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The Blackout Radio Show with Mike Pougounas with special guest: Mick Magic

I decided I should post every Sunday, some radio interviews I do for The Blackout Radio Show.

On this week’s Blackout I have a special guest: Mick Magic will enlighten us regarding the Cassette scene of the 80’s and 90’s, his band Magic Moments At Twilight Time and his cassette label Music & Elsewhere which became the main English distributor of the Cassette scene.

All songs will be taken from the compilation “United World Underground Collection” which he put out recently, introducing us to 30 albums that the label released back then…

Click HERE to listen to the show.

The show goes on air as follows:
Mad Wasp Radio [UK] – Saturday 8AM – Sunday 11PM – Tuesday 4PM
Wicked Spins Radio [UK]-Thursdays 7PM – 9PM
KOWS 92,5FM [CA-USA]- Tuesday 10PM-12 Midnight
Fasching Web Radio [CANADA]- Wednesdays from 5 – 7PM

If you’d like more details or if you’d like to order the collection “United World Underground” click HERE

Mick Magic’s band “Magic Moments At Twilight Time” saw these day the re-issue of their album “CREAVOLUTION REBORN – The Brain Dead Studio Analogue Remaster” (order enquiries should be sent to marcbell386@btinternet.com).

You can check about this album HERE

 

 
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Posted by on November 11, 2018 in Interviews, Radio

 

Katie Anne Mitchell … from the community to the world (by Lord Litter, October 2018)

When I first heard Katie Anne Mitchell‘s double CD I immediately knew I found something different. I don’t mean something that is wild and outrageous, or extremely difficult in structure, or produced in a incredible modern way… or or or. I mean different for what it is.

Basically it is Folk songs and a spoken dark, gothic story interwoven. You’ll get a song, then a chapter from the story, then another song … next chapter and so on.

Deeper and deeper you sink into the world of “The Many Lives of Mockingbird“.

And that is the way I think this double CD should be listened to .. sit down listen to the whole release and drift away into the world of Mockingbird.

Another aspect that raised my interst in Katie Anne Mitchell’s work was this statement I found on the cover:”…I’ll say that making an album is a community process and to that end, I’d like to acknowledge the family, friends, romantic foibles, and successes, and chance encounters that inspired the words and stories of this album and gave me the encouragement and foundation to see the vision come to life.”

So it’s not the *impressive 4th release of this upcomming songbird that will mesmerise us with strong commercial songwriting and a line up of musicians that played with this or that known superstar etc etc* .. no, it’s community driven music/story culture.

All this was so different from the usual info/release I get for my radioshows that I decided to make an interview, which I don’t do often these days. After a airline strike made our in studio conversation impossible, I thought lets make a written interview – here it is. (And many thanks to Tribe4mian for having us here!)

Lord Litter (LL): On your album you have a paragraph about the aspect *Community*. In my opinion a community is the hard core of a certain kind of *different* art. People come together and artists get inspired by people (not by products) and thus find a truely unique way of expressing themselves. What is your sentiment about the aspect *Community*?

Katie Anne Mitchell (Katie): Well said! I think community has been essential to my birth and growth as an artist. I came to music and the folk community through a company I’ve worked for over the past five years, a subscription-based streaming service called The Standing ‘O’ Project which  is affiliated with a nationally syndicated radio program Art of the Song. Through listening and conducting interviews, dealing directly with fans and artists on a daily basis, and attending festivals and conferences I became intimately familiar with the folk community and fell in love with the individuals in the community—their challenges, what they stood for, how deeply they cared for each other and how open they were in sharing their lives without the sugar coating. It was something I had never seen before or knew existed. I was awestruck, and it felt impossible that I wouldn’t do everything I could to be a part of this group of people now that I knew it existed. Really, I fell in love with the music because I fell in love with the people. I think, not always, but often that art is created by individuals who are a part of a larger community that they strongly identify with and they internalize those feelings and observations and experiences of that community and are therefore able to discover, reveal, and ultimately create something that is greater than just themselves.

(LL): Your album is one of the rare releases that I simply can’t present with one song or / and one chapter of the story – it’s more like a world one has to visit for a while to understand  .. any thoughts on that?

Katie: I love stories. I love epic stories. I love series of novels that go on for 10 books, TV series that last 13 seasons, radio shows that continue each week for 20 years. I love sitting down with someone who has lived a full, long life and wants to tell me all the details they want to in that moment. I recently visited Europe and one of my favorite museums I visited was the Van Gogh museum. Although I like and appreciate his art, my main takeaway was that I was so thankful for the opportunity to walk around and get to know this one person intimately for a couple hours, instead of being overwhelmed by a myriad of different artists that I couldn’t possibly get familiar with in such a short amount of time.

My point with sharing this information is that I believe our ADD culture leaves little room for intimacy and I wanted to do my small part to address that malady by creating a world that people could sink into and a character people could become really familiar with. It is so important to slow down and take the time to do that. Also, for me, I also wanted to become intimate with Mockingbird, to see who she was and what made her come to life. Although the album has personal touches, Mockingbird is not my story and it was as much of a discovery in writing as it was a telling.

(LL): I could define your release as *Folk* but the pictures such a description arises all seem wrong – what was your inspiration to create such a work?

Katie: Folk really is where it started, but folk encompasses a broad range. I think it started with the fact that the artists who I was really drawn into were the artists who gave me a slice-of-life picture before or after the song they sang. The accompanying story was just as much a part of the song as the song itself to me and I wanted to emphasize that in my work as well as remind people that the essence of folk music is storytelling.

(LL): Your songs sound very *open* – not really following the verse/bridge/chorus etc structure. Sometimes it almost can be described as *free form*. How did that come about? Influences?

Katie: As much as I’d like to say that this was a conscious artistic choice, I think this was really bred as much out of a lack of formal songwriting training and my impatience with highly structured things as it was out of my love for free form poetry and strangeness. Honestly, it was a fortunate happenstance. If I have to call it anything, I refer to my style as “sung poetry”. As far as influences, I’m a lover of the bardic tradition, the poetry of Charles Bukowski (bastard that he was), the writing of Neil Gaiman, and the musical stylings of folkies like Sam Baker, Grant Peeples, Terry Hendrix, and Beth Hart to name a very few.

(LL): The story of the Mockingbird is a very dark/gothic one – are you interested in these forms of expression? In my case I’m a true maniac for *Old school* gothic – Edgar Allen Poe, Frankenstein, Bela Lugosi …

Katie: Oh yes! I love that you love that—well put too. For me, I have a morbid fascination with morbidity. I had a very vivid and dark dream life, especially as a child, and it led to some measure of obsession with the occult….but the occult with poetry and significance to the human condition. I’m not a fan of horror just for the sake of violence, or evil just for evil’s sake. I like some humanity in my monsters, which is why I’m drawn to old school gothic which is, in many ways, quite layered in their commentary on men and monsters alike.

(LL): What made you call your main character Mockingbird – any meaning behind?

Katie: I started working on the Mockingbird song first. Originally, it was a political song personifying truth in this character of a mockingbird bound to other people’s voices and perceptions but longing to have her own voice. It also reflected my own struggles with sharing my thoughts and emotions and not giving away my voice in relationships in my life.

However, the character Mockingbird itself came to life in a strange way. A couple days into working on the song, I created a mock Ouija board with a friend of mine (I’m sure after a couple glasses of wine) and I asked something about what was going to be important in my music and it spelled out ‘Mockingbird’. My friend didn’t know about that song at the time. Whether real magic or perceived, that is the moment though I knew that Mockingbird was a person and not just a song. She was born in that moment. Indeed, like the song, her journey is in larger part about uncovering her own identity, truth, and voice even when she is part of a larger community. Community and individualism are not mutually exclusive, and I believe both must be developed to reveal the depth to our humanity.

(LL): “The Many Lives of Mockingbird” is comprised of songs and stories woven together like a web, spun from a fine silk thread – describes one reviewer – how did that come about? Much more conventional would be to have one CD with songs and one CD with the story – which would probably lead to more airplay/promotion, did you care/think about this aspect?

Katie: Oh boy, yes, I did not make the smartest move for commercial airplay. I gave this a little bit of consideration before creating it, but not much. Once I got it stuck in my mind that this was how it was supposed to be created, it was set. It didn’t feel like a choice any longer. I’m of the belief that sometimes stories choose us and tell us how they want to be brought to life and sometimes it isn’t our place to contradict that. So, I decided to serve the story instead of my career. I stand by that decision.

(LL): You are also an actress – how does that fit into the picture? How does this influence your world as musician – what kind of characters do you play as an actress?

Katie: I started as an actress so I think that my pieces are by nature theatrical and my writing trends toward the cinematic. However, the beauty of performing live is that I can be the imperfect, over-the-top persona that I can’t be on camera, which I love. I haven’t been focusing so much on the acting side of things but when I do it, I suppose my preferred role is tragic, deranged, heartfelt and, if I’m lucky, all three. However, I will say LA being what it is, there’s not a lot of range of small roles for folks only pursuing it some of the time. Mostly, I go for what my agent sends me. I think that was the beautiful thing of doing the storytelling/song combo is I was able to play a character that I wanted to play.

(LL): The cover of your release breathes Art Nouveau and 60s Counter Culture. Was that intended and who is the artist?

Katie: The artist is a gal named Eliza Lutz who, by design of engineer/producer Dave Badstubner, I chose as the album artist. He brought one of her pictures into the studio as ‘inspiration’ while we were recording and I immediately gravitated to it. When I brought her onto the project, I told her I loved what she did and to just have free range to see what she came up with. I sent her the lyrics and she woke up one day with this image in her head a few weeks later and it pretty much came out first draft in completion. I would love to take credit for it but I can’t at all, this pretty much just landed directly in her head and onto the paper. She also designed all the inserts and had the idea for the format. It was all her. She’s a genius….and a brilliant musician as well. I’m so grateful to her. If you want to check her out, she’s HERE

(LL): You are closely cooperating with Rebekah LeAnn Wiggins, somehow I have the impression she is all around in your work – like a shadow she’s everywhere – she creates the depth – a second level .. you also have a live duo. Who is she?

Katie: Rebekah (or Bekah to her friends and family) is a close friend who I met through the film community in Albuquerque when we both lived there. We actually weren’t close until coming to LA and bonded over some depression we were going through after the move. We both used to take frequent drives between LA and New Mexico and carpooled on one of them and just started singing together and something clicked. I had started performing out a few months prior and been doing the storytelling/song format from the get-go, but when she came on it brought a wonderful, fuller dimension to the performance. We had actually considered doing the album as a duo album, but she had more of a focus in the film world and the story, concept and most of the songs were written by me so it ended up being my solo album with her heavily featured and, of course, debuting her beautiful song Self-Made on the album. Our duo’s on a bit of a hiatus at the moment—she’s a brilliant actor/writer/director and has been swamped with those pursuits this fall. If you’re interested, you can keep updated HERE

(LL): All in all your release is impossible to *quick check* … it just really works when you sit down, have a glass of wine, dim the lights and if possible listen to the whole work. It’s the absolute *counter culture* to the quick check, click click click, next next next *culture* we suffer from today. Did you get any specific reaction concerning all this.

Katie: I definitely had people who encouraged me to do an EP or just do songs, but it didn’t feel right to me. I think I have an anarchist living in me….wrapped in the package of the girl-next-door look. I don’t like the single-song consumption culture. I think it’s cheapening our potential of intimacy between artist and fan. I think artists should make the art that moves us in a direction they want to see, not cater to what is. Artists should drive change. I see little point in contributing to the tapestry of what already is. There are people who can do that and do it much better than me, I want to add something that says something different than what’s being said at the moment. Although not everyone got what I was doing or why I was doing it, the people who got it *really* got it and I’m grateful for that.

(LL): From your website: “As one fan describes on watching her perform at Folk Alliance International that watching her is like watching the musical “Theatre of the Absurd”. I like this very much! Somehow it proves that everybody seems to have a quite unique description of what you do – what do you think what you do?

Katie: I love that quote! It’s one of my all-time favorite things someone has said about my music. I think I am, quite simply, a storyteller. I love writing and performing, I love being strange and off-kilter, and being all the colors I can be, and some that I can only be on stage or in my writing. At my best moments in it, I really feel more than myself. I believe that art is a collective build-upon thing and when you put it out in the world it becomes larger than you once others put their insights, and hopes, and fears on it, it becomes all of our work instead of just my work. So what do I do? I do what all storytellers do. I give people a place to start.

(LL): 13 questions seem perfect to present an unusual/unique artist .. so question number 13 is: What’s next?

Katie: I’m in the beginning stages of working on an EP called “The Songs of the Nearly Forgotten” compiling songs and spoken word pieces about individuals who are overlooked in society. If the last album was the novel, this is akin to a collection of short stories. Some of these pieces are stories from family history, some are dealing with overarching everyday struggles, but all are about finding place and purpose in a life that may be seen as unextraordinary to some.

There are many stories about remarkable people and I, as much as the next person, am inspired by these stories. However, I believe our humanity is, at times, best represented in the folks who lead lives that aren’t widely recorded or remembered. Those small, intimate moments and struggles that are forgotten by the rest of the world build who we are…and I suppose that if those are the moments that build individuals then it might also be those moments that build a community, a society, a species. Some of my very favorite moments in this life are those that will not be remembered by anyone other than me and the people I shared them with. And, hell, if that isn’t something remarkable.

Katie Anne Mitchell
Singer-songwriter/Storyteller/SAG-AFTRA

Keep up with Katie Anne Mitchell

Website | Facebook | Instagram I IMDB

 

 
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Posted by on October 7, 2018 in Alternative, Interviews

 

Blackout Radio exclusive Interview with author and Bauhaus co-founder Kevin Haskins

The Blackout Radio Show with Mike Pougounas goes on air as follows:

The show is aired as follows:
Mad Wasp Radio [UK] – Saturday 8AM – Sunday 11PM – Tuesday 9AM
Wicked Spins Radio [UK]-Thursdays 7PM – 9PM
KOWS 92,5FM [CA-USA]- Tuesday 10PM-12 Midnight
Fasching Web Radio [CANADA]- Wednesdays from 5 – 7PM

Playlist

01 Soft Science – Undone
02. The Lost End – Self Control
03. Squeeze – Innocence In Paradise
04. The Fall – Brillo De Facto
05. Serpent Power – Golden Dawn
06. Ministry – Public Image
07. SPC ECO – Incomplete
08. Bauhaus – god in an alcove (flexi version)
09. Siouxsie & the Banshees – Metal Postcard (Mittageisen)
10. Bauhaus – She’s In Parties
11. Love & Rockets – So Alive
12. Love & Rockets – Mirror People ’88
13. Tones On Tail – Lions
14. Bauhaus – Passion of Lovers
15. Bauhaus – In the Flat Field
16. Schubert – Trio in E Flat, Op. 100 (Excerpt)
17. Bauhaus – Ziggy Stardust
18. Bauhaus – Bela Lugosi’s Dead
19. Love & Rockets – Sweet Lover Hangover
20. Bauhaus – Kick in the Eye 2
21. Love & Rockets – Ball Of Confusion
22. Bauhaus – Dark Entries (Live At Coachella)
23. New Zero God – Shadow Of Wealth
24. Seatemples – The Burning World
25. Savage Cut with Leyla Josephine – Andy From Finance
26. Dsease – Selfist Darky Tender
27. Permanent Clear Light – One in Five

 
 

Adam Ant Facebook Live Q&A

Adam will be doing his first Facebook Live Q&A today at 12 Noon PST / 3pm EST on this page. He’ll answer a few of your questions.
Submit questions for Adam in the comments section by Wednesday morning to be considered.

 
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Posted by on August 30, 2017 in Interviews

 

New Zero God/Nexus/Flowers Of Romance (Μια Συζήτηση Με Τον Μιχάλη Πούγουνα)

This interview is in Greek and it took place on 23/06/2017. It was originally posted by the blog Ελευθερία ή Τίποτα

 
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Posted by on July 4, 2017 in Interviews

 

DJ Jack Phoenix – The Thirteen Questions

JACK PHOENIX, large-event multimedia DJ of international Goth, Industrial, 80’s, Dance, and Top-40 tracks sat down with us from his home-base in Boston, Massachusetts.  Having traveled up and down the East and West Coasts, as well as countless points in between, Jack is also the founder of the largest Facebook conglomeration of Goth/Industrial Group Pages, encompassing the USA and Europe.

Come take a ride with us as we pick at Jack’s brain in this ‘tribe4mian – The Thirteen Questions’ exclusive.

00 Jack Phoenix - Header

01.  TRIBE4MIAN:  Boston is generally a rocker town with Aerosmith, Boston, The Cars, Pixies, Buffalo Tom, and other high-profile rock bands taking center stage in our musical realm.  How did you transition yourself over to the Goth and Industrial scenes and do you sometimes dip back into the pool of rock during shows? Is there a big Goth scene in Boston?

JACK PHOENIX:  Godsmack, J. Geils, Dropkick Murphys, Dresden Dolls, Susan Tedeschi, Chick Correa, Mission of Burma, also.  🙂

DJing in the Goth/Industrial scene began for me when I visited a Club called MANRAY in the Cambridge/Boston area back in the early 2000’s and found the music dark, heavy, mesmerizing and totally stimulating.  Music with an edge to it has always drawn me, and here at this club for the first time, I was immediately caught up by the incredible, heavy synth beat.  I walked into the rear room and had people dancing in front of me, fetish play over to the left of me, while watching two hot women making out over to the right of me.  Everyone seemed caught up and energized by the dark pulsing music (probably the alcohol too, lol) and even though I had been to rock and dance clubs in the late 80’s, THIS was entirely different.  The music had an energy you didn’t hear on the radio. The musicians were what some would call “Underground” like Peter Murphy or Nick Cave. There were songs being played by Depeche Mode, The Cure, New Order, Siouxie and the Banshees that you never heard on top-40 radio.  Bauhaus?  Who were these guys?  Totally ensnared by this new sound, I kept visiting over and over during the next few years, eventually also “working” there as the guardian to the Mistress of the Fetish Dungeon, Mistress Mimi.  I got to know the resident DJ Chris Ewen during that time as well. Deciding that I wanted to be part of this incredible musical scene, I dived into the Goth/Industrial genre buying up all and any CD’s that were considered “Staples”, eventually encompassing whole catalogs of bands like Skinny Puppy, KMFDM, Nine Inch Nails, as well as the other bands music I had previously collected- all within half a year.

Having a passion for music and loving the history aspect of music as well (I consider myself a music historian on all genres; you can never learn enough about music), I did my research on background of Goth/Industrial, the important musicians; whom was considered an icon, who was up and coming and the important milestones of the genre as well.
01 Jack PhoenixAs far as ever actually playing rock styled music at my events, if I do a Goth/Industrial gig then I stay within those parameters however an occasional trip down memory lane in other genres is sometimes asked for and I have no problem smoothly implementing that into my spins.  I usually wouldn’t play Modern top-40, Bruce Springsteen or Bob Segar at a Goth event but old-time favorites are possible.  If there is a band or a group or a song that could possibly cross over (I will sneak some 80’s into a night if I know that the song would get everyone up and dancing in a heartbeat, like Kate Bush or Falco), I do it. In comparison, I wouldn’t play Incubus Succubus or Electric Hellfire club at an 80’s flashback night.  There are Rock-styled songs by Ministry and KMFDM and so forth that can give you the rock edge, without crossing over to the mainstream rock aspects.

The Goth scene in New England is a dynamic and well-attended scene with a mix of old faithfuls and new young blood enlivening the scene. I wouldn’t call it large in comparison to other genres but it is large in compared to other parts of the country.

02.  TRIBE4MIAN:  You host a massive amount of online gathering spots covering the East to West Coast on Facebook.  What made you decide to take on such a daunting task?   Is it rewarding and do you feel it helps bridge the miles of separation as you move across the country?

JACK PHOENIX:  Yes, for America, Canada and Europe, I made three groups; East Coast, Midwest, and West Coast as well as the European Group (see the end of the interview for the 6 links to the groups I own to help the scene).  It originally started on MYSPACE as a small group to help promote the NEPGM Fest (New England Punk Goth Metal).  I expanded that group to eventually cover New England and then the New York/Tri-State area.  When I came over to Facebook I continued the group, as well as starting the now largely successful International Group (19,000+ Members).  While the International Group was growing rapidly, others asked me if I ever thought of having more regional groups other than the East Coast one.  I thought that would be a great idea, so I formed the Mid-West and West Coast groups, as well as making a group for those over in Europe to post in as well.  This way, even though everyone can and will promote and share in the International Group, they also were then able to post more regionally as well for others in their own time zones, at least.

02 Jack Phoenix - Ph by Christine Gauthier

It also helps people share their events in ways that weren’t available before.  Now someone visiting from California can go to the East Coast Group to see what is going on there, or anyone visiting California can check the West Coast group as well.  For the most part, any event worth going to or checking out will usually be posted in the groups.  The promoters have noticed that they can reach out to people in the International group and now also show whoever may be in a region what events are available.  Bands and Fans can share their music and opinions also.  I must admit, it’s also helped me out personally in being able to both promote, DJ and attend events as well.

The Groups:
The International Goth/Industrial & Fetish Scene group on Facebook (19,000+ Members)
The European Goth/Industrial and Fetish Scenes (5,000+ Members)
The East Coast Goth/Industrial & Fetish Scenes (5,700+ Members)
The Midwest Goth/Industrial & Fetish Scene (3,400+ Members)
The West Coast Goth/Industrial and Fetish Scene (6,400+ Members)
The Artist & Musician’s Goth/Industrial Musical Scene (5,600+ Members)

03.  TRIBE4MIAN:  The American, the UK and European Goth Scenes: Are there any music differences between them? Many people say that the scene is dying. Are they right or are there any new bands rejuvenating it?

JACK PHOENIX:  There are some differences between the American Scene and the European scene, but these are not surprisingly, more cultural than anything else with Germany being the center of the movement over there. Goth, as it is in its classic form, started in the US back in the late 1970s. Bauhaus’s first single issued in 1979, “Bela Lugosi’s Dead“, is generally credited as the starting point of the gothic rock genre.  I would say the scene is more widespread here but thinner in its exposure while it is steadier over in Europe. I don’t think the scene is dying. It’s just that people in America aren’t really exposed to the music at a younger age anymore, as the music is pretty much controlled on the radio overall by about 3 or 4 Major labels now, compared to just 20 years ago.  The American scene thus naturally has gotten smaller partly because of time and partly because it has diversified out into other subgenres like punk rock, gothic metal and horror punk to name a few types.  They still sell tickets to clubs when groups tour them though, but the dominance of dance music and Goths underground status has made it harder to get known.  YouTube has helped bands that otherwise wouldn’t get exposure the chance to show how they perform though.

Europe is vastly more independent as far as their music is concerned, as evidenced by the differences between performing there and here in America.  For instance, Cruxshadows and Christian Death would be happy to get 50-75 people in the Boston area for a show, but over in the UK or Germany they perform to stadium sized crowds. There are always new bands that will pave the way, so there is always going to be a flicker of the Gothic flame.  It just takes a willing ear and a wanting heart waiting to hear that dark haunting music is all.

04.  TRIBE4MIAN:  Could you provide us with a glimpse of what’s going on in the clubs by way of attendance, average ages, etc.?

JACK PHOENIX:   The ages of the crowds will depend on if the club will allow 18+ or 21+ only in the States.  The Crowds are various ages for the most part, though I do believe it’s an older crowd here in the States.  My guess would be that in Europe It’s younger since drinking ages are different, as well as music isn’t controlled as tightly by major labels as it is here in the States.

05.  TRIBE4MIAN:  WFKU, Ritual Noise, and your new live video feed show.  Can you tell me about the “Controlled Chaos”, your kind of DJing, the music you play outside of the clubs, and how the video feed concept came to be?

JACK PHOENIX:   I call my style of DJing “Controlled Chaos” because I can keep a dance floor filled with high energy while going from one genre of music to another. I love to have my crowd go wild, have fun and dance their asses off.  I can go from a Goth to New Wave to Industrial to a dance song from the 90’s or 80’s (when I DJ my own nights) within the blink of an eye, and people would not stop dancing.  It’s that smooth transition and reading the pulse of the crowd, vibing off their energy, giving me that high I feed off of and giving it right back to them in the music that I KNOW they are needing to hear to get their blood flowing, their hearts racing and then giving it right back to me. Once that feedback starts it’s totally ‘Controlled Chaos’ looping between me and my crowd and it’s what I love best about being a DJ. That energetic high from sharing the music I love with others who love it as much as I do.

My music that I play outside of a club can vary as well.  I could be listening to Yes, Journey, Adele, Prince, Alice in Chains, Jane’s Addiction, Sarah Brightman, Depeche Mode, Beastie Boys, Delirium, Enigma, or whatever else I may be in the mood to listen to at the time.

The new video broadcasting I do was suggested by my best friend (and current webpage designer, see his link below) Blaine Perry.  He suggested trying something different along the lines of what his friend Michael Trixx does for his magic acts, and that was let people see him perform on the internet as well.  The video broadcast runs for the first 90 minutes while the whole two hour show is also broadcast on WFKU.com, and then the last 30 minutes is exclusive to the internet radio feed (links also below). It’s very new, but it’s been a great hit so far.  Sometimes I broadcast at my house, sometimes I broadcast while over at Blaine’s house.  People seem to love it, and it adds a new interactive feel as well.  I have been really enjoying it because I am a people DJ and seeing the chat liven up and the peoples comments on how they love the music, what memories it brings back and their own perspective of the song and the artist on the live feed is another aspect of that “Controlled Chaos” that totally energizes me!

06.  TRIBE4MIAN:  You’re pretty straightforward and unafraid to get to the heart of the matter.  Have you encountered many brick walls that forced you to try harder to attain your desires?

JACK PHOENIX:   There are people that don’t like to be called out on their actions-but if I have to do it then I do it in person. I won’t post negative stuff ever on my walls and call people out-unless you REALLY push me to even talk about doing it in the first place.  I know my place in the scene, and the authority I have in it as well.  I take care not to abuse my “influence” for lack of a better word. I’m here to unite the scene and help people get along NOT cause more divisions or drama.  In my groups there are no biases and banning of members just because people don’t get along.  I have a very simple rule:  No drama.  I hate it in my personal life, and won’t tolerate it in my groups either. But let’s face it, living life means we get the drama whether we want it or not regardless. It’s how we face those challenges, with honor, integrity and courage that determine how we not only look at ourselves in the mirror but how others perceive one, as well.

Can it make things harder though, if I speak my mind?  I guess so, but I never know what I am saying at times that offends or bothers someone as far as my opinion.  I figure if you asked for it, you are going to hear what I think because you wanted the truth not because you needed someone to tell you some sappy useless, nice things. Has this made me work harder? Oh hell yeah but I don’t regret any of the potholes or the inevitable negative BS that has happened when one has the balls ( or insanity …works both ways sometimes) to keep the faith in oneself and ones dreams.  It’s made me even more determined to do what I think is right and do what I love to do and keeping my groups open to be a stronghold for the Goth genre is a part of that goal.

07.  TRIBE4MIAN:  Prince.  How did he influence you and in what ways have you brought that into your performances.  As we await the final decree on the truly heartbreaking past couple of weeks, do you have any thoughts on the painful life he hid so well from the outside world?

JACK PHOENIX:   His influence has been immeasurable on me.  I watched and adopted the same approach to my public and private life as Prince did in his but probably not with the same intensity. Prince is known for his hunger to create and to control. He also was known to be one of the most well-known unknown pop stars of his time. His sound was a brilliant fusion of pop, rock and R & B that produced a sound that was uniquely Prince. For instance, I am quite known through my on-line groups and my years as a DJ traveling both nationally and internationally. I realize that.  But as far as my personal life, not many know what I like, do, date, and so forth.  I keep things close to my vest.  I won’t talk about family, friends, and personal situations in the public arena, and that includes Facebook as well. I’ve been called the most Introverted Extrovert people have ever met.

As far as my performances, I try to keep things loose, free flowing, and not have the same sound or songs all the time and yet keep the Controlled Chaos burning with the high energy I spin that is uniquely my own style. When I was DJing a gay club weekly, they would go months without hearing the same song (unless requested) after I played it, as my library is vast (Over 76,000 songs of many genres).

My thoughts of Prince hiding anything from the public, well, he always did that didn’t he?  When he first started performing and up until rather recent for his career, he never really talked or did interviews.  Dick Clark once said that his Interview of Prince on “American Bandstand” was the hardest interview he ever gave to anyone.  I watched it too, and all Prince did was nod yes or no.  No words for the most part.   It’s just how he was, uniquely and ultimately Prince, himself. And that’s what I took away from having Prince be my idol, learning and accepting to be myself.

08.  TRIBE4MIAN:  Favorite events you’ve had the pleasure to DJ in the past?

JACK PHOENIX:   I loved them all. I travel and get to meet new people, meet people I know on Facebook but have never met in real-time and see new cities instead of staying in the same area all the time.  I loved Dracula’s Ball with its vampiric theme. DJing and creating an atmosphere Gothic in its intensity, with the dark romance, aura of hidden danger and the sensuality, with the “all things nocturnal” theme of the ball combining with my music sound was mind-blowing.

04 Jack PhoenixWith my love of history and wandering, I really enjoyed checking out Philadelphia afterwards. Montreal Fetish Weekend was my first HUGE event and the crowd was totally into my music. The size of the crowd, the roaring of the music created a level of energy that had me riding high all weekend. One of my all-time favorites was the New Orleans Vampire Ball (which I did twice). It was incredible in that its dark theme synced so well with my Goth theme and its unique mix of Venetian Ball and Vampire Court made it a smash hit in my book. I also got to look around the city and check out landmarks mentioned by Anne Rice in her Vampire Lestat books and that it happened during Halloween made it even cooler. On subsequent trips, I met Dana Fairchild, who is an incredible promoter and whom I call a great friend.

09.  TRIBE4MIAN:  Does it really matter how people dress? Should Goths always be dressed as Goths or is it in one’s soul?

JACK PHOENIX:   I don’t think it matters. I will get flack for it from some people but we are all entitled to our opinion. If you saw me on the street you would have no idea that the person you just walked past was the owner of those 6 Goth/Industrial groups I mentioned before.  I dress in concert shirts of any style I feel, Blue Jeans at times or other colored pants, and so forth.   It’s what you feel inside, it’s your love for the music and love for the culture.  Not what you wear.  Anyone can wear the clothes, but you have to really be in love with the culture to understand it and consider yourself a part of it.

This is where I hope the message and goal of my groups comes into play. I started the groups initially as a forum where people of like-mind regarding Goth then industrial and now alternative styles can meet and promote events as well as exchange ideas. Then I saw silliness on how people were not truly Goth or this or that because they didn’t dress the part or didn’t talk the lingo but how else were they going to learn? So not only did I want my groups to promote UNITY but to also provide a safe haven for those who wanted to just mix and learn at their own pace and in their own time. If we don’t get new blood then we truly start to die and I am too stubborn to let that happen.

10.  TRIBE4MIAN:  Any favorite books and movies?

JACK PHOENIX:   There are so many.  It really depends on my mood.  I love Anne Rice and grew up on Stephen King.  I recently read all the Harry Potter Books and because of the movies started The Lord of the Rings.  I love Mick Mercer (He interviewed me) and I love reading reference and historical books on music because I am intrigued over when and where songs were sung and by whom and what has happened to these artists over time.  To know the background of a song is to know its heart and the reason why it exists in the first place.

05 Jack PhoenixOn a lighter note, I also love researching on the history of the city of Boston.  I love reading about and analyzing photos and/or pictures of Boston then and now. It makes one think about all the lives and things that have gone on before and how things both change and stay the same. It certainly helps me put things in perspective.

As for movies, they run the whole gamut from Road to Perdition, Lord of the Rings, Harry Potter, Donny Darko, any Star Wars or Star Trek Movie, The Pan Labyrinth, David Bowie’s Labyrinth, Milk, and pretty much any Disney and/or Pixar flick. I have to admit I am just a kid at heart.

11.  TRIBE4MIAN:  Funniest thing that happened while you were DJing.

JACK PHOENIX:   In 2010 I was at the New Orleans House of Blues DJing the VIP ROOM at The Vampire Ball Halloween.  Now there were bands that were performing at defined times between the DJ sets, and the headliners “Hate In The Box” had just performed their act.  The bass player had stayed behind to gather the cords for the equipment while the stage hands were removing the steel barriers that were placed around the stage area. I, and the other DJ, Travis Stutsman, were set up to play our music.  I didn’t want to have just dead air as everything was being put back into place, so I went through my library and found the song “Everybody Knows Your Name”, the theme to Cheers.   Being from Boston, I just decided it would be great to play.  Well, the patrons were standing there looking around, sort of looking confused, and obviously thinking “Hey, this is different, but cool”. The bass player stopped gathering his cords and wires, and pulled out his phone and had lit it up, then put it up in the air as if at a concert with a lighter, swaying his arm back and forth.  He, and the room, then joined in and sang along to the song!  It was a very cool, touching yet funny moment.  A room full of Goths, Steampunk and Industrial lovers in New Orleans all singing along to a soft pop TV show song that symbolizes BOSTON! Totally one of my favorite memories.

12.  TRIBE4MIAN:  Is the Internet helping the music lovers more than the old ways or is it confusing and tiring because of the amount of information that it provides?

JACK PHOENIX:   I think the internet has turned into the most powerful tool ANYONE can use to look up almost anything and this certainly applies to music as well. The trick is having the patience to sift through all the sites that are available to the average person and figure out which one is the easiest or most convenient to find information on.  I use sites from Billboard lists, to Rolling Stones Magazine, The Library of Congress, and university libraries all the time to look up bands I have never heard of before, or find out what are considered an artist’s most critical/influential albums if I am just delving into them as well as looking up significant events in a band or artist history.  I love using allmusic.com as one of my critical sites for gathering information.

06 Jack Phoenix

13.  TRIBE4MIAN:  You’re up and down the East Coast and have gone as far away as Canada and Bermuda to DJ events.  Upcoming events? Any European plans for the near future maybe?

JACK PHOENIX:   I have been able to DJ some wonderful events around the country such as Montreal Fetish Weekend in 2009, Dracula’s Ball in Philadelphia in 2011 and 2013 as well as Bats Day, which is a Goth-related Disney event in Anaheim, CA. Word moves about quickly between people amongst the groups so I m definitely hoping to get some international gigs in Europe though my next three events are going to be kind of local for me:

June 3, 2016 – The Steam & Silk Summer Gala – Manchester, CT

June 4, 2016 – Dreaming of a Spark?  Steampunking in the Park (Ade) 2 in Manchester CT

June 18, 2016 – Redemption featuring Failure 2 Comply & Xentrifuge

I am always looking for new people to connect with, new places to explore but most of all always looking to find new events that features the kind of Controlled Chaos that brings me the High when I am interacting with a slam on, party till you drop kick-ass crowd!

►BONUS QUESTION – TRIBE4MIAN:  Anything you’d like to add?

JACK PHOENIX:  Please, feel free again to check my new WEBPAGE for my upcoming events and accolades through the years (for which I am working on the page).

I love Stevie Ray Vaughan, and I thought that he was awesome to acknowledge that he didn’t make it by himself, he had influences, and he had help to get where he was when famous.  These are some of the fine folks in the scene that have helped me:

● MICK MERCER – For your support through the years, for thinking enough of me to INTERVIEW me, and just overall for your wonderful friendship.  And for being our scene’s living legend and its historian.

BLAINE PERRY – For his guidance and his help through the years – as well as  designing  my new website!  Feel free to check out his work HERE.

WHISKEY of WFKU.com – I’ve been  doing  an online radio show with him for so many years I forget now.  Feel free to catch not  just myself, but other great DJs that broadcast there, for all things Goth/Industrial!

● VICTOR ESCAJADILLO (D.j. Kuro) – For  his friendship and his wonderful  night that I have had the pleasure of DJing many times in the Boston area:  THE ATTIC

DJ PET (JAMES DATTOLO) – For his work in the New England Goth scene by not only having his night in New Hampshire that I have DJ’d a few times, RESURRECTIONbut also his work in the scene by making sure any Goth event  that happens has awesome sound and lighting through his hard work via his company, A CURIOUS PRODUCTION, LLC, which he has been hard at work at since 2007.

JULIE SIERRA-MONTES –  For her wonderful guidance and her editorial skills, as well.

TONY LEE (DJ ARCANUS) – For always being supportive and believing in me.  He’s an incredible DJ.  If he is in your area, do check out his sets!

CHRIS EWEN (as mentioned above) – For his musical introduction to the scene and his belief in me, as well as over a decade of friendship.

DARRYL MONTGOMERY-HELL – For being the music scene “Brother” I have grown to admire and love, and always learning from.

DANA FAIRCHILD and GINGER CHRISTIANSEN of WICKED WONDERLAND EMPIRE – For partnering with me through the years, allowing myself to be blessed by working with them, and for all the work they do to help the Goth Scene flourish, as well.

● And last, but not least, to all of those who help moderate the 6 groups I own, helping to make sure we have a place where all of you, the people who DO make up the scene, have a place to find out, post, and share amongst each other.  IF not for all of you in the groups keeping the scene strong, we wouldn’t be as united as we are today.  Thank you, everyone…

Thank you for a great interview, Jack!  It was certainly a wonderful AND informative time spent with you and we wish you the greatest of continued success!

QUICK LINKS:
FACEBOOK   |   RITUAL NOISE   |   RITUAL NOISE / FACEBOOK   |  MIXCLOUD

 

An interview with Martin Bowes

ATTRITION - Martin Bowes

Attrition return with a new album titled “The Unraveller Of Angels” (read HERE for more)
and are back on the road. We had the pleasure of asking Martin Bowes a few questions about
the album, the past and future plans.

1980 – 2013. You have been active for 33 years. From post punk to the internet era. How much did the changes affect the music world Attrition?

I get asked this a lot these days!… and i always say the same…of course…on the surface a lot has changed… technology in particular has totally changed things… the way we work… from writing to recording to production and mastering…and even cover designs… its all much more possible and affordable….and then how we promote and distribute our work that’s all changed too with the internet…. i really can’t imagine now how i used to organise tours in europe in the 80’s… writing letters to booking agents and saving up to call them from a phone box!….

so that’s all changed and is mostly positive… but… whats stayed the same are the skills you need and the amount of work you need to put in… and having the software does not mean you have the ability or time or energy to do everything… its no good making it all yourself if you don’t really know how to do it… well it is..we can do whatever the hell we want to….but maybe its not something anyone else wants to hear… and throwing a song out on iTunes and getting 13 likes on facebook does not make a promotional campaign… in those ways nothing has changed….

ATTRITION - The unraveller of angels CD coverFor “The Unraveller of Angels”, the latest Attrition album, you teamed up with US singer Tylean on vocals. How did this cooperation come about?

I came into contact with Tylean a few years ago through a mutual friend… and liked what she did… so i asked her if she’d like to perform in the live line up…and we did the UK and WGT in Leipzig and a Canadian tour… then had a little break…and i was bringing in guests for the “Unraveller of Angels” and she joined me again on vocals…. and i am very glad she did…she did an amazing job !

Guessing that you spend a lot of hours in The Cage Studios and apart from working on your own albums, what excites you the most when producing other artists’ music? How many albums have you produced so far?

Oh god i cant remember how many album’s i’ve produced so far… a good many… and a lot of remixes and mastering too… keeps things varied… i love working on other artists music..especially when i get free reign on the musical ideas…or at least a fair amount of freedom… which doesn’t happen all the time… and i learn from them too… which is how it should be… i used to teach music technology part of the time but now that’s rare and the studio is my full time thing… my “proper job” if you like…(even though i never wanted one!…)

i recently put out a free downloadable compilation of my work in my studio…to celebrate the first 20 years…. if you would like to listen to it…click HERE

What is the story behind “The Unraveller of Angels”? What inspired you and how long did it take to finish it?

I took about 4 years over “the Unraveller…” which was quite some time… after all the albums i made i decided i wasn’t going to rush this one… and i didn’t…although i was also distracted by my other studio work…and spent a while writing our first full length film score last year too…”Invocation“… i think that slow growth helped “the Unraveller…”…i had time to take the ideas further than i had done on previous albums…

Like all the albums i’ve made they are inspired by my life and my experience of everything around me… social, political, emotional… they are very often like audio photo albums of the times they were made when i look back at them… “The Unraveller of Angels” refers to that search for beauty and love and purity and the attempt to set it free from that binds it… something i think we all do…

You also do soundtracks for movies. How did this come up? Is it because you like watching movies in general? If so, which are your favorite ones?

I’d done some short film scores before and had my music used in a lot of independent films…but the first full length film score was last years “Invocation”…i wrote with my wife Kerri… it was a challenge… quite scary to start with an 85 minute long blank canvas to fill…. but we did it… and i am very proud of it…. it was released on CD last November through Russian label Infinite Fog…

I do like films…its often a welcome change to music all day to watch a film… and i love horror films… well ones that challenge me… and Zombie films i cant get enough of….and surreal and dark TV series and movies… the original Prisoner series from the 60’s is incredible…and David Lynch is one of my favourite directors… and comedy… i started on Monty Python when i was a kid..staying up late to watch the series with my dad in the 70’s…. not a bad start to life…

Attrition played in most of the countries of the western world. How different is the feeling of recording in the studio and playing live in front of an audience? Which gig of yours will stay with you for the rest of your life?

I love recording as much as performing live…they are totally different experiences…one is more internal and intellectual… one is the taking what you have found and created out to the world… for all the good and bad in that…. its hard work on the road…but the rewards are so worth it…the experience…the people…the places… most of my best friends i have met on tour…

i remember most of the shows…. i have a good memory like that… and there’s a thousand stories to tell… i wont name any one in particular…they all mean a lot in different ways…

Which artists influenced you?

so many…. musically it started with Bowie and the Velvets and Roxy Music… then punk came along and that really changed my life…. Pistols and Clash and Crass and Wire and TV Smith… so many… then post punk ..PIL and Magazine and i don’t even need to mention Joy Division do i….and then the electronics… Kraftwerk…early Human LeagueCabaret Voltaire… and then i looked back at classical music and early Dylan and rock n roll…. Cash to Presley to Holly… oh thats enough of a shopping list

You have a number of great guest musicians on “The Unraveller of Angels”. What made you chose them? (Some ask for the help of friends, some just go directly to the ones that would play the right thing for an album…some other times you just listen to someone playing and you want to work with him…)

Well as i worked on songs i would be talking to friends…and a lot of my friends are musicians…so it just came about…i’d ask them to try something…it didn’t work with everyone… i am really pleased to have Mona Mur on guest vocals on the “Karma Mechanic” and Anni Hogan on piano on some songs (she’s worked with Marc Almond and Nick Cave in the past)…and Matt Howden on violin… and Erica Unwoman on cello…and Jyri and Joanna on violins and Ian Arkley from the amazing doom metal band My Silent Wake on guitar… i was lucky to have them involved,…they added so much to my musical ramblings…

What is next for Attrition? I know you’re currently working with filmmakers on a documentary and music videos to accompany “The Unraveller of Angels”, and you plan on touring Europe, North and South America, and New Zealand…

Always something coming…. there is a documentary being made with french film maker Daniel Gouyette… it will take a year or so to complete…there are interviews with other bands and labels to include in it……it will be worth it!…. and he is also completed 4 music videos we did the filming for… more short films…we plan a special DVD release for these…

and then here i am working on the first release for a side project..Engram… and various Attrition rarities…including the recording of our first ever show in decemeber 1980… totally unreleased songs… i think its about time they see the light of day in all their rawness…

Live we started touring for the “unraveller..” in Greece/UK and Canada so far this year and plan the USA/Germany/Chile/Brazil and other European shows soonish… then there’s new material i have only just started on….

Its busier than ever here… and its a damn fine way to be

Thank you for the interview Tribe4mian

here is the link to listen to “The Unraveller of Angels

Martin Bowes. Coventry. England. 2013

www.attrition.co.uk
www.facebook.com/ATTRITIONMUSIC
http://attritionuk.bandcamp.com/
www.youtube.com/user/attrition
www.thecagestudios.co.uk

Thank you very much for this interview Martin…

 
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Posted by on July 23, 2013 in Goth, etc., Interviews