and that is very exciting, we are currently hard at work in the studio so not gigging but we intend to go live again soon. We are playing live at the Pray Silence festival in Portugal this summer where we will be sharing the stage with some real great talent including Gary Numan, UK Decay, Xmal Deutschland and many many more, hopefully we'll see you all there....

Regards,

Raven...

LIVE 2011

2011-01-25T07:53:00.001-08:00

DIVA SUICIDE

2010-11-22T04:03:00.000-08:00

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'...

http://divasuicide.bigcartel.com/

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

http://www.myspace.com/divasuicide

http://www.billboard.com/#/album/diva-suicide/scars/1455762

http://www.reverbnation.com/divasuicide

http://www.last.fm/music/Diva%20Suicide

http://vampirefreaks.com/divasuicide

HELALYN FLOWERS

2010-11-09T10:10:00.000-08:00

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 EP “Plaestik”, 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:

http://www.helalynflowers.com

http://www.myspace.com/helalynflowers
http://www.facebook.com/helalynflowers

LIVE '10 - '11

2010-11-03T11:17:00.000-07:00

SHIV-R

2010-11-01T05:11:00.000-07:00

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

Ninja-Secrets-Guarded-by-Mysterious-Ronin-Dark-Electro

Uber-Elite-Dark-Side-Jedi-Synth-Master-Dark-Electro

The-World-Needs-More-Noise-Oscillators-Dark-Electro

If-More-People-Liked-This-Genre-I-Wouldn’t-Need-a-Day-Job-Dark-Electro

You-Could-Substitute-“Dark-Electro”-with-“Industrial”-It-Doesn’t-Make-Much-Difference-Dark-Electro

[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… --

Sites:
www.shiv-r.com www.plaguesequence.com
www.thecrystallineeffect.com

Myspace:
www.myspace.com/shiverindustrial
www.myspace.com/plaguesequence
www.myspace.com/thecrystallineeffect

Skype: Virul3nt

LIVE 2010 - 2011

2010-10-17T02:27:00.000-07:00

CONCRETE LUNG

2010-10-16T13:20:00.000-07:00

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

http://www.myspace.com/concretelung

Thanks’ Ed

VILE ELECTRODES

2010-09-28T08:34:00.000-07:00

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...

www.facebook.com/vileelectrodes
soundcloud.com/vile-electrodes
www.myspace.com/vileelectrodes
www.youtube.com/user/VileElectrodes

LIVE 2010

2010-09-28T02:42:00.000-07:00

MECHANICAL CABARET

2010-09-03T15:09:00.000-07:00

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 :

http://www.myspace.com/mechcab
http://mechanicalcabaret.co.uk/

DEAD EYES OPENED

2010-08-27T11:18:00.000-07:00

Interview with 'Spooks - Dead Eyes Opened', 27 Aug 2010
Deadicated too, Sharon and Siobhan Clarke, my new good friends...

Firstly please tell me a little about yourselves, who's, who and when did you first form ?

DEO is a 3 piece from Edinburgh, Scotland formed at the start of 2009 from the ashes of Electro Rockers BYLXI. Line-up is: Spooks - Vox, Dunsy - Guitar and Gash on bass.

Being from 'Scotland', how are you finding the response's, as most 'Goth', bands tend to fair from 'Northern England', or our 'Capital'. Or are you finding a rise within the Scottish scene, or even creating a new one ?

We've not gone out of our way to join any scene as such although obviously we welcome any attention that comes our way. Ironically we have more connections in London than Scotland. That said, we'd welcome a resurgence in the Scottish scene.

How would your best describe your musical approach, do you like to fit within a set genre, or being more wilder in approach ?

The agenda was always just to write quality music that we liked ourselves. Anything after that is a bonus.

Your début 'Submission', starts with a statement about reality. Would you say that your material is based around the worlds current state, and observations from media. Are you a band with a message to the heard ?

Submission is about the arrogance of religion. Lyrically they're usually about something that has annoyed us - religion, people, stupidity......haha What can

you tell me about the creation of 'Submission', how did you find its creation, and are you 100%, happy with it. Do you think as a début, you have learned from it ?

Really proud of that ep. It's a statement of intent. No filler. As soon as we wrote the title track we knew it was special. No sooner was that written than Pave the wicked way made us realise we were onto something consistently good. Who died to make you King? was a popular live track so we knew all songs were strong.

So far how has the feedback been. For me its well crafted little gem, great rock feel and mild touch of industrial. Plus also easy on the ear, and catchy ?

Not gonna argue with you. haha. Radio friendly 'Goth Metal'.

Who would you say your main influences are, is there one band or person, that stands out from the crowd to your ears, dead or alive ?

Dunsy, the guitarist, loves his metal and I'm hugely influenced by the 80s early synth, post punk new romantic sounds and of course, the early Goth scene. As the songwriters it's the clash of these influences that culminate in the unique DEO sound.

So far you've been touring, supporting great bands like 'The Eden House', how have you found the response and reaction to you so far ?

Brilliant! To be honest I think folk were a little surprised by us. We showed we could pull it off live. Most folk tend to stay at the bar whilst the support is on but we got their attention. haha. The challenge now is to continue to impress.

You currently have new material on the go, I believe 'My Sanity' and 'To The Devil',Is this material too follow the MCD. Is there a full length in the works, and will it differ from the début material ?

Yeah, we've got about 20 new tracks including those. We're going to release another 'EP' before the end of the year with Steve Carey from 'The Eden House' producing. We'll promote that live and then we'll work on a full length release in 2011.

Lastly I wish you all well, and good luck for the future, any last words ?

Thanks Ed. Get in touch, see us live, say hello. Cheers...

For further contact and info:

Debut MCD 'Submission', out now... (A true must have)...

www.myspace.com/deadeyesopeneduk

http://www.facebook.com/home.php?#!/pages/Dead-Eyes-Opened/121274207891163

LIVE 2010

2010-08-26T10:15:00.001-07:00

LIVE 2010

2010-08-20T03:13:00.000-07:00

LIVE 2010

2010-07-19T03:29:00.000-07:00

LIVE 2010

2010-07-05T02:50:00.000-07:00

LEBENSESSENZ

2010-05-23T03:13:00.001-07:00

Interview with "Newton Schner Jr", "Lebensessennz" - 23 May 2010.

When would you say 'Lebenessenz', actually came into creation, was it something deeply planned out, or more an instant form of creative release, pressed to tape ?

Ah, that time! It was completely without plans. I remember I was alone at home and decided to improvise some melodies. My idea was just to create something to myself that night. Let’s say I was just guided by an impulse, but never imagined that “Lebensessenz” could really correspond to its etymological meaning: the essence of my life. I wrote a text about it, saying that I never was “a musician”. I never played in my childhood and never dreamt or felt any sensation or even attraction to music in old times. A curious story.

This is a fragment of the text:

“Differently of other composers, I started late. Not only this. Later and by myself. Even having a father which was musician,I followed my own recourses. And slowly, very slowly, I discovered myself with piano. And today there’s nor only one day I do not play it, when I’m at home. There’s no one occasion without asking someone who visits me: ‘Can I play for you a new composition of mine?’ (…) And as a result of indecision. And from the necessity to find something on which I could express myself on that young inquietude, I grow up as a composer”.

You were just 17' when you first started to create the actual project itself. Before this had you had any formal musical training, I see that art is strong within your family. Were you encouraged, or in hindsight using the music as a form of rebellion, almost a creative shout ?

I never had trainings, even in nowadays. I learned to play with an intention to create my own music. When people recommend me start to read sheets, I like the idea and get encouraged, but in the same time I say: “Ah, yes… Maybe one day!”. I know it would be better if I could read, but actually it’s not a strong problem for me. My priority is related with the instrument. While I can, I’ll keep creating. And I share with the same fidelity that I exposed answering an interview in 2007, with the same words: “I never will split-up the project having all the conditions [to create and] to record. If I split-up one day, it will be certainly because I am in prison (because it’s the destiny of many enemies of system, like Wagner was in his time), in a sanatorium (the same is valid… never forget that Heidegger, Hamsun and Pound were considered ‘mad’ because their thoughts, with the victory of Allies), in a hospital (life sometimes is so uncertain) or in a cemetery (if I die…). My music [represents] the steps of my life”.

It was quite interesting to see you asking this. My father does not showed any enthusiasm nor liked when I’ve started to play (in the true, I’ve played one or two times in my childhood, because my father wanted to be my own teacher), because in his eyes it was exactly how you’ve described: a rebellion. He was of the conception that could be even an aggression to “compose” without any classical degree or capacity. “You should learn ‘little ball’s music’”, he used to say – in the case, ironically he referred sheets as “little balls”. But with practice and principally feeling, I started to get better on piano – for me, it’s everything I really needed / need / will need. I had my own beginning. Many people refused to distribute my works in the old times. Maybe they were right. I remember that once Jorge Luis Borges said that his father said anything related with his own poems, and then Borges thought his father was right to give him the possibility “to commit the own mistakes”. So I’m really patient and I always think I’m just in the beginning, “committing my own mistakes”, even I’m with 1, 5 or 10 albums, I’ll understand when people say I need to get better and so on. Once more time, Rilke was right: "I learn it every day of my life, learn it with pain I am grateful for: patience is everything!"

Your first work "Einsamkeit, Hass und Dunkelheit sind meine Lebensessenz" (Solitude, Hate and Darkness are the essence of my life). It mentions that sadly this was lost, during a bout of insomnia, what can you actually remember of them. Did you ever sit down and try to re-create them ?

In true, it was a work I’ve done in the same process of my first demo. Honestly, I think it could be not necessary to record it again, because the melodies and musical structures were very different. The reader / listener can check by itself to understand what I’m talking about, comparing my first work with what I do on nowadays. If I were talented like Agnes Miegel, I could re-create like poems written in my childhood (I’ve a song about her “Frühe Gesichte”), but I am not and I my memory is also insufficient to such things.

What first inspired you to play 'piano', and actually create classical form's of music. I feel through certainly the imagery and feeling you give, your father alsmost is like a spiritual drive for you ?

As I said, I started to play moved by an impulse, but slowly it was connected to a sense of duty, of necessity. Only the true necessity made me a composer. A necessity to open myself to what could not be considered only an instrument, but an opened book of things that I don’t tell even to my best friends. A necessity to express my pain, a good or a bad day, a loss, the sensations after reading a good book, watching a good film, etc. On my newest album, there’s a song I made like automatically after back from the funeral of my father; another one, after back from the hospital, when my daughter was born.I apply myself in my work with the same principles the chosen old Hindu castes applied themselves through their biological specificities. In the case, I see my duty in writing and making music.

My father’s life is really an inspiration to me. I know I can be acting exactly like Mel Gibson, but it’s true: he was an example. Certainly he had his own mistakes, but in my view he represents this idea of devotional work: his duty was to cure. This was for what he was chosen. And I’m telling you honestly. Do not get my words as “words of a son”. Everywhere I go in my city and give my name, people – mostly old ones – like to ask or to start to talk: “Ah, Schner… I remember your father! When no one could cure me, your father saved me!”. When I was on his side on his last days, in his mind he was still working and trying to cure people. And he always kept his fidelity to medicine, until his last days. Because of his fidelity and courage to fight against the actual medicine system, he suffered boycotts, humiliations and many other things. He was really a great person and I’m glad I’m able to do just a bit of everything he really deserves, always trying to create things in his memory. I’m a follower of the concept that we can be immortal through the art.

Do you feel with 'your actual being' almost, wanting your fathers acceptance, or him to say well done son. Is 'Lebenessensz', well almost your soul in the form of music ?

That’s very subjective. But based on what his own friends said to me, I think he could be glad of what I’m doing, even I’m not reading his so recommended “little ball’s music” or better, the “holy” sheets.

Yes, Lebensessenz is really part of my soul, besides of what I [try] to write. Marquês de Maricá, a very important Brazilian writer once wrote his own epitaph: “Here rests the Maricá’s body. If you search his soul, you’ll see it on his books”. Art certainly is a synonym of immortality when its message is universal as well as immortal and there are many cases that after ten, fifty or thousands of years the soul of an artist can be discovered. So in this case, I’m lucky to see people giving
attention and value to what I do while I’m still alive – many others never had this privilege.

When creating the actual music itself, do you follow a particular method. Or plan out a set mood or research a particular
event,etc ?

As I’ve always learned by myself and played alone, my method is very particular. To compose a song is the same of a writer who wants to write his own vision of a theme: he wants to do by himself. There’s possibility to play together in a specific song, but the essence of what I do cannot be changed. Sometimes people like to “enter” in what I do and propose how and what should I make, but I must say: I have my own way and as Keating proposes on “Dead Poets Society”, I want to keep my own step and follow my own voice, even it’s harder. I accept suggestions with opened heart, but not interferences. The same would be valid for a writer. I cannot imagine someone trying to remove the existential crisis of a Dostoyevsky, saying: “Why don’t you try to write in other way?”.

About events, I’m starting to look for places to play. At the moment, I’ve played only one time and it was incredible, really incredible. I’m trying to send promos to many places and I really want to get opportunities to play and spread what I do. As I only heard good comments about my first event, I think I’m doing a good job. Opportunities to play are everything I want, because I really love what I do.

Have you ever placed, written lyrics within your creations, or worked with other musicians ?

Let’s say there’s a bridge between what I compose and what I write. There are things I am not able to create on keyboards and things I cannot describe with words. There’s completeness. But I also wrote things related with songs and texts. “Über die Brücke der Träume” (Over the bridge of dreams) and “Traum und Schuld” (Dream and guilt) were two songs I’ve composed in connection of my first written romance. The same is valid for other texts. If you ask me about any of my songs, I could describe you with details about the circumstances that I made them.

Yes, I’ve worked with other musicians, but it was not related with piano (I had many projects of different styles and played other instruments and even made vocals in some of them). Even in the time of bands, I kept my piano work as a very personal side. Once some people said: “Hmm… Only a piano? What an empty sound!”, but I really have no plans to play with anyone. Guest vocals or instruments in a specific song yes, but nothing more. One of my dreams is to write a song such as Niccolai Gedda did on “Porqoui me réveiller”, on which he wrote about Werther. If I could find someone to make a guest voice, certainly I could write a text and create my first and very particular Opera.

As you have grown older, do you find that you surprise yourself at times, and the music improves year by year ?

In the same time I look at myself and think: “Man, how the things have changed during these years!”, I’ve the sensation – perhaps it’s a perfectionist aspect – that I always need to get better. I can create a work exactly today and try to do my best, but tomorrow I’ll hear and think: “No… I think for now I can do better”. Jorge Luis Borges once said that he never saw again the books he wrote. More or less, the same is valid for me: I look at my past works with nostalgia, but try to concentrate myself in my own North, having the sensation I never made anything. It’s a bit strange, but in my view it’s positive. Nietzsche also once said that every of his books gave him a sensation of “goodbye”.

Who would you say are your strongest influences, and do you listen to other forms of music ?

Particularly I could say my strongest influences are not only related with music. No one composer inspired me so much as did the readings on “The sorrows of young Werther” of Goethe and “The robbers” of Schiller. My inspiration can be divided in three points: 1. Personal feelings and experiences; 2. Literature, movies, paintings, etc.; 3. Music. In the case of music, there are some few names of composers / projects / bands on which the reader will find a background of influence on my melodies, such as: Yann Tiersen, Chopin, Alcest, Wigrid, Philip Glass, Beethoven and many others. But honestly the process of creation is a bit curious, because I never had one strongest influence in terms of music. Once a friend sent me a Yann Tiersen song and I really identified myself with his work, the same is valid for Glass, but it never meant that I was one of these fanatics who really tried to copy them. I guess I heard less than 10 songs of Tiersen and just an album of Glass (The hourglass), but I know their importance for what I do. The same is valid for writers I like, such as Goethe or Thoreau – I never read all of their books, but I know exactly the points I really admire them and apply their values in my personal life. Certainly I listen to different forms of music. I’m completely moved by nostalgia, so it’s very common for me to listen to Abba, for example, feeling the same spirit of my childhood, sit down on piano and create melodies which have anything to do with Abba. There are three different categories of music I listen, in the case of inspiration: Classical, from the influence of my father ; let’s say “common music” made by bands or groups such as Roxette, Pink Floyd, Brandi Carlie, The cure, etc., from my mother’s side; and some few Melancholic Black Metal (“Black” related with darkness, not with a racial) bands just like Alcest, Wigrid, Gris, Drudkh, Burzum, on which I had a strong relation between 2001 and 2008.

If you could resurrect one famous composer from time, who would it be ?

Richard Wagner, with no one doubt. This is the first name in my mind. He was not a simple composer, but a complete composer:musician, persecuted revolutionary, true patriot, writer, hero, poet, mystic and why not a god, even his life was constantly full of difficulties which are very human, such as melancholy and economic problems. All these elements put him over the simple idea of musical creation.

I agree with the words of Ernst Newman: “Wagner was one of these dynamic personalities that after disappear, make the world be never the same of before”.

And with Wagner’s rise, we would see again the triumph of classical art over these obscure times on which “everything is art” or “art is relative”, where there’s no sensibility and you classify the agony of a hungry dog as “a beautiful expression of suffering”. A minister of propaganda in Germany said once: “The art without delicacy is like food for pigs”. I agree with him. And also with a rise of Wagner’s virtues, automatically some values of Schopenhauer’s philosophy could be more respected, such as his view on heroism, will, tragedy, health, etc.

Classical composer throughout time, always seem to be either eccentric, or suffer great tragedies, or be political. Do you think there is a key ingredient to the great composers ?

Yes, it’s valid for Wagner and even for myself (please, I’m not trying to compare myself with Wagner, but just using an example of a common situation). After situations I lived, I simply wrote songs like automatically. From the 1st work to the 4th, I’ve created everything in the same time I was writing, under the effect of personal circumstances. But still today sometimes I record songs with an improvised form, emerged from a specific moment. All these moments I live are like defiance to me, saying: “Let’s see how deep your relation with music is. Can you create now, huh!? If you can, express yourself on this situation!”. On “Letters to a young poet”, Rilke share the same idea: "...ask yourself in the most silent hour of your night: must I write?".

As a newcomer to you works, which one album would you say purchase, and which one LP, would you say is the best ?

I recommend you the works that I made after “Der Abend des Abschieds” (2005). They are: “Le besoin perpetuel” (2006), “Das Drama der Einsamkeit” (2006), “Die Räuber“ (2007), "Die letzten Momente von Werther" (2007), "Introspective Fragments II" (2008), "Tu, deorum hominumque tyranne, Amor" (2008) and "Leben und Kunst" (2009).

The best is always the last one. If your favorite book is "The sorrows of young Werther", no doubts that "Die letzten Momente von Werther" could be your favorite. The same would be valid for “Leben und Kunst” if you want to have a journey in the life of my father or “Tu, deorum hominumque tyranne, Amor!” on my own life emerged in personal experiences and a journey on Schopenhauer’s “Love’s Metaphysic”. I could say that after "Le besoin perpetuel", the things are going quite similar. All the works have an own essence, but slowly in some points I'm getting better in what I do, for example in techniques and structures of melodies. The essence still the same.

How have you found moving from native 'Europe', to 'Brazil'. this must of come as quiet a cultural shock. Do you think it has has a strong effect on your musical creations, and the initial sound ?

I’m sorry to say, but I do not move myself from Europe to Brazil. I was born in Brazil and until today I never felt the air of divine Mother Europe, because of questions related with opportunities and so on. Anyway, Europe lives in my heart (as I do with many other parts of world, but in the case of Europe there’s a difference: my ancestry is completely European, so “the blood calls”) – this is the most important - and also there’s even a lost part of European spirit where I live. To give you an example, there are many studies of European communities in Brazil that are keeping dialects which were completely disappeared from Europe.

In true, there’s a strong effect in what I do by the fact of having Europe in my heart. Not only as a continent, but as a spirit. It could be more specific for Germany. I created songs and albums about its history, about its places and cultures, under the inspiration of many composers, painters and writers, but never touched my foots there. So, my relation with Europe and with Germany is also part of my romanticism – naturally, part of my inspiration.

People could say: “Come on! What a joke! How could someone write these things without even visited Germany?”. But I think romanticism like mine – even if it sounds a bit stupid for many people – is much more positive than the invasion of Europe and Germany, when people with bad intentions are trying to impose cultural and religious values, robbing, selling bodies and drugs and fighting for the dissolution of all the nationalisms everywhere.

How have you found living in 'Brazil' itself. Plus how have you found the musical scene there to be like ?

It’s really complex to “introduce” yourself about Brazil because of its vastness. First of all, forget the idea of what you usually watch on television. It’s false and does not represent Brazil. I live in a region which was mostly colonized by Europeans and its values and contributions are on practically everywhere: architecture, culinary, religion, etc. These European immigrants were substitutes of African slaves, when England and its Industrial Revolution imposed to Brazil the idea of Abolition. From both sides – mother and father -, my ancestors had a very poor life working on field.

The problem of nowadays in Brazil is like in everywhere: the idea to convert a “positive multiculturalism” in a negative one.What I consider as positive or negative? Well, in my region there were ethnics of everywhere. People really learned one with each other in many aspects. My father, for example, a descendant of Germans from Russia, became a great Doctor also because of what he learned with native Indians – and my grandfather teach them to play violin. Old people here – with European heritage or not – usually can speak some words in European dialects in the same time they can speak few words in native Indian tongues. This is the positive side. But on nowadays, the idea of an international government is trying to promote the dissolution of specificities through a “democratic” and silent imposition. Here in Brazil, they defend that you really must follow this or that culture, because it’s “a must”. One example is related with race. The Marxists helped this international government to convert race in a “social construction”. In the same time they really fight against everyone who tries to say that there’s a strong euro-Brazilian community with many contributions (and that should be respected as a part of here), they try to apply Hobsbawm’s theories and say that there’s no identity and “everything was created by a bourgeoisie” and so on; but in the same time, they are the same defending Indians and negroes, saying that they are the true Brazilians and that “they must be proud of their race”. The dance of a Ukrainian here is a “creation of bourgeoisie”, but an afro dance is “completely Brazilian and must be followed by everyone”. Not against their dances. I really think they deserve to keep their culture. But the result is that people are losing their identities and trying to follow like robots “what is right” for the system. Recently it was celebrated here the 100 years of Japanese immigration. What the television showed? Japanese playing an afro dance, like if saying: “This is the ‘good Japanese’… Someone who biologically, culturally and religiously does not have anything to do with Africa, but because he’s here, he tries to forget everything and accept this silent cultural imposition and absence of your true identity”. People should understand that if Brazil is a multicultural place, automatically it does not mean that we’re an African country or that we’ve “the second Africa”. No. In true, we are everything we want to be, because of the so many communities and ethnics we have here. We can be Africa, but we can be Europe, Asia or everywhere. I want to be honest and not be confused by interpretations of people who could call me “racist” and so on: I am in favor of all the cultures here. In the same time I am not glad seeking Polish-Brazilians losing their identity, I have tears in my eyes seeking native Indians praying for Christ and accepting “humanitarian” impositions (like related with Eugenics, when the native Indians should keep their Spartan spirit which is part of their essence). People here should see as richness all what we have here and not to accept these impositions. People should see that we can learn with others and in the same time being what we are, keeping our identities. But well, as I said, it’s a complex subject and it’s not my intention to expose everything I think about it,because it’s not the appropriate space.

The musical scene here is like a new universe for me. I was emerged in underground scene for years. With classical music is completely different.There are good and bad points on this, but I’m getting closerto my pretensions as someone who really loves to play and create.

Where's the best place to purchase your releases, and have you found interest outside of 'Europe' ?

I think in Germany there are some distros with my works, such as Dunkelheit Produktionen: www.dunkelheit-produktionen.de Internet broke all the barriers and I’ve got some listeners of many places. I remember when I sold all my discography to a friend in Japan. There are many listeners in Mexico, United States, Brazil, Chile, Russia, Germany, etc. and indeed I’m really glad. Honestly, my music always open to myself new opportunities to know more about different cultures. Someone on Mexico discovers my music and then I start to talk about my interests on archaeological registers of Mexico; someone in United States gives me opportunities to talk about Emerson or Thoreau, and so on. And other point with a strong meaning for me is to know the human behind the listener. The listener for me is as important as the music I make, like when the Nietzsche’s Zarathustra talks about the objective of a sun. I really knew very special people through this bridge called music.

Lastly Id like to thank you for your time, and to finally ask you what can we expect from you in 2010 ?

Thank you very much for your attention, your great questions and your patience. You know, it’s my sin to take a long time to answer your interview, but I really waited a good moment to sit down and write it slowly.

In 2010, certainly it will be recorded and released a new album after “Leben und Kunst”. Perhaps another one, but I don’t know how my conditions will be. About events, I’ll be carried by the wind. I know I’ve one event to play on this year and perhaps to play on a German restaurant and in a fest in German cologne. The things are just beginning for me related with events.

I wish you all the best with your work!

People who are interested in what I do, are always certainly welcome to take a look at my website or too write me:

http://www.myspace.com/lebensessenz

HANNAH FURY

2010-05-19T15:06:00.000-07:00

Interview with 'Hannah Fury', - 19 May 2010

You first started to teach your self piano, as young as 16. was there already a strong musical influence within your family. Did you find strong encouragement ?

No one in my family knew that I was learning to play; I learned secretly. I vaguely knew that my grandfather was self-taught on the piano, but I don't recall thinking about that when I started playing. Retroactively, though, I'm sure it had an influence in the sense that I must have understood that it was possible.

Your first piece of music I believe was entitled 'The Vampire Waltz', what can you remember about this time. How old were you at this point. Has it ever been released, or changed into a current piece that we here today ?

I was consumed by a boy. My first love. I was 14 when I met him, 16 when I wrote the song, and 19 by the time we had destroyed each other. I wasn't intentionally writing about our relationship at the time. It wasn't until much later that my second love suggested that it was an autobiographical song. It seems so obvious to me now, but when I wrote it I thought it was just a story. There is a very early version of "The Vampire Waltz" that I recorded on a regular tape recorder. And then another version that I recorded on a four-track. That's the one that's on the four-track demo, and it has some background vocals that are similar to the ones that I did later when I recorded it for The Thing That Feels.

When did you actually first form as 'Hannah Fury', the artist that we hear today, and what were things like for you at the beginning ?

Personality-wise, I have always been exactly what you hear in my songs. But musically, I guess it would be when I first started writing songs. I think in terms of production you evolve according to what equipment you have access to and your resources. Early on, and for the longest time, I had thought that I couldn't record on my own. I thought that I had to have help. But then I heard songs by Daniel Johnston that he had recorded completely by himself on a boombox. The songs were so beautiful and the lack of "professional" production was so completely irrelevant. He inspired me to do my own recording.

In the early 90s you produced, I believe a four-song demo. Which eventually turned into the '98 'Soul Poison' EP. How did you find the process, and do the songs strongly differ from the original demo material ?

It's really hard for me to remember anything about that time. There was only one song on the demo that was also recorded for the EP. When I recorded Soul Poison I wasn't very confident about the mechanics of recording. I am not very technically inclined, but I think I figured out how to do what I needed to do.

At the beginning of the Millennium, your released your full length debut 'The Thing That Feels', From EP, to album. Did the process change and did you learn from these early recordings. Were you happy with them, and the initial first feedback ?

I think I was happy with them at the time, and I think the songwriting holds up now. I think the singing and playing could be better, but all of those recordings are honest and I can respect what I did. As for the feedback, I was totally surprised when reviewers started calling it "goth," but in retrospect I can see why that makes sense and I think it fits in a lot of ways.

Who would you say are your major influences ?

I listen to hundreds of artists -- different ones at different times in my life. In the last few years I've listened mostly to rap music. OutKast, Eminem, Public Enemy. Or stuff that I can take to the gym. I get very obsessive about certain songs and will listen to one song over and over for an entire week. Right now I'm listening to Miley Cyrus' "See You Again." I can't really listen to anything else. A while back it was "Gangsta's Paradise," and before that it was "You're So Gangsta" by Chromeo, and before that it was "Jump They Say" by David Bowie, and before that it was "Sewn" by The Feeling and "Too Little, Too Late" by JoJo and "What Goes Around Comes Around" by Justin Timberlake. I was totally obsessed with "Going On" by Gnarls Barkley -- that is such a great, great song. And "In Your Dreams" by OutKast from the Idlewild soundtrack -- I think I listened to that constantly for over two months. In general, what I listen to is also part of what inspires me and it is always, always changing.

Do your lyrics follow any specific set pattern or niche ?

I don't think so.

To a new comer, how would you first describe your brand of music ?

Dark, sad, hopeful, pretty and vicious.

I have to ask as I'm addicted, the song 'Girls That Glitter Love The Dark', what can you tell me about it. For me it stands out so strong, and has an amazing emotional strength to it ?

Thank you! I really love how that song turned out. I was feeling sad about my destructive nature when I wrote that. I guess it's an attempt to try to make something good come out of it. I remember that I had all the main vocals recorded on that song, but I felt that something wasn't right about them, so at the very last minute I re-recorded all of them. My voice was good that day, so I think the emotion really came through.

You recently created 'Mellow Traumatic Records', is this souly for your releases, or are there other artists to come ?

It's for my own music.

The new LP, 'Through The Gash', See's you sporting a huge line of stitches down your spine. This is quite a powerful statement. Is there a major concept to this album, am I right in assuming its saying be strong whatever the world throws at you ?

Yes, it's just about getting through and making it to the other side.

I see from various media statements, that you have never played live. Is this something you may consider in the future ?

I would consider it.

Lastly what can we expect from you in 2010 ?

I'm not sure yet, but hopefully something.

......Any last Words ?

Cuttlefish consistently impress me with their intelligence.

For further contact and info:

http://www.mellowtraumatic.com/
http://www.myspace.com/hannahfury
http://www.facebook.com/pages/Hannah-Fury/29392362931
http://en.wikipedia.org/wiki/Hannah_Fury

LIVE 2010

2010-05-16T10:46:00.001-07:00

GOTHAM II

2010-05-03T03:27:00.000-07:00

Legion...

The evening starts well, a small smutter fills the room. Opening is 'Legion', filling us with their with traditional form of 'UK Gothic Rock', engaging well the audience. Plus playing material from their current debut 'Hereafter', and new alike. Simply a fresh light start to the hours ahead. (6)

Until I Wake...

Next to enter is 'Until I Wake', going straight into 'Empty', assaulting us with stunning pressence. Plus the vocal range of their frontman,is truly outstanding. The music itself also ranging from trad 'Gothic', to hint of 'Nu Metal.' Like their predecessor, another new band, again also treating us to new material. Simply a stunning band (8)

Greenhaus...

Next to enter, maybe the odd ones out. 'Greenhaus', open up with a stunning ambiance, their new vocalist 'Phoeix', so delicate. Smiling and beaming at the audience. Dancing and treating us to an aura of stunning vocals. The music it self boarders so many genres. 'You're not alone', sounds just simply amazing in the live environment, plus again new material is aired for the very first time. The set is just simply breathtaking, almost ambient at times, I want more (10)

Alterred...

Just as the ambiance and calm dies.Creepy freaks enter the stage. A young man draped in chains twitches in front of me, a wind up girl waltz's the stage. Maybe theirs drugs in the air, nope its 'Alterred', treating us to their 'Batmanesque', menace. their frontman ironically looking like the 'Joker', well it is 'Gotham', sadly 'Batman' doesn't show. By god were treated to an amazing mix of Goth and industrial elements, as Mr creepy works the audience with gusto, like a pro. Musically and visually these guys are just simply stunning as they finish with 'Nothing Less Than Violence', certainly what would of happened if 'Batman' had turned up (8)

Rhombus...

Sadly 'Lilygun', pulled out due to illness. So were treated to 'Rhombus', looking like the remnants of the 'Nephilim', sounding like a 'Sisters Of Mercy' tribute act. The music is well presented, and clear. but the songs seems to blend into each other, and linger on for to long. The female vocals also become overbearing at times. (6)

Lahannya...

Next comes the teen boy favourite 'Lahannya', sporting her mad blue hair, and decked in more latex than a condom factory. Then she complains its hot !. The fetish diva treats us to some great songs covering all her material to date. Yet we find great song next to OK song. She kinda lingers, leaving me bored and wanting a pint, enough of the pseudo eye candy, More befitting for the 'Metal' scene. (6)

The Eden House...

What comes next is simply amazing. 'The Eden House', sporting ex members of the 'Nephilim', and the front woman of 'All About Eve', and also of course Monica from 'Faith And The muse'. Simply a super group. Their sound is just awe inspiring, mixed with separate performances from both girls and also duets together. 'All M y Love', just leaves the crowd going wild. Were also treated to 'God Pride', and most tracks from their debut. probably the most emotional set of the night, you can see tears in the girls eyes, as they leave the stage, as the crowd just gos mad. Now filled to the roof (10)

The Clan Of Xymox...

Lastly the headliners appear to a great roar. Bursting into the title song from their new LP. 'In Love We Trust', the sound is fresh and fuelled with electricity. The band works the stage with precision, injecting the vibe to the crowd below. This is a band that has a massive back catalogue. Each song is greater than the last, airing old and new. Sadly I leave short, as 'Emilie', fills the air with its upbeat vibe. (9)

LEÆTHER STRIP

2010-04-27T06:41:00.000-07:00

Interview with 'Leæther Strip', 27 Arp 2010

You first released music under the name of Leæther Strip, as early as 1989 . Prior to this were you involved in any other musical projects ?

CL: Yes I was. I started really early in 82 writing my first songs. Some of those demo’s are released on the “Yes I’m limited V” album from last year. My band / project was called Forbidden Art. I then Joined another band with one more keyboard player and a singer called “The Future”. This band later became “Decode” we got signed to a Danish label and released a single called “Planet of youth”. I left the band right after we recorded that single and half of an album. I went back to being a solo artist and wrote many songs as Forbidden Art again. That slowly moved in a darker direction and was the start of Leæther Strip.

G.A.W.M.U.S. (Getting Away With Murder U. S). Was this officially the first ever 'Leæther Strip', release, and what can you remember of its initial construction ?

No. G.A.W.M was a fan club and I let them release that CD, it also contained some of my early work before Leæther Strip. That release was a compilation of some rare unreleased tracks. My First release was the 12” Japanese bodies in 89 and then my first album “The pleasure of Penetration”

What do you remember of the first days, do you have any interesting storys you could share ?

There is so many memories from those days. The problem I had was finding people with the same passion and goals for the music as I had. I knew then that this was What I wanted to do for the rest of my life. So I might have been hard to work with for the people I played with. And in the end, I really felt more comfortable being my own master. I still get problems with labels and people I work with at times because I take what I do really serious, it’s not a game it’s my life, and some people tend to find that annoying. But I also think that’s is one of the reasons I’m still here 21 years after Leæther Strip was formed. None of the people I played with in the 80’s are in the music business now so I must have done something right I guess. But it was another time, it was impossible for a Danish band to get a contract outside Denmark in those days, and if the Danish labels smelled “underground” on you they would’nt have anything to do with you. And it’s still that way really. I’m almost ignored by the Danish media. Still after all these years.

With each release, do you consider a particular set theme or direct concept.Do you find religion and politics, a strong point, within your initial concepts, and the current world climate etc ?

I don’t really think that way. I just write the songs that come to me from the inspirations I get from all sorts of places. Music , books , paintings, Human behavior and the news. I really never decided to make an album with a certain theme going through the whole album. There will be a soundtrack out written by me, for a movie called “Dark Passages”. That’s the closest thing to a concept album I’ve done. I do mostly write songs about the darker side of our mind, and the evil we do.

How is a Leæther Strip, album actually constructed, in form. What instruments do you use ?

I usually find a working title for the album I am starting on first, and then I just start to write songs. I only work on one song at a time, I’m filled with ideas all the time and I would just end up with a bunch of half finished songs in the end. I still use my old Moog Source, and Korg ms-20 a lot. I also use a lot of software synths. My favorites are Vaz Modular and Reaktor.

With time comes new technology, are you happy to embrace this, or do you prefer the old school primal methods ?

I am not suffering from software phobia at all. It’s not the tools that write the music it’s still the artist so all that snobbery simply doesn’t interest me. For me it would be stupid not to use what the brilliant minds create for us.

I noticed that ambient plays a large part, and neo-classical elements. Do you yourself listen to classical music for inspiration, and ideas ?

I listen to a lot of classical music. My partner Kurt and I often go to church Organ concerts. That I find really inspiring.The Organ composers back in the dark ages Were like punks, and some of the harmonies and melodies are really amazing. I am a music addict and its all styles and forms. I also collect movie soundtracks. I started doing that after watching John Carpenter’ “Halloween” and “The thing”. His soundtrack work had also inspired me very much.

Can you remember your first ever live show, and were there any interesting moments ?

My first real concert was in Kassel (Germany) at a venue called “the Factory” I remember every second of the drive down there and minutes before the show and also every second of the concert. There was about 300 people there and I was scared out of my pants, but it all went away as I heard to roar of the people when I came on stage. I expected deadly silence.

So far in you career, have you a favorite Album, and which album do you find the fans love the most ?

The album that did most for my career was by far “Solitary Confinement” . I do not favor any of them more that the other really. All the albums are like A diary for me. If you ask the listeners it varies a lot, most like “Solitary confinement” then “underneath the laughter” and “Self – Inflicted”.If you put a gun to my head, I would have to say that of the released albums “Aengelmaker” is my favorite.

When you first started, did you ever conceive that you would become, one of the most influential 'Industrial', acts of all time, who do you consider to be your influences ?

No never. My dream was to get a shot at recording 1 album, and if that would have been all there was for me, then I would have been satisfied. I know it sounds a little stupid now, but I am still that kid getting my first release in the mail from the label, every time I receive one of my own new releases, totally euphoric and on the verge of tears. I can’t believe I still get to do this. So I always put All my energy and passion into every song, cause I never know if I get to write another one.

In '07, you re-recorded your cult debut, re-working old material, bringing the sounds to a modern outlook. To me there a thousands times stronger than the originals, (I could be shot for saying that !). Do you agree, or is there, well actually I prefer the minimal sounds of the originals ?

Yes Retention no1 was the first one. I knew that it was going to divide the “waters” now that I released it the way I did.The easy way would just be to remaster the old album and leave it there. But I wanted to make this a special release for me too. And it’s a lot of work, I use the same amount of time as I would writing a new song. Doing it this way made me go back in time and it was great to revisit those days, and the memories really came back to me doing the re-makes. It’s great fun. I want to stress that the re-makes aren’t meant to better versions of the old songs, they written in another time and that can’t be re-made. I don’t think it’s any wonder that they sound different, I would like to think that I’ve learned a little in the last 21 years.

'Japanese Bodies', I really have to mention this as it seem to be a incredibly prominent feature, is there a story behind it. Is it a reference to a war atrocity, Ie: the US army hiding corpses, during WWII ?

Yeah. I actually remember the day I wrote that song. I had just seen a documentary on how the generations born after the Nuclear bombs ended the 2’nd WW. It stroke me how they weren’t filled with hate and anger after so many of their family members and loves ones were turned into ashes. We in the western culture have this urge to carry hate with us through the generations no matter how many years pass by. We could learn a lot from their culture and about seeing the positive in the life there is right in front of us, and taking power of our own lives and not pushing that power on other people.

The Retention Box, series what comes as BOX 4, and how many will there be in total. Do you intend, to re-record all your 90's releases, and re-vamp the related material. ?

The next one for ”Retention no4” will be “Underneath the laughter”. I have decided to do one at a time, but the plan is to do it with all the albums I released in the 90’s. I still don’t know what I would do when I get to “Serenade for the dead”
but we’ll see when that time comes.

You last release “Aenglemaker”, another stunning dark piece of art. What can you tell me of its origins and underlying themes. Is there an agenda Or Hidden Message within ?

I wanted to write a song about the only Danish ”serial” killer we ever had in Denmark, a woman named Dagmar Overbye. During her trail she got the nick name “Angelmaker”, I decided then, that this would be the title of the album too.
Mainly because her story is amazing , sad and shocking, and really shows what child abuse can lead to. And this went on 100 years ago.

How did its creation go, and are you happy with the current feedback ?

I was hard album to write because I really went deep down into myself and I found a lot of hidden ghosts down there .That album had been really successful and it had a big part in me going back on stage to play concerts again after 16 years. I hope my new album “Mental Slavery” will be received just as well as “Aengelamaker”.

Lastly what can we expect from you in 2010, any other dark works in the loop ?

On June the 11th , my new 2CD album “Mental Slavery” will be out (3CD + more in the limited edition) And later this year my soundtrack album for “Dark Passages” will be out...

CLAUS...

For more information and contact, on this stunning dark band :

http://www.myspace.com/leaetherstrip
http://www.alfa-matrix.com/bio_leaetherstrip.ph p
http://www.alfa-matrix.com
http://en.wikipedia.org/wiki/Le%C3%A6ther_Strip

LUXURY STRANGER

2010-04-20T11:08:00.000-07:00

Interview with 'Luxury Stranger' - 20 Apr 2010.
Photograph Copyright - http://www.marcushiersemann.com

When did you first form, and was their a straight forward planned goal ?

Luxury Stranger first came into being around 2007 / 2008 although the current line up has been together since the summer of 2009. There is a plan, I call it my 'Master Plan' and although I can and will never reveal it - we're sticking to it. Even though there is a planned goal, I like to think that there are a few surprises out there for us and our fans.

Could you give us a little intro, of who's, who and how the band functions as a unit, plus do you still have the same line up as you started with ?

Well, I'm Simon York - frontman, guitarist / vocalist in Luxury Stranger. With me I have Chris Ruscoe on bass guitar and then Paul Sycamore on drums. I like to think of Luxury Stranger as a singularity, not just a band but also as an art piece in some ways. LS is currently in it's 4th life if you include when I first came up with the idea behind Luxury Stranger... yes, I am the main person of LS but this is the strongest line-up LS has had in its short but highly productive life span.

What can you remember from the very first days, rehearsals. How long did it take before you said, yup this is it, thets get down to recording ?

Well, very first days was a case of me on my own writing and recording tracks hoping to find a sound that I could class as Luxury Stranger. Rehearsals with the first members that I took on board were non-eventful due to non-commitment. But as soon as I met Chris and he came on board it was like I'd met a kindred spirit. We got into the work (rehearsing the Desolation tracks for live performances) and then started looking for a live drummer. We picked up Owen who rehearsed with us from April 2008 till our first live outing in September and he stayed with us as our live drummer till June / July 2009. Paul came on board very soon after Owen's departure and he's gone from strength to strength, not just as a drummer but also helping with promotion and everything else like that - he's been very 'hands on' and enthusiastic.

Prior to 'Desolation', were there any self releases made, demo's, promos etc ?

Well - Desolation was Luxury Stranger's first release. Before that that there's our own separate works / projects and a mass of songs from where I was trying to find the sound of LS.

How would you best describe, your actual musical style, who are your main influences ?

We have loads of influences. For me musically it's Depeche Mode, David Bowie, Kraftwerk, Brian Eno, Pearl Jam and The Cure (79 - 82). Paul's into various genres of music - one of his favourite bands is the Smashing Pumpkins - while Chris has tastes that blend between me and Paul and further...

The debut 'Desolation', see many different twists and sounds, does it follow a particular concept ?

As I said earlier - Desolation was a 'me finding what I wanted LS to sound like' album. I recorded over 60 songs as part of this project and only the ones on Desolation made it. Saying that, only 60% of that album truly fits what I see as LS now days. I think the second album will fit closer to Luxury Stranger's sound.

'Dirt', opens the LP, with an almost punk grind rock feel. Is this is a song about wanting to change people, or more an experience you've had, with a female that dragged you down ?

Hmmm... I really don't like to go into songs too much as it takes away something from the listener but I will go into this one. Dirt is about the ideas behind BDSM. The fact that one can be seen as wrong, perverse. But to one's self and some others you are perfection. You want to spread that perfection through the seduction and corruption of others.There are people out there begging to be corrupted. There are people out there wanting to experience the corruption of others...This song is for them.

Each song follows different structures and paths is, this intentional, to keep the listener wanting more ?

Of course. I like Luxury Stranger to remain on a direct course yet retaining the elements of the chameleon. It keeps one's self interested and excited and this is then reflected on to and by the audience.

Again I love 'Paradise Untouched', and also 'Dreaming Our Lives Away', what can you tell me about them, I'm really intrigued ?

Ideas behind songs again... grrr.. Okay. I think these both speak for themselves. Paradise Untouched is stating facts to the listener and how they've been seducted into an easy life where music and art means nothing yet here we are saying "look at your miserable selves, there's a world out there that is bigger than you". In the lyrics I state how it's a world I've been in and have been torn out of but I'm trying to get back there despite time and space... these concepts are nothing, they were created by the minds of men and so can be broken down by the mind of man (with the help and support of others).Dreaming our lives away is a ballad. Just saying how love is such a silly thing and how we just ignore important things and not take note of the seemingly less important things for love... I think when you strip down all of my songs, one way or another they're all love songs - it just depends on one's point of view.

How did you find the actual recording of the LP, was it a real enjoyable experience. Do you think you learnt a lot from it ?

Well - as I was recording on my own for this album - it was a lonely trek. But it allowed me to work in my usual 'music scientist' way without any concerns of being miss-understood. After rehearsing and time together, I think both Paul and Chris know how I work both mentally and musically... they know I may state a fact or direction when it comes to a song and they'll trust my path... As I said earlier, I have a 'Master Plan' and we are sticking to that plan...

After its release, how has feedback been, and are you overall happy ?

Collectively we've been very happy with the feedback on Desolation. For me it's been a case of knowing my 'baby' has passed it's first test... now it's just a case of 'commitment and discipline' and whatever comes after that...

'May', this year See's you playing 'London', supporting 'Voices Of Masada', what can I expect from the live experience. Do you think your sound translates well in the live arena ?

We have a slightly different sound when playing live... My vocals come across a lot more and the power is grinding away but the songs still shine through. This is what I love about Luxury Stranger (and it's something I hope will continue) - LS has two sides: the raw, powerful live monster with few unnecessary frills and then we have the scientific architect in the studio painting a soundscape of layers. I love the theatre of playing live but I consider the construction and de-constrution of pieces of music in the studio a most enjoyable and 'self-discovering' task to take on

Lastly, what can we expect from you in 2010, any new material or songs in the loop ?

We've been recording music for the 2nd album in between playing shows. I'm also currently compiling what tracks I'd like on the 3rd and even the 4th albums! We already have one song from the yet to be recorded 3rd album in our live set, a song called 'Frozen' which is a powerhouse piece of music which deals with the ownership of a loved one who just doesn't quite realise what they're in for... it's a bit strange really. Luxuriously strange!

...Any last words ?

Last words... stay strange and luxurious...

For further Info and contact:

Out know 'Desolation', a truly stunning debut. Cannot recommend any higher. Blending elements of ROCK / PUNK and GOTH, into one unique LP...

http://www.myspace.com/luxurystranger
http://luxurystranger.com/

DOMMIN

2010-04-03T03:40:00.000-07:00

Interview with 'Dommin' - 03 Apr 2010

You first formed in around 2000, I'm lead to believe. What were the first day's like. Do you still have the same initial line up, and was there a basic master plan for the musical outlook ?

The first days were exciting because it was the first time I was doing everything myself.I had no opinions holding me back. No band members wanting to take things in different directions.There was a freedom I enjoyed in being self-reliant. The line-up has changed over the years.The only master plan was to do music that I wanted to hear.

How would you best describe your musical approach, do you lyrics follow a particular set path ?

I have no musical approach or path. In my mind, I'm just doing what is right for the song.

Would you say you achieved, your initial first goals, were there any 'Demos', made prior to the debut self release 'Mend Your Misery' ?

I have made at least 4 demo CD's prior to Mend Your Misery.

'Mend Your Misery',I believe was released around 05/06, please correct me here. Was this initially your debut LP, or more just a professional 'Demo' release ?

Mend Your Misery was our attempt to put out a CD without any label back and with no professional aspirations of being signed. We gave up on that and were just determined to do it on our own. But looking back, it was certainly more of a full demo CD and i consider Love Is Gone to be the debut.

Can you remember your first ever live show, and what was the reaction like ?

The first show I ever did was at the Lava Lounge in Long Beach for a scattered group of maybe 15 people.There were hecklers front and center.

How did you become signed to 'Roadrunner', they seem to quote 'Love Is Gone', as being your debut LP. Plus also most of the songs appear to be on the previous release. Was this more a case of re-record the original material, with better production, and some new material ?

Love Is Gone certainly was re-recorded of some of the same songs from Mend Your Misery.Many people don't seem to understand that 'Mend Your Misery' was a demo CD and only about 1,000 were made. I would have hated to let songs like 'My Heart, Your Hands', 'Without End', 'I Still Lost' and 'Tonight die' on an obscure demo.No, I certainly had to get those songs the maximum exposure which is why I wanted to re-record it.

Who would you say are your major influences, you visual side hints a little at the 'The Misfits', maybe 'Danzig', and 'Type O' creeping in sound wise ?

Danzig and Type O are certainly influences along with 'Rammstein', 'Depeche Mode', 'Nirvana', 'KISS' and 'AC/DC'.I like a lot of other things outside of rock music too like 'Sia', 'Fiona Apple', and Big Band and Swing music from the 30's and 40's.

How do you find your sound translates, into the live show state. Do you enjoy playing to the crowd, and what can we expect from a live show ?

The live show is definitely more of an intense experience with a lot more atmosphere. We tailor the songs for a live situation that aims to draw the crowd in and make them feel what we feel.

Is there any bands you your selves, you would strongly recommend, and who would you say you've enjoyed the most touring alongside ?

We've enjoyed all the tours we've been on with 'Lacuna Coil', 'HIM', 'The 69 Eyes', 'The Birthday Massacre', 'Wednesday 13' and 'Combichrist'. I could definitely see us going out with 'AFI', '30 Seconds To Mars' and 'Evanescence'. I think they would be great bills.

What can we expect to see in 2010, any new material in the works, or any possible live UK, shows ?

For the rest of 2010, after the HIM tour, we'll be returning to the UK for the Download festival as well as some other dates in between festivals. There will probably be a lot more touring before we go back into the studio for a new album.

For further information and contact:

http://www.dommin.com/
http://www.myspace.com/dommin

LIVE 2010

2010-04-01T13:46:00.001-07:00

DEADFILMSTAR

2010-03-14T14:47:00.000-07:00

Interview with 'Deadfilmstar', 14 Mar 2010...
Deadicated, to 'Rachel Carter', for her class groundwork.

When did you first form, and what were the first initial goals ?

Deadfilmstar was formed in 2001. Our first initial goals were to get into 'Kerrang' magazine. We did,eight times.The metal scene soon became entrenched so,we turned our attention on the Gothic world with an intention to appear at Whitby Gothic Weekend. Again,we did. By 2006 we had toured with Mortiis and Gothminister.

When you first rehearsed, was the music similar to you debut LP, and were any demo's made and released ?

The album we are working on now is from an original demo CD titled 'The Inevitable Rise & Fall Of Fake White & The III Fated Tour'. It's a concept album that will hopefully be out at some point late this year. For the first time it will be a true representation of the deadfilmstar sound. I don't think 'A.rtistic I.ntegrity' was any way near a true reflection of that.

What made you approach the 'Nightbreed' label, or did 'Trevor', hear you first ?

It was through Kev (at that time) of the band 'Pro-jekt'.

How would you describe your brand of music, its far different from conventional 'Gothic Rock', 'Industrial'. For me it at times reminds me of variants of 'Black Metal', due to its harshness and extreme heavyness, plus also the look ?

Ha,we've been called all sorts 'Thrash Goth', 'Trash Goth'..? I actually don't consider us as a very heavy band at all to be honest.

Do your lyrics themselves follow a particular, set path or niche ?

Yes, their all built around the concept of the next album..

What made you choose your, particular 'Demoniacal' stage look, is this based around any particular person or theme. More is it simply individual, and to create a reaction ?

Again, it's a portrayal of the character from the next album..

Who would you say are your major influences, music and visual wise ?

Now that would be telling..

If you could resurrect any past two bands, who would they be (any era, and genre) ?

There are allot of late 70's and early 80's bands that I was too young to witness live... That would be the area I'd have to chose from.

Your stunning debut 'A.rtistic I.ntegrity', how was its creation, and did you find any strong learning curves ?

Stunning?, I really dislike it.. I think the title encapsulates it perfectly. Seriously, I deviated away from what we are. OK, you can argue that you need to experiment but,no, I don't like it.Yes, I did find a strong learning curve - Don't rush anything and stay true to who you are. I must just say though, 'Trevor' remastered the track 'Replace' from A.I. for 'The Gothic Sounds Of Nightbreed 5' compilation and as an individual song I like it.

Would you say it follows any particular set theme, i.e: Concept album ?

The new album definitely but, A.I. not so much..

I recently saw you live in 'London', at the 'Electrowerkz', your set was just amazing. Yet things were cut short, what happened. The whole show set up went a little pear shaped, any ideas what happened ?

Thank you. We couldn't hear anything through the on stage monitor's so it was kinda to keep it together. Nothing was cut short though? We never do anymore than a half hour set.. Ever.

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

Yeah, it went very well actually. At that time all the drums and bass were on a computer backing so, it was a case of 'if it all crashes now,we're done for!'

Lastly how has the initial, LP feedback been and are you happy with it ?

I think people know 'A.rtistic I.ntegrity' is not a scratch on what's coming and I can happily inform them - Their right! I'm afraid I've put A.I. to bed.

Plus also what can we expect from you in 2010, any more 'London' dates ?

I don't know about London but,in the Midlands we're opening for KMFDM , Die So Fluid & Toyah Willcox. We've got more dates coming up but, Mum's the word at the moment!

....Any last words ?

Thanks for having us round...

For further info and contact:

deadfilmstar.co.uk
http://www.myspace.com/deadfilmstar

GREENHAUS

2010-03-08T12:22:00.000-08:00

Interview with 'Greenhaus', 08 Mar 2010.
Deadicated to my beloved, 'Rachel'. My Naughty Angel...

When did 'Greenhaus', actually form, and what can you remember from the first days ?

In 1998 I think! It came about out of a remix for Gary Numan that we did – we needed a name at that time, and that how we started! Prior to that we had done shows in other bands, and had a few releases on different dance and techno labels – but not in a band environment as it were.

Before the debut LP, were there any 'Demos', made. Did you have a initial masterplan. ?

There was 100’s of demo tracks, but no real demo album as such. We basically went through the demo’s for the first album and re-recorded parts or the whole tracks in order to put it together. That’s why the first album is very diverse.

Your stunning debut 'The Unmistakable Sound Of Sloth', what more can you tell me about it's creation. Does it follow any particular themes, the music itself differs strongly ?

As I mentioned, we had a lot of material, ranging from electronic, to a more experimental post rock vibe. I think the album was a bit rushed in the end, as we had to have it ready prior to our tour with Mesh. It would have been nice to carry the post-rock electronica theme of ‘stoned’ and ‘dioxide’ over a few more tracks, and to have more time to make it a longer album. That said, it’s nice that it is varied so maybe the timing was just right.Generally it went down well although it was a bit of a struggle to put of live, especially in Germany where a singer was expected! We wheeled in a DVD backdrop which helped matters – and made things a bit more

Who would you say are your major influences?

We are fans of the Cocteau twins, Sigur Ros, Massive attack, Talk Talk and New Order – to name a few – Along with a lot of post rock bands. These have definitely influenced the material over the years.

Within all your works, do you have a particular method of working. Each LP, is very different in sound and form, is this intentional ?

It is very intentional. It keeps it interesting for us, as well as (we hope!) the listener.There is so much to explore, it would be a massive shame to stick to a formula, and not search out these other avenues of sound.We write the music first, and then the vocals will be added, and then the whole thing rearranged ‘till it all works together which can take months!

'Another Life', soon followed, again a great shift from the more ambient debut, how did you become involved with 'Sandrine' and 'Lahannya'. This was certainly a great change and move, how has the feedback been, certainly still my favourite ?

Yes, we got good reviews for this album. We wanted to introduce vocals for this album, so as well as Sandrine and Lahannya, we had contributions from Roi from Mechanical Caberet and Liz from swarf – all of which did a fantastic job, and all a pleasure to work with. There are still a couple of instrumentals, as we enjoy those.

Then came the third 'Your Not Alone', similar in pattern, yet different. Sporting 'Phoenix', now on vocal duties. Can we see her now as a permanent fixture, and doe's she sing on the forthcoming material?

Phoenix is a permanent fixture, along with Anthony Neale who sang on ‘You’re not alone’ as well. On this album we moved away from the electronics to a degree. We introduced live drums and percussion, as well as violins, flutes and violas, which was something that I have always wanted to do. There were many guest musicians on this release – it took ages!

How do you find, your material translates into the live, arena?

Now, we are very happy with the live sound. The live drums compliment the electronics very well. Phoenix has a great voice live, and all round we are happy with the sound. The last few gigs have been extremely enjoyable.

Lastly what can we expect from the forthcoming 'Fools Paradise', a DCD I'm lead to believe. Like all your creations, can we expect a shift in musical styling, or lyrical approach? Plus are there any excepts available ?

‘A fools paradise’ is a lot darker than all previous releases. It is a lot more electronic than ‘You’re not alone’, and I guess similar to ‘Another life’. It has taken a while, but now its finished (relief!!), and we are all very happy with the outcome. Clark, our bass player has coined a new genre called ‘trip-goth’ as a description for its style!! We were going to do a double CD, but we have decided to release a separate album called ‘instrumental’ which is self described! This is a much more ambient offering with a lot of soundscapes – more akin to ‘you’re not alone’. The feeling was to have 2 different albums rather than trying to make the different attitudes of the sound fit together. The 2 albums will be available in the early summer.

For more information and contact:

http://www.greenhaus.co.uk/
http://www.myspace.com/greenhausuk
http://www.facebook.com/pages/Greenhaus/161303015786

Lastly catch them live at 'Gotham II', along side 'CLAN OF XYMOX'.

SAT 10th APRIL
O2 ACADEMY (18+)
ISLINGTON NI
LONDON

3 PM - 10PM
£14...Adv

Ticket Purchase:

www.stargreen.com
www.ticketweb.co.uk/
http://www.musicnonstop.co.uk/
http://www.resurrectionmusic.com/

LIVE 2010

2010-03-04T07:57:00.000-08:00

VENDEMMIAN

2010-03-03T13:36:00.000-08:00

Interview with 'Vendemmian', 03 Mar 2010

You first formed way back in '92, what were the first days like, and how does the material differ from the present ?

Like I can remember, eh it’s hard to say really, me and Mark started it and I suppose we didn’t really have a definite plan as to what we wanted to do. We sort of evolved in public really, obviously the scene was bigger then so it had its advantages but we did take time to work out what direction we wanted to go in.We went through a few different lineups and break ups before we got to where we are today.

You released a self titled demo in the same year, is this still available. Plus what was the first initial feedback like , and how did you feel ?

No, thankfully, in my opinion it’s shit anyway. I think the feedback was pretty good at the time, but I was never happy with how we sounded in that period, we were a group of individuals all going in different musical directions. It was a starting point which is the only positive thing I can think to say about it.

Where did you play your first ever live show, and what can you remember from it ?

Absolutely no idea where it was, maybe the Marquee, I have a terrible memory for detail.

In '93 your debut 'Between Two Worlds' was released, what was its initial creation like, did you enjoy the experience, and what did you learn from it at the time ?

At the time it was interesting I suppose, having a Cd was a much bigger deal then than it is now. What did I learn .. get a new singer maybe, not much else.

How would you best describe your music style, and do you're lyrics follow any particular path, or niche ?

I believe we fall into a category called TradGoth, who else is in that category .. I’m not too sure.There are so many sub genres now we change all the time. I did read something recently stating that TradGoth does not exist but it had been invented especially to categorise us …. were some sort of Goth band! .Marks lyrics are just about people he knows or stuff that’s happening him, usual song type subjects.

Who would you say were your major influences?

If you mean as a guitarist – Dave Fielding, Reg Smithies, Simon Hinkler, Wayne Hussey, Steve Green,Paul Nash, Paul Wright, Billy Duffy(up to a point). Other random stuff, beer, whiskey, smiling, laughing, driving too fast, general excess.

If you could resurrect any band from the past, who would it be ?

Long Past - Play Dead...

Just Past – The Mission...

You use the terminology 'Drunk and stupid goth', how did this come about the music itself certainly doesn't reflect it ?

It has followed us around for years, it started as a rip off of an advertising slogan in the 90’s.We used it as a T-Shirt slogan and our sales doubled overnight. I think we are on about version ten of the shirt now, we have sold thousands of em. Maybe the music doesn’t reflect it, we’re not The Pogues or whatever (although I am Irish)but maybe you have never seen us live, or maybe you don’t know us. Our l I've shows are really drunken affairs with lots of encouraged audience participation. I play better when I’ve had a few beers. We’ve drunk our way across the world and had a blast doing it. Maybe were a bit less Stupid now .. but actually I don’t think so.

How has the re-formation been for you so far, and are you glad to be back re-addressing old material ?

Really, really good, we’ve done about 20 shows now and the reaction has been great. We’ve still got a lot of our old following around Europe and we’ve managed to attract a whole load of new fans too. It has been such fun doing it again.There is no pressure, not constant touring like the old days, we just do what we want when we want. We have had some really great gigs.

What can we expect from the new LP, and any dramatic changes, or will it be your usual straight edged Goth rock with humour ?

Ah, do you mean “One More Time”, it been out a while now, we are really happy with that. I think its our best album to date and its rapidly heading towards been the most successful for us. We just got the live album out too and that has been really well received too. We recorded it on some of the festival shows last year. Or do you mean the new, new album? We’re working on the next album at the moment, we’ve got a few tracks nearly finished and we expect it to be out about July, We’re not so bothered about any dramatic changes, we do what we do, We’d rather concentrate on songwriting. We ‘re just trying to write good songs.

Lastly what can we expect from you in 2010 ?

More of the same, we got four festivals lined up already and we’ll continue to spread ourselves across Europe.Hopefully we get the album done on schedule and a few beers along the way. We are enjoying what we are doing at the moment .. until that changes, we are Vendemmian and all that that entails.

.......Any Last Words ?

Thanks for your interest, thanks for your time, see you at the bar sometime soon.

For more drunken debauchery, contact and purchase, this stonking UK band:

http://www.myspace.com/vendemmianofficial
http://vendemmianofficial.mybigcommerce.com/

DYONISIS

2010-02-26T10:22:00.001-08:00

Interview with 'Dyonisis', 26 Feb 2010
Co, Written and inspired by 'R.Carter', my 'Naughty Angel'.

With the first days of 'Dyonisis', what were your first intentions, did you have an initial master plan ?

We sort of stumbled in spirals like we always do! Each of us are inspired by different things so we threw them at each other to see what stuck.

Who would you say are your major influences. I swear at times I can here a little hint of 'Dire Straits'.Maybe just a little hint of 'Prog Rock', certainly within the guitar leads, maybe little hints of folk / Neo-folk / Blues ?

Everything from folk to Floyd, through psytrance, orchestral, trip-hop and dub. Rock is very important to all of us, but with life & music, if you don't leave yourself open to as much as possible you risk losing out.

On your second EP, you cover 'Son Of A precher Man', what made you choose this, do it have any special meaning to you. Does 'Christianity' play any part within your music and lives ?

Marcus (although Christian no more) is a real-life son of a preacher man, and he was indeed the "only one who could ever reach me." I don't often go for expressions of love but it feels good to be able to sing and play that together in front of a room full of people now & then.

Your self titled debut, is just simply stunning. How was its creation, did you feel you learned anything from it, and what was the first feedback like ?

Why thank you! In truth, we were UTTERLY clueless back then! It was recorded in our old house, which was literally rotting around our ears. We stuck carpet underlay on the wall to try and add some sound-proofing, but the damp peeled it off! Our first mix was dreadful, but mercifully Dan [mastering engineer] pulled it apart & remixed it. Suddenly we could hear all the things that we'd been striving for. It was like the whole thing came into focus. Since then, we've learnt everything from scratch, how to record, how to mix... picking our way up that learning curve bit by bit... We offered it up out there with no idea how people would react, it makes you very vulnerable. The feedback knocked us sideways, fortunately, it was better than we could ever have dreamed after.

What followed, was 'Blue Shift', again for me just simply mesmerising, with a more free, and fluid feeling. Will you use this style on further new material. For me I found it more stronger in ways than the actual debut ?

In the first album we were still groping in the dark, we didn't even really know what we sounded like. Afterwards we knew better how to write to each other's strengths. Plus when I started off with the band, I'd never really written songs before, hopefully over time I've figured out how to improve...

Within your lyric structures, do you follow any particular path, structure of niche ?

Not deliberately. I tend to start with an emotion, or something that I really need to express, stick on some synthy demos and see what happens. Saying that, I'm a sucker for a big chorus! In the next album [Intoxicated, out 29/05/2010] there are some songs that break with that. One notable exception is a track called 'Eve's Song'.

I have to mention 'Rainy Day', it has to be the Stand out in the crowd song. When was this track created.Does it have any stories or deep meanings behind it ?

It started out as a jam between all of us, and it's all the stronger for having simultaneous input from several directions. Lyrically, the verses are me wandering round the hall of mirrors that my head can become sometimes, trying to figure things out. The midsection is a detour around a specific hard time pertaining to a bad relationship.The over-riding message is the Chorus: Things can be dark, confusing and downright awful - BUT - these things always pass if you can weather them out. It's not the end of the world, it's just a passing cloud.

Secondly also the song 'Pretty At A Distance', as well. The name alone makes you think. Whats the story behind this one as well, I'm intrigued ?

It was written when I was first with Marcus. I was a mess when he found me. I was afraid that he was attracted to who he thought I was, but would be hurt or repulsed by who he discovered me to be on the inside, on closer inspection. I felt like the moth's flame, broken glass, a ruin: nice to look at but dangerous to get get too close to, it upset me greatly that I might be bad for him.

With the 'Goth', scene also comes the visual side. Do you have a particular image, that you would use in the live stage situation. Do you just simply be yourselves ?

I believe *passionately* in being oneself. I love the visual side and customise my stage outfits, it's great fun,I get away with wearing things that I would never have the opportunity to otherwise ;) This has lead me into trouble sometimes! At one venue a member of staff kept on asking me "But... Why are you wearing that?" I'm guessing it was because I was predominately in white, I hadn't even switched on the LEDs that I'd entwined beneath the Organza!

How has playing live been for you, do you think the sound translates well to a live crowd ?

At the beginning, I was like a frightened rabbit. It was hard to move, or even sing properly. These days I've been told that we're better live than on record, and that each show tops the last... much to my sizable relief!

Over the past years you've gone through, many line-up changes. Do you think know your a 100% stable unit, for whats to come next ?

We've been settled in this line-up for some time now and Louisa is now integral to our sound. Hopefully the 4 of us can face whatever the future holds, together.

Lastly what can we expect from you in 2010. Any London shows planned, or in the pipeline ?

Spring will bring our 2nd Album, Intoxicated. We can't wait to air the songs live! A couple of promoters have approached us regards playing London. Nothing's confirmed yet, but we're well up for an adventure spinning through the Metropolis.

For further contact, and music purchase:

http://www.dyonisis.info/home.htm
http://www.myspace.com/dyonisis

'Cannot more highly recommend', these two stunning releases. Simply enchanting, and haunting melodies. With stunning production, and a hint of elegance.

For those who crave, the ethereal, and great enchantment.

Purchase here:

http://www.cdbaby.com/Artist/Dyonisis
http://www.reverbnation.com/dyonisis
http://www.pathian.co.uk/dyonisis/

LIVE 2010

2010-02-24T04:48:00.001-08:00

INERTIA

2010-02-24T04:23:00.000-08:00

Interview with 'Inertia', 21 Feb 2010

You first formed in anno '92, what were the other two names you used to operate under, I'm intrigued ?

Reza:We started as “Black Metal Jesus”, the went on to “Mutagenic”, was OK for a while but then I parted with the other members and renamed the band Inertia.. and it stuck.

Before you debut MLP, was there any demo material released, and what was the early feedback like ?

Reza: We had a demo tape which was released under Black Metal Jesus called “Funk Out”.. was very limited though, probably sold about 100 copies or so. But then when I renamed the band Inertia, I re-recorded some of those tracks from “Funk Out” and added a few new ones, which became the Infiltrator EP.

'Infiltrator' was released in June '95, how was the first reactions, and did you learn anything from its creation ?

Reza: The initial reaction was amazing, especially as it was released on a German label, Celtic Circle Productions. It was the first time we had exposure in Europe and extremely positive for us. We were asked to play shows in places like Germany, Switzerland and Belgium as an immediate response to Infiltrator’s release.

Your first show followed in SEP '95, what can you remember from this event, were there any weird moments ?

Reza: Actually, I see our first show has happening in 1992, even though we went through different name changes,it was still the same project. Our first show as Inertia was in 1994, which was great as we had a quite decent following under the other names anyway.. so it was a continuation really.. Our shows have always been fun and enjoyable for me.

Do your lyrics follow any particular set theme, or path ?

Reza: No, not really.. just whatever is going through my mind at a given time.

Who would you say your greatest influences are ?

Reza: I have wide array of influences.. Elvis Presley, Depeche Mode, Cabaret Voltaire, Stray Cats, Sparks, Nitzer Ebb.. to name a few

As the years have gone on with many great releases to boot.Do you automatically embrace new technology, or prefer to follow old school techniques ?

Reza: I love the new technology, as it makes it easier for me to record and produce ideas on the whim.You don’t have to think about hooking up all kinds of equipment. Just switch on the computer and away you go... Before you had hire a studio, buy tapes… and editing was a lot more difficult back then.!

If you could re-address any of your past releases, which would it be ?

Reza: I am happy with all of them.. they are a statement of our history throughout the years, learning our craft.

With the Goth / Industrial, scene come great visual images.Do you like to have a particular style of dress upon the stage ?

Reza: Nothing particular.. we are all very different dress wise and express that on stage individually.

Youre playing the Slimelight in early March, what can I expect as a newcomer ?

Reza: A hard hitting energetical show!

Lastly but surely, you have a new LP, coming out very soon. How did things go, and doe's it differ fom the other releases ?

Reza: It’s different because it’s a covers album, it’s called “Kloned”. Something we’ve always wanted to do over the years and finally got round to doing it!

For further info and contact:

http://www.inertia.gs/index.htm
Inertia on MySpace Music - Free Streaming MP3s, Pictures & Music Videos

ELEVENTH FEAR

2010-02-18T13:46:00.000-08:00

Interview with 'Eleventh Fear', 19 Feb 2010

You first formed in 2009, and shortly released you demo 'Flee', how did the recording go, and how has the initial feedback been so far ?

Flee ,The demo is in my view a demo. It 's not always very consistent and I think it was good and less good.The returns have been mixed, some loved the specialness of the music and voice, other don't like.

You also have a full LP, by your other project 'Zauber', how do the two compare, are they large differences ?

I currently at work on the first album Eleventh Fear, it will be much more consistent! The demo "Flee" is different from my old project Zauber, in music and voice.For cons, the album Eleventh Fear them much closer.

What type of themes do you lyrics follow, is there a specific underlying theme ?

The main theme of the lyrics is vampirism.

Who would you say, are your greatest influences ?

My main influences are electro goth and goth music, style Terminal Choice,Ghosting etc.

French music, well certainly 'Metal' and 'Goth', always seem to have a specific feel of the melancholic, do you think,this is a 'French', thing. Do you find yourself different 'Country's', breed a specific sound ?

Indeed, I had not thought of, but it is true that the French music a melancholy side.

Please tell me about the construction of 'Flee', it has a sounds like nothing ive ever heard.Is it purely just Keyboard and synths Im hearing, and the voice as well, so Creepy ?

I currently at work on the first album Eleventh Fear, it will be more successful than the demo! It is closer Zauber, with a better production sound level.To achieve the demo I actually used that synth.All sounds come from synth, both for electronic sounds that string orchestras.The voice, yes, very dark, highly modified with effects. For the making of the album I use to call sequencer Cubase 4.The synthesizers are used Jupiter 8V, Prophet V Arturia and Cakewalk Rapture. And ,Sound design with Reaktor 5 and Kontakt 3 Native Instruments.I just bought the Jupiter 8V specially for the album, it will be the most used synth. I am taken great care to produce for the album.

I see also you play live, how does the music translates in a Stage scenario, and whats the reaction been like so far ?

In concert we are 2 members, a live musician manages the music, while I sing. We've made some live recordings with my old project Zauber, Belgium, Switzerland and France.were my first concerts on stage. Once the album Eleventh Fear is finished, I will resume concerts while composing a second album.

Apart From the 'Manchester', show can we expect you in the capital anytime ?

This will be a pleasure to play live , yes! I m very happy, come play live in Manchester in June 2010, at the Shadow Daze Festival.

Also is there any bands that you think we should watch out for, within 'France' ?

Yes, there is the band Cold Wave / Goth " Curse of the Vampire " that you should listen.They are very good.

What can we expect from 2010, is their a full LP, in the works. Will it differ greatly from the demo, material ?

Yes there will be an album in 2010, it is almost finished, soon there will be listening previews on myspace. I don't know the date release because it 's expensive for duplication of discs usines.Currently I'm self-production. I looking for a label.

Any Last words ?

Thank you for this interview Edward.

Greeting, Ludovic Dhenry / 11th Fear

For further info, and contact:

http://eleventhfear.free.fr/
http://www.myspace.com/eleventhfear