A small crowd stood hushed and focussed as Jay Aston played a set of beautifully sparse songs that shone a light on the holes left in life as one moves from the known to the next.
Jay stood alone onstage in fashionable black (it was gothcon you know) and painted pictures with guitar and voice telling stories of plans made and unmade, love made and love taken and of learning to look ahead rather than to the past for reason and reconciliation.
In spite of the audience size and the less than ample pa system, a flood of emotion and music, wonderful music filled the room. Jay and his guitar dug right to the place we all keep hidden from most (sometimes even ourselves) Adding a little levity to the set were some clever verbal quips and a tremendously catchy impromptu Bauhaus medly that spread a grin across the entire room.
A fantastic experience from an artist sharing the intimacy of personal transition and self-aware enough to know that from any perspective, brooding is only skin deep.
*Michael
is the singer for the Atlanta based band Trans_lu_cent
http://www.l5p.com/trans/
Jay
Aston and Jezebel sites:
www.jezebel.cc
www.jayaston.com
GothCon:
www.gothcon.com
RAZED
IN BLACK
With
Replicate
At
The Redblood Club
Dallas,
Texas
March
16, 2000
~photos
& review by ::Cyberina
Flux:
Razed
in Black decided to kick off their Central US tour in Dallas
this
year for a benefit for KNON 89.3 FM's Gothic and Industrial show, The Grey
Zone. Leave it to Texas weather to give us a thunderstorm and hail
about an hour before doors opened! The rain didn't appear to dampen
the spirits of any of the acts or the fans though, as this was the best
show I have attended so far this year hands down.
First up for the night was DJ Ergot, a local DJ to Dallas. His set of Goa Trance was the perfect starter for the night of Industrial rock with trance undertones. It was amazing to see the number of attendees to brave the inclimate weather, and Ergot did a great job of getting up and around.
After Ergot wrapped up his set a new act out of Dallas by the name of Replicate took the stage for their very first live performance. Replicate is an electronic act featuring a former member of the coldwave act, Puncture. Replicate, however, is an entirely different animal than what Puncture was. Imagine taking breakbeat techno rhythms, layer disturbing samples and sounds on top, throw in a standup electronic drummer with a martial kind of stance, and a harsh Industrial vocalist that simply cannot stand still. Despite his bad head cold, singer Angel Martin gave it his all and didn't leave a single empty space of the stage uncovered. A definitely high-energy show leaving the crowd with surprised with something that they didn't expect.
When Replicate took their leave, DJ Evil from Hawaii stepped up to the turntables. I have to say this was one of the best DJ sets I've heard in a long time. Normally, you don't find me dancing much at concerts but listening to this set I simply couldn't stand still. It was filled with an ingenious potpourri of industrial, gothic, retro, and techno and it never stopped grooving.
Finally
around midnight, the long awaited Razed in Black took the
stage.
Razed in Black on recording is Rommell from Honolulu, but on tour he brings
together quite an interesting cast of characters including an extraordinary
drummer who had taken time out of his busy tour schedule with the Broadway
Stomp to hit the road with Razed in Black. The set all around was
one of the most energetic I've seen, and it was tight tight tight never
skipping a beat. The entire crowd was up on their feet crammed to
the front and dancing through the whole thing. And, aside from the
weather, keeping the whole crowd pumped throughout was no small feat because
I'd be surprised if I was told that Razed didn't play their entire discography!
f you ever are blessed with the opportunity to catch the Razed in Black crew, let me tell you now that you should definitely not miss the opportunity. If you want high energy with a lot of attitude, this is the show for you!
Razed
in Black
http://www.razedinblack.net/
Replicate
http://www.flash.net/~replicate
PO
Box 177432
Irving,
TX 75017
replicate@flash.net
Cleopatra
Records
http://www.cleopatrarecs.com
13428
Maxella Ave
PMB
205
cleoinfo@cleorecs.com
The
Redblood Club
2617
Commerce
Dallas,
TX
214-653-1641
KNON
89.3 FM
http://www.knon.org
PO
Box 710909
Dallas,
TX 75371
The
Grey Zone
http://www.knon.org/Showpages/satmid.htm
DJ
Stereotype - rds@metronet.com
(for
more photos go here)
Rhea's
Obsession
CD
Release Party/Concert
~reviewed
by Steph
How impatient we have all become in this age of instant gratification. Heaven forbid that we should be made to wait, to curb our strident demands to have it all now. A fierce buzz of anticipation has been following Toronto's Rhea's Obsession for the past couple of years. Their entrancing debut, Initiation, was released four long years ago. The devoted initiates have been yearning for a deeper immersion into Rhea's lush musical dreamscape.
Rhea's Obsession wisely ignored all of this. Displaying a wisdom that is sadly lacking in many promising young bands, they chose not to capitalize on the success of their debut by rushing out an inferior second album. They crafted their offering with slow care, and on this cold March night, the faithful gathered to receive it.
The original venue for the CD release party was The Opera House, a beautiful theatre in Toronto's east end, but sadly, a scheduling glitch caused the show to be moved to Lee's Palace. Lee's Palace is one of those clubs that has been around forever, and it's better known for it's punk shows than for ethereal songstresses. Oh ye of little faith...
We entered the club and were greeted by a wondrous sight. Lush ferns and ivies spilled onto the stage, and hung enticingly from poles and overhead beams. Crusty old Lee's Palace, that we all know and love, had never looked or smelled better. A statuesque woman bedecked in trailing vines, to be referred to henceforth as Arboretia, moved among the crowd, handing out door prize tickets.
Bitter Harvest, a one-man noise/ambient act, warmed up the crowd for close to an hour. Unfortunately, his low-key stage presence confused many audience members into thinking that he was a stage technician testing the equipment. It took almost half an hour for us all to realize that the black-clad figure wandering around onstage banging on instruments was indeed the opening act.
The Master of Ceremonies, assisted by the lovely Arboretia, gave out CD prize packages to a lucky audience member sporting a Between Earth and Sky-themed tattoo, as well as drawing from the door prize tickets. Then it was time for the next supporting act.
For many years, one of my favorite local acts was An April March, a lovely Cocteau-inspired band driven by Danella Hocevar's swoonsome vocals. They disbanded a year ago, much to my dismay, so I was delighted to find that Danella and her partner Chris had formed a new band, Red Hot Red. This supporting slot for Rhea's Obsession was their debut performance. Less dreamy than An April March, Red Hot Red played a short set of jazzed-up lounge songs, showing a playful, slyly sexy personality. The additon of a cellist was the perfect finishing touch, as the slow throb of the cello blended with Danella's sultry vocals.
More
CD packages were given away, and then it was time. The lights dimmed and
the audience radiated anticipation.
Her
white, upraised arm heralding the crash of guitar and drums, Sue's voice
cut a path of pure light through the smokey haze. With the band creating
a seamless swath of rhythm and melody behind her, she claimed the stage,
pushing its limits, reaching out to the audience as if to draw them into
the circle of magic that she and the band were creating.
They played all of the new album, from the meditative Too Deep, which is a excellent vehicle for Sue's voice to the impossible-not-to-dance-to title track, which has been on repeat in my CD player lately. During Mahakala, a haunting song, Jim wrung sounds from his guitar that wash over the crowd like an otherworldy visitation. After a short break, Rhea's Obsession returned to play material from their first album, beginning with my favorite song, Waves. How this band has grown in the past couple of years! It is evident that their confidence and presence have grown as a result of their steady touring schedule. We weren't wrong, those of us who flocked to their early shows and raved about them to anyone who would listen.
I had always wondered why people didn't dance more at Rhea's Obsession shows. No such reticence is evident tonight. The floor is soon filled with swaying bodies undulating to the enchanting melodies. All impatience forgotten now, we dance in thankfulness and joy. We have been compelled by the goddess.
Band
Line Up:
Sue
Hutton - All vocals, percussion, guitar
Jim
Field - Guitars, basses, programming and additional percussion
Band
Contact Info:
Website:
http://www.spiderrecords.com/rheas/
Smail:
P.O. Box 67575 576 Dundas Street West, Toronto Ontario, Canada, M5T
3B8
Label
Contact Info:
Website:
http://www.metropolis-records.com/
Email:
label@metropolis-records.com
Smail:
P.O. Box 54307, Philadelphia, PA 19105
An
interview with Tom Shear of Assemblage 23
~by
Wolf
There's a new rising star on the industrial horizon, under the name of Assemblage 23. After a most remarkable debut on Gashed!, A23's first album Contempt is now out in Europe on Accession Records as well. A wonderful and effective mix of harsh industrial and melodious trance-like melodies can be considered A23's trademark, with exceptional vocals and lyrics to boot. Since it most likely won't be long before everyone's talking about A23, Starvox decided to ask Tom Shear, A23's talented brainchild, a few questions to find out who is behind one of the most promising releases of the year. Your resident graver reports:
Could you tell us a little about how you initially got into making music and how this eventually led to the creation of Assemblage 23? Where did you come up with the name?
A23:I've always had an interest in electronic music even from a very early age. So it was only natural I think that I ended up making it one day. A2 just kind of came out of my interest and love for electroindustrial type music. As for the name... it's just a name... no real significance, just a label for what I do.
Your debut album Contempt has been out in the US (on Gashed) for a few months now and was released in Europe (on Accession) in April. It has been raking in nothing but glowing reviews, with seemingly no end to the praise. I would assume this all amounts to quite an overwhelming feeling? How has it measured up to your expectations?
A23:There have been some people who didn't care for it much, but overall I have been really astonished by the response. I never would've expected it to be received as well as it has so far. I think it goes without saying that I am glad it has been, though!
Contempt was mastered at Ascent Labs with the help of Ed Vargo (THD). How did you meet up with him and what was it like to work with such an experienced artist?
A23:My friend David had written to Ed quite a long time ago and found out that Ed lived in PA. not too far from where I was living at the time. He suggested I drop Ed a line and send him a tape, and that's sort of how Ed and I met. Aside from the fact that I just like hanging out with Ed, I've learned a tremendous amount from him just from peeping over his shoulder. He's very patient, too
The sound of Contempt is a succesful showcase of melodious and danceable industrial/ebm. Do you strive to achieve this particular sound or is it simply where your talents and equipment take you?
A23:It's pretty much just whatever comes out. I mean, I think that's why you have a song like "7 Days" on the same album as a song like "Purgatory"... obviously both different styles. I guess the only criterea is that it's music I would enjoy listening to.
Speaking of equipment, what does your array of synths and samplers consist of?
A23:There was no array, unfortunately. "Contempt" was done entirely on an old Ensoniq EPS-16+ sampler and that's it. I've since upgraded my studio quite a bit though, so I feel less restricted than I once did.
Your vocals are, especially in comparison to many other bands in this genre, very distinct and professional. Do you put a lot of effort into them?
A23:I try to. I think vocals tend to be the weak link in a lot of industrial music, so I wanted to spend some time on the vocals to hopefully make them a little more polished. I still have a ways to go, but I've certainly made an improvement over my singing on some of the real early stuff.
Has anyone ever told you that you sound a little like Jean-Luc DeMeyer of Front 242? :)
A23:Haha... well, I've heard all sorts of comparisons... that's certainly a very flattering one though, I think DeMeyer has one of the coolest voices in the scene.
Who are your inspirations, both within and outside of the industrial genre?
A23:Stuff like Depeche and Yazoo got me interested in the style of music, but there have been a lot of inspirations as time went on. Not to skip back to DeMeyer again, but I am still really amazed at how well-structured and detailed Front 242's stuff was. Outside of the genre, I'd say one of my favorites is definitely Bjork... that voice is incredible!
Where do you see Assemblage 23 several years down the line and what are your ambitions as far as music is concerned?
A23:Older, fatter, and balder probably. heh. I don't know where I'll be down the road, and I don't really try to predict such things. I hope I can reach a wider audience and turn more people on to A23, but that's about it. I don't have any delusions that I am going to be able to quit my day job and do music for a living. (Although that would be wonderful.)
How have your experiences with both Gashed and Accession been so far?
A23:Great on both counts. Adrian and Eric are both utmost professionals and its a pleasure to work with people who take what they do seriously and work hard at it. There's too many crooks out there running labels.
Earlier this year you headlined 2 live shows which were supposed to be supports for the haujobb tour. How did you experience these live shows and do you have any plans for touring the US in the near future?
A23:Those shows actually went phenomenally well. I was worried because this was early in the tour so most people didn't know that Haujobb wasn't playing yet, so I had envisioned all of these horrifying scenarios where we'd hit the stage and be pelted with bottles because we weren't Haujobb. But to my surprise, people really made the best of it and enjoyed the show anyway. We actually got the best reactions we've ever gotten. As far as tour plans, nothing right now... some shows here and there later in the year mostly, towards fall. And one show in Cleveland on June 3rd with Fleshfield and Dubok.
Aside from touring, what does Assemblage 23 have in store for us in the future? Will Contempt possibly receive the ever-popular remix treatment?
A23:Fleshfield is doing a remix of "Purgatory", Aghast View did a remix of "Surface", Railgun is remixing "Skyquake". and there are some others out there, but I have no plans to release a remix album for them, they'll more likely than not be on comps, etc. I think its silly to release a remix album with only one album under your belt. These things are more appropriate after you have a number of albums to choose from and there is more of a demand for it.
In closing, could you please tell me where the sample "I believe I've spend enough time in the company of death" in your song Anthem comes from? I can't remember and it's driving me crazy! :)
A23:The Lost World, that Jurassic Park sequel.
On behalf of Starvox I'd like to thank you for taking the time to answer these questions. Congratulations on your excellent debut and the best of luck for all your future endeavors. If there's anything you'd like to add, now's your chance.
A23: Thanks so much for the interview! And thanks to everyone who has been so supportive of A23!
Babylonian
Tiles Interview
~interview
by Matthew
Truly one of the most unique dark music bands out there, integrating the surreal soundscapes of 60's psychedelia and vintage goth rock. I shared a few words with the band's leading lady Bryna, discussing the band's influences, recording techniques, and the parallels between the psychedelic and gothic cultures.
STARVOX: Your sound is very fresh and unique within the dark music underground. What inspired your music to take the direction it has, and what initially caused such interesting infusions into Babylonian Tiles?
BRYNA: We incorporate a variety of musical elements into our sound. Everything from Psychedelia/Prog and Space Rock to old-school Goth, with many things in between. We really like to play with Middle Eastern motifs and rhythm changes, while letting melodies interplay between the vocal, guitar and keyboard parts. Of course, each band member brings their own unique musical perspective and background to the arrangements, but we're especially influenced by '60s psychedelia. Our music just naturally develops into a dark hallucinogenic trip. People always assume we do lots of acid.
STARVOX: Well, unfortunately, many are of the opinion that in order to fully enjoy or understand ‘psychedelic’ music that you must be under the influence of hallucinogens or some form or narcotics. What would you say to these people?
BRYNA: I think it would be very arrogant to decide that another person "must do" in order to fully appreciate the music. There are many different levels on which to enjoy and understand something, and certainly many different ways to achieve a certain mental state. I do think that, generally speaking, there is a certain sensibility, or mindset, that is shared by people who are heavily into psychedelic music. And many of these people definitely have used hallucinogenic substances on the way to obtaining that, but that doesn't mean that a person can't get there through other means, and I believe there are some people who are already there naturally.
STARVOX: Like myself! <laughing> I see frightening colours and such as it is without the habitual use of narcotics, so I have always felt that mind expansion is very possible without the use of drugs. It’s the same with Techno/Rave music. You either understand it and appreciate it, or you don’t.
STARVOX: I noticed that you guys record very much in the same vein as classic bands, such as The Doors for example, where certain instruments and voices are panned completely to the left and right. Do you also use vintage instruments and other recording techniques to convey a 60's style?
BRYNA: We definitely feel it's important to record with an engineer who understands the '60s psychedelic vibe and sensibility that are the center of our music. We had a lot of fun recording our newest CD, 'Teknicolour Aftermath', If you listen carefully, you'll hear weird sounds and effects coming and going in the background, small passages that intentionally go out of phase, and creative panning, which all works to give the feel that parts of the music are physically moving from one place to another. As for equipment, our guitarist Tim plays through vintage Hiwatt gear, and I gravitate towards that 'organ with Leslie' keyboard sound, which my old, analog keyboard captures pretty well.
STARVOX: Psychedelia is often confused with what people nowadays think of as 60's rock or classic rock. How would you differentiate between the two?
BRYNA: Many people, when they think of psychedelia, they're often thinking of that whole 'love and beads' thing, or what I call 'hippie rock'. Much of the familiar '60s music you hear on classic rock radio I consider to be 'hippie rock'. There were definitely certain elements that were common to psychedelia and other rock music of the '60s and some of the psychedelic themes made their way into the more mainstream music of the time. But that often happens, where things created in an underground movement eventually surface in the mainstream. Psychedelia was and is about mind expansion, and musically speaking, that manifested itself both lyrically and musically, pushing boundaries and creating a mood of introspection and spiritual travel. Despite the 'love and beads' association, much of the great psychedelic music actually had a definite darkness and moodiness to it. You can hear that listening to albums like The Pretty Things' "SF Sorrow" or the Ultimate Spinach tune, "Ballad Of The Hip Death Goddess". That's why, for Babylonian Tiles, bringing our psychedelic roots together with our old-school Goth influences were a natural occurrence.
STARVOX: Do you think that the moods of claustrophobia and unrest in psychedelia is what could appeal to Goths?
Bryna: I don't really find psychedelic music to have a mood of claustrophobia, for the most part. I do think that much of the better psychedelic and acid-inspired music wasn't afraid to deal with dark themes, and often even embraced the darkness. For that reason I think that manyGoths would find that genre of psychedelic music appealing.
STARVOX: In some ways, do you think this mood might more accurately capture the mania and opium drenched visions of Gothic writers such as Coleridge, Poe, or Shelley more so than the average run-of-the-mill Sisters influenced Gothic rock band?
BRYNA: Although I'm sure much psychedelic and darkwave/gothic music has been created by avid enthusiasts of Poe and the others, I don't know that you could say that any modern music accurately captures the visions of those writers as they were from a totally different time. Some of today's music might capture our interpretations and reactions to their writings, but at the same time the music would actually be quite alien to the writers themselves. Certain moods and feelings might be timeless, but the style and way in which an artist expresses those same feelings can change dramatically according to one's time and place.
STARVOX: That’s an interesting point…I always thought that if those artists WERE alive today, or were suddenly reincarnated and were exposed to darker underground music, they would adore it.
STARVOX: So Babylonian Tiles has a new CD out entitled “Teknicolour Aftermath” through a new label called Pangea. The CD has a few new tracks, but mostly reworkings of earlier material. Any reasoning behind that?
BRYNA:
When Pangea signed us they felt that our previous releases contained a
lot of great songs that never got the push and exposure they deserved.
They wanted us to record some new material, while also getting our earlier
music out to a greater audience. Although some years have passed since
making
our first two CDs, we felt that some of those original recordings still
remained the definitive versions of those particular songs. Those songs
appear on the new CD, but have been re-mastered to sound even better. With
some of the other tunes, our approach and attitude in how we play them
has evolved over time, so we decided to re-record them for the new CD,
along with the new material. The new recordings definitely capture more
of our live feel that we have nowadays.
STARVOX: You have been dubbed the ‘Hip Death Goddess’ and I assume that comes from the psychedelic song you had mentioned earlier. So how did you yourself earn such a flattering and unique name?
BRYNA: The song is "Ballad Of The Hip Death Goddess", originally recorded by Ultimate Spinach, and is an example of the '60s darker psychedelia. Some years ago, we were working with our friend, photographer Edward Colver. He shot the photos on the early Christian Death album covers, along with so many other well known photos of the early L.A. Punk and Goth scene. He did our last CD cover, as well as the new one. Anyway, Edward, who has a huge collection of psychedelia, pulled out a record and told us that he thought this song would be perfect for us to cover. It was 'Ballad Of The Hip Death Goddess" We ended up recording it for a compilation CD and added it to our live set. The song's writer, Ian Bruce-Douglas, really loved our version as well as our original material, and felt that I was the embodiment of his vision of the Hip Death Goddess. Of course, I was extremely flattered and have been known by that name ever since. Ian has since been kind enough to write the liner notes for "Teknicolour Aftermath"
STARVOX: You guys cover the Donovan classic “Season of the Witch” on the new CD. Is that an old fave of the band?
BRYNA: We're all big Donovan fans and "Season Of The Witch" just seemed like a natural for us.
STARVOX: You have also done a few live covers from King Crimson and The Doors if I am not mistaken. Are any of these ever going to end up on a future releases?
BRYNA: Tim in particularly has been wanting to do a particular Crimson tune for years. I won't say which one as we haven’t actually done it yet, but it could very likely end up on our next album. For a while we were doing The Doors' "Not To Touch The Earth". We're always coming up with ideas for songs we could cover, but we still really enjoy the process of bringing an original song to life.
STARVOX: Which of course, you do so well. How long have you been playing music and what is the extent of your training?
BRYNA: I believe that Tim, Brian and Christian started playing their instruments while in their teens. Although Tim had already been playing and jamming with other musicians for a while, he'd never actually joined a band before Babylonian Tiles. I studied classical piano on and off while growing up, and was always around music, as my mom is a jazz singer, but I never thought of being a band until a friend of mine, who thought I had talent, harassed me mercilessly until I joined my first band as a keyboardist in '82. It wasn't 'til I started Babylonian Tiles that I started singing after we couldn't find a vocalist to fit the bill.
STARVOX: Babylonian Tiles are embarking on a summer tour this year. Any particular goals or plans set for your stage performance or set list?
BRYNA: Considering how little sleep we'll be getting, just staying awake for the shows will be a start. But seriously, we really enjoy touring and taking our music from place to place. When you hear us live you're going to hear things that aren't on the records. The instrumental sections are always slightly different and nuances change from performance to performance. Our goal is to have the kind of shows where we're really clicking with each other as musicians and the audience is really getting into it and is picking up on that vibe and feeding energy back to us. When that happens we come away from the show with a tremendous feeling. And we love for people to come up and talk to us at the shows, so be sure and introduce yourselves and say hello! We'll be out on tour this May and June.
Our tour schedule is at http://www.babylonian-tiles.com/tour2000.
STARVOX: Thanks Bryna, and good luck on the tour and with the future of Babylonian Tiles!
Babylonian
Tiles are:
Bryna
Golden (aka, the Hip Death Goddess™)- vocals, keyboards
Tim
Thayer - guitar
Brian
Schreiber - drums
Christian
Ramsey - bass
BABYLONIAN
TILES: http://www.babylonian-tiles.com
HEAR
BABYLONIAN TILES: http://www.mp3.com/BabylonianTiles
I
AM SHE...THE HIP DEATH GODDESS™: http://www.hipdeathgoddess.net
PANGEA
MUSIC INTERNATIONAL LLC: http://www.pangeamusic.com
David
E. Williams
~interview
by Kirin
People
who should know better in the music industry have made curious comments
about David E. Williams' music, which only serves to illuminate the fact
that Mr. Williams is not only
ahead
of his time, he's moved into the brilliance of being beyond time entirely.
Remarks like, "It sounds too adult contemporary" are pitiful and laughable
when you've actually *heard* the music. Yes, David E. Williams voice
is an incredibly full and mellow baritone. Yes, the music shimmers and
winds and twists around the mind in a pleasant way.
However, woven into the beauty and the pleasantry, is a most dispicable humour, and endless lyrical pokes in the eyes with very sharp sticks. The problem David E. Williams has, is that most people just don't get it. Thankfully, he doesn't seem to give a shite. He goes right on doing what he does best; being David E. Williams. The following is an interview with him, and if you enjoy it at all, I encourage you to visit his website, and purchase some of his music. Not only will you be pleasantly surprised, but you can walk 'round knowing that you're listening to music so desperately lovely, that not even the créme de la créme of the apocalyptic folk and ephemeral goth lablels can appreciate it. Now that's what I call "elite."
K: The music on Hello Columbus seems to be the most full, sweeping, tender, and melancholy of perhaps ALL of your work. The lyrics, especially, seem to be more introspective and self-effacing than on the other recordings. Do the music and lyrics on Hello Columbus reflect a conscious change in the way you approach your music?
DEW: At the risk of sounding pretentious (granted, that's a risk I'll take a lot during this interview,) I never allow my conscious mind to dictate any artistic or lyrical direction. Instinct tells me when the words and chord combinations are "just right." To paraphrase one of my childhood influences, I move about with the self-assurance of a sleepwalker.
K: Strange as I am, it is the line, "Socks hang from the shower rod like sad white fish" which struck me as being utterly brilliant. Do you remember where you were and what you were doing when that particular line came to you?
DEW: I had just come back from the Laundromat. Some of my white socks were still a little damp. I hung them over the shower rod to finish drying.
K: Your lyrics are so beautifully poetic, it sometimes amazes me that you're gifted with musical talent as well. Have you ever considered publishing your lyrics in book form? If not, consider this an "aye" vote, if you ever *do* wonder if anyone would want such a thing!
DEW: Not to be self-effacing, but I really don't think of my lyrics as poetry. Both underground and aboveground culture are plagued by songwriters and rock stars who think they're fucking T.S. Eliot (there's a good many sawdust Nietzsche's out there, too). Well, I'm a bit over-educated (ha, ha, ha) to be one of these self-touting egotists. I know my limitations.
On the other hand, I'm not ashamed to admit that David E. Williams is my favorite song lyricist. That's as it should be. If someone else could touch me the way I touch myself, well, then what would be the point of writing at all? Since you ask, though, I ought to mention that a very macabre comic book was created a few years back based on my song "Bad Day Anyway". My friend Hazel drew it. It's really swell. Only one copy of it exists in the world. Over the years, I've thought about publishing it, perhaps with a CD or 7" insert of the song.
K: Since the world didn't end on January first, now what?
DEW: NASDAQ to 10,000!
K: Have you ever had tarot cards read for you or a palm reading or anything like that? If so, what did they say? Did any of it come true?
DEW: Actually, Hazel, the artist behind the "Bad Day Anyway" comic, used to read my Tarot. I'm not very mystical myself.
K: Are you wearing any jewelry right now? If so, what?
DEW: Though jewelry is acceptable and in some instances recommended for others, my personal fashion aesthetic is one of austere non-adornment-- no jewelry, tattoos, or decoration of any sort. A wristwatch is allowed. I would wear a single iron cross if I had ever done anything to earn one.
K: Do you remember what your first thought was this morning?
DEW:
"I have a hard-on but it's nothing to get excited about because it just
means
I
have to take a piss."
K: Have you written any songs or lyrics since "Hello Columbus"? Is there any chance of us hearing them anytime soon? (This is a long way of saying, "Are you working on any new recordings?")
DEW: At this point, I don't have any burning need to spend my own very painstakingly-earned money in a studio recording music that will be heard by only about 200 of the eight gazillion people in the world. Of course, on the upside, the way technology is going, it will probably soon be very inexpensive for me to make nice-sounding recordings at home. Lavish production at the flick of a lazy finger. On the downside, I'm not as prolific as I once was. "You wake up spewing out this shit," Jerome used to say. Still, there are a couple songs: "Carmina Melanoma" (written for an as-yet unmaterialized duet with Jarboe), "Game Warden" (a song about a guy from the fish and game commission) and "Seizure Dream Believer" (about the perils of kidnapping and fucking epileptic women after you deprive them of their phenol barbitol).
K: "Not a Gear at All" is probably one of the most overtly sad songs you've ever written. The line "Not a gear at all, but the blade of a circular saw gone dull" is haunting on a couple of levels. Will you talk a little bit about what this song means to you, and how you feel about the song at this point in time?
DEW: It's my version of the "rock 'n' roller growing old" song, you know, like Don Henley or Steely Dan would write, but, uh, hopefully better because I'm the one writing it. I hope I haven't ruined it for you and for readers of yours who haven't actually heard it yet.
K: Do you feel that it is possible to lose the capacity to be disappointed?
DEW: Only in heaven. Boo hoo hoo.
K: What music are you listening to regularly these days? What were your favourite new recordings of the past year?
DEW: We just saw the Philadelphia Orchestra perform Gorecki's amazing Symphony Number 3 (The Symphony of Sorrowful Songs), so I've been playing my CD of that quite a bit. I bought this CD called EARLY MODULATIONS/ VINTAGE VOLTS, which features early electronic music from pioneers like Gelmetti and Morton Subotnick. That's really fun! There are parts of the new NINE INCH NAILS album (OK, I can hear all the poseurs shouting "poseur") that are really, really good--sonically awe-inspiring. I don't know if it's genius, great equipment or what, but the power and dynamics of his music are really amazing. Thankfully, they more than make up for the questionable quality of the vocals, lyrics and public image.
K: Have you read anything recently that excited you? 'Anything you've read in the past year that you'd recommend to someone else?
DEW: Geek Love is really good, have you read that?
K:
Yes I have. I have a love/hate relationship with it, and therefore
adore
it immensely.
K: Do you have a favourite pair of shoes? If so, what are they like?
DEW: Rockports. Comfortable, conservative, black. Old man shoes. I have a pair of German army surplus jackboots, but I think I look silly in them.
K: You seem to have a fairly extensive knowledge of history, which is reflected in your lyrics. Do you educate yourself on these things, or did you actually learn something from the American education system? (Assuming you were born and raised in America. Were you?)
DEW:
Unfortunately, David E. Williams is one great European bard who has never
set foot outside the United States. The core of my literary background
comes from studying English and American literature at Penn State. Most
of what I know about history-alright, let's be honest about it: WORLD WAR
II!-was learned at
home
on my own. Off and on, I've read books about the subject from age
5 (literally) when my parents bought a set of encyclopedias and chance
decreed that I initially open the letter "H".
K: Do you believe in anything or things? If so, what, and if not, then I guess we'd have to say you believe that you don't believe in anything, and then we have a whole new problem, don't we?
DEW:
I've always thought of myself as an absurdist. I hated philosophy from
a very early age and was thus drawn to absurdist writers like Ionesco.
His plays had people turning into Rhinoceroses and corpses growing to 20
feet long, crowding the living from their houses. None of it seemed
metaphorically too
distant
from the world outside my window and just a little bit down the street.
It was only somewhat later that I reconciled existential despair with a
Spenglerian cultural despair-the sense that I was part of a culture
and civilization that would soon be extinct. This impending cultural
extinction made the absurdity of my own inevitable death even more insignificant.
K: Do you still have plenty of those rockin' "Triumph of the Williams" clear red vinyl 7"s left? God that's a cool looking little record. Everyone should have one! Well, okay, not EVERYONE. Somehow I can't see the current presidential candidates enjoying them at all.
DEW: Yup. There's a bunch of them left.
K: Speaking of the presidential race, how do you feel, personally, about the practise of scatalogical consumption?
DEW: Is that some kind of a pickup line?
K: 'Depends on what you ate yesterday.
K: Are you now, or were you ever a member of the Communist Party? (Do you think I sounded appropriately senatorial when I said that?) In all seriousness though, have you ever been to Highgate Cemetary in London? Isn't that where Karl Marx is buried?
DEW: Did you ever read that book SS-GB by Len Deighton? Germany has conquered England and still maintains their non-aggression pact with Soviet Russia. Marx's body is to be ceremonially exhumed from the London cemetery and returned to Germany with a Nazi and Communist honor guard. Somehow, though, terrorists have put a bomb in the coffin and it explodes. That's not what the whole book is about, but somehow that part sticks in my head from when I read it 18-19 years ago.
K: No, I've never read the book. I do entertain fantasies of Marx and Hitler Pez dispensers though.
K: Do you collect anything? If so, what?
DEW: David E. Williams CD's. I've got, like, hundreds of them in my closet. Actually, I collect what everyone expects I collect. For all of you historical obscurists, the latest and most popular addition is an autographed photo of Lida Baarova.
K: Will you recount a happy memory from your childhood?
DEW: Eating hamburgers at my maternal grandmother's house. They were always tastier than my mother's hamburgers. They were flat, like you would get in restaurants. My mother's were big and thick and we thought that made them inferior. Of course, these days, the thicker the hamburger, the happier people are. Me included.
K: Is there anything YOU want to ask ME?
DEW: Do you like hamburgers?
K: I've never eaten a Hamburger, but I suppose one human being tastes about the same as the next. Har har har.
K:
Okay, well, hopefully answering these questions has been at least amusing
for you. Thanks for taking the time, and for making the effort to
get your music and your talent into the world. It means a lot to
some of us, who are twisted enough to be moved
by
it, and who turn to it for solace, inspiration and perverse delight.
Think about that book of lyrics, will you? Seriously, your lyrics
with some of those hideous and lovely little drawings you do, would be
a thing to behold. Anyway. Thanks again, so much, for your
music. Oh, and this is the point where you add any last words
if you want to!
DEW: Edward Gorey, we'll miss ye.
websites
of interest:
The
Official David E. Williams site:
http://www.davidewilliams.com
Gorecki:
http://www.usc.edu/dept/polish_music/composer/gorecki.html
Geek
Love:
http://www.strangewords.com/archive/geek.html
Eugene
Ionesco:
http://www.geocities.com/Broadway/Stage/1052/ionesco1.htm
Len
Deighton:
http://www-staff.mcs.uts.edu.au/~tomlin/LD/
http://www.geocities.com/Colosseum/1767/deighton.htm
Women
of the Third Reich:
http://members.iinet.net.au/~gduncan/women.html
Edward
Gorey:
http://www.goreyography.com/west/west.htm
Interview
with George Petros 267
by Aaron
Garland
March 2000
GEORGE PETROS:
FROM PROPAGANDART TO THE
ART OF THE INTERVIEW
If you've ever been lucky
enough to come across a graphic or written word from George Petros, chances
are you won't soon forget it, even if you didn't know what to quite make
of it. For those not old enough to have heard of Charlie Manson before
Marilyn Manson or who simply weren't paying attention, Mr. Petros was the
driving force behind Exit Magazine, an oversize pulp where irreconcilable
and often inconceivable worlds collided with unflinching intensity. A peculiar
mixture of art, science and the taboo were the meat-and-potatoes of this
seminal mag which has yet to be equaled. After Exit's demise, Petros continued
with Seconds, an all-interview magazine which has the appearance of Spin
or Rolling Stone, but with a penchant for the kind of content that neither
of those rags would ever dream of touching. Once again, Petros manages
to collide, or should I say, synthesize the best of both worlds with his
current printed medium. The same can be said of the responses he gave here,
as you shall see dear reader.
1. I've heard rumors that the final issue of Seconds is soon approaching. Is this true and if so, why?
Not true.
2. How many copies are printed of each issue? How many for the Exit series you did back in the eighties?
re: Seconds - my contract forbids talking numbers. re: Exit - 2000 of issues 1, 2 & 3; 3000 of 4 & 5. We burned 1000 copies of #1 as a salute to capitalistic indulgence and imperfect printing.
3. I think Seconds is clever in the way that it packs in a lot of outré subject matter while maintaining an innocuous and slick appearance. (Could you)comment?
Well, Seconds is happily mainstream. Within that context, however, we navigate among the extremes whenever possible. My wonderful writers bring Seconds to the edge. First and foremost we like threats to the status quo. But we look for beauty as well as brawn and brains.
4. Do you think you've been able to get information across through the 'art of the interview' that would have been too "hot" for the more direct, graphic presentation of Exit?
Both formats - graphic and interview - can be effective in their own way. Graphics immediately evoke archetypes and universals and all that sort of stuff and therefore get right into people's heads. Ideas presented in interviews carry the validation of a celebrity and can be ruminated by the reader. Additionally, Seconds and Exit each faced fundamentally different censorship hurdles, so it's impossible to compare the relative impact of their contents. Seconds is way bigger and draws on a wider variety of subjects. And the concept of something being too hot does not compute. All information is equal.
5. The 'History of Astronomy' timeline you did for Exit Issue 3 and the cover for #3 were my all-time favorites. What inspired these pieces?
Thanks - those are among my favorites too. I've always been deeply interested in astronomy, astrophysics and cosmology, along with their attendant mathematics, and of course I liked space-related science fiction. The night sky, which is our most immediate window on the universe, has always fascinated me. It is at once familiar and foreboding.
The iconography of that sky - star charts, zodiacal symbols, deep-space photography, spectral charts, space art and so on - seems immutable and permanent. Altering it might alter physical reality itself. So let's alter it. And I like the night sky's psychic black-light show and its palpable rain of sub-atomic particles and its perceivable electromagnetism. So, why not update what's in people's minds? The first piece of altered space art I ever saw was Cal Schenkel's cover for Frank Zappa's album, "One Size Fits All." It was a star chart with new constellations constructed from elements of Zappa's lyrical content. In many ways it was a parody but to me it was the greatest thing I'd ever seen. From my first sighting of that I strove to embrace the majesty of the sky while unhinging the complacent ones down here on Earth. And don't forget my piece "Varieties Of Heavenly Armaments" in which firearms constitute the constellations. Space represents both the future and the past, but except for a few satellites and the occasional Shuttle launching it has little to do with the present. Perhaps this impression is best verified by the fact that the stars we see are made of light that's millions of years old. And in better days we were promised a Space Age; it didn't happen. What we got was a showcase of everything that's wrong with the human spirit. Who in their right mind would not want to proceed full steam ahead into that which is not presently understood?
6. Some of your other juxtapositions from that time seem to have a scientific aesthetic flowing through them. How did this approach come about?
The scientific method and its anti-matter opposite, religion, inform everything in our civilization. All our art shows signs of the creative process (either science or religion) just like it shows signs of the formative process (brushstrokes, smudges, non-repro blue lines beneath black ink, pixelation et cetera). At this point in history most artists are still tuned in to religion for their inspiration (or are reacting against it). Few of them understand the world scientifically. Woe unto those whose minds harbor baggage of former tribulation! Like the title of the second Strawberry Alarm Clock album says: "Wake Up, It's Tomorrow."
7. I've noticed that some people into music and the arts are intimidated by science. Do you think this made the pieces that much more threatening?
Definitely. Many - but not all - artists are artists because they weren't smart enough to be brain surgeons or rocket scientists. Science is voodoo to most people. They cannot resist it; they cannot pray for it to go away. Knowledge is the last thing they want; they want wisdom instead. Processing information objectively doesn't fit in with the artistic lifestyle. Anyway, most so-called artists drink too much to understand how science could help them.
8. How accurate is the phrase "we are technologically advanced but culturally bankrupt" at this stage of civilization?
Aaron, I hope that's not one of your originals, because I'm tempted to say that phrase's originator is very misinformed. Culturally we are quite sophisticated. There's a nascent environmental and libertarian consciousness brewing. There are people concerned about human rights, animal rights, labor issues, children, space travel, better cities and so on. There are people fighting religion's stranglehold. There are people who care about each other who have the resources to affect change. Our current technology wouldn't exist without some compassion. Smart is finally cool. The days of military necessity propelling all progress are over with. We stand on the brink of universal enlightenment. Of course as I write this particular answer here on Friday night I'm tripping on Psilocibin (Magic Mushrooms) so the world seems kinda cool. Tomorrow I might smoke some Base and feel differently, although I doubt it. Our culture is improving - this interview and its venue are a testament to that! Besides, what is a "rich" culture? Primitive tribes proud of their environmental parasitism? Ancient civilizations that have been static since who-knows-when? Amalgamations of former slaves whose indignation serves as identity? Self-proclaimed Liberals living off the fumes of Western Civilization? We're it - we're the top of the heap to date.
9. Much of your earlier work transcended the dualities of right and left politics, science and art, and ultimately the underground and the establishment on various levels. What's the fallacy of dualistic thinking?
Right and Left and other polarities are designed for people most comfortable in herds, like sheep and cattle. Promulgation of such opposites is conducted in the same way that sports fans are manipulated and worked up. This is not the result of any conspiracy; it's simply a bunch of like-minded individuals promoting their own. Everything accepted on the one side automatically must be denied by the other. It's just so stupid to consider oneself on any "side" of an issue. The fallacy of dualistic thinking is that only half (at best) of the story is understood, there's always something to be "against," and it creates constant competition where consensus is required.
10. You've applied the term 'Propagandart' to your material but it seems you succeeded more in confusing those who would attempt to fit what you do into a specific agenda. How is that term relevant to your work overall?
Of course I never cared about the placement of my work in any continuum because my work stands alone ideologically. Anyone confused by that must be quite an amateur critic. The propaganda in Propagandart is directing viewers to me and not any -ism, movement or cause. I have only one agenda: The success of our species (which means our happiness et cetera) and harmonious living for all forms of life.
11. What resources or areas of research would you recommend for those who are drawn to your work?
Frank Zappa. William Blake. Cosmology. Time travel. The history of American foreign policy. Greek science and how it differed from what preceded it. The history of illustration. Go vegan. Get deeply into Marijuana. Take some Acid. Master the use of Heroin as an aphrodisiac. Study all sorts of engineering. Railroad history. Get good at chess. Never kill anything except other human beings when necessary. Listen to Easy Listening versions of pop hits. Minimalism. Americana. Trip-hop. Drum & Bass. Learn how to cry when you're impressed. Practice your psychic skills. Forget about rock (except Pyschedelia). Understand everything and how everything's connected. Become bisexual and ambidextrous. No headaches; never get bored, never get tired. Never take advantage of anyone. Respect all life. Feed stray animals and birds. Be a good lover.
12. You mentioned in a previous interview that you spent much time in school before starting Exit. What are your thoughts on the current educational system?
Here's a poem I once wrote:
"I owe my drawing talents
to this great school system of ours / I used to draw to pass the endless
hours -"
There's 3 R's so far. How about three more - finance, medicine and law?
13. As I understand, you also have no use for nihilists. What's wrong with them?
At whatever point in history they might have gained power, from then on the world would have been shrouded in pessimism. Things are bad enough! Besides, there's a cool meaning to life. They're wrong.
14. What's the most interesting interview you've ever done? Do you have a favorite piece from your days with Exit?
re: Seconds (my own most interesting interviews) - John Serrie, composer of music for planetariums; Cap't. Robert "Hoot" Gibson, USN, head Space Shuttle pilot who plays in a rock band along with other astronauts; Dr. Fiorella Terenzi, the radio astronomer who makes music out of heavenly static; Harlan Ellison, sci-fi writer; J. G. Ballard, sci-fi writer; Allen Ginsberg, poet; Ed Sanders, poet, journalist and former Fug; John McLaughlin, fusion guitarist; and DJ Spooky, master of an as-yet-unnamed genre.
re: Exit - of my own stuff my favorites are the aforementioned astronomical pieces as well as "Creating & Destroying" and "Nazion #3." Of other people's stuff, my favorites are everything by Kim Seltzer, Adam Parfrey's adaptation of Nietzsche's "Thus Spoke Zarathustra" and "The Book Of Charlie," Joe Coleman's "The Dance Of Death," David Paul's "New Animals," Robert N. Taylor's "The Swastika: Sacred And Profane," Byron Werner's adaptation of Lovecraft's "The Tomb," and A. C. Samish's "Railway Problems."
15. What are your plans for the future?
Another Exit-like magazine, to be called 3579. Forging onward with Seconds. Writing a novel. Sexual deviancy.
16. Final comments?
Effort is not enough; success
must be inevitable. You are what you fuck. When the gods want to punish
us they answer our prayers. Peace!
Seconds is available at most
book chain stores or for $5 by contacting:
Seconds Magazine
24 Fifth Ave. #405
NYC 10011.
www.secondsmag.com
email: seconds@bway.net
Psychedelic Solution books will be available in Spring 2001.
The EXIT Collection is available
for $25 from:
Feral House
2554 Lincoln Blvd. #1059
Venice CA 90291
www.feralhouse.com
email: cult@feralhouse.com
OHM CLOCK MAGAZINE
"A lot of good occult music,
experimental, industrial, gothic, and a taste of black metal." - Eskhatos
zine
Back issues available!
Issue 4 - Trevor Brown,
Acheron,
Issue 5 - Emperor, Blood
Axis
Issues are $5ppd, $7(foreign)
and contain reviews, articles and much more!
Contact: Aaron Garland
5550 NE Sanycrest Terrace
No. 3
Portland, OR 97213
E-mail: awgarland@aol.com
Margot
Day
Interview
questions by Jett Black
photos
by Kristyne Mellett
Hypnotic, dark magical, electronic trance-dance - Margot Day sings with such intensity, easily surfing high and low through octave ranges, sometimes wild and primal, sometimes soft and seductive soul dancing electro-industrial, hypnotic dance pop rock with gothic lyrical overtomes. Margot Day is progressive, haunting audiences with loops, natural and synthetic vocal mutations, samples from the galactic noise beyond this orb. Most of all, this music is made for fun, dance, and trance.
The
diva, Margot Day has worked with such luminaries as Adam Yauch (Beastie
Boys), Ira Elliot (Nada Surf), Jim Thirwell (NIN), Nick Zedd, R. Kern,
London May (Misfits), Nick (Farenhieght 451), and Bones
(Disassociates).
As lead singer for The Plague, Margot Day erupted during the genesis of the NYC Goth scene. Mick Mercer for Melody Maker called her, "Impressively Disorientating, Spookily Effective... Saucy!" The Plague album received regular college radio airplay (#1 at KMSA, WKKL) and intense press.
In 1999, Margot Day released a solo CD, self-titled. Unique powerful songs had her last CD in the top 10 at KCPR (occultivation) and receiving increasing play on college stations (WRUV, WGDR, WVBR, WCAT, WUSB, WJUL, KCPR, WRAS, WPTS, WPCR, WNMH, CKMS, WWPW...) across the States, in Latvia, and Russia. Her music is playing in US, UK, & Canadian clubs, with a review in the Futures section of the CMJ new music report. OUTBURN wrote: "unusual and unexpected... remarkable", and INTERFACE wrote: "...we'd sure like to party at her place sometime."
Performances in '99 took Margot day to Santa Barbara (where she has laid new roots), San Diego, L.A., San Francisco, New England, Seattle, Salt Lake City, Boulder, CO, Dallas, Austin, San Antonio, and in NYC at CBGB's, Alchemy and The Bank. Performing live with Electro Keyboard player Kurtis Knight, Mike Watson on guitar (formally with various infamous bands) and Power Percussionist Paul Sutherland (from This Ascension), her show is mesmerizing, pyro-teknik, visually and vocally awesome. Taking audiences somewhere they've never been, and letting them remember what they've always known, an Experience!
Margot Day followed the self-titled debut with Sacred! Highly acclaimed and adored, the gilded SACRED! cd has been celebrated by the press and club & radio DJ'S across the USA and abroad. Email Margot Day today! And get on the Margot Day newsletter list.
Now, shut-me-up! and listen in as Margot Day draws you into the musical progression of her world...
What convinced to you to grow roots in Santa Barbara?
Margot: I'm being draw to the ocean, the night jasmine, the heat of the Jacuzzi under the stars…
How did you hook up with Mike Watson?
Margot: Mike just happened! He's a wild card! Unexpected! He adds a distorted fiery passion to the live show.
How did the fire, during your performance, start on Halloween at theYucatan? What's the story?
Margot: Opening for Das Ich - There was fire on Halloween, while we played "THEY BURNED THE WITCH"! Halloween at the Yucatan in Santa Barbara was a night to remember! Mike Watson got carried away while blowing fire from his mouth and the stage caught on fire! While smoke filled the room, I sang "They Burned the Witch, save the witch..", and the show went on, climaxing with SoBeautifulSoDeadly! Blessed Be! And of course, many special thanks to Gene who with burning feet stamped out the fire while others dashed on stage pouring water and squirting fire extinguishers.
Next, in Goleta, California, you took stage with Necrodolly, Cinema Strange, and Project Eden. What do you remember most about that night, in late Nov. '99?
Margot: I remember an excellent sound system, a powerful show, and enjoying the other bands.
Who is involved in your group, Margot Day, now?
Margot: We just did and April Fools Surprise show with a new drummer, Joey Z from Motograter. Very tribal and powerful. Joey transported me (with Kurtis Night on keyboards and Mike on guitar) to that rapture place, throbbing and transcending.
Which performances during the past year impressed you the most?
Margot: The Full Moon Solstice show with guest star Dru (from this Ascension) was unbelievable. The Full Moon being closer to the earth then usual, the pre-millennium turning tension, the Solstice, the packed room..some of the photo's in this interview are from that show.
How did you get noticed by CMJ? And what has come of that recognition?
Margot: I sent in my CD. I didn't have any special contacts. I am proud to say they just discovered it themselves, picked it out from the thousands of CD's sent in... CMJ called my music "futuristic"...I didn't know the review was there until one night, I was in my kitchen, being very un-glamourous, washing dishes and preparing dinner for my children when the phone started ringing. Big label A+R were calling me, they had seen the raving review featured in the futures section of CMJ. Nothing came of any of it, but it was entertaining accompaniment for dishwashing.
Which upcoming music festivals have grabbed your interest and why?
Margot: Well of course the pre-convergence in Portland and then the Convergence in Seattle, and the Leipzig festival. Why? Because I'm always hoping the scene will get stronger and bigger and reach the world over...
Where are you directing your marketing efforts now?
Margot: HELP a cry for HELP. I am almost sold out of all 3 CD's. I need someone to invest in making more (I am open to signing with a label/distribution deal). I need HELP marketing/distributing the next batch. Future Records is looking for people who want to work for our label on a commission basis. mailto:margot@margotday.com
Who might you be collaborating with now, or next?
Margot: I am being drawn to some DJ's, singing while they're spinning. And I'm very inspired playing out with Joey Z, Mike, and Kurtis Knight. To book us mailto:margot@margotday.com
On SACRED!, which songs required the most work in production?
Margot: All of them except the improvisational piece, DayDream, which just happened.
What progress have you made in the studio since SACRED! ?
Margot: None. Although I hear the muse whispering new songs, and many of the songs in the live show are aching to be recorded such as Burned the Witch and Wonderlust, I need a influx of cash-flow before I go into my studio world again.
Where on-line are your cds available for audition and for purchase?
Margot: http://www.margotday.com
Tell us about CyberDreams, and Cybertribes... what's that about?
Margot: The hope that we will unify, through the web, that we will become a Cybertribe and reach all kinds of people from all over the world. There are samples from faraway tribes, organic sounds, and sounds that are futuristic, creating a dreamy euphoria. You can hear CyberDreams at my website.
Your music has been described as: "Ethereal-Gothic-Electro-Industrial-Ambient-Techno-Pop". Describe methods you have used to explore these musical characterizations.
Margot:
Ethereal: Meshing with the Mystical.
Gothic:
To embrace the Dark & the Light
Electro:
The sound of the future, the future of sound.
Industrial:
For the aggression, for the power.
Ambient:
Spacey, trippy, gateways to the other dimensions...
Techno:
Dancing and Throbbing
Pop:
To be unforgettable. To be heard everywhere.
You have described your absence from the music industry as one of seclusion "making babies and music in the wilderness". Tell us about your children and how the wilderness and the music came together.
Margot: Isolated with nothing but the web to connect me (and the collective consciousness) ...endless dark nights of winter... hearing the muse and the infinite songs to be created. This was a beautiful time, a special time, alone with my children and Kurtis. Learning from my wise elderly parents. My mother is 80 and is still dancing and my father at 83, still painting. They were an inspiration. My children with their life force energy feeding and growing, there young softness and cuddlyness; an inspiration. The waterfall in my backyard, the fairy's on the moss hills; an inspiration. The longing, the yearning, for glamour and wild nights, fueled by memories of endless parties, endless lust, and endless dancing; an inspiration -this is what the SACRED! Cd is made of.
How did performing on the same stages with Fahrenheit 451, Bad Brains, and Sonic Youth in NYC inspire you and your musical developments?
Margot: It was a time of great exploration, rebellion, inventing, and boundary pushing, boundary breaking. Anything was possible, and anything could happen. It was NYC with out rules. Run by the underground. Inspired by talent with no restrictions. Free and wild. The beginnings of the club scenes, goth, punk, skins, dance… We were in it all together, with few prejudices of which tribe you walked with.
Where do you personally envision your music taking you?
Margot: I feel the music on the Sacred! CD is needing to be played and performed, that although it has been treasured, there are still so many people who have not heard it. I have only scraped the surface of the world.
How have you struggled to bring your music to the fore-front today?
Margot: Struggled. There is the understatement. All underground labels struggle with the fact that the major labels put millions into promotion and distribution. And the budget that I work with is totally out of pocket. I implore those into my music go to my website and buy my music or donate money if you can – I don't know how I can survive with giving it away forever? Is there any money in this scene to support those of us who give our life's blood?
What are RF waves? And what is it about RF waves that you wanted to capture and incorporate into your music?
Margot: RF = Radio Frequency Waves - Sound coming off of the planet (Neptune) recorded by the Voyager on its expedition. We sampled the sound from Neptune, and used it as a bass line and a background wash for the song Neptune on the SACRED! Cd. This is the evolution of music – to use organic sounds as instruments and make new music never possible before – In the past there was only instruments that we made, such as violins/guitars/drums ECT– and until recently we could not use the sounds of raindrops or the ocean melodically, rhythmically – now we can use a sampler to record and create music – even music from outer space!
How has your music pushed boundaries in the music industry?
Margot: I was rejected by Arista records even though it was "hit material" because my words where to "mystical"! Because of the web, the boundaries are being pushed, and the underground grows stronger and stronger… the big labels are dying there natural death. It is my hope to change the mainstream, to give people everywhere music with depth and meaning...
Please describe the video work Margot Day completed for cable tv in NYC. Which program, song and can we still find this video today?
Margot: Vampyre Dreams TV - cable TV there is a link to them at my website. Very special people(Vamps). They interviewed me at several live shows in NYC ( at CBGB'S ECT.), and played footage from the live show with the interviews. The video called Vampyre has the song Vampyre from my previous band the Plague. We filmed it in the wilderness of the Northeast kingdom in Vermont. It is played regularly on Vampyre Dreams TV in NYC. The Vampyre Video is for sale at my website.
Please share some of the feedback you have received for Sacred!
Margot: Here are a few press quotes (many more at my website)
Perpetual Nightmare Give in to your ancient passions: wandering , hauntingly beautiful.. futuristic...
STARVOX - Sacred is a plum ripe for the picking.
Oklahoma Gothic - There are few who can rival the vision or voice of Margot Day. Something of a cultural icon in the industry, Margot Day has inspired more groups than one can conceivably identify.
Delirium - It may even raise a chakra. Like the ocean, Sacred is lulling with some waves and an occasional white cap.
VAE SOLIS - fantasy and extremely exciting. I just love these tracks!
The Gothic Preservation Society - Lightning shifts from Disco Diva todemented operatic soprano to 1-900-VAMPIRE to swamp-sorceress chant to werecat-caught-in-mid-transition..
LEGENDS - legendary in her New York period as front woman for post-punk group.
The Plague - I dare you to listen to this disc and try to concentrate on something else.
OUTBURN - The songs are so unusual, yet they work remarkably well... Margot Day is defiantly something to check out. --Octavia
Describe one of your most inspirational moments in writing. When and where did this occur and how did it evolve?
Margot: Having lived in mommy-land for a few years, I missed making music so much it hurt through my whole being, I felt like I was going to throw up, puke, give birth, explode, combust. Though the cash flow was almost nothing, I went out and bought a keyboard, and a 4 track. I locked myself upstairs in our old farm house, cried to the spirits that be, I can do this, I will make music again. And then it came rushing out, Kismet (on the Margot Day CD), Wicked & Wize -"breakdown the walls and get away, forget the wastedtime, find me some wine, no rest for the Wicked &Wize" (my escape song). Hereafter was born then as well, by banging on the keyboard so hard that it caused distortion on the 4 track, everything in the red...
What plans have you cooked up for Margot Day during the remaining months of 2000?
Margot: Planless! I've never been planless before! Trying to make money to survive! Letting destiny take me where it wants to! Open to all suggestions! Email margot@margotday.com
How may our readers discover more about Margot Day and contact you with feedback?
Margot: I invite you to my website, read the reviews, see the show, hear the music...
http://www.margotday.com
mailto:margot@margotday.com
The
Night Eternal
~interviewed
by Jett Black
The Night Eternal, a trio of excellent Darkwave musicians based in Miami, Florida, and now distributed through Projekt provide the haunting vocal melodies found on Textures of Twilight, an album (reviewed at Starvox) which represents how The Night Eternal has surfaced as one of the most enigmatic darkwave acts to come out of southern Florida, opening up for many recognized favourites such as Switchblade Symphony, Gitane Demone, Rozz Williams, Christian Death, Eva O, Das Ich, and Big Electric Cat.
Together, Laura Lewis, and Sean and David Rose accompany one another to Sean's compositions and delicate keyboard enhancements to enchant you with a mystical, eerie macbre collection of music on the current album, Textures of Twilight.
This CD has given me hope for the future of goth music. Featuring both male and female vocals, bordering operatic, with symphonic mysterious backgrounds, Textures of Twilight is one of the best gothic/neo classical CDs I have heard this year. The Night Eternal is a band to watch for great things.SV: Which shows have you seen during the past year that impressed you the most?
Admortem - review in StarVox
Sean: Faith and the Muse have been incredible. I could never say enough good things about them. On stage or on a recording, they are absolutely mesmerizing. Das Ich is another group that is very entertaining in a completely different way. Malign pleasantly surprised me with their stage presence. Oh, and let us not forget Kodo, the Japanese taiko group. If you ever have a chance to see them, go. I cannot stress it enough. They are touring the west coast of America this year and a few central states.
Laura: There have been quite a few. I've loved The Damned since I was fifteen years old, and I got to see them on their last tour. The high energy and magnificent performance was inspiring! Faith and the Muse were also very good - and the theatrics they employed in their stage show was quite amazing.
SV: Who are current members of The Night Eternal, and what roles does each perform?
Sean: We still have all of our original members consisting of Dave Laura and I. Dave is a vocalist in the group and his voice would be the lower of the two male vocals. He is also responsible for the whispered sections on the album. Other than that, he designed the artwork and completed the layout for the album. Laura sings with us as well. She helped me with the foundations of a few of the instrumental portions of the music. I write the majority of the music, but I like for them to explore their own vocal style on each song. I truly enjoy working with them as they are both very artistically inclined. We all contributed to the lyrics, so you will notice a difference of style there in the writing.
SV: Please describe themes employed on recordings by The Night Eternal.
Sean: Sometimes the themes are very personal in nature. They are reflections of events that have occurred in our lives. I enjoy employing a certain sorrowful feel to the music. I have always found some of the most sorrowful works of art quite beautiful, so I translate that into the compositions. At other times, we write stories that may be inspired by outside events or conjured in our minds.
Laura: There are so many. It depends on the mood, what is going on in our personal lives or even events or ideas that inspire us at the time. We really aren't attempting to make any kind of statement. We just aspire to make beautiful soundscapes that people can relate to.
SV: Looking back, what mile-stones have been most notable for The Night Eternal?
Sean: Getting this album together was challenging. It is not easy to manufacture and release something all on your own. It is an accomplishment that we are proud of. Fortunately, there are people out there who seek out independent artists with the realization that they have found something in its pure form. I think that these are the sort of people that make up the majority of our supporters.
Laura: A lot of feeling and devotion went into "Textures of Twilight".
SV: Illuminate any significant details that may have influenced the development of sadness in your music?
Sean: In an effort to create beautiful compositions, I reach into the realms of extreme emotion. It can be something personal or a pondering on something that could be. Regardless, my muse chooses to have it come out in this manner.
Laura: Well, all of us have our ups and downs. It seems that when you are in a down mode that is when creativity seems to be at its peak. Well, speaking for myself at least.
SV: What gear are you using to develop music for The Night Eternal?
Sean: It is just our voices and my keyboard. I use a Korg 01/W. I have had it for about 7 years and it is starting to get a little tired. I am looking into investing in a Trinity before too long. It will also enable me to expand the confines of our sequencing structure and breathe a new life into our sound.
SV: Which songs required more significant development in production?
Sean: We paid close attention to each song. I do not think that one was more difficult than another. We went into the studio fully aware of what we wanted the album to sound like and I am quite pleased with the outcome.
Laura: "Farewell", I think, was the longest in production. The vocals in that particular song were very challenging.
SV: In what ways will The Night Eternal live performances differ from its recordings?
Sean: We have performed live in South Florida a bit, as well as single shows in Atlanta and New Orleans. We have opened for some major acts in the goth realm and were well received. I enjoy it and we convey the emotional depth of our music quite well, but we are not a rock band. I have been to some of the more ethereal concerts where if you are not completely enthralled by the music, it does not have the right impact. There are not many people who go to live shows that are there to hear subtle nuances. We create the music that we wish existed... I thrive on it. Our live shows will sound pretty similar to our recorded music. The instrumentation is sequenced for the most part, aside from some sections that I play. Of course, when we have performed in the past it has been the three of us singing on stage. In the studio, the vocals were recorded with minimal effects.
SV: Considering other musicians with which you have performed in the past. What experiences seem most memorable for you and what have you been able to draw out of those experiences and into The Night Eternal?
Sean: Well, hype has a lot to do with the energy of an audience at a show, but what really carries it is the performer. Of course, there is a correlation there. Opening for Das Ich, we witnessed some high energy performance that took form in a unique way. I can't really say that we have integrated anyone else's stage style as we have developed our own.
Laura: We have been fortunate enough to open for several great bands: Rozz Williams and Gitane Demone, Switchblade Symphony, Eva O, Das Ich, Big Electric Cat and Christian Death. The few dates we played with Das Ich were a wonderful experience. Great people and musicians. Rozz and Gitane were also very friendly as well as amazing people. We gathered a lot of helpful information from these bands about the business.
SV: Describe some of the creative techniques used to achieve specific aspects of The Night Eternal recordings.
Laura: The creative process, at least vocally, I think sort of happens on the spot. When Sean presents Dave and I with a new piece to work with, the three of us experiment harmonizing with one another. Sometimes it comes together so quickly and smoothly that it seems - for lack of a better word "magical".
SV: Describe some of the processes involved in composing and evolving soundscapes.
Sean: Generally, when I am writing a piece, I begin with a melody and add rhythms, harmonies, and subtle elements afterwards. Inspiration is a strange thing. It strikes at any moment and comes in so many ways. In the shower... in dreams... sitting around bored... anywhere really. I usually have music playing in my head. Life is a soundtrack and that may be why it comes out that way at times.
SV: What changes in the music industry have caught your attention most during the '90s?
Laura: The fact that the type of music we are doing is no longer as obscure as it used to be.
Sean: Well, I am continually disappointed with the mainstream methods of audio bludgeoning. That's one reason why I never listen to the radio. Music is an artform and the music industry is just another business. I don't pay it much heed. Of course, it is necessary to make our music available and the interconnectivity of the online subculture allows us to reach out with a longer arm.
SV: When not completely focused upon The Night Eternal, what do you do to support yourself?
Sean: Lately, I have been getting involved in real estate investment with my father and brother and just attained a mortgage broker's license. Other than that, I am gainfully unemployed.
SV: What would you like to accomplish through The Night Eternal into the dawning of the new millennium?
Sean: Oh, I have many things on my mind that I would like to do. First of all, we have been getting quite a bit of new material together, which we will probably be releasing next year. We are also looking at the possibilities of touring the U.S. in the not so distant future.
Laura: I would like to see the band grow and move on to the next level. I also hope that we will be able to reach a wider audience that enjoys our type of music.
SV: What other recordings, outside of The Night Eternal, have been released by its band members?
Sean: "Textures of Twilight" is the first The Night Eternal recording. Outside of that, there are no others. Laura was singing with Deep Red for a short period of time, but I do not think they used her voice on any of their recordings.
Laura: I was in a few other bands that didn't work out. No recordings were done though.
SV: What other side projects are currently being developed?
Sean: Our focus has mainly been on The Night Eternal and it will continue to be for some time. We are all very involved in writing in the style we have developed and at this point it would be difficult to depart from it. By making the songs diverse, we eliminate the boredom that many bands encounter. We are also very freeform in our approach and are continually writing new material. We all stay open minded about each other's input and take criticism constructively. Unless one of us wanted to do something completely outside of this style of music, there really wouldn't be any reason to work on side projects.
SV: What will you entitle the next release by The Night Eternal, and when will it be available?
Sean: We have a good deal of material together for our second album, but it is currently untitled. With the newer stuff, you can expect a bit of intensity while retaining the, haunting sound we have become known for. I wouldn't expect to be releasing that until next year. I would rather focus my attentions on getting our first album properly exposed.
SV: Who will be distributing your next releases?
Sean: This album is available through Darkwave distribution via their website http://www.projekt.com as well as by phoning them (1-800-CD-Laser). Future releases will most likely be distributed in the same manner.
SV: Where else might readers find releases by The Night Eternal available for purchase?
Sean: Currently, we do not have any distribution networks that distribute to stores.
SV: What are you looking for now in terms of new musical influences?
Sean: Lately, I have been enamored with middle-eastern styles. I also like to throw in a little oriental flair every now and then to be true to half my heritage. I do not feel influenced by music to the extent that it affects my own creations. Our style is somewhat uninfluenced and unique.
SV: What motivates you to continue performing and recording music as The Night Eternal now?
Sean: That is simple. I have a passion for this music that will never die. You will be seeing a continuous stream of music from us well into the future.
Laura: The drive to create music is very strong. Once you start and have that feeling of accomplishment - you don't want to stop. Creating music, to us, has never been viewed as a "task" or a "chore".
SVL: Let's say you 'make it BIG' and retain complete control of your own music even, what then? How would you describe your music, and your motivation to continue as The Night Eternal?
Sean: Hah! That doesn't sound like a good thing to me. 'Making it big' and having complete control of your own music is a contradiction. First of all, most people who 'make it big' do not write their own music.
Someone else pens it and creates their frontman's personality. I have no desire to 'make it big'. To entertain the thought, I would change nothing in the music, although I would probably request a choir and orchestra.
SV: When touring and dealing with a million-and-one decisions, how do you manage to work so well together without the instruments in hand?
Sean: I have grown up and lived with my brother, David for most of my life. We have always been very close and get along exceptionally. Laura and I have loved each other for quite a while and we rarely have disagreements. So, I have been in the neutral corner for a while and play mediator between David and Laura.
SV: What particular interests might you explore along the route of this next tour, if opportunity permits?
Sean: I love museums of almost any sort, preferably one with a bladed weapons area. Any time I travel, I try to find the best historical weaponry. Other than that, it would depend on where we were at the time.
SV: What changes have been made in The Night Eternal during the last year?
Sean: Not a lot. The only difference is that we are more focused toward marketing "Textures of Twilight" rather than recording.
SV: What songs have been in development since last year?
Sean: There have been many songs that we have written, but I generally do not name them until late in their life. It makes it difficult to refer to a particular song, someone has to hum it.
SV: Which musicians have won your admiration in the music industry and why?
Sean: I have admiration for any musicians who pursue music at an underground level because of their love for it. Unfortunately, if you want to solely play music for the rest of your life, you generally have to compromise your integrity. That is why I seek an income elsewhere. Siouxsie has done a good job of getting on with The Creatures by starting their own label when none of the other offers were suitable. I admire that.
Laura: Again, I am a big fan of The Damned. They were there from the beginning and are still going strong. As musicians they are brilliant. Other bands I enjoy are This Mortal Coil, Dead Can Dance, Faith and the Muse, Lycia, Switchblade Symphony, Das Ich, Black Tape for a Blue Girl, Stoa, the list goes on. All of these bands have been an influence on me in some way.
SV: Besides performing live from one gig and tour to the next, what other forms of media will The Night Eternal explore in the future? And, if applicable, have you already begun to explore beyond the routines of 'record & perform'?
Sean: I would love to work on some videos... perhaps a small collection of them. There are a lot of images in my head that I would like to try andmget out onto video format. Laura could help a bit with that as she has worked with video in the past. This is just a whim right now, but I will probably be working on something of the sort in time. Also, I always get the 'You should write soundtracks' comment. That is also something I would like to explore. I am sure that it would be challenging.
SV: What new goals will you focus upon now?
Sean: Basically, we are aiming toward bettering our techniques and exploring new styles. Naturally, we will focus on making each album better than the last. This goes for our live presentations also.
Laura: Expounding on the material we have now and gearing up for recording it.
SV: How can music enthusiasts best contact The Night Eternal for more information?
Sean: You can reach us at TheNightEternal@hotmail.com I check my email often and will respond. We should have a webpage up and running soon.
Neurepublik
~interviewed
by Jett Black
Jan.
2000
Neurepublik.
You may remember Jeff Crowell of Neurepublik, if you attended Gothcon 2000
in Atlanta, Georgia. Charming and charismatic, Jeff Crowell also unleashes
exceptional dancy electronic darkwave musik. In fact,Neurepublik offers
some of the very finest, most intelligently integrated dance music for
"the black dressed world".
Neurepublik will amaze you. Dance clubs everywhere must be transformed to combine darkwave, synth-pop and gothic music through the guidance of any Neurepublik track currently available. Neurepublik is leading the way. Tucked away in Dayton, Ohio, Jeff Crowell, a genius in recombinant new music mastery, feeds the intellectual curiosity in addressing a the following synaptic impulses...
SV: What would you like to accomplish through Neurepublik into the dawning of the new millennium?
Jeff: To have people think of Neurepublik when they think of the gothic electronica style of music. And, likewise, to help to perpetuate the genre to potential fans worldwide.
SV: In what ways will Neurepublik live performances differ from its recordings?
Jeff: It will definitely be an audio-visual experience, with plenty of groovy video wallpaper to watch.
SV: Describe some of the processes involved in composing and evolving soundscrapes.
Jeff: Usually, it begins with cycling through just about every sound in my kit until finding one that happens to tickle my fancy at that moment and building from there. Once I have an idea of some of the sounds I'd like to use, I work out the main drum patterns. Then I just start layering the other instruments. For me, vocals are always the last part - I typically have the entire song completed before even thinking of words.
SV: Could you illuminate any significant details that may have influenced the development of sadness in your music?
Jeff: I'd rather not reveal too much personal information about myself, but suffice it to say that I have had quite a few traumatic events happen in my life that have given me a more sour, cynical, and sad view of things.
SV: What images illustrate your visions of a "New Dark Age" ?
Jeff: Dark, hazy, dirty, cold, emotionless, monochromatic cities filled with apathetic, manic-depressive psychotics not content with their lives yet terrified of death.
SV: What changes in the music industry have caught your attention most during the '90s ?
Jeff: I know everyone probably says it, but being able to put your music out via the internet is probably the most significant phenomenon.
SV: When not completely focused upon Neurepublik, what do you do to support yourself?
Jeff: I get paid to convince people to buy things they don't need (I work at an ad agency).
SV: Who are current members of Neurepublik, and what roles does each perform?
Jeff: At present, it's only me doing everything.
SV: Please describe the themes employed on recordings by Neurepublik.
Jeff: Death is always a big one, especially as it relates to whether or not you die & that's it. Many of the songs deal with thinking for yourself rather than letting others tell you what to think. Relating somewhat to that questions of religion come up often as well.
SV: How do you relate with the music created for Neurepublik?
Jeff: It depends, really. Sometimes the songs are quite personal, but more often I create a character in a situation & write the song from their perspective.
SV: What other recordings, outside of Neurepublik, have been released by its band members?
Jeff: There's a few local demos floating around from the old days when the band was called "The New Republic" (we didn't know there was a political magazine of the same name).
SV: What other side projects are currently being developed?
Jeff: I've been working on some more abstract stuff now and then that I call my "Synthanasia" project. I hope to throw together a Synthanasia EP by summer or fall.
SV: What will you entitle the next release by Neurepublik, and when will it be available?
Jeff: I'm 99% sure that it will be called "Electro Chakra Therapy". It should be available by April or so (if you want to hear a sampling from it, one of the tracks, "godfetish", is on mp3.com.
SV: Who will be distributing your next releases?
Jeff: It will be available directly from the band via mail and the internet.
SV: Where else might readers find releases by Neurepublik available for purchase?
Jeff: mp3.com and riffage.com or email neurepublik@hotmail.com
SV: What are you looking for now in terms of new musical influences?
Jeff: Music that I find so compelling that I get hooked on it for weeks.
SV: Which shows have you seen during the past year that impressed you the most?
Jeff: I saw Bauhaus in Cleveland, which was great since I missed seeing them "back in the day". Clan of Xymox played Cincinnati to a crowd of like 20 people (no kidding) & was absolutely great. Despite the poor turnout, they played at 100% and came back out for 3 encores. Back in May, S.P.O.C.K. played a very energetic and whimsical set that influenced me to run out and buy myself a new Korg. Switchblade Symphony was very good live, as was Luxt.
SV: Backing up to now, what motivates you to continue performing and recording music as Neurepublik now?
Jeff: A true love of artistic expression - I just thoroughly enjoy the process of song creation and exhibition.
SV: Looking back, what mile-stones have been most notable for Neurepublik?
Jeff: Just being around for thirteen years without being overly disillusioned or sick of it all seems kind of amazing when I stop & think about it.
SV: Let's say it happens, you 'make it BIG' and retain complete control of your own music even, what then? How would you describe your music, and your motivation to continue as Neurepublik?
Jeff: If success comes to Neurepublik, I hope to continue on the same, making a unique hybrid of gothic industrial and synthpop. I'd probably use the success as a springboard to other complementary artistic outlets. I see my music as an intelligent, cynical outlet for dealing with the enigma of life in general. I guess the need for creative expression is what keeps the songs coming. Also, the positive feedback I get from listeners - it lets me know that Neurepublik is a project that is worth continuing.
SV: What particular interests might you explore along the route of this next tour, if opportunity permits?
Jeff: Like I said earlier, I want the Neurepublik live show to be a multi-media experience with some video and technology going on.
SV: What new opportunities would you seek and develop to advance the music of Neurepublik?
Jeff: Well, I've done quite a few videos for Neurepublik songs and I'd like to continue with that. I'd also like to expand the content of the website and work a bit more with some interactive goodies for the cds. I'd also love to get some of the tracks into some compilations and/or soundtack albums.
SV: Any re-mixes from previous releases?
Jeff: Absolutely! After the "Electro Chakra Therapy" EP, I hope to have an EP of remixes from it and "ein war einmal..." available.
SV: What changes have been made in Neurepublik during the last year?
Jeff: Lots of equipment has been added to the studio that greatly helps to speed the creative process along and results in better sounding tracks overall.
SV: What songs have been in development since last year?
Jeff: Well, the new track, "godfetish" is one. Another one, "15" is nearly done - just needs a bit of mixing. Two others (unnamed as of yet) are at the midpoint. These four will make up the new ep.
SV: Considering other musicians with which you have performed in the past. What experiences seem most memorable for you and what have you been able to draw out of those experiences and into Neurepublik?
Jeff: I think it's interesting that everyone always has their own way of doing things. I've learned quite a few shortcuts and fresh starting points from dealing with other creatives.
SV: Where will you be travelling during the course of your next tour?
Jeff: To wherever people want Neurepublik. Seriously, though, the planning hasn't gotten far enough as of yet to consider exact locations, but I'd really like to do a few shows in Canada - I've gotten several positive emails from folks there.
SV: What gear are you using to develop music for Neurepublik?
Jeff: Korg Polysynth, Ensoniq Mirage, Boss Dr Synth, Roland PMA-5, Korg Triton, Rebirth, Boss DR660, Roland MC-50, Cubase VST, Soundedit 16, Roland VS880EX
SV: Which songs required more significant development in production?
Jeff: The cover of "Bela Lugosi's Dead" required a lot of vocal processing before I was happy with it. Actually, most tracks with vocals require some production time because I like to layer several tracks of vocals, especially on choruses.
SV: Besides performing live from one gig and tour to the next, what other forms of media will Neurepublik explore in the future? And, if applicable, have you already begun to explore beyond the routines of 'record & perform'?
Jeff: Neurepublik has a website & has been using the internet, mp3, real audio, and quicktime to get samples of the songs out there for folks to hear. Like I said before, I like to do videos and will continue to do so in the future (I've always wanted to do a long form piece, sort of like a gothic version of "The Wall"). I also plan to incorporate more multimedia content (enhanced CDs) with future projects. "ein war einmal... (special edition)" had some CD-ROM stuff, a quicktime of the video for "Way Out".
SV: How can music enthusiasts best contact Neurepublik for more information?
Jeff: E-mail me at neurepublik@hotmail.com
Neurepublik
http://www.mp3.com/neurepublik/
http://members.tripod.com/~yada/neurepublik.html
Neurepublik
is also prominantly featured inside the
Hidden
Sanctuary radio program - http://listen.to/hiddensanctuary
Neurepublik
131
Huffm Avenue
Dayton,
Ohio 45403 USA
937.879.3212
day
937.256.4729
eve
DEEP
RED
~interview
by Jett Black
DEEP RED, which was recognized and included in the line-up for the NYC bid for Convergence 6, has after much evolution broken up and re-formed again to restore the original line-up of members, released a half dozen tracks to as many compilations and now releases DarkwaterS via their own label, Osiris Soundworks. DEEP RED recording and mixing studio is now also shaping the future of other musicians of Southern Florida, such as members of Divine Love Mission, and Open Canvas.
DEEP RED formed in 1996 in Miami, Florida between Dely Castro and Martha Arce. Suddenly, Candyland Entertainment, a european label founded by members of Project Pitchfork, took an interest in DEEP RED and signed them onto the label. With the compilation offers pouring in, DEEP RED decided it was time to release their debut album, "The Awakening."
The following year, '97, found DEEP RED preparing to tour with Project Pitchfork's - Chakra Red European tour. Mario Soto, percussions, added vocals and guitar, came on board for the live tour stage performances and remains as a permanent member today.
Martha Arce develop an interest in working on a new porject, Distorted Reality, and took time away from DEEP RED to pursue developments of Distorted Reality recordings. Distorted Reality caught plenty of attention with it's demo release and ultimately found it's way onto the RESISTOR compilation released by Nilaihah in the latter part of March 2000.
DEEP RED recently reunited, and, as a result of separate pursuits in music, have returned to transform the progression of DEEP RED together.
Listen in now as Mario, Dely, and Martha discuss briefly reflections upon DEEP RED today...
SV: What changes have been made in Deep Red during the last year?
Martha: Well, I think the most obvious and significant is the return of me as lead singer. Also the creation of the Deep Red record label Osiris Soundworks.
Dely: The original line up is back. In September of 1999, we decided to work together again. All the vocal tracks were re-done with Martha's voice. That forced us to delay the release of the new album, but I think the results were well worth the wait.
Mario: I truly believe that this past year we have learned how to improve on our sound and recording abilities (evident on our new release). We have also enhanced our equipment via new acquisitions which of course helps a lot. As professionals we have also grown to understand the idiocies of each other. We hope that everyone remembers to keep their heads out of the clouds and our feet on the ground. Do I sound like that Casey dude?
SV: Which shows have you seen during the past year that impressed you the most?
Dely: Actually, I’ve only been to one concert this year, Xymox in New Orleans (Convergence V)
Martha: Covenent at Zillo ’99, they were great a lot of energy and truly enthusiastic about what they were doing. Really nice guys.
Mario: I was under house arrest so no concert for me.
SV: Please illuminate any significant details that may have influenced the development of sadness in your music.
Mario: How about death? I almost saw the light, or maybe I did? I don’t remember.
Martha: This is a very personal question. The best way to TRY and explain is by telling you a story. A good friend of mine, who happens to be a successful musician by the way, once told me that he does not like to put all of himself in his songs. What he meant by that was he doesn’t give specific details about the pain that brought him to that point. He said that if in the end people don’t like the song he feels heartbroken, kind of like putting salt on an open wound. He said if he makes a song from the blood of his broken heart it would be too difficult to hear others criticize and demean it. Not because it’s his song, but because of what it meant to him when it was created. I always remember that. It echoes in me.
SV: Describe some of the creative techniques used to achieve specific aspects of Deep Red recordings.
Dely: I personally get a lot of ideas from visual elements specially movies, I guess that’s why some people find a certain cinematic feel to some of our music. Sometimes, the sounds of certain instruments dictate the feel for the song, case in point: Slowslidings, from DarkwaterS was based around a couple of arpegiator patterns from the Roland 8080, the visual and erotic feel on the song were derived from a movie directed by Radley Metzger (Camille 2000)
Mario: A lot changes as you listen while recording and re-recording tracks. As you and listen and feel the song it will lend itself to changes that at first when the song was written were not visible, and/or sometimes it just takes you somewhere else and may even develop itself into a total other creation.
SV: Describe some of the processes involved in composing and evolving soundscapes.
Dely: Again, sometimes a sound or combination of sounds dictate the atmosphere of the song. We are lucky to posses a good collection of electronic equipment that lets us create basically any sound that you could think of.
SV: What images illustrate your visions of a "New Dark Age" ?
Mario: The following has been brought to you by the Discovery Channel and in conjunction with your local PBS television network.
Dely – I think humanity has been where we are probably at now, in the past, only to reach a cultural and technological climax, and then those civilizations are destroyed, their knowledge is lost and it starts all over again. We are certainly heading towards something like that again. I fear that the planet cannot stand the present destruction of natural resources and over population for a lot longer. The future might hold a New Dark Age in a literal sense!
SV: How do environmental and social stimuli of Florida influence the developments of Deep Red compositions?
Dely: Not much. We pretty much create in a vacuum down here, as the cultural scene and even the weather is totally different from the scene you would associate with our music. After a while your surroundings become second nature.
Martha: As far as I’m concerned the social stimuli of Florida really has no influence on the development of the compositions. I feel that most of my influences come from within myself, or from experiences that I have had with others. However, most of those I would consider more interpersonal and not really having anything to do with where I live.
Mario: Where we live does not stimulate us to compose music, if anything we all need to have stronger imaginations and thoughts of different places in order to begin trying to create the feel that we want in and look for in our music.
SV: What changes in the music industry have caught your attention most during the '90s ?
Mario: Today, the artist can be more and more independent. The days of big record labels and the hordes of people trying to control and change your music to suit their own personal style instead of that of the artist are pretty much disappearing with the exception of the boy bands and the bubble gum girls. The internet I would say is the most significant change to affect the music industry. We still have not even touched the tip of iceberg.
Martha: Technology is changing a lot of things and I believe that music is only one of them. The way we buy music, the choices we have are so much more then even just 5 years ago. There are so many different types of distribution channels that it has increased audiences’ music options ten-fold.
Dely: The shift towards more independence for the artist, more avenues to create and distribute your work without the help of some big label.
SV: In what ways will Deep Red live performances differ from its recordings?
Martha: As a singer, every performance whether it be live, or in the studio, will differ somewhat. When I perform live I try to let the feel of the audience and their vibe guide me. That is part of the reason why I enjoy performing live so much, it’s always different.
Dely: We do not play carbon copies of our recordings on stage. Sometimes we re-arrange songs completely for live purposes, use different sounds, extend or alter endings.
SV: Who are current members of Deep Red, and what roles does each perform?
Martha:
M.
Arce – Lead singer/lyricist and PR.
DC
astro – Keyboards, Drums, Songwriting, Programming, Recording Engineer.
Mario
Soto – Electronic drums, Vocals, Songwriting, Keyboards and Guitars.
SV: Please describe the themes employed on recordings by Deep Red.
Dely: We cover a range of subjects: Desperation (Darkwaters), Sensuality (Slowslidings), Love and devotion (I live), longing for a geographical location (Vienna), Obsession (Secret Worship)...
SV: How do you relate with the music created for Deep Red?
Martha: Well, if I write the lyrics for a song the way I relate is obvious. However, this album for example, where I did not write the lyrics I relate on a different level. I try to understand the words and the emotion of the music itself on a personal level. I try to personify the songs I sing.
Dely: I relate completely, after all its my creation.
Mario:
If I contribute to the lyrics of a song it's because I can feel and relate
to the music itself, or the content of the lyrics. When I write all
the lyrics as in the case of Thoughts of Darkness, the relationship is
completely pure.
SV:
What other recordings, outside of Deep Red, have been released by its band
members?
Martha: I have another band called Distorted Reality with my partner Christian Kobusch. We will be featured on several compilations coming out in the next couple months and will begin recording our first album soon.
Dely:
No solo work, but have worked with other artists recordings and re-mixes.
Mario:
No solo work, but some thoughts are being put together.
**Note: Distorted Reality appears on a compilation released by Nilaihah entitled RESISTOR. http://www.nilaihah.com/resistor.htm
SV: What other side projects are currently being developed?
Mario: Dely and I have talked about various projects such as compilations through our record label Osiris.
SV: What will you entitle the next release by Deep Red, and when will it be available?
Deep
Red: Our next release is entitled DarkwaterS to be released March
2000. By the time this prints it will probably be already available.
****DarkwaterS
currently available at: http://www.deepred.com/
http://www.deepred.com/news.html#anchor DarkwaterS
SV: Who will be distributing your next releases?
Deep Red: We've set up our own label, Osiris SoundWorks, which will release and distribute our releases from now on.
SV: Where else might readers find releases by Deep Red available for purchase?
Deep Red: The new album, as well as our prior releases and compilations, will be available from Amazon.Com, CDNow, CD Universe as well as all the major Goth /Industrial retailers like Isolation Tank, Middle Pillar, Industrial Underground, etc.
SV: What are you looking for now in terms of new musical influences?
Martha: I don’t believe that I "look" anywhere for my musical influences. If I am influenced by something it just happens. I don't think I make a conscious effort to look for anything in terms of a musical influence.
Dely: I'm always looking for new and interesting music. I ran into some stuff like Covenant, DollsHead, the Run Lola Run movie soundtrack, and the new Enigma album.
Mario: My influences come from everything I listen to and visualize except when its Rap or Country music.
SV: What motivates you to continue performing and recording music as Deep Red now?
Martha: The biggest motivation for Deep Red or any kind of music that I do is the love of the music. I’m not sure if it’s really motivation that keeps you going or maybe it’s more about who you are. Some people are just born to do a certain thing and that’s why they do it. That is kind of how I explain my motivation.
Dely: I don't know, it's almost like an addiction. There's been quite a few times when I've felt like quitting, but you always come back to it. I can't picture my life without musical involvement.
Mario:
It’s a drug, you become addicted and you cannot stop, except you don’t
die from this one, only maybe of depression because people might not understand
what you are trying to accomplish.
SV:
What mile-stones have been most notable for Deep Red?
Martha: Personally, I believe the biggest milestone was when we parted ways. The break up changed everything and, although we are working together again, because of the split and everything that followed the time apart etc, the composition of the band has been forever changed. Deep Red has evolved from it’s own undoing.
Dely: Getting our first recording deal, touring Europe, finding out that people out there relate to your music and ideals.
SV: Let's say it happens, you 'make it BIG' and retain complete control of your own music even, what then? How would you describe your music, and your motivation to continue as Deep Red?
Martha: This question assumes that your motivation is based on making it “BIG.” Yes, of course, we all want that. Who wouldn’t? However, for me money and fame are not strong enough motivations to keep me going. It’s like I said before about motivation, you do it because it’s part of who you are. Also, we pretty much have complete control of the music we do now. However I think you can never really have complete control unless you do EVERYTHING yourself and then still. When you are in a band setting everyone’s opinions and ideas are in the mixture. Like with any relationship there should always be a degree of compromise if you want to make it work. Or even when you’re talking about life in general. I’ve learned “throughout my years” that whenever I get something I always have to give up something somewhere.
Dely: We're not motivated by success alone, it's almost like it's your duty to create music, whether you're a big success or not. A few years ago I was very sick and ended up in a hospital. While there, I had sort of a vision or revelation, I still can't explain what it was, where it was shown to me that music was my destiny. Ever since that day, I haven't stopped working on my musical career. It hasn't been easy, but I can't stop myself from following this path.
Mario: Shit! They’ve said it all.
SV: When touring and dealing with a million-and-one decisions, how do you manage to work so well together without the instruments in hand?
Martha: Huh? Are you kidding? :-) Who told you we work together so well? :-)- Well, if you are lucky, you have someone who is capable of helping you deal with all those million and one decisions. If not, then you just take it as it comes what else can you do?
Dely: We can visualize musical ideas pretty well, even when we're away from our instruments. I remember how, while in Europe, we came up with the idea of covering Ultravox's "Vienna", and how the arrangements came together in our heads, without having the time to sit down and actually play any of it until we came back to America.
Mario: It’s all about planning and organization. If you plan well enough in advance you are prepared to deal with the unexpected, and the expected.
SV: What particular interests might you explore along the route of this next tour, if opportunity permits?
Martha: I think it’s too early to tell.
Dely: It's hard to say, but traveling is always exciting, especially if we go back to Europe, there's a lot that I'd love to see, specially the Architecture.
Mario:
I’ve had the opportunity of traveling all over the world, but there are
many more places that I would like to explore. I believe all of us
would agree that if time permits in a place where we’ve never been that
we would try to check it out.
SV:
What new opportunities would you seek and develop to advance the music
of Deep Red?
Deep Red: Having our own label for starters. It then becomes extremely important that we follow all the promotional avenues available, interviews like this for example are important to let the public know what we're all about. And by the way, we can’t thank you and others enough for allowing us this avenue and the support you give us.
SV: Any re-mixes from previous releases?
Deep Red: No new re-mixes from the first album are planned. There's a Maxi-CD available (" I Live") that includes 3 Project Pitchfork remixes from our first album. We've already re-mixed 2 tracks from "DarkwaterS", Spirits Of The Past, and DarkwaterS, which we're making available on a limited release to DJ's and radio stations.
SV: What songs have been in development since last year?
Dely: From the new album, Don't Look Now, Slowslidings, Spirits Of The Past, The Descent, Breath In the Mirror were all developed and finished during 1998-99. Some of the other songs like DarkwaterS, Fallen and Blood And Roses have been in development for quite a while, until they finally fell into place.
SV: Considering other musicians with which you have performed in the past, what experiences seem most memorable for you and what have you been able to draw out of those experiences and into Deep Red?
Martha: Honestly speaking the most memorable experiences I’ve had with other musicians with which I’ve performed have been non-musical. Meaning too personal to explain :-) Smile
Dely: You always try to learn from every situation, whether good or bad. Some previous bad experiences help you to avoid the same mistakes the second time around.
SV: What gear are you using to develop music for Deep Red?
Dely: It would be easier to answer what gear are we NOT using. I use a lot of European gear, like the Waldorf Pulse, Microwave II, XT and Nord Lead Synths which contributed a lot to the overall sound of "DarkwaterS". We just got a Nord Modular Rack at the end of recording the new album, which is an amazing piece of equipment manufactured in Sweden, which will be used a lot more during our future recordings. Also, recently we ran into some very cool effect units from Canada, the Electrix Mo-FX and Filter Factory, which we used primarily to achieve some of the special vocal treatments on the new album, plus I just got a new Macintosh G4, which I'm planning to use for a lot of sound designs and Audio editing, using software like Peak 2.0, TC Works' Spark 1.0, Recycle and Rebirth and of course, Cubase VST for sequencing.
Mario: We also use Yamaha, Fender and all the other big name manufacturers. We are now taking proposals from any and all of the mentioned manufacturers. We will be glad to have you as a sponsor on our next recording and tours. All proposals will be reviewed. Thank you.
SV: Which songs required more significant development in production?
Dely: “DarkwaterS' has been in development prior to the European tour, until it finally came together last year. "Fallen" and "Blood And Roses" have been around even longer, with different titles and lyrics, until they emerged in their final form.
SV: Besides performing live from one gig and tour to the next, what other forms of media will Deep Red explore in the future?
Mario: As we go along and develop the music of Deep Red, the other types of media will follow automatically. We will explore our options as they fall into the scheme of our goals and objectives.
Martha: I would like to explore the area of music videos, but also movies. I think the music of Deep Red would be great for movies and I would love to act in that type of film.
SV: What new goals will you focus upon now?
Mario: We will focus in the development of our new label Osiris Soundworks which at the same time will promote the “DarkwaterS” release as well as the other releases of Deep Red, The Awakening and I Live single. We will also help startup and promote other bands as we develop the business portion of Osiris.
Martha: I would like to see Deep Red gain more recognition. I would like for it to be easier for audiences to find out about us. I would like to see our music everywhere so anyone that is interested in this type of music can find it. I believe we will start working on new material and hope people will like what we’ve done so far and want to continue hearing more.
SV: What more would you like to share with our readers?
Mario:
We would like constructive criticism from listeners. We would like
to know what they think about our music and how they can relate to it.
We have a web site at http://www.deepred.com which we always keep up to
date and can be used as an avenue to communicate with us. We will
always respond to our fans. On another note, we want to make it perfectly
clear that in no way are we, or were we, ever associated with the so called
Deep Red from California. This group of individuals incorrectly released
material under our name through Warner Brothers. They have since
changed their name to something else, but any releases out there via Thrive
Records and/or Warner Brothers do not purchase thinking its us, because
it isn’t.
If
you do, we apologize for them, one listen to their releases and you will
immediately know you have a new coaster for your drink.
SV: How can music enthusiasts best contact Deep Red for more information?
Mario:
http://www.deepred.com
DEEP
RED Mgmt.
3248
West 14th Court
Hialeah,
Florida 33012 USA
Office:
305.436.3712
Fax:
305.436.3712
Email:
Suspiria@DEEPRED.com
Distorted
Reality Web: http://www.distorted-reality.com/
Nepenthacea:
~experiments
in dark atmospheres~
~reviewed
by Wolf
This month Starvox places one of its spotlights on Massachusetts based Nepenthacea, an independent artist-run label/distributor. On the cover of their catalogue the main focus is described as "experiments in dark atmospheres", a very fitting descriptioin for the music by its artists. Cold Meat Industry comes to mind while listening to this label's sampler, whom Nepenthacea doesn't only match in sound, but quality as well. I certainly wouldn't be surprised if they grew into America's #1 answer to CMI in the near future, granted they change their releases from the current cassette-only to CD format.
The label's line-up consists of 7 different projects right now, all of which can be found on the Nepenthacea sampler: Line, Enclave, Dreamscape Embodied, Black Dawn, Dreams of Abrasion, Studio Grey and the label's latest addition Translucence, Whisper Diminish. They also offer re-issues of the long-since terminated Concise Noise Fractionale Ltd. label, with tapes by projects such as Noise End Rapture, Vanish Hall and This Music Sucks.
The prices of Nepenthacea's tapes are extremely reasonable at either $3.00 or $4.00 a tape (which even includes shipping). This makes it very affordable to sample the excellent dark ambient sounds of this label and its artists, and if you're an avid CMI listener I guarantee that you will not be disappointed. Below you can find contact info, in case you want to request the label's catalogue, as well as three reviews to give you a better idea of the exquisite sounds of Nepenthacea.
"Main
Entry: ne·pen·the
Pronunciation:
n&-'pen(t)-thE
Function:
noun
Etymology:
Latin nepenthes, from Greek nEpenthes, neuter of nEpenthEs banishing
pain and sorrow, from nE- not + penthos grief, sorrow; akin to Greek pathos
suffering -- more at NO, PATHOS
Date:
1580
1
: a potion used by the ancients to induce forgetfulness of pain or sorrow
2
: something capable of causing oblivion of grief or suffering - ne·pen·the·an
/-thE-&n/ adjective"
Contact
info:
Nepenthacea
P.O.Box
1391
Northampton,
MA 01061-1391
e-mail:
nepenthe@javanet.com
Reunion
graphic
Nepenthacea
Sampler
What
better place to start discovering the music on this label than here, with
their sampler which features a song from each of Nepenthacea's full-length
releases up until the end of 1999. The tape ends with a new track by newcomers
Translucence, Whisper Diminish.
Opening the tape is Dreams of Abrasion with the track "Love Lost" from their self-titled album, the veryfirst release on Nepenthacea. It's a brooding, almost meditational hymn with a low chanting voice and thick layers of sound, seemingly naturally followed by "A Crack in the Window" by Black Dawn. This very minimal composition of distant strings and bell-like sounds reminded me a great deal of Raison D'etre's "Falling Twilight" from his "In Sadness, Silence and Solitude" release.
"Phenomena", by Dreamscape Embodied, takes a more disruptive turn, filled with wavering distortion. This song can be found on their Williams Lake original soundtrack, a review of which can be found below.
Obscure samples, slow industrial percussion and a haunting atmosphere are the ingredients to Enclave's "Compass", a short but impressive segment leading the listener into side 2 of the tape. Here the sound of Line (also reviewed below) is represented by the song "Death Mask". Low, hypnotizing strings give the feel of floating weightlessly through the vast expenses of space, shortly joined by the pop-and-crackle of static as subtle percussion.
Studio Grey contributes to the sampler with "Implant", almost a more disturbing and distorted continuation of Line's track, followed by Enclave's second appearance, "Detonation". The title fits perfectly, since the wall of noise in this track is certainly not far from the sound of a mass-scale explosion.
The sampler ends with "3:09" by newcomers Translucence, Whisper Diminish. An exceptional debut and the names Raison D'etre and Profane Grace come to mind instantly while listening to these forlorn strings and hushed sounds of unknown origin. Very promising.
If your interest in Nepenthacea has been peaked then this sampler gives a great impression of the sound and scope of the label's artists. At a mere 3 bucks you can't really go wrong, so if CMI signings and the like have a place in your music collection, then do yourself a favor and discover these excellent artists.
Tracklisting:
Side
1:
1.
Dreams of Abrasion: Love Lost
2.
Black Dawn: A Crack in the Window (edit)
3.
Dreamscape Embodied: Phenomena
4.
Enclave: Compass
Side
2:
5.
Line: Death Mask
6.
Studio Grey: Implant
7.
Enclave: Detonation
8.
Translucence, Whisper Diminish: 3:09
Line
Line's
unnamed cassette doesn't reveal much about this project, which adds to
the mystery of its sound. Described in the Nepenthacea catalogue as "future
ambience for empty spaces", the sound of Line is hard to convey with just
words. Four tracks, repeated on side 2, form the tracklisting of this release.
"Day One" creates a dark atmosphere of subtle noise and strings with the sporadic surfacing of a sample of what appears to bea child speaking. The latter has a very disturbing effect on the rest of the composition.
Whereas "Day One: feels like an old house haunted by the wind howling around its corners, "Death Mask" has a more outer space feel to it; a vast, empty nothingness where you're completely left at the mercy of its dark vacuum. But perhaps the compositions will take your mind somewhere completely different; one of the beautiful aspects of this genre of music.
"Crinoid" brings flashes of faint, random percussion under a layer of noise resembling winds at high altitude, or perhaps the fluttering of a thousand insects. It's all in your head...
The set ends with "Fakir", where a firmer layer of percussion steadily grows louder and gives the distant noise a feel of unsettling urgency.
For fans of this style Line is a sure bet and the only disappointment comes in the form of the tape's short tracklisting and duration. I'm hopng for more of this disturbing excellence in the very near future.
Tracklisting:
1.
Day One
2.
Death Mask
3.
Crinoid
4.
Fakir
Dreamscape
Embodied
Even
though I haven't seen the New Blood Productions film "Williams Lake", it's
soundtrack brings forth deeply vivid images and is by itself already a
frightening experience. Dreamscape Embodied gives birth to a world of sound
within dreams and nightmares, composing a score of haunting and enigmatic
segments. The tape has to be heard in its entirety if one wishes to emerge
completely in the audio-experience that accompanies "Williams Lake".
The music flows with ease from intimate serenity to full-grown horror, surprisingly rich and structured underneath its layers of sometimes oppressive noise. It's this sense of structure that makes Dreamscape Emobied so appealing, in the same way Line manages to bring consistency to what appears to be randomly fluctuating noise at first. One single track can't be discussed without it's predecessor or follower, which makes it virtually impossible to pick favorites. But the overall quality is unsurpassed and this tape certainly flares my interest in the movie. Intelligent, scary and unclassifiable...
Tracklisting:
Side
1:
1.
The lake
2.
Not a creature was stirring
3.
Shoreline
4.
Puncture
5.
Uneasily
6.
Slips away
7.
The creeping wood (extends)
8.
Spectacle
9.
Neuron disturbance
Side
2:
10.
Mindfield
11.
Second sight
12.
Further
13.
Crush
14.
Phenomena
15.
The windblown surface
16.
Ripple effect
17.
A break in the clouds
18.
SIlence reaches out
19.
Fitful sleep
20.
Departure
Other
info:
New
Blood Productions
109
Payson St.
Fitchburg,
MA 01420