Shaun Histed-Todd – The Thirteen Questions

Englishman Shaun Histed-Todd is a Photographer and Digital illustrator, and I am sure you will find his work very interesting.  He not only works on books but he also does CD artwork due to his strong bonds with music, as you will find out.

Tribe4mian: The first time I was looking at your work, I found “Fetch” and “The Explorer” stunning. Where are these images from and are you strictly a digital illustrator or do you also work with brushes too?

Shaun Histed-Todd: Thank you, “Fetch” and “The Explore” are two of my favorites and certainly seem to be the most popular. Most of the time with my illustrations, I will have an initial concept of an idea and the image will just develop in my mind so it’s just a case of bringing it out. Other times something will develop from a doodle. I use a program called ZBrush which allows me to model and sculpt characters out of digital clay. Once I have my character I move over to Photoshop to develop the background.

95% of my work these days is all created digitally as I really like the added depth and realism that can be achieve with it. One of my main regrets was letting my traditional skills sit to the side to long, when I took up digital art I thought my drawing skills was like riding a bike, once you know how to do it you will always be able to do it, unfortunately this wasn’t the case and I now find it a struggle to get the feel with pen and pencil. I say to myself I will pick up the brush and paints again one day, it’s just a case of re-practicing. I do still doodle and sketch in pencil, so it hasn’t completely gone.

Tribe4mian:  I feel like your images are alive most of the time. Is there a hidden love for photography? Is there some special technique you use and do you have some special knowledge?

Shaun Histed-Todd: I’ve always had an interest in photography from my school days but had to wait till I was out and earning my own living before I got my first SLR camera from there it was a self learning curve, apart from a few night school courses in photography I’m self taught this is also the case with my artwork. I can’t say I have a special technique or special knowledge. Though having said that my stage photography, has took me awhile to get a technique that worked and I’m always learning and tweaking my knowledge there. I just like to capture the moment which is what photography is all about really, catching that momentary expression in a face or performance.

Tribe4mian: How did you get started? There is a lot of sci-fi, psychedelic colours, and gothic atmosphere in your work. What and who is influencing you?

Shaun Histed-Todd:  Well I’ve been drawing since a child as a pastime and as I stated above got into photography in my late teens again as a hobbyist. I’ve always looked for a different perspective in my art and photography, growing up in the post-punk scene always gave great character references, the weird and strange has always fascinated me. It’s been a long road to turn it into a profession, I’ve never had the business skills to sell myself well, but over time I’ve learnt from friends in business and hardened up a bit on my tactics and confidence.

I guess it’s fair to say that that I get inspiration and influence from a lot of literature that I read, the Unexplained – Lost and Ancient Civilizations – Magick / Shamanism – Quantum Theory – writers like Hunter S. Thomson and William Boroughs, Clive Barker probably had an influence on me at some point and Sci-Fi, though most of what I read these days is Non-Fiction.

A piece of music can throw an array of images in my head or even a song.
I get asked what artists or photographers I aspire to be influenced by, but can honestly say I don’t have a particular favorite, I see some great artwork by other artists and photographers and I can say I aim at achieving the same quality but not their style. To me that allows, me to create my own style and hope they show something original.

Tribe4mian:  You are also doing the artwork for CD albums and posters for gigs. Which albums have you done so far ?

Shaun Histed-Todd:  Well this is a small area in my field of work and its one area I am always aiming to expand more into, as it combines my two passions Music and Art. Most recent CD was for a band called NightPorter from Newcastle in the UK and of course the NZG charity single. Prior to that I’ve produced artwork or photography for Sanguine (UK) Killing Miranda (UK) Sensorium (former members of Nephelim) and small local bands over the years. I used to produce a lot of art for Rave Clubs in the 90’s

Tribe4mian:  Are musicians too demanding when it comes to your work or you’re free to do whatever you want? What about the rest of your clients?

Shaun Histed-Todd:  Generally my experience with musicians has been positive, and I’m normally left to my own creativity. I always ask for a brief of what the client wants, so I have a fundamental angle on what’s being asked for, but after that they are happy for me to create freely. Other Clients I get work from are in the Corporate field (NHS or Retail organization), magazine and book publishers, one book that has just recently been published is Dead of Night by Lee Walker and I’ve just completed 18 images for an anthology book of cryptozoological horror stories for a writer by the name of Richard Freeman. I’ve done concept work for independent film directors.

Tribe4mian:  What is your connection to Nosferatu, how did it start and what is your experience from traveling with bands?

Shaun Histed-Todd:  My connection with Nosferatu, this is going back some years now, 20+ yrs to be more accurate. I was a roadie for them for a few European and UK tours and some memorable times. It started when I spotted an ad by them looking for a new singer and I was good friends with Niall Murphy, a talented singer and songwriter who was looking for a band to perform with. So I suggested he should apply for the role. He was a little reluctant at first I think that artistic confidence lacking we all seem to fall foul of at times. Anyway with a bit of pushing he eventually went for it, I knew he would be right for the job, he had a good voice on the Pete Murphy/Bowie side and a vibrant performer given the opportunity, and so the band clearly agreed as they got straight back to him and got him on board. As a way of thanks Niall, got me on the first tour as a roadie and that’s what I was till the original line up split.

I’m still good friends with Damian and occasionally chat with Niall, I haven’t seen or heard from Nigel for about 9 yrs, but would really like and hope to catch up again.

My experience in that time was brilliant, loved every moment of being on the road. I’m a very Sociable person so being out in a different country meeting new people and musicians seeing so many bands that where unheard of in the UK. It was also the inspiration that set me off on the path of stage photography. Would I do it again given the opportunity, definitely for the right band and commitments permitting. I feel lucky to have had the opportunity and to being in good company.

Tribe4mian:  What is your all-time top 5? Which albums are landmarks in your life? For which artists would you like to create art work?

Shaun Histed-Todd:  Landmark albums! Hmm let me think…Well I would say

• Adam and the Ants – Kings of the wild frontier- but then I was introduced to “Dirk wears white socks” which to me now is a classic piece of work and still stand out as a ground breaking album.
• Killing Joke – all albums….Ok if I have to pick one it would be “Extremities Dirt and Various Repressed Emotions” it’s edgy and full of Anx and angry energy in a powerful and passionate sense.
• Fields of the Nephilim - Dawnrazor – dark and atmospheric and I love that ghostly spaghetti western feel.
• Cardiacs – now I really can’t name one particular album, as each one is groundbreaking genius in their own right and each stand as a landmark in music to me.
• Fun^Da^Mental – Erotic Terrorism – This album opened me up to cross cultural music, and how fusing styles really does wonders- Asian Beats with Punk and industrial just wonderful.

Which artist would I like to do artwork for! I would be happy to do artwork for any artist, but I would have to say I would be honored to do something for my all time favorites Killing Joke.

Tribe4mian:  You also host an internet radio show. Where can we listen to this show of yours and what can people expect?  Your work doesn’t feel like you’re “The Carpenters” fan… Which bands influenced you?

Shaun Histed-Todd:  Yes I started this by chance or accident after connecting up with Jet, who was DJ’ing on wicked spins radio. She made the suggestion to go for a slot, I was a bit “ Ah I don’t, never thought about doing Dj’in let along hosting a radio show…” my music tastes are quite varied and some very experimental, so wasn’t too sure if people would be up for what I would want to play.

But never one to turn away an opportunity and try my hand at something new I agreed, made contact with WSR and started The Snuff Monkey Show, in Jan 2011. However it appears there are lot of people out there who do have similar mixed tastes and have been looking for a show like mine.

Initially I kept it pretty much to playing artists I knew people where familiar with old goth / punk alt rock classics, but only the ones I felt that pioneered their own sound and styles. I’ve continued the path but now will play any artist that will step out from the crowd and do their own thing. To me that’s what music is all about, defining your own signature sound no matter what genre they come from. Bands like Psychic TV – Cardiacs – Fun–Da-Mental – Bauhaus – Sicknote – Moira Scar – Dead Skeletons, I’ll venture into the realms of Dub or Psych rock a bit of Rap, but with most of the artists I play you will notice that no other band sounds like them. For this reason I term my show Genreless, and people can tune in to the show every Sunday 6 PM (UK) at www.wickedspinsradio.org

Tribe4mian:  What about Wicked Spins Radio? What is so special about this radio station?

Shaun Histed-Todd:  Now if becoming an online Radio Host was a new step in direction for me, then becoming a co owner of WSR along with my wife Karen AKA Mrs Monkey and Jet Away who initially got me started on this. Well that was something I don’t think either of us expected. But in Oct 2011, the former owners Kirsty and Chris, offered us the station as they could no longer dedicate the time to it with busy lifestyles.

So this is another new chapter in my life, and again one I’m proud to be part of and very grateful for the opportunity.

WSR has been set up and running as a Rock Metal station for the past 4-5 years with a lot of success, we aim to keep this tradition but we want to bring other elements of music into it, real music for real people shall I say as long as it’ not mainstream. Alt rock – EBM – Dubstep – 70 – 80’s -90’s Nostalgia – Psych / Space rock – Dub and Ska.

We have a list of great shows already and more starting from January 2012.

Tribe4mian:  You are attending gigs all the time. Can you name your top 3?

Shaun Histed-Todd:  Always attend gigs whenever I can, nothing better than a good live show. Can I name my top 3 !! Err no……………….But I’ll try…

First that comes to mind was Dead Can Dance, 6 years ago at The Forum in London, I’d waited a long time to catch them live and I certainly wasn’t disappointed, the who show was captivating and hearing Lisa Gerrad’s voice was sublime to hear live.

Killing Joke on their 1st re-formation of their original line up ( Yes of course KJ had to be in the top 3) even though I’ve not walked away from Joke gig without feeling well rewarded, I have to say I felt this show in particular topped them all for me, they kicked out the tunes with such fever, I danced through the whole set, which I hadn’t done for a band in many years.

My 3rd choice I think I will have to say would be my first Cardiacs gig right back in the summer of 89, I didn’t know much about them at the time, and had only heard some tracks played by a very good friend Johnny, who was the one said we had to go and see them. I’m am so glad we did because it opened me up to a whole new spectrum of what music and performance can and is about.

I will always remember thinking during their set, “Are these people on day release from an institution” because their performance was just so manically insane bursting with pure energy, tight perfect and genius songwriting. That one show has had me hooked on them ever since, and every other show I attended of theirs was equally on par. But that first exposure to them was the Key.

But see I want to also add The Mathew Ashman Celebration last year, with Cheifs of Relief – Agent Provocateur – Bow Wow Wow and Adam Ant, as to get to see all these bands on the same bill was one of chance. Adam, played a full punk set and was joined on stage by Will Crewdson and David Ryder Prangley of Rachel Stamp and Boz Boorer and were perfect for the night. To me it felt as close to seeing what the original Antz would have been like.

Tribe4mian:  Do you believe art is a medicine for one’s soul? Do you believe each one of us has a special talent that we have to discover or is it just some people that have something special? Are the artists the shamans of this world ?

Shaun Histed-Todd:  Yes I think art is a strong remedy for the soul, if I ever feel low or a bit down, which is rare for me really, but if I do, sitting down and getting creative certainly helps me to clear any negative thoughts. I do believe we all have some hidden talent in us, the subconscious seems to be geared up to be creative and it just a case of sitting down and allowing your consciousness to communicate with the inner companion.

Not sure how to answer about if artists are the shamans of the world!! Shamans are artists of the Psych, with the ability to go into other plains of reality and higher consciousness with their techniques. I suppose it could be said that an artist does the same, if they are a musician a melody can take the player and listener on to similar realms, and I’m sure playing live can bring about an altered state of consciousness as so with a visual artist. The Visual artist launches themselves into their minds to see new alternative worlds for which we paint so in theory we are all psychonaughts.

Tribe4mian:  Compared to the music scene of past decades, what do you think of the music scene of today?

Shaun Histed-Todd:  Different…!! The scenes that I grew up with (Punk/Post Punk/Goth) were very artistic and experimental, it was fresh and people would go out of their way to look different and if you where in a band you wanted to sound different as well. There are bands in the UK that still continue this trend like Sicknote – Cold in Berlin – The Men That Will Not Be Blamed For Nothing – The Shanklin Freakshow – The Unkindness of Ravens -Ulterior –just to name a few. Who have created their own individual sound and scene, as long as there is an underground music there will always be fresh sounds. So currently it’s looking healthy, and hopefully will continue to produce more original and creative artists.

Tribe4mian:  One day I was writing about Michael Moorcock and I came up with the idea that sci-fi literature blossomed during WW2 as the writers found fantasy to be a hideout from harsh reality. What would you prefer:  Fantasy or reality and why? Can we make this world a better place?

Shaun Histed-Todd:  Well that all depends upon a person’s perspective of what is reality!! In a Quantum sense our waking reality is just an illusion the mind generates out of the chaos of energy and our fantasies and dreams are the true reality. But we could go down a rabbit hole with that one.

Personally I like to keep myself in both, that way at least I’m in touch with one real world, whichever way it really is… LoL

Can we make the world a better place! Yes I believe we can, I like to think that keeping positive thoughts about everything can and will bring positive change especially on a mass level. The problem I see is that our society is geared up to accept and think negatively, by being told by our media outlets all the bad things that are going on in the world and our neighborhoods. So we need to break free from this negative thinking and start looking for the positive. Because wherever there is a negative there is always a positive, the ying and yang. I hope that makes sense, it does in my mind anyway.

Tribe4mian: Thank you very much for this interview Shaun.

Shaun Histed-Todd: It’s been a pleasure! Thank you for asking me.

More information about Shaun Histed-Todd can be found here.

 

Martin Birke – The Thirteen Questions

It’s been awhile since I last wrote about Hardboiled Wonderland, the side project of Martin Birke and Percy Howard. A couple of months ago they released their debut album, “As Small as the World”, and I became curious and decided to ask them a few questions…

Tribe4mian: How did you two meet and how was the idea for Hardboiled Wonderland conceived? Does this mean that Genre Peak and Meridiem are bands from a past chapter in time?

M. Birke: Percy and i knew each other from our separate bands in the 90′s, I with Sandbox Trio , Percy with NUS. Percy contacted me in 2009 and initially started recording using preexisting material, it wasn’t sounding good, so we started over will all new tracks I wrote,performed and arranged. Genre Peak is continuing with “Redux” a compilation with 2 new tracks featuring Percy. It’ll be out thru Gonzo Multi Media UK in Spring 2012. I’m not sure of Percy’s plans with Meridiem.

Tribe4mian: What was your introduction into music and what kind of music were you playing back then?

M. Birke:  I was very influenced by bands like Japan, Peter Gabriel, Ultravox back in the 80′s

Tribe4mian: Since the list is long and I might forget someone, can you please name the artists you have worked with as individuals? How did these co-operations influence you in “As Small as the World”?

M. Birke: Percy had brought in Edo Castro on bass , essence on back u vocals for a couple tracks and Chris (our co-producer) brought violinist Benito Cortez . The late great Mick Karn also did a remix for our track “Candy for the Meatman“, which is a free download on our HW site.

Tribe4mian: “Hardboiled Wonderland” is a novel by Japanese writer Haruki Murakami. What made you use this name. What does it means to you? Which are your favourite writers/books?

M. Birke: ‘Hardboiled Wonderland and The End of The World’ is Murakami’s book, Both of us love his books, I myself read Bukowski, JG Ballard, Capote,Sephen King, Michael Critchon, and many many others.

Tribe4mian: How do you see the world today? Do you believe people are isolated or this financial crisis bringing them closer?

M. Birke: I see the world in constant chaos, systems of government collapsing, religion hurting people (as always) and too many good artists not getting the recognition they deserve. Something needs to happen to unite people , its seems there is no sense of humility or responsibility . I’m glad people here are protesting our greedy banks and corporations, lets hope something good will happen.

Tribe4mian: Although I would expect the album to have a heavy experimental feel, there is a touch of “pop culture” sound-wise, and I spotted that Percy likes Anthony and The Johnsons. So, how wide are your musical horizons? What sort of music do you prefer to hear on a daily basis?

M. Birke: I love experimental music , I’ve been buying the works of Alva Noto, Steve Jansen, Einstuerzende Neubauten,Bjork…a long list

Tribe4mian: How would you describe your lyrics?

M. Birke: My lyrics are always about inner quest,loss and introspection, I know Percy likes EE. Cummings and many others.

Tribe4mian: I saw that you’ll be playing electronic percussion with ‘Know Hassell Project’ at Luna’s on November 21 and again at the Java Lounge on November 26th in Sacramento. Does Percy have any upcoming gigs, too? Have you scheduled any live performances as Hardboiled Wonderland?

M. Birke: No , our hometown is really an ideal place for us to play but we’ve considered doing small club shows this Spring…we’ll see.

Tribe4mian: Please define the words “Love” and “Music”. How small is the world?

M. Birke:  Love: a way to solve most problems and unite people. Music; very hard work that usually leaves me proud of the work itself but promotion is kinda daunting , I do what I can.

Tribe4mian: I was wondering whether you came together just to do this one album with the intention of going back to your separate ways, or, are you working together on something new?

M. Birke:  Hard to say, we have new PR co working the album, its VERY good music and we hope to get some more attention. I believe we will eventually try recording another album but its too soon at the moment.

Tribe4mian: Since your album was released through Gonzo MultiMedia UK, is Europe in your plans, whether together or with other projects? Have you visited Europe as musicians?

M. Birke:: Yes , me and Percy have toured Europe we have more connections there than here, If I had the money I would move over seas in a heartbeat !

Tribe4mian: Are you concerned about ecological problems?

M. Birke:  Not really, I have a lot of health issues that keep me busy, the Earth will always take care of itself.

Tribe4mian: If you could meet a historical personality, have a chat, and get on a photo with him/her, whose photo would be hanging on the wall next to your photos?

M. Birke:  I have to say….Van Gogh. Such a tragic figure who’s art was never appreciated in his own time and I understand, madness,betrayal, frustration and mental illness all too well. 

In closing I encourage all the readers of this to visit our website: www.hardboiledwonderland.net

Tribe4mian: Thank you very much for this interview Martin.

 

Chris Tuke – The Thirteen Questions

Is it difficult to be a record label owner, the singer and keyboard player for Berlin Black, all while being the bass player for Luxury Stranger?  I didn’t have the chance to listen to the band Screaming Banshee Aircrew but, thanks to a common friend, today I had the opportunity to ask the man himself… Mr. Chris Tuke.

Tribe4mian: Is it my imagination, or has the gothic scene in England become much more active during the past few years?  Since you also play in other countries, what is your impression of the goth scene elsewhere?  Is it a healthy revival or just a glimpse?

Chris: I think there is a definite resurgence in the UK with regards to “Darker” bands. I think the introduction of several main stream bands taking a gothic edge has probably helped a lot. Bands like O Children, The Horrors and ROMANCE for example.

In regard to abroad the Gothic scene seems to be very healthy. Well attended gigs and very passionate fans. I wish we could tour abroad more often as the vibe I’ve got from previous visits has been very positive.

Tribe4mian: In 2001 you formed the band Screaming Banshee Aircrew.  Can you please give me a short bio and tell us what happened to this band that released three well-received albums?

Chris:   Its actually ten years since SBA did our first ever gig in the back room of a local pub (16/11/11) it was also Christopher Sherrington’s first ever gig too (who is now the organsier of one of the UKs best alternative festival DV8 fest in York)

SBA enjoyed all the highs and lows of any hard working rock n roll band. When we started I think we were lucky that there seemed to be a gap in the market for our kind of band.  People either loved us or hated us. There seemed to be no middle ground.

We landed a 3 album record deal with Resurrection Records. We’ve had several line-up changes which saw us go from a 4 piece to a 6 piece fully live band (I’d recommend checking out MR Hyde Live at Whitby goth Weekend on Youtube) then down to a minimal 4 piece with a much darker starker sound.

Our three albums are Fishnet Messiah, When All is Said and Done and our final (and the best IMO) Sugar

Tribe4mian: How did you come up with the decision to make Trash Vogue Records?  What difficulties can arise for an independent record label nowadays?

Chris:  After SBA I wanted to do things my own way. Its always something I’d wanted to do so I thought I’d try it, with Berlin Black as my first signing. I wanted the label to be more of a collective of like minded bands and people. Myself and Ed (my brother, now front man of Partly Faithful, ex SBA singer) had half talked/joked about the later SBA sound being “Trash Vogue” So I thought it would be a good name for the company.

The difficulties at the moment is getting distrobution in shops. Companies are scared to take a risk with independent businesses due to the ressession and the current state of the music industry.

Luckily we can make up for this by having a strong presence on the internet.  It’s a slow process but we are securing a loyal customer base who love the bands we represent.

Tribe4mian: Were you playing with any other bands before the Screaming Banshee Aircrew?  Are the artists that influenced this band the same as the ones that influence Berlin Black? Is there any connection between Berlin Black and The March Violets?

Chris:  Before SBA I was just in covers bands with friends. SBA was really an education in both recording and performing live.

I think a lot of the bands that infuenced SBA definitely still have an inpact on Berlin Black’s music.

Bauhaus, Bowie, Iggy, The Cure, The Psychedelic Furs all play a part in how Berlin Black sound.

The connection with the Violets is rather interesting. The March Violets were a huge influence for myself and my brother in the SBA years. We supported them on their first reunion tour back in 2007 which was great.

Since SBA split Jo Violet (SBA singer / violinist / bassit + Berlin Black bassist) now plays Bass for the March Violets. I’ve also had the pleasure of supporting them playing with Luxury Stranger.

Tribe4mian:  Which format do you prefer to collect and which to issue releases through Trash Vogue Records: Vinyl, CDs or MP3s, and why?

Chris:  I think CDs are still the main medium people want to buy music on. The shift to MP3 and other online formats are great from a business point of view as the costs are lower to put them out there.

I’d love to put our stuff out on Vinyl but at the moment the cost is too expensive. Watch this space though any record junkies. There are plans to release some future products on 7”

Tribe4mian:  Which gig of yours is the one that you will never forget and why?

Chris:  There are too many. Some because they were amazing crowds. Others because of the people I have met. It would be rude to single out one over another.

Tribe4mian:  How did you meet Simon York and what is your part in Luxury Stranger?

Chris:  Luxury Stranger were a band SBA really liked while we were writing our last Album “Sugar”. We played with them several times towards the end of SBA’s life and we all got on really well. When Chris and Paul decided to leave LS Simon asked me if I was interested to join. The rest is history.

Tribe4mian:  I know a couple of months ago Berlin Black had a new release.  How many releases do you have and where can people order them?

Chris:  Berlin Black currently have 2 CD releases –

Burn It Down – Our original E.P

The Only Ones – the single we released in the summer of 2011

You can buy these along with T-shirts badges, patches etc from Trash Vogue Records 

We are looking to release a new E.P in the first quarter of next year and possibly a single but it hasn’t been finalized just yet.

Tribe4mian:  Which song would you choose to listen to in the morning to get you in a good mood?

Chris:  Anything by INXS usually hits the spot. Or something like “ U got the Look” by Prince and the Revolution

Also been listening to a lot of Oingo Boingo lately.

Tribe4mian:  What are your future plans for Berlin Black?  I won’t ask for Luxury Stranger; I will try to keep this question for Simon…

Chris:  Next year we are planning to step things up a level. More gigs and more media exposure. Expect some videos and new material.

Tribe4mian:  What are your next plans for Trash Vogue Records?

Chris: I’m looking  to expand our client base and I’m also looking into starting something reminisant to the “peel session” idea.

Inviting bands to play in a studio/venue and videoing and recording the perfomance. I think it’s a concept that could work really well.

Tribe4mian:  Can you describe the on-stage differences between being the singer and being the bass player?

Chris: Being a singer I want everyone to look at me. Being the bass player I want everyone to look at me………oh you want differences

The main difference I guess is that as the singer you are aware that you are kinda like the band leader on stage. You’ve got to keep people interested and engaged.

As bassist in Ls Im one part of a three piece. As the dynamics of the band are a little different to BB. Because there are only three of us we need to do our equal part to engage the audience but make sure the music is still strong.

Berlin Black gives me the opportunity as singer to “perform” more. Because I know the other guys are concentrating on the music I can concentrate on the theatrics of the show.

Either role I’m told I do a lot of pouting

Tribe4mian:  Do you find music to be a way out?  Would you encourage young people to play music, or, does it get to be too much sometimes?

Chris: Definitely. I don’t know where I would be if I wasn’t interested in music. Even if you just listen to it.

Its helped me through lots of things.

It’s a great way of expressing yourself.

Thank you very much for this interview, Chris.  I wish you every success with your bands and with the record label!

Band members: Chris Tuke, Alexander King, Thomas McLean, Joanna Moy

 

WILL CREWDSON – The Thirteen Questions

Will Crewdson is a London-based guitarist/writer/producer. Scant Regard is his brainchild, and he occasionally is the guitarist for Rachel Stamp, Adam Ant, and Johnette Napolitano, amongst others.

tribe4mian:  Will, with Scant Regard you strive to fuse raw electronic beats and moods with the smooth, soaring sounds of Morricone’s biting guitar –scapes. How did you come up with this idea?  Would you consider Morricone your main influence?

WILL CREWDSON:  The sound was developed pretty organically.  I always thought the sound of twangy, surfy guitars mixed with electronica worked well when I used the idea on other people’s tracks so I decided to maximise it and incorporate it into my own recordings.

I see Morricone as a good reference point more than a major influence. There are many moods on the album that echo the atmosphere of the classic Spaghetti Western soundtracks and since he was the ultimate composer in that genre it follows that he should get a reference. A large part of the sound is pure electronica though which obviously adds a different flavour.

tribe4mian:  At one point, Rachel Stamp became the only unsigned band to sell out the London Astoria. What happened to Rachel Stamp?  They had several record deals, the biggest of which was with WEA.  How many releases did you have with this band?

WILL CREWDSON:  Rachel Stamp suffered from bad management and useless record company input – the usual story. We had a great live following and were really proud of everything we achieved on an independent level. We were actually more successful once we’d been released from our deal with Warners, which says a lot.

We released two studio albums, ‘Hymns for Strange Children’ and ‘Oceans of Venus’. Our debut album was never released although we recorded it for Warners. We also had one live album, ‘Stampax’ and a load of singles.

tribe4mian:  You also played gigs with, among others, Iggy Pop, Korn, No Doubt, The Tubes, and Cheap Trick. How did you feel the first time you opened for a rock star?  Were you nervous, or were you thinking, “my big time is coming”?

WILL CREWDSON:  Well there’s loads of times early in your musical career where you think – this is it. Signing a deal, your first headline gig, etc., and we were really thrilled to have opened for all of those bands. It’s often the case that you are breaking through to a bigger audience as we were on several occasions, but without the managerial know-how and, sometimes, money behind it to capitalise on those moments.  It’s hard to keep momentum up and really take the whole thing to the next level.

tribe4mian:  Scant Regard’s first release, “The Excommunication EP” is already out featuring guest vocals by Grog from “Die So Fluid“.  How did this collaboration come about and what was the result?

WILL CREWDSON:  Grog and I have known each other for years. Her band, “Die So Fluid”, used to play the odd gig with Rachel Stamp and I’ve also done session work with her. Originally I wanted vocals on the Scant Regard tracks and, as we got on so well and seemed to understand each other musically, we agreed to try out a collaboration.  The three tracks came out really well.

We also both work with Director Tom DiCillo – the man behind “Johnny Suede, Living In Oblivion” and the recent Doors documentary “When You’re Strange”.  He has a studio project called The Black and Blue Orkestre which we’re both involved with. Those tracks should be coming out really soon.

tribe4mian:  Were there any other bands in your life before Rachel Stamp?  How did your musical pathway begin?

WILL CREWDSON:  I had numerous bands before Rachel Stamp, all with unmentionably bad names!  I also did the odd session thing. The first one I got was with Malcolm McLaren at Air Studios in London. That was the title track for the extremely ill-fated “Carry On Columbus” film and was a pretty scary experience. I don’t think he looked me in the eye once. He just shouted “give it some bollocks my son!” whilst conducting an imaginary orchestra.  Surreal.

tribe4mian:  What are some of the notable differences for you between being on stage alone and playing with a band?  Do you sometimes miss the “group” feeling with Scant Regard?

WILL CREWDSON:  I guess you can’t beat the feeling of a full-on band slamming it out on stage and I do love that. When I do it alone it’s entirely different. I have to become a front man but I’m not singing so it’s a strange position to be in. I like strange positions though. I’m still working on my stage “patter” but I think it’s getting there. I get something out of every gig, though, whether it’s solo or band. It’s the main reason I do music really for that instant reaction from an audience.

tribe4mian:  I don’t know Adam Ant personally, so I’d like to ask:  Is he an easy person to work with?  Are you still touring with him?

WILL CREWDSON:  Adam is a great guy. He was and will always be one of my favourite all-round performers. Adam and the Ants were the first band I ever saw live and I grew up with his back catalogue etched into my brain so it was very natural for me to play all those great songs. His mental problems are well documented but at the end of the day they make him what he is as an artist and the end result was always a killer show. This year I’ve been working more in the States with Livan doing several tours but I’m still up for working with Adam if I’m around and he needs a guitarist. I did a one-off charity gig with him recently for Sea Shepherd, the anti-whaling guys, which went extremely well. We did a load of covers on the HMS Belfast.

tribe4mian:  Would you like to name your gear and which guitar and sound effect do you like using most?

WILL CREWDSON:  My main guitar is an 80’s Rickenbacker 250 El Dorado, which is definitely the most versatile and reliable of any guitar I’ve had. I’ve also got a 60’s Teisco Spectrum Del Rey, which I use for most of the Scant Regard stuff as it’s got that Duane Eddy twang right down and it looks like it’s made of LEGO, which is a plus in my book. I have a custom pink Gordon Smith GT-60 and a DeArmond Starfire semi-acoustic as well as a 72 Reissue Telecaster Deluxe. The Teisco is my favourite because it just looks like it’s out of The Jetsons and it sounds amazing.

The pedals I’m using at the moment are a Fulltone OCD Overdrive, Providence Anadime Chorus, a George Dennis Wah/Vol, MXR phaser, Seymour Duncan Shape Shifter Tremolo and an Electro Harmonix Memory Boy. I think I like the Fulltone the best because it makes any amp sound great, which is invaluable when you turn up somewhere and don’t know what you’re gonna be playing through.

My main amp is a Carvin Bel Air combo.

tribe4mian:  Scant Regard’s first full-length release, “Burnt Pop Cycles” will be released today (Monday, 7 November, 2011).  Are there any surprises? What can we expect?

WILL CREWDSON:  It’s definitely a lot more experimental and electronic than some people might expect from me.

When I play live, the guitar becomes more dominant but there are tracks on the album where the guitar parts could only work with the arrangement that’s going on behind them.

I’d like people to hear it and create their own film in their mind using it as the soundtrack.

I think the film would cross genres from western to horror to comedy in equal measures.
tribe4mian:  You teamed up with Johnette Napolitano (LA’s Concrete Blonde).  How did this happen?  Could you tell us which releases you have together and will you do something new in the near future?

WILL CREWDSON:  I met Johnette completely by chance in a record shop in Fulham about 14 years ago. I was a massive fan of her and the band’s and was pretty star-struck to meet her in a tiny, empty shop. Anyway, we kept in touch and I think she asked to hear some new instrumental tracks I’d done and instantly offered to do some lyrics and melodies over them. We ended up doing a whole album called, “Scarred” and it came out about four years ago in the US. Got some great reviews but it didn’t really get the exposure it deserved. I think it’s actually out of print already but I’m very proud of that album and it was a thrill to work with someone who has an almost supernaturally powerful voice and presence.

Not sure if we’ll be working together again as she’s tied up with Concrete Blonde again now and that’s a really good thing. Something special happens when her voice is combined with Jim Mankey’s amazingly original guitar playing.

tribe4mian:  What role does music play in your life?  Do you feel it is an adequate means of expression and could you / would you live without music?

WILL CREWDSON:  No, I totally thrive on it. I can’t imagine doing anything else and I don’t want to. I’m such a massive fan of music too. I still get excited at gigs and really disappointed if things get cancelled or I have to miss them for some reason.
tribe4mian:  Once again, you are about to go on tour with Livan, opening for Alice Cooper. 

I remember last year you played with Livan in Athens, supporting Aerosmith. How was it? 

Can you give us the dates and places for Cooper’s tour?

WILL CREWDSON:  That was fantastic. I’m such a big fan of Aerosmith and the set they played was like a dream.

I couldn’t believe Steven Tyler’s enthusiasm. I swear he was everywhere.

Even before they went on while we were sound checking he was checking every inch of the stage and all the equipment to make sure everything was to his liking.

I wouldn’t have been surprised to see him sweeping up the stadium afterwards. That’s the way to do it.

Here’s the dates for the next leg of the Alice Cooper tour:

November 27	Huntington, WV	Albee Theater
November 29	Verona, NY	Turning Stone Casino
December 2	Atlantic City, NJ	House of Blues
December 3	Bridgeport, CT	Klein Memorial Auditorium
December 9	Merrillville, IN	Star Plaza Theater
December 10	Erie, PA	Warner Theater
December 12	Cincinnati, OH	Taft Theater
December 13	Atlanta, GA	Cobb Energy Performing Arts Center
December 14	Orlando, FL	Hard Rock Live

tribe4mian:  If you had the chance to be born again as a historic personality, which one would you choose?

WILL CREWDSON:  I think I’d be a cross between Jack the Ripper and Robin Hood. I wouldn’t murder those ladies, I’d try and liberate them and get them jobs in Sherwood Forest helping me to rob the rich.

Either that or Zorro – he was real, right?

tribe4mian:  Thank you very much for this interview, Will.  We wish you the best of luck in all your endeavors and journeys.

WILL CREWDSON:  Thanks a lot.

If you’re in the neighborhood, be sure to catch Will’s upcoming gigs:

Friday, 11 November, 2011

Scant Regard presents … End of Days

Plus live sets from Plasma 9 + Pet Iguana with DJ sets from Ben Hell + DJ Nihil

Ryan’s Bar, 181 Stoke Newington Church Street, Hackney, London (MAP)

҉

Saturday, 12 November, 2011

Scant Regard Live at the Adam and the Ants Convention 2011

The Fiddler’s Elbow, 1 Malden Road, Kentish Town, London (MAP)

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Craving more?  Here you go!!!

Official Website of Scant Regard

Download Scant Regard, “Burnt Pop Cycles” … HERE

Scant Regard at iTunes … HERE

 

An Interview with Strap On Halo

Strap On Halo is currently preparing to leave for The Memento Mori US Tour which will span five weeks and include special guests The Hiram Key [UK] during select dates.  Plans are also in progress for a European tour for later this year.

tribe4mian:  How is the Gothic scene doing in Nebraska?  I see 20 upcoming gigs covering Seattle, El Paso, Louisiana, Florida … Can you tell us what thoughts pass through you when the band is on tour?

LAYLA – When I moved to Omaha in 2004 there was a pretty good underground goth scene but as the years passed people moved away and interest was lost. I think that in the past couple years we have been performing live that things have been stirred up and we hope that interest continues to grow. The gothic scene in Nebraska is something to be desired, however, we are working on building it up. We are the only gothic rock band in Nebraska and in addition, Sean and I have created Wasteland Productions. With Wasteland we host bands and run monthly goth nights at alternating venues throughout the year. I know I have said this before but in America the scene is a fickle creature and if not maintained it falls apart and such is the case with Omaha, Nebraska.

There are so many thoughts that run rampant in my mind during tour. I love to travel and for me I think about all the amazing people I will meet, all the experiences that are waiting and how incredible it is that we get to drive across the vast majority of the United States to do what we love most. I am humbled by the fact that people come to our shows and hope that they enjoy it as much as I do.

SEAN – My thoughts are filled with pride for my fellow band mates. Together we have taken the reincarnation of Strap On Halo and made it into something tangible, something that has taken us on the road. I love seeing new cities and look forward to each and every show.

MARC – I think it’s great! I must say that the most avid thought in my head while on tour is my wife Joy. She is so extremely supportive and has done nothing but encourage me to pursue the musical endeavours of Strap On Halo. Also, the idea of returning to my hometown Seattle with my band to perform really excites me. It gives me a sense of accomplishment because this is the kind of band I have always wanted to be in.

tribe4mian:  Strap On Halo was resurrected in 2009 with a new line-up, including original founding member Sean Rial, as well as Layla Reyna and Marc Jones.  You’ve remained true to your roots by blending old-school gothic, dark wave, and death rock into your own creative sound. But, what were the band members doing before the resurrection?   Are there any other bands we should mention here?

LAYLA – I starting singing when I was young but was never in any bands. I always wanted to, however, it took meeting the right people for my dream to finally come to fruition. Before the formation of Strap On Halo I started going to school in 2007 to get my Bachelor of Fine Arts in Graphic Design, of which I just completed in May 2011. Marc played in one band when his wife was stationed in Ohio for about one year. They moved to Omaha in 2009 when Strap On Halo was reforming and it was coincidence that we were looking for another member. Sean has been in a number of bands since he was 18, all of which remained local in Omaha until Strap On Halo.

tribe4mian:  Layla, do you find it difficult to be a front-woman in a scene mostly dominated by male singers?

LAYLA – Actually I never really thought of it in those terms. To be quite honest most of my influences are male front-man. Musicians, in general, I find it easy to relate to and gender isn’t something that creates difficulty within me.

tribe4mian:  Which, would you say, have influenced the band?

LAYLA – Generally speaking, I think we are most influenced by the people we surround ourselves with, world events and experiences. More specifically musically we find influence in bands such as Fields of the Nephilim, X-mal Deutchland. Einsturzende Neabauten, Killing Joke, The Southern Death Cult and Siouxsie and The Banshees.

tribe4mian:  Not long after the resurrection, actually, within a matter of months, Strap On Halo wrote and recorded “Cherry Flavored Quick Fix”. The EP has three original songs and one remix of “I Feel Like Yesterday” by Martin Atkins. How was it working with him?

LAYLA – Working with Martin Atkins was brilliant! I didn’t have any expectations as it was the first time for me in a studio but I loved every bit of it. We spent three days at invisible records recording, mixing and mastering the EP. Then left on the third night with CDs and t-shirts. We learned a great deal from him and walked away from that experience with so much.

SEAN – Martin has been a long time idol of mine and finally getting to work with him was a privilege.

MARC – I was thoroughly impressed by his ability to work with the time restraint and how easy he and crew were to work with. All around great experience for me. It was also the first time I had been in a studio like Layla. He made it all look so incredibly easy!

tribe4mian:  How was the Quick Fix US Tour in the summer of 2010? Any funny incidents you’d like to share?

LAYLA – The Quick Fix Tour was just as the name says… a quick fix. We went out for a couple weeks and made some amazing connections! We wanted to get out there and introduce ourselves personally to the dark community that didn’t know us. It really taught us a lot and prepped us for the five week tour we are embarking on now.

As for funny incidents… perhaps the time when we went to the beach and almost died. It may not sound funny but is in retrospect. We just wanted to see the beach but silly us and our all black clothing and boots didn’t fare well with the environment. Sean and I almost passed out from the heat and Marc in his barefooted wisdom tried to walk on the cement and burned the pads of his toes on the scorching hot ground. So lesson learned and we have swimsuits and beach shoes this time round… oh and fancy black lace umbrella.

tribe4mian:  What do you think of the internet as a musician’s tool of promotion and from where can people buy your releases?

LAYLA – The internet is great as it takes our music to places it may not have reached otherwise and although a great marketing tool nothing beats getting out there and playing live for the masses. You can buy our releases at www.straponhalo.com

tribe4mian:  In June, 2011, you released a new album, “The Dead Don’t Lie”.  This was produced, mixed and mastered by Mick Shearman of NightPorter and Raymond John Ross of ANKST. How did this collaboration take shape?

LAYLA – The album was originally mixed and mastered locally however when we received our master back we were gravely disappointed and had to seek other options. We had recently become involved with a group of musicians from around the world after Gary Clarke of The Hiram Key proposed we all ban together to cover David Bowie’s, “Everyone says Hi” for World Goth Day in support of The Sophie Lancaster foundation, and as a result of that collaboration, the lot of 6 bands formed what is called The Global Goth Collective. As members of this group Sean and I reached out and without hesitation, Mick and Ray stepped up to mix and master our album so that we could have it available for our National Tour.

tribe4mian:  Do you find any differences between the American and the European “dark” scene?

STRAP ON HALO – There are definitely differences as the American scene is widely dispersed and from what we can tell European crowds seem to gather in the masses to support live music.  Also, the European scene appears to have stayed consistently strong whereas in America it works in cycles with different waves of music coming in and out. When Strap On Halo originally surfaced in the mid nineties the “dark” scene was strong and you saw bands such as Trance to the Sun, The Wake and Lycia touring as dark wave bands. Then in 2000, the scene sort of came to a halt where metal and rap pushed these bands back “into the dark”. With the start of the new century “dark” bands have resurfaced and with the support of our European brothers like NightPorter, The Hiram Key, New Zero God and ANKST we see the emergence of American and European “dark” scenes making an impact on the world.

tribe4mian:  When writing lyrics for new tracks, what issues would you say are favourites of the band?

LAYLA – The music moves me and influences what lyrics I write first and foremost. I try to write lyrics that evoke the same emotion that the music does. I’m drawn by world events as it’s hard to ignore all the happenings in the world today and I find myself driven by words that express turmoil and concern within the human condition. I convey those feelings or topics by writing lyrics that allow listeners to approach the songs on a personal level. My world views and personal experiences allow me to tell stories, both broad and specific, to personal human existence and perhaps heal the soul.

tribe4mian:  If you were not musicians, which career paths would have likely been chosen?

SEAN – I would have run a sea turtle refuge… hell I’ll probably will still do it.

MARC – Restaurant management along with various other artistic endeavours such as drawing or making knives.

LAYLA – I can’t imagine doing anything else however along with being a musician I am a freelance Graphic Designer and Illustrator. So my efforts would be primarily focused on my art and design if music was not a part of my everyday life.

tribe4mian:  What are the differences between the “Cherry Flavored Quick Fix” EP and “The Dead Don’t Lie”?

STRAP ON HALO – “Cherry Flavored Quick Fix” was just a taste of where we were going sound-wise. Having only formed a few months prior, we were still evolving our sound and getting comfortable with each other. With “The Dead Don’t Lie” you can hear that progression in the song writing from song to song. It’s a better representation of the sound we envisioned and where we’re going that is best illustrated in songs like Fallen and Lenore.

tribe4mian:  How far would you like your music to take you? What are the dreams of a Gothic band from Nebraska?

STRAP ON HALO – Eventually past the Milky Way… we have no borders. Our dreams consist of touring the world and exposing the masses to our music. Hopefully everyone will enjoy our music as much as we enjoy writing and performing it. I think we have only just begun and hope to take our tour to places never imagined.

tribe4mian:  Thank you very much for this interview, please add anything else that you would like to mention…

STRAP ON HALO – First, we want to thank you for interviewing us and a big thank you to all for reading. Please be sure to check out www.straponhalo.com for music and www.reverbnation.com/straponhalo for current tour dates and recent news.

 

An interview with Gary Clark of The Hiram Key

The Hiram Key released an album about a month ago and they are about to tour the U.S.A.and play a few countries in Europe, as well.  The frontman in the band is singer and guitarist Gary Clark, who also sings for The Cureheads, the original tribute band to The Cure.

tribe4mian:  So, Gary, this is not the first time you’ve been on such a big tour.  Since 1990 you’ve been playing around the world.  What feeling do you get with The Cureheads and how different is that from the one you experience with The Hiram Key?  You recently released an excellent album, “Amerikafka”.  What does Kafka mean to you?

GARY CLARK:  Playing with The Cureheads is more of a party than a gig. The audiences belong to The Cure and not us. We feel more like we are going to one big Cure party rather than playing our own show.  We get loads of people who sing along with us and afterwards tell us we took them back to the first time they danced with their wife at the school disco to “Lovecats” or “Boys Don’t Cry”. The main letdown, though, is when people tell you how great the show was… you get a little depressed as it’s not your own music.  I don’t know how classical musicians who play Mendelssohn or Holst get truly fulfilled from what they do. It is tremendous fun, though, and it has, as you say, taken us all over the world. There are only a handful of bands from London that ever get to buy huge fuck-off amplifiers and nice guitars and play them really loud in full stadiums.  We’ve done it several times now and it never ceases to amaze us or blow our minds.  We’ve been bloody lucky and taken advantage of every single second and enjoyed it to the max.

The album Amerikafka was inspired by Kafka’s novel Amerika. it’s a book that spoke volumes to me when I was living all over Europe. Every song is the story of a different side of my midlife crisis and I tagged each song onto a character from the book.

Kafka is for me somebody that reflects my own personality. I know morally and intelligently all the moves I should make in life and I know them at the time that I make the decision to do something completely different and end up in another scrape. (I get bored very easily.)  When Kafka reports his character’s thoughts and actions, I see my own thought processes mapped out on the floor and it amuses me highly that I am able to empathize with someone I never met who is reading me like a book too (before I was even born).  He was ahead of his time. I am sure that were he alive now he would be employed by the FBI as a serial killer expert. Nobody knows human nature better than Kafka.

tribe4mian:  When you tour the States, you’ll be doing so with the American band, Strap On Halo, a new up-and-coming band.  What do you think about the new generation of the so-called Gothic scene?

GARY CLARK:  Strap On Halo, for me, are superb. They have taken sounds from Xmal-Desuchland, Siouxsie, NIN, Christian Death and made something totally new and shiny and big.

I listen to online radio a lot (Snuff Monkey, Nightbreed, Cathedral 13, etc.) and I follow a lot of Mick Mercer’s recommendations for new music. There is definitely a stirring in the belly of the scene. You must remember that the scene is over 35 years old and it has encompassed a lot of stuff… excellent, mediocre and total shit. TBH I have no idea of what Goth is anymore. I wouldn’t even describe The HK music as pure Goth. I would say it’s Goth by the merits of its influences and by the subjects that it broaches being what a lot of the scene might be interested in.  I’m listening to a few amazing bands right now including Deadheaven, Luxury Stranger, NightPorter, New Zero God, Lotus Feed, and Last Cry, to name a few.

Some of the older bands have recently come out with some amazing stuff, too. Inkubus Sukkubus, The March Violets, The Ugly Bugs (GLJ). It’s interesting as I was never into The March Violets before, but they recently released a tune called “The Dandelion King”.  I saw the video when I was pissed and loved it and went back to check it the next day.  I played it five times back to back.  I haven’t done that since Bowie’s “Heathen” album was released.

There is a bit of negativity on the scene at the moment that seems to be fueled by some of the older members of the scene who don’t ever like to see people come surfing past on a black wave that they never saw coming… it’s a real shame that they don’t just get in the studio and jump in…

tribe4mian:  What connection do you have with The Cure?  I know you worked with some of them in the past.

GARY CLARK:  I don’t really have any connection to The Cure apart from the fact that I play occasionally in a tribute band to them LOL…. Our guitarist is now Robert’s personal assistant and guitar tech.
Perry Bamonte remains a close friend and LoL and I met up in La a couple of years ago for lunch and subsequently recorded a track together for The Album, he is a really sorted and gentle man.

tribe4mian:  Can you please give us the names of the rest of the musicians that will be on stage with you for The Memento Mori U.S. Tour?

GARY CLARK:  I will be playing the US tour as a two-piece with my long time guitarist and friend Darren Botrill.  For the European Tour Darren and I will be joined by Belle and Irish Dave (ex Killing ~Miranda).

tribe4mian:  How difficult is it for a band to function when the members are living in different countries?

GARY CLARK:  With the internet it’s very easy.  For the upcoming European tour my band has been meeting up inLondonwith a click track which has my vocals. Living in Istanbul, it’s not always economical or viable to come back to the UK very often.  The internet is a real blessing.

tribe4mian:  What is Robert Smith’s idea about The Cureheads?

GARY CLARK:  I have no idea. I guess he is fairly ambivalent.  Though he has always been kind and supportive. Jeremy mentions that he enjoys hearing about our scrapes and adventures.

tribe4mian:  I know you were also associated with the band, Nosferatu.  How was it working with
them and what lasting impressions do you have of your time spent with them?

GARY CLARK:  Nosferatu is a band that has always been plagued by neurosis and bad luck. They should be far more popular and in the main-stream than they currently are. When I joined the band they were surfing the 1990’s second generation wave of Goth. They were becoming extremely well known due to the shear guts and determination of Andy and Vlad. They (we after I joined) went out in all weathers, spent every spare bit of cash they had on printing up fanzines and flyers and forced themselves out onto the scene.

Again the bitter twisted old farts of 1980‘s Goth decided to give them a hard time too, as they (just like the remnants of the 1990’s scene), like to do today. They took a lot of shit from the old guard of the then-new scene and ignored every word. We rehearsed really hard. We toured really hard and we played any venue that would take us.

I was really proud to be part of it. I had no part in the music writing though and was only permitted to write lyrics and vocal melodies which frustrated me endlessly. I also found Andy very hard to get along with and so began a 20 year personality clash haha… 

I have always thought they should have done more after I left and pushed over into the mainstream. Unfortunately they never did. Though recently they released a really good new album. It’s been widely well-received and they have shifted a lot of units. I am genuinely happy for them. Though I hear the curse hit again recently resulting in them having to cancel a show or two. I wish them well and better luck for the future. If The HK does 25% of what they have achieved despite the shit they got back then I will die a happy man.

tribe4mian:  What is your opinion on the current political climate?  Do you see any hope for a resolution to the strife and gloom which has been cast upon all of us?

GARY CLARK:  Fuck politics… I’m not interested in people whose ambition is to rule the world for five minutes.

tribe4mian:  Which is your favorite Cure song, your favorite The Hiram Key song, and why have you selected those?

GARY CLARK:  My favorite Cure track is probably Halo though it changes with the weather.

My favorite HK tune is probably the opening track of Amerikafka… I started writing it after finding out that Mick Karn was dying of cancer and I wanted to write something atmospheric with lots of space just likeJapanused to do and I was really happy with it.

tribe4mian:  Apart from The Cure, can you name additional influences of yours?

GARY CLARK:  TBH The Cure doesn’t really feature in my writing style.  They do, however, tend to surface in a guitar lick or with a pick up setting or the odd special delay.

I’d like to think Bowie was a huge influence on me, as were 60’s bands like The Searchers and The Merseybeats and even the Monkees. I also love Siouxsie and Placebo and Nick Drake and of course Japan and Pete Murphy.  One of my secret pleasures has always been Nick Kershaw.

tribe4mian:  You had the idea of bringing a number of bands from different continents together to work on David Bowie’s track “Everyone Says Hi” in order to raise donations for The S.O.P.H.I.E. Foundation.  That was a great project.  How was the whole thing put together?

GARY CLARK:  Very quickly and in a 72 hour session…

tribe4mian:  Please add whatever you would like to say to our readers.

GARY CLARK:  Don’t believe everything you hear. Listen to everyone then ignore them all.

We know you’ve been very busy of late, Gary, and we would like to thank you for setting aside some time for this interview.  We wish you the best of luck with your upcoming tours and with The Hiram Key’s new album.  Have a safe journey and please be sure to fill us in on your adventures when you find a bit of spare time.

You can buy The Hiram Key album from CD Baby, iTunes or Amazon.

 

An Interview with The March Violets

I think it was in 2001 at a record fair.  I was looking to buy a couple of 7” singles when a guy next to me started searching through a pile of singles.  He picked “Crow Baby” of The March Violets and asked for the price.  He was told 20 Euros…

He put it back and I turned to mind my own business.  Another guy showed up and started searching the pile.  He also took out “Crow Baby” and asked for the price.  This one was told 30 Euros.

He bought it.

This 10 Euro change in price within 2 minutes was funny to me and I still remember it.

I thought it would be a good intro for an interview where the band that released “Crow Baby” talks about the past the present and the future…

For the first time that I can remember, the entire band took an active interest in getting their thoughts and feelings across. 

AND … as an added bonus and another “first of firsts”, The March Violets contacted us the day after posting the interview and offered to our readers a FREE DOWNLOAD of an upcoming track off their almost-ready-to-be-released album.  Click here for the free download of “ROAD OF BONES”!

tribe4mian:  Can you tell us a little about your previous release history?  Do you have a personal favorite and why?

THE MARCH VIOLETS:

• Tom – From 1982 until 1984 the band released a series of EP’s and singles, both on the Merciful Release label and then our own Rebirth imprint.  One of the biggest omissions in our release history is that there is NO album. This is something that is about to be rectified this year.

Personal favourites for me would include Crow Baby… just because it really doesn’t sound like anything else made since… pure Violets and very hard to imitate really… Undertow would come a close second just because I love the vocal interplay between Si and Rosie, the lyrics and the good solid bass, drum and guitar riffage… oh perhaps there’s more…

In fact I think there was a period of writing in the band that peaked between the 1982 Peel Session and Snakedance… we were firing on all cylinders… it feels like that again now too.  Road Of Bones is my current favourite from the new material.

• Si – My personal favourite is probably the first Violets EP, Religious as Hell.  That was the first vinyl I had ever done, and holding your first proper record is something quite fantastic.

(Though I do remember with fondness a 12″ picture disc that I did for Batfish with Motorhead‘s label.  I had just got the test pressings and eagerly stuck one on the turntable. It was a mashed up track, called Purple Dust:  A strange mix of Purple Haze and Another One Bites The Dust played at the same time… yes, weird and probably best left alone… but it had the intro to Purple Haze “doo Dah, doo dah , doo dah… BOOM!”… the entire building shook and the record jumped off… the physics lab at the nearby university had exploded on the downbeat.)

And I enjoyed seeing the finished gold snakeskin cover of Snakedance… I think I got a design award for that from somewhere.

• Jo – Before joining The March Violets, I was a member of the now-defunct Screaming Banshee Aircrew.  We released three albums on Resurrection Records – “Fishnet Messiah” (2004), “When All Is Said and Done” (2007) and “Sugar” (2009).  I am also a member of the band “Berlin Black and the Shades of Grey” which features the vocal talents of Chris Tuke, SBA’s former guitarist.  He has a CD out under this name called “Burn It Down”.

tribe4mian:  You created D-Rok, toured with UFO and recorded an LP for Games Workshop featuring Brian May on guitar. How is working with Brian May and how different is the feeling nursing Dr. Avalanche for The Sisters Of Mercy?

THE MARCH VIOLETS:

• Si – Brian May was and is a very lovely chap.  Totally amazing guitarist, with a really down to earth attitude and a great gentle sense of humour.  I have bumped into him a couple of times since then and he has always been really friendly, he actually does remember the people he has worked with, which must be thousands over the years. Incredible.

I am not allowed any feelings while Nursing Dr. Avalanche.

tribe4mian:  Tom Ashton is currently living in the U.S. How do you manage to function with members on different continents?  (…Although now with the invention of the airplane, I suppose things are not as hard…)

THE MARCH VIOLETS:

• Si – It is pretty hard work.  We have laid the basis for a lot of tracks down and do a lot of things over the internet. But it’s not the same as being in the same room.  Luckily it seems that we can actually do stuff this way and still get great results. We must be bloody good!

• Jo – Admittedly it does make things a little less straight forward.  The main challenge it presents is with writing new material – it slows the process down a lot, as there’s no substitute for being able to get together and jam.  Obviously it limits our gigging schedule a little bit as well, as gigs have to be planned for the short periods of time during which we are all on the same continent.

• Tom – Yes, airplanes have come in very useful.  ;)  It is a challenge for me personally as I am working on my own at my end but so far we are writing and recording the best stuff we’ve done in my opinion. Obviously when it comes to the second album it would be preferable to be able to work standing in the same room as the rest of the band but hopefully some success with the first album will facilitate that.

Luckily these days with Skype and fast internet we can fire ideas and mixes at each other from thousands of miles away and still create a fantastic composite of how we sound and still be rather good I reckon.

tribe4mian:  As we all know, back in the 80s everyone ran to the record store to grab their favorite band’s new release. Here we are, 30 years later, and I was wondering…now that all the record stores are gone what media platforms will you be using for your new release, when is it coming out, and what title can we look forward to finding?

THE MARCH VIOLETS:

• Si – I don’t think all the record stores are gone, though having just tried to put a gig poster up in a couple of record shops in Leeds who are selling tickets to be told “we haven’t got any space till next week”.  I’m not fucking surprised they are going out of business…

You are totally correct, things have changed for musicians in a way that couldn’t have been predicted in the 80′s. Back then it was vinyl or cassette, and yes you really did wait in the store to hear a track from the new record… it was really exciting.  You might have heard it on the radio, late at night on John Peel‘s show, staying up specially to hear new music.  And it was people like John who shaped the way things went, but he was incredibly fair about things… he would play stuff he liked, and to be honest you might only like some of it… but at least you got the choice and he was some kind of filter.  I think that is the difference, these days there is no real Shit Filter, and people swap entire record collections on a USB stick.  Gigabytes of music.  You could not actually listen to that much music in the rest of your life.  And it is all for free.  The word Devalued springs to mind… on every level. Maybe if the listeners knew how much work and passion and just Lifetime goes into making good music they might actually buy it and support the Artist.  Though some people do.  Our fans are fantastic.  Truly great people.

I came to the conclusion that with all the things that cropped up and got in the way of recording, it was impossible to finish this new Album properly in time for this summer tour, without killing myself.  So we have decided to release a 5 track EP.  This will be called ‘Love Will Kill You’ and will be given free to all the people who pledged to help us make the LP.  We hope to have it at the upcoming gigs.

The tracks are:

• Road Of Bones
• London’s Drowning
• Dandelion King
• A Little Punk Thing
• We Are All Gods

So now you know.

• Tom – The New Album will be named ‘Made Glorious’ and it is being funded by our most dedicated fans.  By using a website called http://www.pledgemusic.com/ we have asked them to pledge money in advance in order to fund the recording and manufacture of the album and all the other exclusive goodies associated with the pledge, as it is known.  So the album will be available for digital download for ALL pledgers and those who pay a bit more will get a CD copy… others who are willing to spend a bit more again will get the double CD version with extra tracks and remixes, posters and other deluxe materials.  The Pledge is still running by the way, and any new pledges will just help us to make the Album even better and maybe tour and do some videos.

We are aiming at a late fall release.

tribe4mian:  Your “Natural History” LP has a 1 zillion dollar note (unfortunately I can’t cash it anywhere).  What are your thoughts and views on the US debt and its continuance in raising the debt higher while we see Americans, and for that matter, we see worldwide populations, suffering to the point of what may be no return?

THE MARCH VIOLETS:

• Si – Over to Tom who lives there…

But I think we are all being screwed by the 1% who are maintaining their lifestyle by raping the rest of the world.  I also think that what we are doing globally is unsustainable.  Fucking humans, we are a short-sighted self- destructive disease.  We can’t last.

• Tom – Hmmmm… Economics 101… This is a bit of a bugbear for me as it appears that the Reagan/Thatcher policies that fueled the greed that defined a lot of what the 1980′s was about… has come full circle/reached its apex/or whatever…  My Gran who was a true Labour Mayor of a certain very large New Town near London when I was a child never tired of telling me this is what would happen in the end.

I remember marching against Thatcher and her ilk back in the late 70′s. We knew things were bad even then with the Labour Government but even my precocious 16 year old mind knew that you can’t sell things to people that they already own and then pocket the money with no consequences.  When she snatched my little sister’s milk… that was the wake-up call… why would anyone want to end such a thing?

So, basically I have surmised that the reason we are all in deep shit is purely due to the reaching of this policy’s logical conclusion… just how many banks have sold/circulated and profited/siphoned the same old shit/bad debt/ to each other and their friends/victims?  The answer is nearly ALL of them… certainly enough to bring the whole system crashing down on itself which it patiently has… it’s just that not surprising it’s not a widely reported fact.

Where does America fit into all this?  Well, because this specifically non-ethical type of Capitalism [Google the phrases Wal-Mart and Dead Peasants] originated here [and is in many ways a product of its geographical layout and soon-to-be critical reliance on oil] it is most likely to bit harder here first.  The country itself is spread wide and far [apart from some of the more sensible conurbations] and how these people who are spread wide will cope as the century progresses will be an interesting proposition.  I live in the Southeastern USA and it’s quite possible to drive 80 miles per day just doing the normal day’s routine… very few people in other countries would be prepared or even want to take it to that extreme…

One hopes that ingenuity and co-operation will win the day…that’s what I want to happen…but there is a darker side too…we all know how the so called Wild West was really won and I wouldn’t want my children anywhere near that, thank you very much!

tribe4mian:  Is the sound of the new album different from when you were starting out? How can you label it?

THE MARCH VIOLETS:

• Si – It’s nearly 30 years, and as they say, it’s not the same Bridge and not the same River.  We’ve all done different things for that time, learned new stuff, tried new stuff, been influenced by this and that.  But it amazes me, we still sound the same.  It probably shouldn’t, it’s the three original members and a very talented new bass player.  I personally label it March Violets because that is what it is… we were always pretty willing to try anything as long as it sounded good to us… the principle still applies.  And a lot of my contribution has been bubbling away in my head for twenty-odd years.  Tunes and words, I don’t throw things away, I let them ferment, refine them, distill them, until I have something I like. I think the new Album is typical Violets, with some surprises as ever, and an Old School attitude.

• Tom – Well of course things will be sounding different to some extent… we have all come a long way from our teens and early twenties when we started the band… and with Jo in the new line up there is a whole fresh input of experience being added to the mix as well.

We’ve spent a lot of time on this record thinking about what it was that attracted our original fan-base, distilling the essence of that and pouring it into some of the new tracks.  Of course also we’ll be exploring some new directions that weren’t available to us at the time of the original line up in the ’80′s.

I’ve always found it very hard to label things that are intensely personal but I suppose you can do it on a track by track basis.  Some are romantic or emotionally searing, some more in the angry punky vein, others are just fun and dancey… the band itself, I think, will continue to reject the obvious labels that people may or may not try to pin on us.

The March Violets (Photo by Al Pulford)

tribe4mian:  Rosie is an award-winning author, amongst other things, that I’d like to know more about and would be glad if you could mention them here. How does she feel to be on stage with the band again?

THE MARCH VIOLETS:

• Rosie – I’ve never been off-stage…!  I’ve never been intimidated by performance – If I was, I’d have given up a long time ago.  I have a powerfully low threshold for doing things I don’t like.

Si, Tom, and myself have been working on our own projects over the past *cough*enty years.  We’ve never stopped writing and performing, and it shows when we get on stage as The March Violets in 2011.  We’re writing new songs at an astounding pace.  It wouldn’t feel right if we were just churning out the old material.

Right now I’m slowly returning to touring and performance after an 18-month period dealing with cancer. Challenging?  Yes, you could say that:  it wasn’t on my to-do list.  Particularly ironic was that it was throat cancer – for a singer!

As well as The March Violets, I’m continuing to work on my own projects.  I’m currently writing my new one-woman show, plus my latest novel is with my agent.  As I am not a ghostwritten footballer or a ‘celeb’ it’s not going to be an easy ride getting it published… I’ve had numerous short stories in anthologies, plus four solo collections of poetry, the latest only a few months back:  Things I Did While I Was Dead http://www.flapjackpress.co.uk/.

In between, I perform across the UK, Europe, and the USA as Rosie Lugosi, burlesque singer and Mistress of Ceremonies… http:www.rosielugosi.com.  She’s an alter-ego, an exaggerated (honest!) part of me.  She’s quite demanding, so there’s a clear demarcation line between how I am on-stage compared to off-stage.  But she’s a lot of fun to bring out of the dressing up box and play with for a night. She satisfies my need to perform, to dress up, to be rude to people, and get paid for it.

tribe4mian:  We know you’re starting your European tour soon. How does the economic strife affect your present day tours in comparison to years gone by?

THE MARCH VIOLETS:

• Si – It’s much harder, a lot of people have no money to spend on music and concerts.  But you also find that people party harder when times are not much fun… it’s an escape route.  But the answer is… We will see.

tribe4mian:  In his career, Tom has guested for The Sisters Of Mercy, Danse Society, toured and recorded with Clan of Xymox.  He was also part of a project with Cleo (who replaced Rosie in the Violets), Craig Adams (Sisters), Steven Hewitt (Placebo), and Mark Price (All About Eve) which was called Amania but was never released.  Not many people know about this and I wondered how he feels when looking back upon all that?

THE MARCH VIOLETS:

• Tom – All great times for me on those. Had a lot of fun whilst playing a bit of guitars for The Danse Society on The Tube.  Met Jools Holland, of course who [I sincerely hope, drunkenly] told me to ‘get my cock out’ just before I walked on stage to do 2000 Light Years… even more importantly, Leslie Ash, whom I was madly in love with at the time [as most boys my age were after seeing her and Phil Daniels in Quadrophenia] asked me for a fag and I got to light it for her too… them were ‘t days.

Clan of Xymox’s Ronny and Mojca have become very close friends after I toured the USA with the band in 1991 in support of the Phoenix album release.  It will be wonderful to hook up with them again in Leipzig when The Violets play WGT later this year…

The Amania thing was really good but we got stuck in the Camden circuit never to return …hmmm maybe I should bung up a Facebook page and upload a few tracks because, unfortunately, none of it saw the light of day at the time… would be interesting to hear people’s take on it now almost 15 years later…

tribe4mian:  On June 4th Simon Hinkler (former guitarist of The Mission) will open for you at Leeds. How did you come up with this idea?

THE MARCH VIOLETS:

• Si – I just thought it would be nice to get together with some old mates, and Simon was up for it.  I was also trying to get Artery to play too, Simon’s old band and Murray was guitarist in Batfish Boys so some nice connections… maybe next time.  I’m looking forward to seeing Simon, he is a great guitarist and a lovely chap.  WE also have a brand new band making their debut in Leeds, with Ed Banshees new lot the ‘Partly Faithful’.  Always good to mix the new with the old.

tribe4mian:  How has the internet piracy issue affected not only your sales but also your desire to release new material with little to no compensation?

THE MARCH VIOLETS:

• Si – It has obviously made things very difficult. You can only hope that people who like your music want to support you and give a shit enough to buy stuff… I have faith.  The real problem was caused by the Greedy Major Labels not adapting to new technology… remember Napster?  What a mistake to not go with it.  Bunch of shortsighted corporate clowns.  They are paying the price now, and unfortunately, so are we all.

• Jo – Personally, as musician, I will always be writing new material, and always wanting to get it heard, regardless of the “compensation”.  However, the fact that there is little or no money to be made does make it more difficult – in that it’s often not even possible to recoup your costs.  In my previous band we sank a lot of our own personal money into albums that we never recovered, which is a real shame, but as we were doing it for love not money, it didn’t matter.  Of course we were only a small band, and not expecting to be able to make a living at it.  The March Violets are on a different level entirely.

tribe4mian:  With album sales down, tour sales down, and just a general feeling of doom and gloom, what do you foresee for the future of the music industry?.

THE MARCH VIOLETS:

• Si – It will evolve, but I think it will end up as subscription based for music collections, probably held in a cloud. The real problem is the lack of good shit-filters these days, it’s all out there and as the Cash Pussies said… 99% is shit.  So I also think that the level of desperation to sell crap to the public will mean it gets cheaper and cheaper to the point of being free as the distribution/content-providers battle for income, or actually just for numbers to advertise at.  It will devalue everything.  But there will always be live gigs, and hopefully loyal fans who realise that if you make it impossible for musicians to make a living you will get the amateurish safe nonsense of the Simon Cowell monstrosity, and that’s it.  Or maybe we will all be doing little holo-stream gigs?

• Jo – It’s a tricky one.  The music industry is certainly going to need a bit of a shake-up if it is going to survive.  On the other hand, people will always want to make music and people will always want to listen to it, so I do think it will survive… in some form or other.  So long as the likes of Simon Cowell are still controlling it, though, I don’t think the future’s that bright.

tribe4mian:  Jo Violet, who joined for the 2010 reunion gig in London, has become a permanent fixture and had previously played bass, keyboards, violin.  She also sang in the Screaming Banshee Aircrew and still plays bass in the ‘Trash Vogue’ combo Berlin Black.  Recently, she performed the part of Gilda in the opera, “Rigoletto”, has a degree from Oxford University and a PhD. How does it feel to have such diverse and talented people in just one band?

THE MARCH VIOLETS:

• Si – It is great, Jo is very talented and a great asset to the band, we have a track in production sparked off by her singing some operatic style stuff… really cool.  It is also good to have another female in the band, it adds perspective and everyone knows lady bass players are the best.

• Jo – Haha, I’m not really particularly talented – I’ve always seen myself as something of a jack of all trades, master of none.  That said, the band certainly *is* very well-loaded with diverse and talented people, and obviously this has always been one of its strengths, way back since the beginning. It’s a pleasure to be working with them.

tribe4mian:  Have you noticed a faithful following of friends and fans as you travel on different pathways within the industry?

THE MARCH VIOLETS:

• Si – Very much so, and it is a heartening thing.  It is a small world too…  and our fans in particular are the most good looking and sexy fans in the world.  It’s almost automatic, as soon as you become a Violets fan this inner beauty just starts to leak out and glow.

• Jo – Oh yes, definitely. The same faces crop up over and over again, and you get to know them.  People who started as fans can become friends over time.  It’s nice.

• Rosie – Most definitely!  It’s been a pleasure getting to know them. I’ve only ever had one creepy fan (and very creepy she was too, but that’s another story). I’ve never, ever understood people who get sneery about their fans. Apart from the fact that fans appreciate the songs / stories / poems / whatever that we produce, they also show their appreciation by buying the albums, the books, the t-shirts.  Do the math: fans pay our goddamn wages. It’s as simple as that. What’s not to like?

tribe4mian:  What was one of the most memorable and fun times (which are printable) that you can share with our readers?

THE MARCH VIOLETS:

• Si – Seeing Joy Division supporting Siouxsie, or maybe Bauhaus supporting Magazine.

tribe4mian:  Last question:  If you could come back as any other person in time, past or present day, whose body would you like to jump into?

THE MARCH VIOLETS:

• Si – I’d like to jump into a young Margaret Thatcher, somewhere on the top of a very tall building.  Things would have gone very differently.

• Rosie – Genghis Khan has always appealed.  Can’t imagine for the life of me why.

• Tom – I reckon I’ll have to cheat on that question and say I would like to clone myself in order to be in two places at once… it would make working with the band and being home in the USA with my family an even easier proposition … or maybe just a working jaunt technology, that would be good too.  

If I came back as someone else then I’d have to say [without naming names] it would be great to be someone who is in a powerful position of influence and a willingness to use that for the true benefit of all of us on this planet… or maybe just Phil Daniels circa 1979… that would do too… 

tribe4mian:  We want to thank you for what has certainly been one of the most interesting interviews we have had the pleasure of conducting.  Your reflections and history leave us eagerly awaiting more from you and we hope that the future will be as diverse and gratifying as the past has been.  Thank you again and all the best to each of you in all your journeys through time.  We’ll be keeping tabs on you and will post more of your travels and adventures.

Be well!

You can learn more about The March Violets by visiting their official website, HERE or by clicking the above logo.

 

Interesting people tell interesting stories…

Michael Palmer has led a remarkable life as a well-respected board-certified physician of Internal Medicine, Emergency Medicine, and Addiction Medicine.   He has also become a writing phenomenon as each of his 14 published medical thrillers have made their way onto the New York Times Best Sellers list.
HERE is his interview on Tribe4mian posted on 2010/01/15

There are some people who are musicians and some people who are music lovers.  Needless to say, there are musicians who are music lovers as well.   But what is there to point out regarding what part of your life music is taking.  Music is like a drug.  Once you taste it, it’s hard to leave it.
Ladies and Gentlemen, the Dave Alucard interview is HERE as it was posted on 2009/05/26

One day I found myself in Australia. Don’t ask me how, I just found myself there… People seem to believe that this is an isolated land, far away from the rest of the continents but I am sure for one thing: a lot of Aussie artists of all kinds and sizes are well known to  most of us.
Valerios Calocerinos has been playing the bass for Ikon and Lemon Avenue among others, and he is also a record label owner.
This interview was posted HERE back in 2009/06/16
 
Venus Fly Trap come from Northampton-UK and since the 80′s, they keep releasing albums and touring Europe.
So far, they toured the whole Europe and one thing I have to admit is that, knowing their leader, Alex Novak for a lot of years now, it slipped my mind that he was a member of one of my favourite bands, The Tempest..
Read all about it HERE.

Mick Magic was one of the prominent figures of the Cassette Scene.  Hailing from Frimley, Surrey, Mick formed the space rock band Magic Moments At Twilight Time, had a fanzine and a label called “Music & Elsewhere”, and also began the United World Underground project.
Read HERE the interview we posted we posted on 2010/09/15

Initially beginning as an electronic percussionist, and later as a recoding artist, Martin released three CD albums with Casualty Park.  He has also done commissioned scores for The Alvin Ailey American Dance Theatre, The Oxygen Cable Network, and LionsGate Films. He was a member and co-writer of four albums for the electro/acoustic-improv group Sandbox Trio with Daniel Panasenko and Chuck Ehlis.
He also worked with Mick Karn and now, along with Percy Howard he has a new project called Hardboiled Wonderland and they are about to release a new album in June.
We interviewed him on 2009/03/24 and we will have to get a new one for their new release…
You can read it HERE

Last but not least, you can join us now on facebook by clicking the icon on the left column of the page.

 

Open the gates and let the Nightbreed in

Trevor Bamford is not unknown in Goth circles.  Hailing from Nottingham, England, he has been around for about 30 years playing music, running Nightbreed Records and owning Nightbreed Radio.  A busy man one might say, and I, for one, am quite sure he is even busier than most would imagine.

We recently sat down with Trevor to get his views on the music scene.

Tribe: Trevor, you witnessed the peak of the Gothic scene and the downfall of it. Do you believe that the scene is rising again?  In your opinion, was there even any downfall?

Trevor: I was going to say, I don’t think there has been a downfall as such, just a new perspective on things. To me the Gothic scene was at its most strongest in the 90’s as that was when the scene in the UK had a sense of its self being genuinely underground and being most clearly “Gothic” rather than “alternative” or whatever. But on reflection I think every decade has something new to add.

Tribe: Every New Dead Ghost were amongst the most unique and active Post-Punk/Gothic Rock bands since their foundation in 1986. If I am not mistaken, that was your first band. What would create the need for a youngster to form a post punk/gothic rock band in the 80s? Is there fertile ground for something like that to happen again nowadays ?

Trevor: I think there is always a reason for a young person to pick up their guitar and have another go at music. Music is passion and feeling and people are always going to want to express themselves. I see this in my day job as I teach young musicians. The passion is still there for sure.

Tribe: Till their demise in 1992 the band released three studio albums, one live album and a number of singles and EP’s. Which bands influenced Every New Dead Ghost and why did the band split?

Trevor: I think there were a mix of influences at work with ENDG. The main ones from myself that went into the mix were Killing Joke, Play Dead and Hawkwind. But I think the others liked stuff like New Model Army, Rush, The Ramones, Into A Circle etc. I am sure that all of this went into the music. As for why we split, I think that we had all given it “a good go” and we felt we had gone as far as we could and we wanted to go into different things.

 

Tribe: I was told that it’s like a ‘contagious bug’ when you do radio. You know, people who are doing radio shows become addicted and fall in love with it. I know you have your own show on Nightbreed Radio so I guess you know best. Is it true? How did you come up with the idea for Nightbreed Radio?

Trevor: Yeah it’s true, I think all of the dj’s feel the same. It’s also a nice thing to hear a collection of tracks you think the world should hear being given just that chance. The idea evolved out of a collection of online conversations about the idea of having a radio show for Nightbreed + then it gradually evolved into being a reality.

Tribe: How do you pick the radio hosts for Nightbreed radio?  What is that special something one must possess to join the Nightbreed radio force?

Trevor: Well, usually they ask me if they can do it and we just get talking from there. I suppose the special qualities are that you should be genuinely in love with music.

Tribe: Back in 1993-94 you released your first solo CD maxi, Gothtec.  I know that every new start is difficult. How was it for you and your new project, Midnight Configuration?

Trevor: Wow that is a long time ago now. Quite scary when you think about how many years have gone past. Starting MC on the back of ENDG was quite difficult and right from the off it was clear that a number of ENDG fans didn’t like what MC did, but also I gained new fans that thought that ENDG were too punky and liked the dense quality of MC. Also with the first EP, I was not really sure what I was doing and also wanted to try out some new ideas, which I did.

Tribe: Midnight Configuration are/were dealing with horror films and fetishism.  How different was that project from ENDG? Not only lyrically but also musically?

Trevor: Well really, totally. ENDG had a definite set of parameters that didn’t include any of the above, and with MC, at least up until Dark Hours Of The Southern Cross that was pretty much exclusively what I talked about. ENDG were a band of their time and were essentially “rock”, which is all good.  But I wanted to take things  into the realm of machines, samples and darkness. Which is what I have done with MC.

Tribe: Owning Nightbreed Records gave you the chance to listen to unsigned bands. Nightbreed has a great catalogue of wonderful bands not only from England but also from other countries, too. What is the feeling of finding an unsigned band you like and saying “I will release this album cause I believe it deserves to be known to the world”?

Trevor: It is a great feeling, and it is something I was part of on a number of occasions. I felt like I was adding to the culture in my own way. If you think about it, we are born, we run around a little, and then we die. One thing I would like to think is that we all should try and add something to the mix before we ride off into the last sunset.Lol

Tribe: Which are your favourite bands, leaving aside the Nightbreed artists in order to not piss off anybody?

Trevor: My personal fav bands (except the NB bands) are: Chrome, Hawkwind, Play Dead, Killing Joke, Black Sabbath, Todd Rundgren, Neil Young, Siouxie And The Banshees,

Tribe: Since you worked in the underground during the snail mail days, what is your opinion about the internet?

Trevor: I think it is a wonderful thing and also a terrible thing. On one hand the access to information and music and the ability to communicate to large numbers of people is amazing. On the other hand the same qualities that make the internet great can be abused.

Tribe: What differences do you find between your last work “The Unquiet Void” and your debut album “Kissing Skull”?

Trevor: That’s very difficult to say as I am so close to it. I think that The Kissing Skull was of its time and I am proud of it, but at the same time the sound and production were not totally what I had in my mind. Whereas with The Unquiet Void and for the last few albums, I have had total control, better equipment and better technical skills. So that I think is the main difference. That and the fact that in some respects the sound of the new album is closer in tone to ENDG as I have been using more guitars + writing songs that have more guitar parts in them.

Tribe: I still must have a flyer of the Carnival of Souls somewhere around here but that is old news now. What does the future hold for Midnight Configuration? Can you please tell us the line up.

Trevor: If you have any old fliers please scan them for me and send the scans. As I have lost a lot of old NB history and I am currently building an online visual history.

As for MC, I am actually going to take a break with the band for a little while to concentrate on a new musical idea/potential project that I have in mind, but more of that once things are more sorted. The current line up of MC is myself on vocals, samples, keys, guitars. Nick Hokinson on guitar and backing vocals with occasional live assistance from Estelle Silver on keys , + Piers Edmundson on backing vocals.

Tribe: Yep, I will look for the flyer. I know it is difficult to be the artist and the label owner since things are running in different ways, but I have to ask this question: What is Nightbreed Records planning for the future?

Trevor: Well, things here at NB are in a state of flux. It is fair to say that Nightbreed is now much more than a company that existed in the 90’s and I am not currently sure which way we will go. I expect that part of the expansion will include Nightbreed Radio, but I have an idea for an event that I might put into play.

Tribe: Please add whatever you might like to say that I may have forgotten to ask, or maybe I just don’t know about yet.

Trevor:. BTW if anyone is interested in joining up to the new Nightbreed online presence then please go to http://www.nightbreedrecordings.org/
Thank you for your interview.

Tribe:  Thank you very much for this interview, Trevor, and we send you our wishes for continued success in all you strive to achieve.  We appreciate all your efforts to keep the music alive and to bring the unknown into the known.

You can always check YouTube for more Every New Dead Ghost and Midnight Configuration.

 

BP Fallon

Ramones & Marc Bolan - London 1976 (Photo by BP Fallon)

I found this interview of BP Fallon’s.  If you don’t already know him, he is an Irish radio DJ since he was 17, but not only…

He is also the author of three best-selling books and he’s a photographer.

BP Fallon has also worked and toured with Led Zeppelin.  (He played the tom toms on “Whole Lotta Love”, live.) 

He’s mimed bass guitar with John Lennon’s “Instant Karma” on Top Of The Pops, and worked at The Beatles’ Apple Records with Derek Taylor.

… and we’re not done, yet …

He became the publicist for Thin Lizzy and T.Rex, for whom he coined the term “T.Rextasy” (he was described by Marc Bolan as “Purple browed Beep” in the T.Rex hit “Telegram Sam“).

He worked as the press officer for  Island Records, representing Traffic, Joe Cocker, Free, King Crimson, Jimmy Cliff, Ian Dury, and he briefly managed Johnny Thunders .

He literary photographed every single rock’n’roll star on earth and he was also deejaying live for 1.8 million people when he joined U2 on the Zoo TV tour and wrote a book about it, titled “U2 Faraway So Close”.

BP Fallon won a Jacob’s Award for his RTÉ 2fm show,” The BP Fallon Orchestra”.

He started the multi-national club “Death Disco” with Alan McGee and he DJed on the road with the groups My Bloody Valentine and The Kills.

In December 2009 he released a solo record.

His photography of Marc Bolan and the Ramones on the top of this article belongs, of course, to him…

The following clips are from the interview and film by (and © by) Harley Sears.

You can follow BP Fallon here.

… and I thought I had a busy day …