Deathrock.com

Who knew?

Punk is Jewish.

Or, anyway, these fellows are: Tommy Ramone, Chris Stein, Lenny Kaye and Handsome Dick Manitoba, four New York godfathers of punk who packed an auditorium Thursday night at the YIVO Institute for Jewish Research to excavate the unlikely roots of the rebellious and stripped-down 1970s rock genre, replete with fascist trappings.

“People don’t associate punk rock and Jews,” acknowledged Mr. Ramone, born Tamás Erdélyi in Budapest. He is the sole survivor of the Ramones, whose other members — Joey, Johnny and Dee Dee — he joined in taking the same stage name.

Yet connection there indisputably is, Steven Lee Beeber argued in his 2006 book “Heebie-Jeebies at CBGB’s,” subtitled “A Secret History of Jewish Punk.”

“The shpilkes, the nervous energy of punk, is Jewish,” Mr. Beeber wrote. “Punk reflects the whole Jewish history of oppression and uncertainty, flight and wandering, belonging and not belonging, always being divided, being in and out, good and bad, part and apart.”

Punk’s New York origins as a do-it-yourself, three-chorded return to music basics — and a fashion style and attitude — were no accident, said Richard Bienstock, a senior editor at Guitar World magazine who curated the forum. “It’s New York,” he said, “and anything that starts here, there’s a good chance Jews are involved.”

So there they were, onstage at 15 West 16th Street — “Loud Fast Jews,” as YIVO billed them — Mr. Ramone, 60; Mr. Stein, 59, of Blondie; Mr. Kaye, 62, of the Patti Smith Group; and Mr. Manitoba, 55, né Richard Blum, bar owner, radio host and lead singer of the Dictators.

The program raised some eyebrows at the Jewish institute, said YIVO’s cultural director, Harold Steinblatt, a former Guitar World editor.

But Mr. Manitoba dismissed concerns. “You can do what you want with your own people,” he said. “It’s the law of the playground.”

And if at times the byplay seemed to take on the zaniness of “Spinal Tap” — one questioner misheard Mr. Kaye’s reference to “the germination of punk” as “the German nation of punk” — there was also a serious issue in contention: how did Jewish punk rockers defend their use of Nazi symbols and other shock imagery?

It was a complex matter, allowed Mr. Ramone, who had family members who were killed in the Holocaust. “To bring forbidden things, horrible things, and make art of it was basically an artistic thing,” he said. “There’s an aesthetic effect when you take your deepest fears and try to get a grasp on it and try to make humor out of it.”

Mr. Manitoba conceded doubts. “I cried at ‘Schindler’s List,’ ” he said. “I don’t like to think I caused pain with ‘Master Race Rock.’ ”

“The sensitivity thing is a difficult subject,” he added. But the Dictators’ stage persona “has nothing to do with Nazis or people’s pain.” Instead, he said, it had everything to do with snotty young New Yorkers “doing it to get attention.”

Mr. Kaye said, “Sometimes, using forbidden imagery makes it your own.”

He added, “Punk rock really took a lot of symbols and turned them on their back.”

Either way, the uglier trappings were not to be taken seriously, Mr. Kaye said. “The Dictators were humorous in some ways.”

Mr. Manitoba rose up in mock protest. “What do you mean ‘in some ways’?” he said.

Like Jews elsewhere, the four represented varying degrees of Jewishness. Mr. Manitoba recalled losing his place reading his portion of the Torah at his bar mitzvah. “After the bar mitzvah?” he said. “I bought a pound of pot.”

Mr. Ramone said he attended a yeshiva of the Lubavitch Hasidim in Brooklyn, “but I really didn’t fit in — there were no girls in the class.”

Mr. Stein, who grew up in Flatbush, Brooklyn, said: “Religious affiliation didn’t mean anything to me and my friends. I’d be hard pressed to think ethnicity has something to do with my music.”

Mr. Kaye said he was “raised traditional,” but later went to synagogue only on the holidays.

“Actually,” interjected Mr. Manitoba in a burst of clarity, “several pounds of pot.”

Many of the 250 in the audience thronged the foursome afterward, soliciting autographs. “This was fantastic,” said Fritz Freidenberg, 49, a musician from Los Angeles wearing the T-shirt of his band, the Bloody Brains. Before the show Mr. Freidenberg had not known of the group’s collective heritage.

“I knew that Tommy was Jewish, that’s all,” he said.

The debut LP of Swedish band “Light In You Life (“Sleazy Romance” in the past)” presents a rather interesting example of modern sentimental indie-rock. All ten tracks that are included in the album change each other naturally and composed in united melancholic manner. However it’s not always a light melancholy. Generally, the greatest part of “Light In Your Life” music on this album is saturated with passion, emotionality, inner breakdown and sometimes even disposition to hysteria and despair. While listening, it’s not difficult to imagine that lyrical hero of these songs has really lost all and continues to live on only by memories. Thereby, considering sincere and emotional lyrics of album with sometimes pubertal background, this album could be a wonderful soundtrack for broken love story
Track-list of the album consists of ten tracks: seven tracks are brand new and three other ones (“Emily Scott”, “Geldof”, “Song About Love”) came from the “Sleazy Romance” period of the band. Today the new versions of old songs seem to be more distinct, integral and suit well the rest of the songs. Probably, they are still the best part of the release. Speaking of brand new tracks it’s important to mark contemplative “Do You Know I Tried To Comfort You When You Cried In Your Sleep” track & and pensive “Psych”.
So, in the debut album of “Light in Your Life” we’ve got checked and unified musical surface which has in some way parallels with art of “Jesus And Mary Chain”, “Interpol”, “My Bloody Valentine” and many other modern indie-rock bands. Although there are no evident novelties in today’s musical concept of “Light in You Life”, there’s no way to disclaim the interest and seriousness of musicians to their activity. It is doubtful whether this release could be counted as breakthrough or something universal for European indie-rock scene, but, definitely, it’ll find its audience attracted by its sensuality, sincerity and love pessimism. Nice work.

By Phil (C)

http://www.myspace.com/liylmusic

Tracklist:
1. Emily Scott (5:20)
2. We Could Be There (4:43)
3. Sleeping Bag (4:35)
4. Geldof (4:52)
5. Do You Know I Tried To Comfort You When You Cried In Your Sleep (4:13)
6. Song About Love (4:42)
7. It Would Be Fine (4:12)
8. Smile That Smile (5:35)
9. Christian (4:43)
10. Psych (6:50)

Porcupine Tree are happy to announce the forthcoming release of their tenth studio album "The Incident". The record is set to be released via Roadrunner Records worldwide on 21st September, as a double CD.

The centre-piece is the title track, which takes up the whole of the first disc. The 55-minute work is described as “a slightly surreal song cycle about beginnings and endings and the sense that ‘after this, things will never be the same again’.”

The self-produced album is completed by four standalone compositions that developed out of band writing sessions last December - Flicker, Bonnie The Cat, Black Dahlia, and Remember Me Lover feature on a separate EP length disc to stress their independence from the song cycle.

Video footage of the band in the studio working on The Incident, as well as audio previews, will be available online soon. The band will tour extensively to promote the album from mid September onwards.


http://www.porcupinetree.com
http://www.myspace.com/porcupinetree

PUNK GIGGERY (http://mickmercer.livejournal.com/954525.html)


400 pages, with 505 photos, this contains a mixture of live reviews from my old fanzine, or from my time writing for papers and magazines, as well as live photographs from my collection, the majority previously unpublished: Action Pact, Adam & The Ants, Adicts, Advertising, The Adverts, Afghan Rebels, The Albertos, Alternative TV, ANL Carnival, Another Pretty Face, Auntie Pus, Balloons, Bernie Torme, Bette Bright, Black Arabs, Blondie, Bollock Brothers, The Boyfriends, The Boys, Brian’s Brain, The Carpettes, Chelsea, Cherry Vanilla, The Clash, The Cortinas, The Cravats, Cut Out Shapes, Dafne & The Tenderspots, The Damned, The Dark, Dead Man’s Shadow, The Defects, Delta 5, Dicks, The Doll, Dolly Mixtures, Eleventh Commandment, English Subtitles, Essential Logic, Fatal Microbes, Fruit Eating Bears, Gang Of 4, Generation X, Gloria Mundi, The Heartbreakers, Herman Asteroid, The Homosexuals, The Hormones, Housewives Choice, Iggy, Ignerents, The Inmates, The Innocents, The Jam, Jayne County, Johnny Curious, Johnny Moped, Johnny Thunders, The Leopards, Licensed To Kill, Lightning Strikes, Mad Dog, Mancubs, The Mekons, The Milk, The Mo-Dettes, The Molesters, Naked Raygun, Neo, New Hearts, Nicky And The Dots, The Only Ones, The Outsiders, Patrick Fitzgerald, Pauline Murray & The Storm, Penetration, Phil Rambow, The Piranhas, Plummet Airlines, The Pretenders, Punishment Of Luxury, The Rezillos, Rich Kids, The Rings, Riot Clone, Rubella Ballet, The Ruts, Sadista Sisters, The Saints, The Satellites, The Screen, The Sect, Security Risk, Sham 69, Shelley’s Children, Siouxsie And The Banshees, Ski Patrol, The Skids, Slaughter & The Dogs, The Slits, Snatch, Snuff, Some Chicken, The Specials, Spermatic Chords, Spizz, The Stupids, The Sustained, Temporary Title, Tenpole Tudor, Truth Club, TV Smith, TV Smith’s Explorers, UK Decay, Ultravox!, Undertones, The Vibrators, The Visitors, Volcanos, Wayne County and The Wimps.

http://www.lulu.com/content/paperback-b ... er/7253268

PUNK INTERVIEWS, Volume 1 (http://mickmercer.livejournal.com/952351.html)


I will spread my announcements about my first four books of Punk material - my interviews, material from my fanzine Panache, and all the photos to which I own copyright - out over the next few days, although the urls for all completed books are at the end of this entry. I have completed these three interview books, as well as the ‘Punk Giggery’ (live coverage) one, with three giant image-based books to come later this month.

PUNK INTERVIEWS, Volume 1 is 256 pages, and includes 215 photos, most of which have never been published. It contains interviews with Action Pact, Adam And The Ants, The Adverts, Angelic Upstarts, Bad Dress Sense, Bernie Torme, Bow Wow Wow, The Carpettes, Charge, The Cravats, The Destructors, Dead Man’s Shadow, Elephant Talk, English Subtitles, The Fits, Genius Freak, The Iconoclasts, Invisible Girls, The Leopards, The Membranes, Naked Raygun, Paul Weller, Pauline Murray & The Storm, The Photos, Playground, Rat Scabies, Riot Clone, The Rods, Security Risk, The Shout, Siouxsie And The Banshees, Ski Patrol, Tenpole Tudor, TV Smith’s Explorers, The Vacants, Vice Squad and Andy Warren.

You need to join Lulu.com before buying, but DON’T pick their express postage which is far too expensive! Just use the normal flatrate/economy options. (Buy a few books and the postage rates are fine.)

http://www.lulu.com/content/paperback-b ... er/7253840

PUNK INTERVIEWS, Volume 2 (http://mickmercer.livejournal.com/953056.html)

This volume is 252 pages, and includes 214 photos, most of which have never been published. It contains interviews with and articles on: Action Pact, Adam And The Ants, The Adverts, Animals And Men, Another Pretty Face, Basic Punk Noise, Blyth Power, Cadaver Finesse, Chelsea, The Cravats, Destructors, Dead Man’s Shadow, The Fits, Heza Sheza, Johnny Bivouac, Lighting Strike, Marital Aids, Martin Atkins, Medium Medium, The Membranes, The Message, The Molesters, Neo, The Only Alternative, Pauline Murray & The Storm, The Photos, Playground, The Sect, Ski Patrol, Temporary Title, Tenpole Tudor, TV Explorers, UK Decay and Wendy Wu.

The main thing it reads well and will keep you occupied for ages. It’s also stuffed full of rare pics. Don’t forget though – don’t use their express post, as it costs way over the odds, only go for economy airmail, and flatrate inland domestic if you live in the US or UK. Like most publishers if you buy a few books the combined postage works out as normal.
http://www.lulu.com/content/paperback-b ... er/7254733

PUNK INTERVIEWS, Volume 3 (http://mickmercer.livejournal.com/953167.html)


Yes, it’s Volume 3 of the divine Punk series, which completes the Punk Interview series. I should point out that these book contain some of my favourite bands, naturally, and so I can respectfully observe they not only contain enchanting rare images but the words and thoughts of some of the finest bands this country has created. It all provides a fascinating extended shapshot of the most potent period of musical creativity we have so far witnessed, exciting in retrospect in an endearing way, enlivened by some particularly capricious wits as well.

244 pages, containing: Action Pact, Adam & The Ants, The Adverts, Another Pretty Face, Boowy, Captain Sensible, The Carpettes, Chron Gen, The Damned, Dan, The Dark, DCL, Dead Man’s Shadow, The Defects, The Diodes, The Enemy, Fugazi, The Kid, Kill Ugly Pop, Lightning Strike, Max Splodge, Medium Medium, The Membranes, Penetration, The Photos, Playground, Riff Raff, Riot Squad (UK), Snuff, The Stilletoes, Temporary Title, Tenpole Tudor, Terry Nash, Topper Headon, Toyah, TV Smith’s Explorers, The Uglies, The Vacants and Yr Anhrefn.

http://www.lulu.com/content/paperback-b ... er/7255615

The eleventh studio album everlasting New Model Army is called "Today Is A Good Day" and arriving September 15th.

North American Tour

We are happy to annouce the confirmation of a month long North American Tour starting on the 15th September 2009, subject to the usual visa applications, and very happy to announce our first show for 16 years in Vancouver (The Balmoral, October 8th).

June, 20 2009 08:00 PM - Tommystock Benefit - Cheese And Grain
, Frome, United Kingdam, -

July, 12 2009 08:00 PM - Open Air Folk Festival - Justin solo
, Vienna, Austria, -

July, 18 2009 08:00 PM - Jarocin Festival
, Jarocin, Poland, -

August, 8 2009 08:00 PM - Black Noise (Fekete Zaj) Festival - Justin and Dean solo
, Matrafured, Hungary, -

September, 15 2009 08:00 PM - Khyber
, Philadelphia, Pennsylvania -

September, 16 2009 08:00 PM - The Saint
, Asbury Park, New Jersey -

September, 18 2009 08:00 PM - The Haunt
, Ithaca, New York -

September, 20 2009 08:00 PM - Lee’s Palace
, Toronto, -

September, 22 2009 08:00 PM - Blind Pig
, Ann Arbor, Michigan -

September, 24 2009 08:00 PM - Triple Rock
, Minneapolis, Minnesota -

September, 25 2009 08:00 PM - Club Garibaldi
, Milwaukee, Wisconsin -

September, 26 2009 08:00 PM - Reggie’s Rock Club
, Chicago, Illinois -

September, 29 2009 08:00 PM - 31st St. Pub
, Pittsburgh, Pennsylvania -

September, 30 2009 08:00 PM - Rock & Roll Hotel
, Washington D.C., -

October, 1 2009 08:00 PM - TBA
, New York City, New York -

October, 3 2009 08:00 PM - Knitting Factory
, Hollywood, California -

October, 4 2009 08:00 PM - DNA Lounge
, San Francisco, California -

October, 6 2009 08:00 PM - Fez Ballroom
, Portland, Oregon -

October, 7 2009 08:00 PM - El Corazon
, Seattle, Washington -

October, 8 2009 08:00 PM - The Balmoral
, Vancouver, -

October, 10 2009 08:00 PM - Cervantes Ballroom
, Denver, Colorado -

October, 11 2009 08:00 PM - Launch Pad
, Albuquerque, New Mexico -

October, 12 2009 08:00 PM - Club Mardi Gras
, Scottsdale, Arizona -

December, 17 2009 08:00 PM - Forum
, London, United Kingdom, -

December, 18 2009 08:00 PM - La Maroquinerie
, Paris, France, -

December, 19 2009 08:00 PM - Palladium
, Koln, Germany, -

December, 20 2009 08:00 PM - Melkweg
, Amsterdam, Netherlands, -

http://www.youtube.com/watch?v=HulkKvekuUI

Inspired by studio iconoclasts ranging from Brian Wilson to 808 State, Busch’s genius clearly stems from her background as a sonic nerd: she collects vintage synth and weird sound gear and writes about it on her very cool blog, AnalogSuicide http://www.analogsuicide.com/ . Even cooler is how Busch brings you into her process of creativity: with filmmaker Maf Lewis, she has created a fascinating nine-part YouTube documentary showing in great detail how she meticulously put together the “Daniel” remix in the studio ( http://www.youtube.com/user/tarabusch ). It makes us yearn for Busch’s upcoming album, Pilfershire Lane, to be released by the great electronic music imprint, Tummy Touch: with kaleidoscopic technique, even Brian Wilson might be proud…
http://www.youtube.com/watch?v=8OkB6jNxwXU

1st June - At The Bull & Gate, Kentish Town, London

JOY DISASTER -- Dark indie from France (but they sing in English),
along the lines of Interpol or She Wants Revenge, who put on unstoppable live performance.
Let's give them a good turnout for their first ever UK headline gig!
http://www.myspace.com/joydisaster

DESCENDANTS OF CAIN -- London prog/goth rockers in the vein of Fields of the Nephilim,
back with a new album and lineup. Catch them before they conquer Europe!
http://www.myspace.com/descendantsofcainofficialpage

AVANT-GARDE -- Rome three-piece darkwave/goth band, making their UK debut.
For fans of The Cure and Echo and the Bunnymen. Get there early and check them out!
http://www.myspace.com/avantgarde1994

Plus DJs Psyche (Departure), Cavey Nik (Dead & Buried) and Speakmarauder (Brave Exhibitions).

Doors open at 7:30 p.m. Tickets £7 in advance, £7.50 on the door,
available online at http://www.dj-psyche.net.

Following the extremely frustrating legal problems that surrounded and mostly shut down Danger Mouse’s collaborative Dark Night of the Soul record, renowned director David Lynch has put in his two cents. Lynch, who was directly involved with the project, told the Guardian that the record label’s restrictive mentality was, unfortunately, indicative of the way major labels operate.

"Sometimes the house burns down and you build a new one,” Lynch said. “Because the world is so, so completely backwards and absurd, people think it's strange or an exception to have freedom to create something… It's ridiculous. The exception should be that sometimes people do not have freedom. What went wrong?"

Danger Mouse also added: "The whole idea was to bring little bit more imagination back into music. I've missed a lot of that and when I was younger it seemed easier to do than it is now." Fortunately, a book with Lynch’s photographic contributions to the project has been published, and can be purchased here.
http://www.dnots-store.com/dark-night-o ... oster.html
David Lynch Dark Night of the Soul
http://www.youtube.com/watch?v=QsNTH5gi4xE

ED NOTE: This interview was done for Unterberger's new book
White Light/White Heat: The Velvet Underground Day by Day, available from Jawbone Press.
http://www.amazon.com/White-Light-Heat- ... 917&sr=1-2

The Velvet Underground & Nico--colloquially known to the ages as "the banana album," in honor of its distinctive Andy Warhol-designed cover--is today recognized as one of the greatest and most seminal rock albums of all time. Until relatively recently, however, the contributions of one of the figures most responsible for arranging and running the April 1966 sessions yielding the majority of the tracks have been relatively unknown and overlooked. While Norman Dolph takes no credit beyond his due for the groundbreaking music unleashed on the banana album, it was he who procured the studio time, co-financed the recording, and essentially acted as a co-producer of sorts for those sessions.

When he crossed paths with the Velvet Underground in early 1966, Dolph was a sales executive for Columbia Records, his main job being in Columbia's Customs Labels Division, which provided services for smaller labels who didn't have their own pressing plants. He'd recently made the acquaintance of Andy Warhol in the course of his side job of supplying music with his mobile disco for art gallery shows and openings. He'd also noticed that one of his accounts, Scepter Records--then most famous as the home of Dionne Warwick, having also landed quite a few '60s pop and rock hits with the likes of the Shirelles and Chuck Jackson--had its own recording studio.

When the Velvets and their management were ready to record their first album in April 1966, it was Dolph to whom they turned when they needed to acquire professional studio time. For good measure, Norman also split the costs for the sessions with the VU's management. He even, along with engineer John Licata, ended up pretty much running those sessions, though neither he nor Licata were credited on the original LP (an omission rectified on subsequent editions in the CD age, where both were eventually credited as engineers).

Nine songs from these sessions--which took place over the course of a few days at Scepter Records Studios, probably spanning approximately April 18 to April 23 of 1966--were almost immediately pressed onto an acetate that Dolph took to his employers, Columbia Records, in hopes of gaining a record deal for the Velvets. Columbia in turn almost immediately turned them down. Yet the takes used for six of the tracks ("Femme Fatale," "Run Run Run," "All Tomorrow's Parties," "I'll Be Your Mirror," "The Black Angel's Death Song," and "European Son") on the acetate were eventually used--with some remixing – on the banana album when it was finally released in March 1967, though the three other tunes on the acetate ("Heroin," "I'm Waiting for the Man," and "Venus in Furs") were re-recorded after the Velvets signed to MGM in May 1966. Now widely bootlegged, an original copy of this acetate sold on eBay for around $25,000 in December 2006--one of the highest prices ever paid for a disc of any sort containing musical recordings.

I spoke at length with Norman Dolph about the Velvet Underground's April 1966 recording sessions on December 16, 2007 for my book White Light/White Heat: The Velvet Underground Day By Day, a comprehensive chronology of the Velvet Underground's career drawing on nearly 100 first-hand interviews.




Q: Had you seen the Velvet Underground before you recorded them in the studio in April 1966?

ND: I'd done a little more than see them. Back in that point in time, I had started what was the first mobile disco in the New York area, for all I know the first one in America. I was doing mobile disco around the area, all kinds of places, and I did a lot of mobile disco for artists and dealers in the art world. That's how I first met Warhol. I had done parties for him and parties for his dealer, and that sort of thing. And propitiously in those cases rather than taking cash, I took a little picture. I've always been an art collector, and I am now, and so I would do opening parties and loft parties and all kinds of things in exchange for works of art. When they did the thing at the Dom, they used me to do the sound in between the sets of the Velvet Underground. The Velvet Underground would have fairly long sets, as I recall, and I would play disco in between for twenty to thirty minutes, something like that. So that is how I first encountered the group, doing the in-between music at the sets at the Dom [on St. Marks Place in New York's East Village].


Q: What were your impressions of those shows at the Dom, where the Velvet Underground had a month-long residency in April 1966?

At the Dom, it was really effective in terms of the layout. You had an impression of a light show as something totally revolutionary independent of the music. But the music was clearly without precedent. I don't think I or anybody had heard anything like it. My own reaction, it would have to be just, "My god, what is this?" Because the whole experience, between the music and the lights and Gerard Malanga with the whip...he would carry around a 16- millimeter projection, a huge actual projector, and shoot images on other people and on the wall. If the word "psychedelic" had any meaning at all, that's what it was.


Q: It's been reported that you helped name the Velvet Underground's multi-media performance the Exploding Plastic Inevitable.

Yes, that's true. The question is whether it would have been the Erupting Plastic Inevitable or the Exploding Plastic Inevitable. Warhol was not at that meeting, as I recall, but [filmmaker and Velvet Underground co-manager] Morrissey was. That was kind of the preliminary chit-chat about the recording sessions and the nights at the Dom. It took place in my apartment on 56th Street, and there was John Cale and Sterling...I don't believe Lou Reed was there, and Morrissey came to the meeting a few minutes late. I forget what we were talking about beforehand. The whole meeting didn't take a half an hour.

Morrissey came in, and he says, "Oh, we're thinking of this name, which do you like better? Exploding Plastic Inevitable, or Erupting Plastic Inevitable?" I think he asked around if anybody else had any other ideas. But that was the first thing he said--"Oh, I've been with Andy, and I like one, and Andy likes the other. What do you think?" It was just about as casual as I've just told you. It was not a big "let's all take a vote" kind of deal. But when Morrissey entered the room, he presented us with two choices. Really, we weren't gonna have any vote in what the choice was, other than just "what do you think, blah blah blah." I think that Morrissey said, "Yeah, we'll go with the Exploding Plastic Inevitable." Whether that decision had been taken officially at the meeting that Morrissey had with Warhol beforehand, or if it was still in flux, I don't know. But the impression I got was Morrissey had kind of made that decision, or Andy had it imposed on him, but it was made by the time that meeting took place.

[Author's note: the decision might have been made at the last minute, as the very first Village Voice ad for the Velvet Underground's Dom shows on March 31, 1966 announces, "Come blow your mind. The silver dream factory presents the first Erupting [sic] Plastic Inevitable with Andy Warhol, the Velvet Underground, and Nico." Thereafter, the event was always referred to as the Exploding Plastic Inevitable.]


Q: When did the Velvets and their management start talking about recording tracks in the studio?

It seemed to me that at the nights at the Dom, the first or second, Warhol said, "Oh I'd like to make a"...Let me just run off at the mouth a little about Warhol. I certainly can't number myself among his closest friends, but I knew him probably as well as many people do, and he was a genuinely gentle guy. Regardless of whatever's said about him, I never certainly heard him scream at anybody. And you had the feeling that there was nothing sexual about him at all. It was as though he were a college professor at Amherst or some such [thing], you know what I mean? And about 80 years old, in that sense, from the point of view of dynamism and all. He was very soft-spoken, he always laughed when he talked, and you never knew when he was serious or when he wasn't, because I think the line between what it serious and what isn't actually probably ends with Warhol in human culture.

But he said, "You know, well, we'd like to do an album of them, a record." At that time, I'm working for Columbia full-time. I said, "I can help you with that." He said, "Oh really? Okay, good. Do it." I think he did that with a lot of people, to the extent that if he found somebody that could do what he wanted, he'd just say, "Do it." And they would, whether it was appear in this movie or go out for pizza, whatever it was. He never gave a lot of orders that I ever saw. He just made suggestions and people took him up on it. He had plenty of people around there to do anything he wanted.

So since I was in the record business and I said, "I'll take care of that," he said, "Oh, great." That's the beginning and the end of the suggestion process from my knowledge. He didn't ask me any questions about do you know this studio or that engineer or this producer or any of that. It was none of that. It was, "We'd like to make a record," and I said, "I'll take care of it."


Q: There's a letter from John Cale to a friend from December 2, 1965 indicating that the Velvets were making demos for Tom Wilson, who was a producer for Columbia at that point. Were you aware of anything like that happening, as you were also at Columbia then? And is it possible they wanted to record this material with you and submit it to Columbia because they had some kind of prior connection with Wilson, who did end up signing them to MGM shortly afterward?

If there is a letter dated '65, I certainly know nothing about it. To get a little ahead of the story, we cut this reference acetate [from the April 1966 sessions], and I sent it to Columbia, along with a cover letter to the A&R department to determine whether they would be interested in the group. I got the acetate and a rejection notice back very swiftly saying that no, they were not. But it was not, to the best of my knowledge, expressly directed at Tom Wilson. It was directed at A&R in general.


Q: It seems that the Velvet Underground wanted to record an entire album for prospective commercial release at these sessions, and not a demo to be used for getting a record contract. Is that correct?

I think the thing that supports that theory is that at no time was what we were doing ever referred to by anybody as a demo. I mean, they were going for the jugular. They wanted to make a record that sounded like they sounded--it was not a demo for anybody. It was a record that they were making.


Q: What was your specific role at the actual sessions?

I was not the producer in any sense that Quincy Jones is a producer. The only thing I would say is because they were doing it on my money--and we had limited time resources fiscally, 'cause we were always bumping up against commitments that Scepter had in the studio--that I kept the thing on the rails. And it's also quite highly probable to say if they had made the same record, and I had not even been anywhere near it, it would have been ultimately played out the same way. But I think part of the way the record sounds the way it sounds is because of [engineer] John [Licata] and I keeping it on the rails, to keep the damned thing going and moving. You know what I mean--"okay, next take, let's do it, blah blah." I think that's my contribution as a producer.


Q: What were Scepter Studios like as a place to record?

It was a small floor to begin with, half of which had been converted into this studio. And there was a long hallway; on one side of this hallway were offices. The other side of this hallway, they had walled up and made into this studio. The control room had a glass wall looking into the studio, and it also had a glass wall looking out to the hallway. Some people could walk by and kind of see what was going on in the control room, even though they couldn't really see what was going on in the studio, unless they happened to stand in a particular place to be able to look through the window into the control room, and out again into the studio. [The] studio had a two-track [machine] and a four-track [machine]; the master was four-track.

The studio itself was small, certainly by contemporary studio [standards]. But they often recorded fairly large ensembles. They recorded a big orchestra behind Dionne Warwick, and they recorded gospel choirs in there. But they were always very crowded. It wasn't Columbia's 30th Street [studios] or some such. Once you had everybody in there, they had to pretty well stay put, because there wasn't a lot of room to move around.

It seemed to me that the instruments, as heard live in the studio as opposed to on the other side of the glass, were being played rather loudly. You would ordinarily expect if they were gonna play that loud, they would be in a much larger room to get some isolation between one and the other. But there could have been little separation or isolation in any kind of modern sense in that room, considering how loud they were playing. The adrenalin quality of it, I think, was because we knew had eight hours, and they wanted to get on with it, and I wanted to get on with it. Anytime they'd break down, I'd stop the tape and we'd start over. I don't think there are two different complete takes on more than one or two songs. I'm not even sure the breakdowns were saved. They may have just reused the tape.

The control room was not very large, either. I remember Licata was there 100% of the time, and I'm there 100% of the time, and Morrissey was there much of the time. And Warhol was there on occasion. He would come, and he had his little tape recorder, which he carried all the time. I seem to remember him there probably for about two hours in the aggregate over maybe three occasions. We did the work over parts of four days.


Q: What did Warhol do at the sessions themselves?

He was totally fascinated by what was going on, and I don't think he made any aesthetic judgment whatsoever. "Oh I like this better than I like that," or "Gee that sounds good" might have been it. He was a spectator.


Q: Could you talk about the roles of the individual Velvets in the recording?

They were quite clear what they wanted to do. There was never, "Well should we do this, should do that, oh, I don't know, what do you think?" None of that. There was, "let's do it," you know what I mean. It was very forthright. You had an impression that Sterling [Morrison] was an important pair of ears in all of this. I don't know that anybody really told Lou Reed what to do or what they thought or whatever, but you had the feeling that musical decisions were being made largely by John Cale. But that it was sort of in conference with Sterling. Moe [Tucker] was very quiet in the whole thing. I don't think I heard her speak ten words. She might have spoken with them on the other side of the glass, but when she'd come in to listen to something, she'd stand there and listen and then go back. She was a very quiet woman. And Sterling too was quiet, but you had the sense that he was not ignored.

I would say anything to do with a vocal performance where Lou Reed is singing, nobody influenced that at all. If it was a thing where he was the focus of what was going on, he was it. But to the extent that it involved an ensemble, I would think that the credit fell to John Cale. You had the impression that John Cale was a studied, learned musician in the sense that he could read scores and all that sort of thing. Whereas Lou Reed was essentially a performer. I don't mean that derogatorily, but he was the Mick Jagger of the deal, whereas John Cale was the Keith Richards of the deal. I would not say that Moe was the Charlie Watts of the deal, but Sterling was clearly the Ron Wood of the deal.


Q: Though Sterling's primarily thought of as a guitarist, he actually played a lot of bass on the record, especially when John was on viola. How did you rate him as a bass player?

I thought he was quite good. Because to me, the pieces that made the most impact--if I close my eyes and think of the session, the first thing that comes to mind is the pieces where John Cale is playing the viola. Because those drones and eastern figures that he'd create, which had to have that bass behind him, were just as locked in as you could imagine. And so I don't have any real recollection in my mind of Sterling as a guitarist. I see him in tandem, in my mind, with John Cale.


Q: How did the band approach the three songs on which Nico sang?

In the actual sessions, you didn't have that sense that she was being treated as a centerpiece at all. She was treated, I thought, at the sessions with great respect. In other words, things went into sort of a quiet mode when she was there. I don't believe she was in the studio much longer than when she was performing in the studio. She may have sat over in the corner a couple of times, but space was kind of crowded, and there wasn't room enough in the control room for anybody to loiter beyond the two of us [Dolph and Licata], and maybe either Warhol or Morrissey or both, which would put four people in the control room. I remember when she was in, she was singing, and when she was not singing, she was not heard of.

If you imagine [jazzman] Les Brown and his band of renown, and Doris Day as their singer, you know what I mean. When Doris Day came on, it was not as though she was a modernaire or something; she was a special focus of what that group did, or that orchestra did. I think that is a very accurate characterization, that they viewed her as a jewel in a setting, and it was in no way slapdash or quick or "let's get this broad out of here." It was none of that. It was, "Okay, well, now we're gonna shift into a quieter gear, and we're gonna do Nico," and that was the way it went down.

It seems to me that "Heroin" was either done last, or [as] the very first [song] of the second day. 'Cause I remember that that was the one where Lou Reed needed to kind of get his head in the right place for that. And I remember in that one, in the control room, nobody moved a muscle when he was singing that song. And you didn't want anything to go wrong with that take at all, because if it had, he would have torn a wall down. Every bit of the energy in the song, you experienced in his persona at that point.


Q: It seems that the sessions went very quickly, and were pretty reflective of how the band sounded live.

Most of the actual tracks, there was only one good unbroken take, maybe two of some of them. I'll say this: at no time did anybody on either side of the glass say, well, we'll fix it in the mix. That was never said. They performed it, and they'd come in, and we'd play it back end-to-end. If there was not a simultaneous agreement, they'd go back and do it over. But usually, anything that sounded like rough or iffy or from an engineering point of view didn't please John, he or I would break it down. We'd never even finish the take. Then they'd start a new one over, and then they'd come in and say, yeah, that's it, next case.

And there was never any "I'll play it back tomorrow, see if I like it tomorrow, and if I don't, then I'll redo it." None of that. It was all just like they'd just sung it live, and they couldn't go back and redo it, because it was live. Because we were paying for the tape at probably $125 a roll, usually the broken takes were backed up and recorded over. Otherwise there would be some interesting scraps lying around.


Q: What was John Licata's contribution as engineer?

He was a wonderful, cooperative, and easy to get along with, unfreaky guy. He was the total antithesis of the Velvet Underground. He was a journeyman; the next day, he was onto something else. I mean, it was just like a day's work for him. John Licata, he deserves the credit, because at no time did any of the musicians ever tell him what to do. It was as though they went in and played, and he got what they wanted. And they came in and said, "Yeah, that's it." It was no niggling or diggling or any of that. He got that sound.


Q: After you submitted acetate to Columbia on April 25, 1966, what was the label's reaction?

Their reaction was parsed in corporate terms--"you're out of your mind with this." They had zero interest in it.


Q: Do you think it might have been a blessing in disguise that the Velvets got turned down? When they signed with MGM shortly afterward, even though the label didn't promote them well, they gave them virtual total artistic freedom. Would Columbia have done that?

Look what they did with Aretha Franklin, or a lot of people. Even for my money, the Dave Brubeck records on Fantasy are I think even better than Brubeck did on Columbia. Columbia always moved artists to the middle. Dylan and Bruce Springsteen are exceptions, but they tended to move artists in the middle. And I don't think that would have worked well with the [Velvets]. So I think they were far better off, rather than going to Columbia, to wind up where they did.


Q: MGM/Verve did seem to leave the group's music alone, essentially.

Yeah, they did. And they packaged it well. You can't say they did a cheap and dirty job. Because those gatefold covers with the peel-off [banana] and so forth had to have been very expensive relative to what a jacket could have cost. There was some seriousness behind the effort.


Q: Do you know if the Velvets and their management approached other labels to get a deal between the time Columbia turned them down and MGM signed them? Sterling Morrison remembered Atlantic and Elektra turning the group down before MGM made a deal.

No, I don't, because after I failed at Columbia, I gave them the acetate back, and I got the impression they were disappointed that Columbia didn't bite. I don't really know what they did after that. I don't know whether they immediately to marched to MGM/Verve, or if that was third down the list, or if it had to do with Tom Wilson [being at Verve/MGM].

I remember giving the acetate back--I believe I gave it back to Morrissey, I don't think I actually gave it back to Warhol, but one or the other. But I do not specifically remember retrieving the tape from Columbia's engineering vaults. This would have been the mono mix from which the acetate was cut.


Q: Although three of the tracks on the banana album ["Heroin," "Venus in Furs," and "I'm Waiting for the Man"] were re-recorded at MGM later, and one song ["Sunday Morning"] was done at MGM later in 1966 with Tom Wilson producing, it seems like all the other tracks on the LP were actually taken from recordings made at the Scepter Studios sessions where you were present. There seems to have been some remixing done, but otherwise the versions on the acetates sound like the same one used on the official album.

It sounded to me just like what we did. It didn't sound appreciably different from what we did at Scepter, when I heard it after it came out a year later.


Q: Did you ever have any contact with the Velvet Underground again after the sessions?

No. I did with Warhol, but not with the musicians, no.


Q: Looking back, how historic an occasion do you think it was to be involved with? I don't think anybody on our side of the glass had any idea at the time that was a seminal recording. I have thought about it much more in the last five or ten years than I ever did in the first five or ten years after it was done, you know what I mean? That you were being there when history was being made.

I've always been an art collector, and have a pretty good eye for paintings. And I know when you see something breathtakingly new that you've never seen before, you say, that's a damned good sign. And I would clearly come to that conclusion about listening to the Velvet Underground and seeing them perform. You'd say, this is breathtakingly new, I've never seen anything like this before. But it was much more an assault on popular taste. It's more like Basquiat or somebody like that, whose work is new and revolutionary, but not particularly lookable at first. You have to kind of buy into it. So it was a tough to get a hold of back then. I mean, obviously I think if Columbia knew what they were getting into, they wouldn't have passed, or Atlantic or Elektra either.

When I saw the Rolling Stone list of the top 500 rock albums of all time, and it was like #13 I think, it brought a tear to my eye to think of the number of records that I revere that it's considered better than.

After a final album together, 2008's Go Away White, Peter Murphy and his former bandmates have finally hammered the last nail in the Bauhaus coffin. But that's actually good news for the group's rabid fans. Its erstwhile frontman is finally comfortable performing these songs on his solo tours, which have become surprisingly, pleasantly frequent. Wednesday's show at Respectable Street Café in West Palm Beach comes less than a year after his last South Florida performance, in July 2008 at Revolution. "I wanted to come out and work on the new material and play, basically, to a hard-core audience that would be loyal," Murphy says. "I'm not into doing tours only when there's an album. Playing live is as much as what I do as is making music."


Still, his official Retrospective Tour was last year, and as pioneering as his musical past may be, Murphy isn't content to just dwell on it. A new solo studio album, his first in five years, is due out later this year. He won't reveal too much about its sound — "I'd rather talk about it when it's out," he says with some finality — but he has continued to work with his sometime collaborator, producer David Baron. He will, however, reveal that the forthcoming work comprises all original tracks.

Which brings us to the occasion for this tour, dubbed the Secret Cover tour. Murphy has always been a talented interpreter of other people's songs, imbuing them with his own mystical, arty take and rendering them almost wholly new creative works. His live set lists have long been dotted by his versions of Doors, Joy Division, and Bowie tunes, and before the album release, he's issuing four new covers one at a time. So far, we have just the first to listen to, a rendition of John Lennon's "Instant Karma." Fans will have to check Murphy's official website, petermurphy.info, or attend the show and hope for a clue.


5.04.09
Secret Cover 1: Peter's cover of John Lennon's Instant Karma is now available on iTunes.

5.01.09
Secret Cover Tour '09: To coincide with the staggered release of 4 single covers, the Secret Cover Tour will include a preview of new material from Peter's forthcoming album (to be announced in the near future). More touring is planned to follow U.S. & Europe.

Bela,
Written as one of the first true 4 way collaborations and just after the final line up was complete, Bela came out of us nigh on effortlessly. The song is often described as brooding , ominous, skeletal etc.. yet from the moment David and Dan began playing the chord sequence, I felt a sense of magnificence or almost Gregorian gravitas and deep beauty coming through us. There was already a persistent sense of a powerful destiny with the group as it was, and once in performance ,its musical starkness suggested the same visually, as did the song’s subject matter, being erotic , transcendent, a reach for immortality , yet trapped in a stifled body starving the spirit . Hence the performance, if it could be all of the above, that is; alluring , mesmeric, terrifying, enigmatic , all Dorian Grey decadent, would fit the bill. Then, If taking on this Nosferatu role on the stage were not real to us, then how could it have been to the audience?
Above all of this, there was a stunning Kitsch overtone, a euro black humour..
I personally would get a giggle whenever we started it up, and since the audience were still largely hard core punks wanting some edgy violent action, we gave it to them right between the eyes. I found it hysterical to be honest. The minute we recorded Bela ( in one take) we all felt that a “Rock’ classic had been captured .

What followed was in the hands and heads of the listeners.

To coincide with the staggered release of 4 single covers, the first of
which will be "Instant Karma" -- release date TBD by iTunes.

The Secret Cover Tour will include a preview of new material from Peter's forthcoming release (to be announced in the near future)

More touring is planned to follow US & Europe.

Secret Cover Tour Dates

6.02.09 Seattle, WA - El Corazon
6.03.09 Portland OR - Aladdin Theatre
6.04.09 San Francisco, CA - Bimbo’s
6.05.09 Sacramento, CA - Harlow’s
6.06.09 Reno, NV - Grand Sierra Resort
6.08.09 Anaheim, CA - House of Blues
6.10.09 Los Angeles, CA - House of Blues
6.11.09 Agoura Hills, CA - Canyon Club
6.12.09 Las Vegas, NV - House of Blues
6.13.09 San Diego, CA - Cannes Ballroom
6.14.09 Phoenix, AZ - Marquee
6.16.09 Tucson, AZ - Rialto
6.18.09 Austin, TX - Emos
6.19.09 Dallas, TX - Lakewood Theatre
6.22.09 New Orleans, LA - Howlin Wolf
6.23.09 Atlanta, GA - Masquerade
6.24.09 St.Petersburg, FL - Jannus Landing
6.25.09 W. Palm, FL - Respectable
6.26.09 Orlando, FL - House of Blues
6.27.09 Myrtle Beach, SC - House of Blues
6.30.09 Greensboro, NC - Club N
7.01.09 Greenville, SC - Handlebars
7.03.09 Falls Church, VA - State Theatre
7.06.09 New York, New York – Highline Ballroom
7.07.09 New York, New York - Highline Ballroom
7.09.09 Foxboro, MA - Showcase Live
7.11.09 Toronto, CA - Opera House
7.12.09 Lancaster, PA - Chameleon Club
7.14.09 Chicago, IL - House of Blues
7.16.09 Grand Rapids, MI - Orbit Room
7.17.09 Pontiac, MI - Clutch Cargos
7.19.09 Milwaukee, WI – The Rave

* Additional Dates to be Announced

Debut by this Chinese Neo-Classical project, after many silent years. Mainly is neo-classical, with some medieval, romantic, sad, reserved, grey elements. You will find a innocent world in this comfortable music. Limited to 500 copies.


WHISPER OF TEARS is a Neo-Classical project initiated by Lamia at the end of 2006.

The music of WHISPER OF TEARS is to create an atmosphere. An atmosphere that can echo with our inner emotions, like sorrow, dreams, longs and desire, loneliness etc. Through the darkness we can see light. There's no light without darkness...

UPDATE: The debut album of WHISPER OF TEARS "Lost Dreams"is now available at MIDNIGHT PRODUCTION
http://www.midnight-prod.com/en/catalog-13.html

Tracklisting:
1 Sorrow
2 The Lost Dream
3 Wandering Alone
4 To The Other World
5 Fragment I
6 Dreams Of Thee
7 I Arise From Dreams Of Thee
8 Night's Journey
9 Fragment II
10 Restless Souls
11 Memories
12 Yearning
13 Sorrow (reprise)

http://www.myspace.com/whispertears

Label: Twilight Records (2)
Catalog#: TW 1.52
Format: CD, Album, Limited
Country: Argentina
Released: 2009
Genre: Classical, Rock
Style: Neo-Classical, Ethereal
Credits: Bass - Guillaume Le Huche
Keyboard, Organ - Fredrik Klingwall
Vocals - Linda-Li Dahlin


Tracklisting:
1. Vacui
2. Catharsis
3. The Leaving
4. Found In The Cold
5. Imagine The Place Of Nothingness
6. Like Fire
7. Fate Of Us All
Lyrics By - Linda-Li Dahlin
8. Through The Lingering Past
9. The Carriage
10. Farewell
11. Nothing Left But The Memories
12. Return To The Winter Garden

http://www.myspace.com/risingshadows
http://www.risingshadows.net/

Format: Heavy Vinyl LP
Catalogue Number: FIT039LP
Number of Discs: 1 ( CD is made promo only, release is vinyl only)
Label: Sartorial
Release Date: 1 June 2009

It was only a matter of time...Lydia Lunch has collaborated with Terry Edwards, James Johnston and Ian White in a variety of musical guises for the last ten years.

From Hangover Hotel and Smoke in the Shadows to the most recent multimedia performances of Real Pornography and The Ghosts of Spain, the three rabble rousers from Gallon Drunk have, in a series of ever morphing configurations, collaborated with Lydia in creating psycho-ambient soundscapes in the service of propelling forth spoken word exorcisms in her decades-long prophecies of societal collapse, moral bankruptcy, and global corruption.

Big Sexy Noise is the primaeval bump, grind and holler of White’s thuggish drums, Johnston’s moronic low-tuned riffing and Edwards’ brutal organ and sax interventions led by Lunch’s take-no-prisoners vocals. The four band-written originals are complemented here by Kill Your Sons, a Lou Reed tune that seems tailor-made for Lydia, and The Gospel Singer, a song that has been on the back-burner for a while since Lunch co-wrote it with Kim Gordon during downtime from Sonic Youth. And according to the No Wave Nostradamus herself "It's time to stop complaining, quit your crying and embrace the coming End Times. Let's fucking rock."

Tracklist:
Sexy Side
1. Another Man Comin' (while the bed is still warm)
2. Bad For Bobby
3. The Gospel Singer

Noisy Side
1. Baby-Faced Killer
2. Kill Your Sons
3. Your Love Don't Pay My Rent

Do you remember that old chestnut saying punk's not dead? That it will never die? Such is the mentality behind New Jersey-based street punx (yes, that's with an "x") the Casualties. Or at least how it would seem, given that they've been hammering out the supercharged, hardcore-influenced four-chord ditties since 1990. And now, the band have finally completed their eighth release/sixth studio album.

This is number four for resident label SideOneDummy and is to be dubbed, We Are All We Have. The chunk of crusty bombast is slated for store shelves on August 25 and since this is their first release since 2006's Under Attack, many spry squeegee punks will be extra diligent at wiping your windshield this summer.

Discussing how drastically different We Are All We Have is from its predecessors — a little joke there — drummer Mark Eggers had this to say: “[It's] definitely our most diverse album. There's a reggae song on there, there's our staple Casualties anthem sing-alongs, there's some thrash-metal influence in there, so it's all over the place, but still holding on to the true Casualties sound. I think it's what the band needed after six records. Being in different countries just opens your mind to things, It's definitely still way Casualties fuckin' real hardcore punk. It's leaps and bounds from what it was [in the early days] to what it is now. We're not the type of band that would stay stuck in that era.”

http://www.youtube.com/watch?v=yjvohu5zJlI

If Joy Division matter now more than ever, it’s because they capture the depressed spirit of our times. Listening to JD now, you have the inescapable impression that the group were catatonically channelling our present, their future.

Joy Division’s back catalogue is immaculately concise. They recorded only two studio LPs, Unknown Pleasures in 1979 and Closer a year later – both re-issued in 2007, alongside the posthumous Still.

For Joy Division, post-punk meant living in the No Future that the Pistols had announced. If you could call it living… Ian Curtis’ voice – from the very start terrifying in its fatalism, in its acceptance of the worst – sounds like the voice of man who is already dead, or who has entered an appalling state of suspended animation, death-within-life. It sounds preternaturally ancient; a voice that cannot be sourced back to any living being, still less to a young man barely in his twenties.

Although they were recorded at a time of major historical rupture – at the very moment when the certainties of the post-war consensus were giving way to the perpetual precariousness of a post-Fordist system prey to the vagaries of the so-called free market, a situation accelerated in Britain by the election of Margaret Thatcher in 1979 – Joy Division’s songs were devoid of specific reference to geopolitical events. They surveyed History as if from a great distance, seeing only atrocity and dejection, but lacking ‘the will to want more’. Whereas rock singers had usually made – impossible – demands on the world, Curtis, ‘the weight on his shoulders’, came across as almost dispassionate in his disconsolation, coldly calm in his infinite resignation.


Joy Division may not have written about contemporary events, but their traumatic effect is registered everywhere in the group’s sound. Even Martin Hannett’s epochal, spectral production suggests the derelict factories and litter-strewn ex-public spaces of a decommissioned industrial economy. Immersed in History, but haunted, as was all of post-punk, by its possibly imminent termination in nuclear war, Curtis gave voice – a dread-ful, dread-filled voice – to a sense of despair that is now ubiquitous but unspoken.

A decade after Curtis committed suicide in 1980, History did end, but not in a way that the post-punks had feared. With the collapse of the Soviet bloc at the end of the eighties, the neo-liberal cheerleaders of capitalism felt able to proclaim that History had reached its terminus with the apparent triumph of global Capital. Some theorists have convincingly correlated the rise of consumer capitalism with the incestuous self-referencing of postmodern retro-culture. Listening to Joy Division in 2009, it is hard not to hear them as a grim anticipation of the wasteland of post-modernity from the perspective of pop’s last modernist phase. JD’s heirs are not grave robbing copyists like the Editors but acts capable of diagnosing the postmodern sickness whilst being debilitated by it: the pathologically demotivated enervation of early Dizzee Rascal, the plaintive post-rave of Burial, the solemn nihilism of Xasthur…


K-Punk
Joy Division central
http://www.joydiv.org/

Long known as one of rock's angriest men, the Nine Inch Nails frontman is engaged to be married and is planning to put his band on hiatus after a summer tour. He spoke with NEWSWEEK'S Seth Colter Walls about life after angst.

Your comeback has been successful, both critically and commercially. Why stop now?
When I reemerged sober in 2005, I was apprehensive about any kind of relevance I might have. It's been a pleasant kind of comeback; it's felt creatively good to me. But at the same time, a lot of the emotions the songs were based on, they are less who I am now.

So this isn't just about hanging up the Nails banner as a touring franchise?
It feels to me like [the band] has run its course at the moment. I'm not going to quit making music, and I probably will make some more Nine Inch Nails stuff down the road. But I'm going to try some different things now.


What music do you listen to that might shock your fans?
I saw Sufjan Stevens last year, and I was like, how is his singing that good? The band Grizzly Bear, I think they're excellent. There's a beauty and a musicality there that I wish would have been in vogue in the late '80s, when I was forming bands. The aesthetic I was tuned into was a more dumbed-down kind of thing. Sometimes listening to stuff like they're doing makes me feel irrelevant. That's a nice, healthy kick in the ass. And it's interesting to see there's room for that in what's considered hip these days.

The battle for CBGB is over. Two years ago, shortly after the death of Hilly Kristal, the club’s founder, his former wife, Karen Kristal, filed suit against his estate. She said that she was the rightful owner of the business but had been tricked into signing it over to Mr. Kristal, who then sold the company for $3.5 million and left most of his estate to their daughter, Lisa Kristal Burgman. (The club made little profit, but the CBGB trademark brought in millions from T-shirts and other memorabilia.) A settlement in the suit, which had been filed in Surrogate’s Court in Manhattan, was reached on June 3, lawyers for both sides of the case said on Thursday, but the terms of the settlement were not disclosed. CBGB opened in 1973 and closed in 2006 after a long dispute with its landlord over unpaid rent.

July 18th,
1 to 4 PM
A tea party picnic at http://www.green-wood.com/ around Green Wood's neo-gothic Historic Chapel and the nearby pond, Valley Water. An afternoon tea with the lady of manners, Jillian Venters, to celebrate her book, Gothic Charm School http://www.gothic-charm-school.com/.
All are welcome. Free tea, cakes, cookies and fun for all.
We welcome you to bring your own food and to dress well however you wish and enjoy the day with the lady of manners, her book http://www.gothic-charm-school.com/ and this wonderful space.


Events!
http://gothic-charm-school.com/charm/?page_id=210

ROBIN GUTHRIE: Robin Guthrie (ex-Cocteau Twins guitarist) releases a new album of filmic, intricate instrumental music 'Carousel', via Darla Records on August 28th, and two new limited edition EPs, 'Angel Falls' (released on June 30th) and 'Songs To Help My Children Sleep' (released October 1st). 'Carousel' is the follow up to the critically acclaimed instrumental albums 'Continental' and 'Imperial'. 'Angel Falls' is Limited to 1000 copies only.

Tracklisting "Angel Falls" EP:
1. Camera Lucida
2. Love Never Dies a Natural Death
3. Red Moon Rising
4. Delicate

Tracklisting "Carousel" EP:
1. Some sort of paradise
2. Sparkle
3. Delight
4. Close my eyes and burn
5. Search among the flowers
6. Mission dolores
7. Autochromes
8. The girl with the little wings
9. Waiting by the carousel
10. Little big fish

Following the release of the album "3", in 2006, DELEYAMAN have written and composed over 25 titles. 11 of these compositions, recorded, mixed and mastered entirely in the band's studio in Normandy, France, are now presented as "Fourth, Part One" . The remaining material is set to appear as "Fourth, Part Two", a complimentary yet contrasting sister-release which will come later this year.

The overall mood of this new album is different from their prior releases, yet the sincerity with which they continue to explore their art is a constant in DELEYAMAN's work. Inspiration for the lyrics comes partially from the works of American poets E.A. Robinson, A. Hecht, R.W. Emerson, E.A. Poe, H. Crane and T. Stickney, but also from the Lebanese mystic poet Khalil Gibran. Most of the titles are sung in English, except for two tracks sung in Armenian and the track "Jardin", sung in French, the words taken from the poem "Nous n'Irons plus au Bois", by T. de Banville. The use of several languages by Beatrice Valantin and Aret Madilian, the two vocalists, has always been a distinct characteristic of the band, whose members all come from different backgrounds.

DELEYAMAN's style, which to this day remains difficult to classify into a single genre, is further defined by the inclusion of the duduk, an Armenian wind instrument. More than simply adding an ethnic reference to their compositions, the duduk grants them a unique tone, emphasizing the ethereal and exotic qualities that allow the album to reach beyond the darker specter of alternative music from which the band originally derived. Through their art, DELEYAMAN translate a sense of timeless spirituality into a contemporary and universal language, carrying the listener into a mesmerizing world which still sounds comfortably familiar and close at heart.


Format
CD

Video:
http://www.youtube.com/watch?v=i0dBs9IcOCE

Tracklisting:
01. Book Of Change
02. Stay On
03. Roses
04. Aravod Luys
05. Be Still
06. Temples
07. Somehow
08. Jardin
09. Fill My Heart
10. Traffic Lights
11. Arev Tibav

Record Label
Equilibrium

Release date
9th Jun 2009

http://www.myspace.com/deleyaman

by Phil (C)


Track-List:
1. Still Changes (3:59)
2. Flight of the Demoiselles (4:19)
3. Shock In the Hotel Falcon (4:44)
4. Language of the Living Dead (4:33)
5. Odessa (4:39)
6. Julie Speaks (4:32)
7. Poison For Tomorrow (3:23)
8. Frontiers (4:11)
9. The Cunning of History (3:03)
10. Worlds Collide (4:34)
11. The Believer (4:56)

The debut album of Blacklist is that case when whole art of the band makes you feel real interest – from way of sound to meaning of its lyrics. This circumstance becomes evident not only because of rethinking or remodeling of all the best features that were in West 80’s indie-music, but due to common harmonic atmosphere of the release and its inner message.
Speaking of Blacklist music you can’t avoid the thought of how successful musicians are in mixing different styles. Post-punk and goth-rock elements meet here rather mainstream wave-rock sound and there’s no way for listener not to like it. In other words, “Midnight of the Century” tracks have a lot of charm of underground music as well as something usual, social and popular that will seem familiar to anybody who is not so far away from good pop-music. Each of 11 songs has its own catchy tune that will really pierce your mind with speed of light to stay at your play-list for a long time… So you’ll have nothing to do except using “repeat” function at your player interface. Undoubtedly, in this album you’ll find sound of dirty bass like in the famous “Lucretia My Reflection” song of “The Sisters Of Mercy” (“Still Changes”, “Flight Of The Demoiselles” tracks); epic guitars in the best traditions of UK gothic rock bands (“Julie Speaks” track); meditative wave-rock synth-arrangements a-la “Clan of Xymox” or “The Comsat Angels” (“Poison For Tomorrow”, “The Believer” tracks). There’s even tribal-ambient interlude (“The Cunning Of History” track) and great interpretation of French 80’s music in “Worlds Collide” song that has much in common with warm, insinuating and remote art of French coldwavers from “Asylum Party”. Such parallels will surely convince you in musical wideness of this release and really diversified music tastes of its creators.
All mentioned sound elements build up unified musical surface in which melancholy often turns into drive and sensuality meets a kind of distance from listener and whole world. Perhaps, pleasant and soft vocals of Josh Strawn are the best possible addition to the concept of this album which makes current form of “Blacklist” music lively and real.
Nevertheless, not only checked music atmosphere in which mixing and mastering took part well-known professionals (Ed Buller & Howie Wienberg who are famous for their collaboration with “Slowdive, Muse, U2) marks “Blacklist” among other indie-bands of today. Besides diversified music content “Midnight of the Century” has another very important feature – actual sense concept that is designed in the best post-modern tendencies. Lyrics of this album could be represented as introspection, a call to consider and analyze something that happens in real world. So don’t think that these texts are just a kind of hedonistic rock-n-roll fooling around. Firstly, it’s an album about society in all its imperfection of post-industrial age and only after that a good background music. In almost every track of the album there are allusions to evident historical or political problems that are skillfully wrapped by the author in dusky and sensual poetics of the album. Sometimes they are presented in form of laconic and categorical insight-manifesto, but more often you’ll find them in ciphered metaphors and allegories that are filled with hope and pessimism equally. In short, it’s difficult to reject art value of the song lyrics and its speculative content that will be certainly important for those who wish to understand the possible position of the author. For example, there’s really creative idea of consideration love as a battlefield or political conflict as an interpretation of romantic introversion. After proper investigation of “Midnight of the Century” lyrics you may remember not less than several times “Floodland” & “Vision Thing” albums of “The Sisters Of Mercy” that were also dedicated to politics in their own very specific manner. Such approach to the music by “Blacklist” provokes real respect and can’t be underestimated in today’s mainstream background that is saturated with total platitude and cloned in thousands of identical bands.
Thus the debut album of “Blacklist” – “Midnight of the Century” could be considered as significant flash in whole world of West indie-music. There’s no doubt that its plot is up-to-date because of actual representation of social and personal subjects. “Midnight of The Century” is not only music, but a complete artwork about world’s contradictions and human values that rise in front of the listener in sensual atmosphere with all its symbolism and gentle allusions.

http://listofblack.com/blacklist-merch.html
http://www.myspace.com/blacklistmusic

“I Wanna Be Your Dog” singer Iggy Pop has inflicted the animalistic side of rock on grateful listeners for decades and though his latest Jazzy French literature-inspired effort Préliminaires reveals a greater intellectual depth to the Godfather of Punk, Pop has assured us that he is not going soft.

“I took great pains not to think first,” Pop told The Sun (via Pitchfork) of the online video announcement he made for his forthcoming album, “because the thing I can’t stand is a rock star who thinks he’s got brains. They’re always so damned dull!”

The Sun:

So he spontaneously had a “blurt” at dumb American bands who churn out do-it-by-numbers guitar riffs for the masses. “Anyone from Smashing Pumpkins to - what’s the one with Fred Durst?” he asks.

“Limp Bizkit,” I reply, slightly ashamed at knowing the answer. “Yeah and there are a million billion of them,” he continues. “And people think they’re gods, man.”

Poor Billy Corgan just can’t catch a break these days, but maybe he can channel that same energy Chris Martin summons when he’s accused of plagiarism and use Pop’s dis as inspiration.

There’s something about buying Ryan Cabrera at Sam’s Club that makes total sense to me, but Bad Brains “Rootz Beer” and New Found Glory “Fufu Berry” just isn’t quite as appetizing.

Soda company Jones has partnered with PunkRadioCast and “5 of their favorite bands to bring you a special edition six pack featuring artwork from” punk pioneers Bad Brains and a couple newer bands like Thursday and Less Than Jake.

I suppose now that Henry Rollins works at NPR and Iggy Pop is an insurance spokesman, punk’s anti-capitalist posturing is kind of out the window. Besides, who said teenage angst can’t also be refreshing?

Cult Epics

One of the more fascinating career tracks in Gothic music is the long and winding road traveled by Gitane Demone. The two decades covered in this fucking stellar video retrospective (80s, 90s) see our heroine morph from deathrock dolly, to torch jazz diva, to hardcore punk, to fetish icon, to dark house seductress, and back again. This shapeshifting versatility led to the regrettable "Gothic Madonna" tag, which, besides the bleach-blonde coif, just misses the mark. Gitane says early on -- in this very DVD -- that she doesn't do this to be famous, rather out of an insatiable need for self-expression and self-discovery. And if these rapid-fire transformations at times lead to jarring juxtapositions, like Gitane clad in a full-body PVC bodysuit belting out a jazz standard in front of a bunch of harnessed-and-masked Europeans... well, who said art was easy?

What I'm most interested in is how after Gitane stormed out of Valor's Christian Death mk 2 in 1989, she decided to go off to Europe to study jazz. She eventually re-emerged as a full-fledged torch singer with a haunting emotive range. Did people see that coming at the time? I didn't. Unfortunately the motivations behind that epiphanic shift will remain a mystery, as the European interviews included here don't shed much light on this matter, although she does hold forth on life, art, and sex -- discussing matters of creativity freely. Interestingly, in the midst of one interview, there is a short performance snippet of her slurring the Chet Baker chestnut "You Don't Know What Love Is," over a hypnotic no-wave groove, dressed like an LA delinquent and smashing TV sets with a hammer. Why couldn't we get that whole performance? It's probably gauche to quibble about such things, especially when there is such a fucking wealth of primo rare performances herein.

The whole thing kicks off bleak like film noir with a woozy performance from Amsterdam in 1989 shot in grainy black and white. A disco ball turns as Gitane Demone, clad in a cocktail dress with militaristic short hair, performs three numbers with a cello player. One is a dirgey take on James Brown's "It's a Man's Man's Man's World." Ace. Next up is Gitane looking every inch the diva, singing a lush arrangement of "Sounds of War" for Dutch television in 1992. A live session for Radio Holland in 1993 is even better. Gitane and her band, casually dressed, perform three songs. "Love For Sale," "Golden Age," and "Little Birds" -- fucking powerhouse. Then comes the set in Switzerland from 1993 that later became the basis for the live Love For Sale album. She does her Billie Holiday thing with a full jazz quartet. Very theatrical. She dons a shroud and brandishes a candelabra for a desolate version of "Gloomy Sunday." It's beyond beautiful. Outdoor festival footage from Germany in 1995 is unbelievable. In the middle of the day, Gitane saunters out in a floor-length red gown, elbow-length black gloves, nose rings, white hair almost as translucent as her skin. And she performs a set of cabaret style, bluer-than-blue note jazz. Her vocals are in top form. Twin highlights come with a raw, guitarless take on Hendrix's "Manic Despression," and a hitherto unheard cover of "My Death," (holy shit!) with the tempo slowed for maximum beauty.

The centerpiece of this collection is the first commercial release of performances from the "Dream Home Heartache" tour, based on the Rozz Williams/Gitane Demone torchsong album that is one of my ten favorite albums of all time. And they fucking nail it. The vocals are immaculate. And the visuals? Rozz, with short hair and dressed in a suit, and Gitane dressed like one of the secretaries in Mad Men (though she later wears an old-fashioned bustier) are sitting at a table onstage, smoking cigarettes and drinking wine, with the band positioned cleverly offstage, while the songs seem to take the form of an extended conversation between two loveless souls tired of themselves, tired of each other, tired of the world. They take turns at the main mic, eyes closed, makeup running, and support one another with backing vocals, before sitting back down at the table. It's a highly theatrical and emotional performance -- Rozz, reading his lyrics from a book, does his best Brian Ferry, Gitane, wearing sunglasses, looks chocked up with emotion. Rozz does a cover of Bowie's "Time" not included on the album (dammit!), his liquid voice flowing over the lyrics, then it's on to highlight after highlight from the Dream Home Heartache album -- "World Apart," "Moon Without A Tear," and "Pope Egg's Hat." If nothing else, fast forward to Williams's dramatic reading of Bryan Ferry's nouveau riche lament, "In Every Dream Home A Heartache."

There is a "Christian Death" show from about a year later, consisting of Rozz, Gitane and the members of her backing band. An exceptionally frail and tiny Rozz nevertheless throws himself into the songs he wrote as a teenager with hair-whipping, Bowie-esque aplomb, clad in a banker's shirt and tie and shoulder-length hair. The band (obviously versatile from their jazz workouts) takes a particular glee in bashing out the primitive Christian Death deathpunk. Gitane provides backing vocals ably and looks on with motherly concern as Rozz crumples into an exhausted heap, chain-smoking fervently between songs. It's potent voodoo here.

The video quality on this collection is way sharper and crisper than it has any right to be, given that this is mostly bootleg and homemade footage. The content is absolutely unmissable to anyone interested in torch songs, punk, Gothic or deathrock, experimental music, or strong women in rock. Gothic music often gets a bum rap from Hot Topic homogenization and newer bands that just don't cut the mustard. As if all this wasn't enough, there's a bonus CD of Gitane Demone performing an eclectic array of covers and detailed liner notes where Demone fills in the blanks regarding her history with jazz. Life After Death is a vivid reminder of a time when goth -- or at the very least, Rozz Williams and his clique -- was at the forefront of boundary-pushing and genre-splicing in alternative music.
Cult Epics: http://www.cultepics.com
Matthew Moyer

Live:
GITANE DEMONE with The Crystelles

26 June 2009 - The Bit Saloon - Seattle, WA
27 June 2009 - Dune - Portland, OR
28 June 2009 - Death Rock Dive Bar - Oakland, CA
29 June 2009 - Kimos - San Francisco, CA
30 June 2009 - Blank Club - San Jose, CA
2 July 2009 - Prospector - Long Beach, CA
3 July 2009 - American Legion Hall - Highland Park/Los Angeles, CA
4 July 2009 - The Redwood - Los Angeles, CA
5 July 2009 - Jugheads - Phoenix, AZ
7 July 2009 - 10th St. Deli - Amarillo, TX
8 July 2009 - Hi Hi Lounge - New Orleans, LA
10 July 2009 - Spring Water - Nashville, TN
11 July 2009 - The Milestone - Charlotte, NC
21 July 2009 - The Painted Lady - Detroit, MI
22 June 2009 - Beat Kitchen - Chicago, IL
23 July 2009 - The Mill - Iowa City, IA
24 July 2009 - The Hideout - Omaha, NE
28 July 2009 - The Aquarium - Fargo, ND
31 July 2009 - Boom Nasty - Seattle, WA

6/23/2009 By Josiah Hughes

Nick Cave is one of those unbelievable renaissance men, always with a surprising project up his sleeve. And the work keeps flowing with the announcement that The Death of Bunny Munro, his second novel, will finally be in stores this fall.

The book follows Cave’s first work of fiction, 1989’s And the Ass Saw the Angel, and is set in Brighton, England, the UK coastal town where Cave now lives. As Irvine Welsh, author of Trainspotting, says, "Put Cormac McCarthy, Franz Kafka and Benny Hill together in a Brighton seaside guesthouse and they might just come up with Bunny Munro."

Bunny Munro isn’t Cave’s only connection to Cormac McCarthy: the artist also scored the upcoming film adaptation of McCarthy’s incredible novel The Road.

The Death of Bunny Munro will be in stores on September 8 courtesy of Faber & Faber.

by Jen Cray

They may have lost a guitarist and a pair of dancers since they last swept through town, but Danish psychobilly sensation Horrorpops hasn't lost the power to party, or their popularity with the Orlando fans. The Social was filled and the Jäger was flowing... of course most of it was finding its way into the hands of Patricia Day -- the band's sexy and severe vocalist/upright bassist -- whose charismatic demand for booze boosted bar sales considerably.




Horrorpops

"Just keep 'em coming," Day laughed as the shots kept lining up onstage, faster than she could drink 'em.

Having done their job amply, so much so that the crowd was willing and eager to buy the headliners drinks, were the two opening bands who went above and beyond their job description. 7 Shot Screamers never fails to woo an audience with their rockabilly-flavored, salty-sweet punk rock 'n' roll. The Missouri band, whose drummer and guitarist (Kevin O'Connor and Deano Sabella) have moonlighted as the backup band for X front woman Exene Cervenka as the Original Sinners, is still doing time as a support act on tours even though their performance is always a show stopper. Front man Mike Leahy is the picture of androgyny, especially once he lets his shirt hang open over his wiry frame, twisting and turning like a punked out Morrissey. His mohawk started off towering like a pompadour gone mad, but soon drooped and hung over his long, thin sideburns, sweaty and covering his face while he fell all over the stage and into those leaning at his feet. Included in the set were two of the best rockabilly songs you've never heard, "World Domination Ball," and "Love Always, Charlie."


7 Shot Screamers


Maintaining the energy level and adding a dose of attitude was Orange County, CA's Longway. An otherwise run-of-the-mill Bad Religion-inspired punk band, what distinguishes these guys is the eye patch-wearing guitarist whose got a flirtatious stage manner and personality to spare. He was the one posing for photos with the girls in the front row -- during the show. He was the band member taking his guitar out into the crowd and climbing atop the bar to play. It's also this cigarette-sucking, baseball-capped cartoonish man who brought up a local musician (from Big City Bombers) to sing along on the band's Billy Idol cover, "Rebel Yell." It left us all screaming for "More! More! More!"



Longway

When the newly downsized Horrorpops, a trio these days, took to the stage they wasted no time in whipping the fans into a dancing, cheering mass. Day, who looks like a voluptuous, tattooed Bettie Page, flashed frequently a mischievous smile before thumping her way through some seriously juicy psychobilly. Keeping her company, and keeping the melodies rolling right along, were Henrik Niedermeier on drums, and her husband and vocalist/upright bassist for Nekromantix, Kim Nekroman. The Denmark-turned-Los Angeles group is out promoting their third full length album, Kiss KissKill Kill, and have gone back to their club roots to find themselves back in the up close and sweaty confines of everyone's favorite Orlando venue.

"I don't remember much from the last time we played The Social," Day explained, "because you have Jäger at this bar!"

And so began the never-ending trail of shots that went, one after the other, down our hostess' gullet. Never missing a beat, a note, or a lyric, Day trooped on through an exhausting and liver-poisoning set. Willingly following along through every hip-twisting piece of horror candy -- "Walk Like a Zombie," always a ghoulish treat -- the crowd went along with the band's every command to dance, to sing, or to drink.

"There's only one way to answer us," Day instructed. "Do you know what that is?"

A resounding cry of "Hell Yeah!" revealed that this audience was home to more than just a few veteran Horrorpops fans -- repeat offenders who signed up willingly for the night's party! A party that eventually led to a pack of ladies from the audience dancing up onstage beside the band. So, the Horrorpops got their dancers back after all!

To see more photos of this show, and others, go to http://www.jencray.com.
Horrorpops: http://www.myspace.com/thehorrorpops Longway: http://www.myspace.com/longway 7 Shot Screamers: http://www.myspace.com/7shotscreamers

Tracklist:
Yoallicuicatl
Cehui
Tonacayotica
Temictli Atlan
Citlalpol
Xopancuicatl
Atlan
Morguul
Borbak
Tona Atoyaatl
Amo Cahuit

Street Date: August 25


Atlan has its roots in the ceremonial: ritualism, shamanism, butoh. Master Tuvan throat singer Soriah teams up with prolific soundscaper Ashkelon Sain to create a totally breathtaking album. Soriah conjures up a haunting sonic otherworld, drifting, dreamy, a rumbling, whirring ambient dronescape, thick with natural timbre and dense with subtle overtones. The eleven tracks employ a host of Central Asian ethnic stringed instruments alongside atmospheric synths and hypnotic hand percussion to form a simmering backdrop for Soriah's mesmerizing vocals intoned in the ancient Aztec language of Nahuatl.


Detailed album description

Aquarius Records:
"Totally breathtaking. Soriah conjures up a haunting sonic otherworld, drifting, dreamy, menacing and malefic, a rumbling, whirring dark ambient dronescape, thick with natural timbre and dense with subtle overtones. A deft mash up intertwined with various vocals, sometimes crooning, alien and operatic, but more often an impossibly low-end rumble, a dense and deep Tuvan style throat singing, buzzing and multilayered, more like some strange long stringed instrument than a human voice. Crumbling and corrosive, but at the same time soothing and ethereal."

Atlan has its roots in the ceremonial: ritualism, shamanism, butoh. Master Tuvan throat singer Soriah has teamed with prolific soundscaper Ashkelon Sain to create a masterwork of epic celestial elegance. The eleven tracks employ a host of Central Asian ethnic stringed instruments alongside atmospheric synths and hypnotic hand percussion to form a simmering backdrop for Soriah's mesmerizing vocals.

Soriah has extensively trained in traditional Tuvan throat singing. Most recently, he was honored as the Third Place winner in the International Symposium of Khoomei Competition, and "Best Foreigner" in the 2008 Ustuu-Khooree World Music Festival in Tuva, where the form originated.

As much as the complex underpinnings of Soriah's music reach back to Central Asia, he traces his cultural roots to his father's homeland of Mexico. Soriah's explorations of Mexico's cities, wilderness, and eclectic indigenous traditions - as well as his extensive Tuvan travels and musical studies there - have deeply influenced his pan-cultural ethos. Soriah's interest in contemporary expression through animism and shamanism, and particular fascination with the Aztec mysteries has all substantially informed the material found on Atlan. Of the album's lyric tracks, five are intoned in the ancient Aztec language of Nahuatl, while two others are interpretations of traditional Tuvan chants.

Producer/instrumentalist Ashkelon has crafted the album's sound with a seamless, ambient quality, harkening equally to the symphonic and the etherealesque. Arranged in spellbinding tempo, the tracks vary in structure from linear, North Indian styled ragas to rhythmic, esoteric songs to multilayered walls of ambient beauty, all the while retaining an unwavering sense of spiritualism and timelessness.

Atlan is a ritualistic sound adventure. You emerge from a listen with your head swaddled in a pre-linguistic fever dream. Vocals and whispers collide and chase each other through the mix and just when you start to feel comfortable or certain of the terrain, another movement begins and you're back in the mist. With closed eyes, envision vast steppes illuminated by firelight, or rain falling in deep space, or vanished civilizations - ancient and mysterious yet curiously modern.

Soriah
The Portland musician and ritual artist known as Soriah (a.k.a. Enrique Ugalde) first came into being more than 10 years ago. His unique vision has evolved to draw equally from performance and musical traditions both modern and ancient--- raga, shamanism, the revisionist arts of electro-acoustics, noise, butoh, and free improvisation. Through costume, movement and meditation Soriah evokes an otherworld of profound mystical import. Though the settings for his performances have ranged from arenas, concert halls and churches to swamps, caves, tree tops and even an abandoned nuclear reactor, his project carries its own sense of place and time, which transcend the concrete world. The recorded works of Soriah were previously available in limited editions from Beta-Lactam Ring Records. This is his first retail release.

Ashkelon Sain in his own words
I am a consummate recording artist, music producer and composer. From 1993-2001 I led the critically acclaimed Darkwave band Trance to the Sun, and more recently I performed as a member of the Portland psych-goth group Submarine Fleet. Through the past two decades I have participated in extensive collaborations with other artists I deem unique and intriguing, among them Scarlet Slipping, Cinema Strange, Dead Fly Ensemble, Claire Voyant, and most recently, Soriah.

My interest lies in creating high-quality musical recordings that echo landmasses, oceans, rivers and phormations. Through the use of soaring melodies, hypnotic rhythms, and chilling chords, I strive to render music that transcends the space and time of its creation: a music that succeeds in exuding a feeling of insistent otherworldliness.

Tracklist:
In Taberna Quando Sumus
Kyrie Orbis Factor
Samsara
Ave Nobilis
Vajra
Eleison
Mara
Be Not Afraid
Chant No. 5
The Valley Of Unrest
Electric Tamboura
The Muses
Bardo
Yaksha
The Saddest Day Of All
Lullaby
Trekcho

Dakini takes the celestial voice of filmmaker Lisa Hammer and layers it with drones, ragas, tribal drums and folk music to create a roller coaster of emotions: a cultural and spiritual mix of Indian, medieval and modern ambience. Dakini is a new revelation for the fans of Lisa’s previous work as vocalist for Mors Syphilitica & Requiem in White. A departure from tradition, an enlightened development in her musical path.

A dakini is an elusive tantric deity that might best be described as a female embodiment of enlightened energy - "she who traverses the sky" or "she who moves in space." She is also depicted as wrathful in that she cuts through human ego and ignorance with a vengeance. Her feminine powers are very strong: generally volatile or wrathful, though also seen as a muse (or inspirational thoughtform) for spiritual practice. Dakinis are energetic beings in female form, evocative of the movement of energy in space. In this context, the sky or space indicates the insubstantiality of all phenomena, which is, at the same time, the pure potentiality for all possible manifestations.

Lisa writes, "The intention behind this cd was to create music for ritual, meditation and sex. Ideally, all 3 at once. It was designed to carry the listener away from the manifest world and into a deeper space. The Indian ragas correspond with times of the day, so the CD represents a condensed 24 hours, which is perfect for ritual, or any emotional and spiritual trip. The medieval songs are matched with Indian ragas and tribal drums, Appalachian folk music, Middle-Eastern drones and opera to bring the four directions together, North South East and West. It's a cultural and spiritual mix, all blending together in one CD. Each of the songs has its own meditational/trance-inducing quality, regardless of its origin."

Lisa was once told by a great guru-poetess that she was a true dakini and should learn the ways of the dakini to develop her gift. Dakini is the result of continued studies and instruction: an audio journey to guide the listener toward contemplation, spiritual movement, and to break through obstacles. Dakinis, being associated with energy in all its functions, are linked with the revelation of the Higher Tantras, which represent the path of transformation. Here, the energy of negative emotions or kleshas, called poisons, are transformed into the luminous energy of enlightened awareness or gnosis.

'Black Angel - Live' recorded in Australia 24th May, 2000 was one of the first of the intense stripped-back acoustic performances featuring Douglas P. and percussionist John Murphy that characterized Death In June's live work in this new Century.

This limited edition Picture Disc LP, with a different full colour picture on each side, is coupled with a bonus 4 track CD recorded at an impromptu performance 2 years later on 26th June, 2002, at The Laundry, Melbourne, Australia featuring a rare solo performance by Douglas P. on 6 string electric guitar with unreleased live versions of tracks from the then recently-issued 'All Pigs Must Die' album.

Exciting and direct, the songs on both the Picture Disc and CD can be regarded as a 'best of' Death In June live experience up to that point in time. All tracks have been digitally recorded and mastered.

http://www.neuropa.be

Maninkari releases ''un Souffle de Voix''. Maninkari is an instrumentalist duo combining different ways of improvisation and composition related to ambient, dark and minimalist music, jazz and surreal. The music of Maninkari lives in medieval alchemy, this album works primarily on a research for atmosphere. Dark and repetitive music, mixtures of drum, viola and santoor and looking for a mystic paroxysm. These songs were originally intended to be released as a sideproject under the Ephemerole banner, but, as time grew, it became the next Maninkari album, following previous efforts on the Belgian indie-label Conspiracy Records.


Roses Never Fade is a multi-national folk-noir project spearheaded by Dwid Hellion (Integrity). Their debut was released in 2006 on Rock Vegas Records and has in the meantime sold out. The album was mainly distributed through channels close to the hardcore/metal scene. Neuropa Records reissues the album with the tracks from a limited 7" EP as an added bonus. Roses Never Fade accompanies the listener on a nightmarish excursion through 15 chilling tomes. Driven by a core of lushly layered acoustic guitars that swell to and for while creating a cavernous wail that envelops the half whispered vocal textures. For fans of Integrity, Joy Division, Bauhaus, Tom Waits.

Also available is a new split of Horologium & Oda Relicta. In 2007 Neuropa Records simultaneously released an album by Horologium and Oda Relicta. Two years later both bands are back in the spotlight with the first in a series of collector 7" EP's. This EP contains one track by both artists and carries the unofficial title 'Saint George & The Dragon'. The 7" is packed in an elegant gatefold -portraying Saint George whilst slaying the dragon- printed in gold. Artwork once again designed by Kim Solve. 150 copies are pressed on black vinyl. Neuropa customers will be able to purchase one of the 50 copies pressed on coloured vinyl.

http://www.neuropa.be

JACQUY BITCH AT CASTLE PARTY – POLAND

Organisateur: Castle Party - http://www.castleparty.com/
24-26 July 2009

Jacquy Bitch play on Sunday, the 26th

Château de Bolkow en Pologne (à la frontière de l’Allemagne)
Avec

KMFDM (de/us)
DREADFUL SHADOWS (de)
FADING COLOURS (pl)
ARTROSIS (pl)
SPECTRA*PARIS (side-project of Elena Alice Fossi, the co-leader of Kirlian Camera, it)
DEATHCAMP PROJECT (pl)
PSYCHE (ca)
VARIETE (pl)
NUNIQ (ex NUN, pl)
SKINNY PATRINI (pl)
MADRE DEL VIZIO (it/de)
INDUKTI (pl)
MOON FAR AWAY (ru)
NOT (pl)
JACQUY BITCH (fr)
SOLAR FAKE (electro project of Sven Friedrich, the singer of Zeraphine & Dreadful Shadows, de)
JOY DISASTER (fr)
HEAD-LESS (de)
VIC ANSELMO (lv)
IRFAN (bg)
DEPRESSIVE DISORDER (cz)
SANE (pl)
CHIMERA FIRE SHOW (pl)
INFINITY PAIN FREAK SHOW (pl)

Samedi 27 juin à l'Art's Café (69 rue au Blé - 50100 Cherbourg)
de 21h à 2h (horaire d'été!)
entrée libre

Trinity proposera un mix
-Back to new-wave from 80's to 00's-
(electro-pop-wave-goth)
en présence d'Alain S. du groupe electro-wave marseillais Martin Dupont
à l'occasion de la réédition de sa discographie intégrale chez Infrastition et Minimal Wave.
(dédicaces possibles au cours de la soirée sur le stand disques).
Venez nombreux pour cette soirée éclectique et malicieusement nostalgique!
http://visiond1autreindustrie.fr/viewtopic.php?t=1430

03/07/2009 20:00 auFestival Ni vu ni connu , Le Cellier (entre Nantes et Angers).

DOLLS OF PAIN + JACQUY BITCH + A7IE + HYNNER VAS HANT 1S3 + ARSCH DOLLS + ADRANA + STILLBORN CHILD

Organisateur: Festival Eurydice
Samedi 31 octobre, à partir de 15 heures
La Scène
11 rue de Haguenau
67350 Pfaffenhoffen

Description :
Deuxième journée nationale de la culture gothique française près de Strasbourg.
10 euros en prévente/15 euros sur place
Ouverture des portes à 15h
Concerts de 16h à minuit
Dancefloor de minuit à 4h

Mercredi 11 novembre , Festival punk/post punk Porte de la Villette (Paris) avec FRUSTRATION

JACQUY BITCH
CHARLES DE GOAL
SUKA OFF
SCHWEFELGELB
GUERRE FROIDE
PASSION ARMEE
CEMETARY GIRLZ
CRIMSON MUDDLE

- Samedi 14 novembre, à la Manekine (Oise), The Brotherhood of Pagans et Chrysalis Morass (ex Eat Your Make Up) + deux groupes tbc.

Le groupe Rosa†Crvx donnera deux concerts exceptionnels à Rouen les 3 et 4 juillet prochains à l'église Sainte Croix des Pelletiers. Les soirées se dérouleront de la façon suivante :
- Ancienne église : Concert-performance Rosa†Crvx.
- Cinéma : projection de reportages sur le groupe.
- Crypte R†C : soirée goth cult / oldschool jusqu'à l'aube.

Ceux seront les derniers concerts en France en 2009 pour Rosa†Crvx et les places sont limitées à 250 par soir.

By Arielle Castillo in Concert Preview, Q&A
Tuesday, Jun. 23 2009



After a final album together, 2008's Go Away White, Peter Murphy and his former bandmates have finally hammered the last nail in the Bauhaus coffin. But that's actually good news for the group's rabid fans. Its erstwhile frontman is finally comfortable performing these songs on his solo tours, which have become surprisingly, pleasantly frequent. Wednesday's show at Respectable Street Café in West Palm Beach comes less than a year after his last South Florida performance, in July 2008 at Revolution.

"I wanted to come out and work on the new material and play, basically, to a hard-core audience that would be loyal," Murphy says. "I'm not into doing tours only when there's an album. Playing live is as much as what I do as is making music."

Still, his official Retrospective Tour was last year, and as pioneering as his musical past may be, Murphy isn't content to just dwell on it. A new solo studio album, his first in five years, is due out later this year. He won't reveal too much about its sound, but he has continued to work with his sometime collaborator, producer David Baron. He will, however, reveal that the forthcoming work comprises all original tracks.
Which brings us to the occasion for this tour, dubbed the Secret Cover tour. Murphy has always been a talented interpreter of other people's songs, imbuing them with his own mystical, arty take and rendering them almost wholly new creative works.

His live set lists have long been dotted by his versions of Doors, Joy Division, and Bowie tunes, and before the album release, he's issuing four new covers one at a time. So far, we have just the first to listen to, a rendition of John Lennon's "Instant Karma." Fans will have to check Murphy's official website, petermurphy.info, or attend the show and hope for a clue.

New Times caught up with Murphy by phone recently to chat about the new album, The Hunger, and his role as the "Godfather of Goth." Here's what he had to say.

New Times: I was just looking at the earliest set lists from this tour, and it seems like a chunk of your solo material, several Bauhaus songs, and several covers. Is that generally how the spread is going to go throughout the tour?

Peter Murphy: I'm previewing new material, as well as playing my own work. And also I'm working in some of the last Bauhaus material, only because we didn't have a chance to tour after we made the last album in 2006.

So I'm playing some of that, and I'm also calling it the Secret Cover Tour, because I have an album ready to go , but on tour I'm releasing a cover song every two weeks. The first one was "Instant Karma," and it's on iTunes at the moment.

What made you want to launch another extensive U.S. tour less than a year after the last one? Especially before the album is out....

I plan to tour after the album comes out. But I wanted to come out and work on the new material and play, basically, to a hard-core audience that would be loyal. I'm not into doing tours only when there's an album. Playing live is as much as what I do as is making music.

It also seems like you purposely went for smaller venues this time.

I wanted to take this opportunity to play towns and areas that you don't get to play on the sort of usual main, A-grade tour in this business. There are strong loyal audiences over the tours I've done in the past five or six years. And there's always a culture of the audience who really wants to see you, but they can't go to it. If you look at the schedule for this tour, there are main cities, but there are also areas that I haven't played at all before.

You live so far from the United States, and yet you seem to get over here all the time.

It's a small world now. It's as easy to get from Istanbul to New York as it is from L.A. to New York, it's not so sort of like, difficult, as it maybe once was. The distance has never been a problem. I spend almost half or a third of the year in the United States these past couple of years. I've been working out there with my co-producer, David Baron. I've got a very good creative relationship with him, and we're gonna branch out to production soon, in a partnership, as well as, you know, working on my album material.

David and I were the ones who landed what is in effect the first of the cover songs, "Instant Karma." That really came about through the offer for Chase Bank for their campaign. They in effect licensed my own cover version -- and there were apparently three other Grammy-winning artists, who shall remain unnamed, who were also submitting their versions of "Instant Karma" for the commercial.

And Yoko Ono, of course, has final say because she controls the publishing, and she's very protective. And she just loved my version immediately, and chose it, which was a great compliment in itself.

So that brought the spontaneous idea to give the audience something to have that was actually being made as we're touring. So there's "Instant Karma" out now, and the second cover song is going to come out in about two or three weeks.

Are you going to collect these all for some later release, or are the covers just one-offs for iTunes?

It's only available on iTunes now. But once I get the direction of them, I think it would make a great additional object to go with the new album, which is all original music.

And you said you're releasing and actually making these cover songs as you currently tour. When and how are you going to manage that?

I'm gonna be recording some more up in Woodstock, at the studio which is my base of operations in the States. I'll be working up arrangements with the band during the tour.

The covers you haven't released yet, have you played them live yet on this tour? I'm wondering if the set lists posted online so far will give a clue.

Not yet. I'm going to start playing them live as they're released. The second one is announced.

Oh. I saw that recently in Seattle you also played "Transmission" by Joy Division, "Space Oddity" by David Bowie, and "Hurt" by Nine Inch Nails. Those are songs that you've been known to perform relatively often, recently. None of those are part of this new recorded set of covers?

Well, I'm not saying yet. I want to keep a bit of speculation. I've been playing "Transmission" here and there, as it really does have a relationship with my own thing, my own beginnings in Britain. I saw Joy Division and Bauhaus as the main contemporaries. We kind of started at the same time, but didn't really know each other that much. We weren't necessarily fans of each other, but we could see there were interesting parallels.

I also have a tradition of releasiog covers and making them my own over the years. There's nothing new in that. The thing about covers is that you can really give a different interpretation of them. When they work well, they also work in context of what you're doing, and themes coming up.

These covers are kind of a precursor, or a hint as to what sort of general area the new album is -- not specifically, but it's a taste, in a way.

Going back to your acquaintance with Joy Division, at the time when both groups were playing, did you recognize that parallel in what you all were doing?

We were aware of each other, but we were not sort of influenced by each other at all. Still, if you look back in British music history, I think the two bands that really were seminal -- for different reasons -- in that post-punk period were Bauhaus and Joy Division. It was a lot of cultural similarity. We came out of the almost identical British working-class background, the sort of depressed Britain of that time. So there were great parallels there, and great kinship, even though we really didn't know each other.

When Bauhaus started to take off, did you have the sense that you were actually spearheading a movement?

I knew immediately, the moment I started writing songs with Daniel Ash, that there was a great sense of powerful destiny about what we were doing. It can sound quite arrogant -- but I sort of say, yes I know! It was just so obvious.

You're known as the "Godfather of Goth." How do you feel about that title?

That's all in its place. To me it's sort of giving an entitlement on one hand, which is very gratifying. But you've got yo remember, there was no such sort of notion of "gothic rock" at all. I think where I come from is more of an art band, sort of independent, very British sensibility. That whole label really covers a lot of things. I think people like Dead Can Dance are gothic, as well as people like Joy Division and a lot of those early 1980s sort of alternative bands.

Do you remember when you first heard the term "goth?"

I think it was NME, back in 1981. When they reviewed us, the headline was "Gothic as Brick" or something like that. I think it's due to -- if you look at early Bauhaus live shows footage, the whole aesthetic was really based around shadow and light. It was a lot like black-and-white surrealist theater, which also was kind of also like a re-morphing of the tradition of early glam and the Velvet Underground.

Bauhaus were the natural followers, the kind of Doors of the 1980s. The "gothic" thing really started to bloom around that. You've got to remember, "Bela Lugosi's Dead," which was a nine-minute song which you couldn't hope for any radio station to play -- that was on the alternative European top 20 for something like five years! So we kind of crossed over into the mainstream. I think that led to more longevity, even though I swim under the surface, as it were.

I've always wanted to know: How exactly did you all wind up featured in the movie The Hunger?

I appeared in the Maxell tape ad in 1982 in England -- You guys got it over here with a guy stitng in a chair, but that was not me. You can find that on YouTube, the Maxell tape ad. The director of that commercial had worked with me and knew my own work.

He came to see me do a perofrmance of "Bela Lugosi" during a Bauhaus show, and he reocmmended that I would be a great character to have in that opening scene of The Hunger. Origianlly they were just looking for a band to play in the background of the club scene. But once they saw that I was a character, which was quite terrifying, he decided just to let the cameras roll and edited in those shots. I was astonished at what he'd done. It was excellent.

Did you get to talk to David Bowie?

He was there all day, doing his scene with Catherine Deneuve, and we were there together.

Well, back to the present, on those early set lists for that tour I saw you didn't perform either "Cuts You Up" or "Bela Lugosi's Dead," which are two of your biggest hits! Are you getting tired of performing those songs?

I change the set live as we're doing it. Like a performance is one act, I use the music to shape a certain continuity, rather like editing a film, I suppose, with raw material. So sometimes a song may not make that evening. I'm not necessarily, like, avoiding them, but some songs need a rest now and again, just so that the band appreciates it. We all like to shift the expectancy of the sort of rote habit of playing just one set of songs. Also, I can adjust the dynamic of the show according to the audience.

It seems, though, that you are playing more Bauhaus material this time out than you did last year.

Well, now Bauhaus is no more; we gave it the final word. And as Peter Murphy, I've been a solo artist longer than Bauhaus ever existed. But I've never played -- I made it a point not to play Bauhaus music up until the end of 2006. I wanted to keep Bauhaus in a very exclusive place, because I always had an idea that I would want to get the band together again. Which we did, and we got one album out of ourselves. But then we called it a day.

Then I thought, well, now is the time to play this music. Go Away White really deserved to be played, because as an audience you really haven't heard it. And so I tip my hat to those who really want to hear some of the Bauhaus songs, because there's only one person who can sing them.

When did you definitively decide Bauhaus was over? And how did that feel?

I forget now; it was sometime in 2006. It was a relief, really. We didn't really get on that well. We're good friends -- we're kind of like brothers. I think in my own work, I'm way past the Bauhaus notion, and past focusing on that work and back catalog alone. For all of us, it was very limiting.

Let's talk about the new solo album. There have been rumors you were working on it with Trent Reznor.

No, Trent wanted to work on it, but --- he wouldn't be as featured as I would like him to be on it. Maybe one day we'll make a Murphy-Reznor album.

I think the rumors may have come from the fact that there's a whole 16-track session which are called the "Murphy-Reznor Sessions" that he and I recorded during the Nine Inch Nails/Bauhaus tour in 2006. That's where Trent and I did improvised radio performances live from backstage at some of the venues.

That's really become kind of like a classic underground set of songs, so that sort of morphed into the idea that he was working on this album. He offered to, but like I said, I think it would be much more powerful to pursue just he and I working on a Reznor-Murphy album. There are no plans for that at the moment, though. He's a pretty hard-working guy. I think he's going to be wrapping up Nine Inch Nails for a bit after this tour, so who knows. Maybe we'll get together.

So what about the sound of the new album? Are you going to be revisiting those sort of eastern influences you've explored, or is it back to more rock stuff?

Well, Arielle, I'd rather talk about the album once it's out.

And when is it going to be out?

I'm still looking at that now, talking to various people with that in mind. I'm hoping autumn at the latest. But you can hear almost half of the album during the show. So look at some of the reviews, maybe, and see what they say.


Peter Murphy. With the Mission Veo. Wednesday, June 24. Respectable Street Cafe, 518 Clematis St., West Palm Beach. Show starts at 8 p.m., tickets cost $29.50 in advance. Ages 18+ with ID. 561-832-9999; respectablestreet.com

Peter Murphy's Maxell Tape Commercial:
http://www.youtube.com/watch?v=-DP89iMe0BY
Bauhaus in the Opening Sequence of The Hunger:
http://www.youtube.com/watch?v=fsSZM0PpexA

After a day, packed with concerts at the Kohlrabizirkus we were heading towards the Agra Halle after the MELOTRON gig to get to the midnight special with PETER MURPHY right in time. The Englishman is most prominent for being the front man and singer of Goth Rock legend BAUHAUS (1978-1983). One year later, he started his solo career and with ‘Cuts you up’ had his first hit in 1990, including US chart entry. Ever since he’s releasing more or less successful albums at irregular intervals and in-between embarks on solo tours. In 1998, a reunion tour with BAUHAUS took place and in 2001 he was special guest on the NINE INCH NAILS tour. http://www.petermurphy.info/ / http://www.myspace.com/officialpetermurphyspace



Music & Performance
The ‘Godfather of Goth’ entered the stage under loud cheers around 1:00am, additionally supported by live drummer Nick Lucero, guitarist Mark Thwaite, and bassist Jeff Schartoff. He was dressed in a black suit with a pink, fashionable bandana and regardless of his meanwhile higher age looked juvenile and agile. An impression that was confirmed during the entire show! The impressing setlist comprised own songs like the touching and mellow ‘Strange Kind of Love’ or ‘I’ll fall with your Knife’. For most of the attendees, the old BAUHAUS classics were the obvious highlights, seamlessly blending with the rest of the songs. Jumping, dancing, and with a grandiose melodic solo, he surprised us during ‘She’s in Parties’. A sonorous and expressive voice also made ‘Passions of Lovers’ a real treat for all attendees. The absolute classic followed with the BAUHAUS track ‘Bela Lugosi’s Dead’ presented as an acoustic version with Peter himself playing the guitar. Not less impressing but much more poignant was the NINE INCH NAILS cover ‘Hurt’, where Peter, whilst sitting in the background, sang the song with whispering and sombre vocals which catered for goose bumps everywhere.


Another beautiful cover version followed afterwards with the DAVID BOWIE song ‘Space Oddity’ with a Peter winding a black feather boa around his neck. He stood there on stage all by himself and impressed the audience with matchless mimics and gestures. So, an intense and punchy live performance of the Goth legend ended with thundering applause. The WGT Monday had long started and we kept celebrating a little at the café and the Agra disco.


Written by:
Cathie Niemann ( Peter Murphy)
Translations by Sebastian Huhn

Pictures by:
Heiko Meyer (Peter Murphy - http://www.pagandance.de/)

Part 1
http://www.youtube.com/watch?v=bXZnIbzAGHo
Part 2
http://www.youtube.com/watch?v=-6fvZTvlQg4
Part 3
http://www.youtube.com/watch?v=oqu1zM1mx1Y



http://www.youtube.com/watch?v=sXT6KUIwBUU Quote:

While the powers that be are hard at work on another newfangled Woodstock, this year’s 40th anniversary of the legendary music festival is also rife with new releases. Among them is 40 Years On: Back to Yasgur's Farm, a six-disc, 77-track box set. The box, which includes 38 unreleased tracks, will be released on August 18 via Rhino.

"This will be the most comprehensive collection of Woodstock music yet," says vice-president of A&R Cheryl Pawelski in an interview with Billboard. "The goal was to make it as real as possible... as authentic an experience as possible. It feels like dirt. It feels like a field. We wanted to take you there. We worked very hard to make it a true document of that time."


Besides keeping tracks intact even where the film’s original soundtrack dubbed over better performances, the compilers also researched the songs to keep them in chronological order.

Unfortunately, the near-perfect artifact is made slightly incomplete by the reluctance of the Band and Ten Years After to license their work to the set. Besides those minor exclusions, however, this is as close as you can possibly get to experiencing the legendary fest in full.

40 Years On: Back to Yasgur's Farm tracklisting:

Disc 1:

1. "Handsome Johnny" - Richie Havens
2. "Freedom (Motherless Child)" - Richie Havens
3. "Choppity Choppity"- John Morris
4. "Look Out" - Sweetwater
5. "Two Worlds"- Sweetwater *
6. "Jennifer" - Bert Sommer *
7. "And When It's Over"- Bert Sommer *
8. "Smile" - Bert Sommer *
9. "There Goes Marilyn!"- John Morris
10. "Hang On To A Dream" - Tim Hardin *
11. "Simple Song Of Freedom" - Tim Hardin *
12. "Flat Blue Acid"- John Morris
13. "Raga Puriya-Dhanashri/Gat In Sawarital" - Ravi Shankar *
14. "Momma Momma" - Melanie *
15. "Beautiful People" - Melanie
16. "Birthday Of The Sun" - Melanie
17. "Coming Into Los Angeles" - Arlo Guthrie ***
18. "Wheel Of Fortune" - Arlo Guthrie *
19. "Every Hand In The Land" - Arlo Guthrie *
20. "All You Funny People"- John Morris

Disc 2:

1. "Joe Hill"- Joan Baez
2. "Sweet Sir Galahad"- Joan Baez
3. "Hickory Wind" - Joan Baez *
4. "Drug Store Truck Drivin' Man" - Joan Baez w/Jeffrey Shurtleff
5. "Bring Scully His Asthma Pills"- John Morris
6. "Insulin" & Quill Intro- John Morris
7. "They Live The Life" - Quill *
8. "That's How I Eat"- Quill *
9. "I Understand Your Wife Is Having A Baby"- Chip Monck
10. "Donovan's Reef" - Country Joe McDonald *
11. "The 'Fish' Cheer"/"I-Feel-Like-I'm-Fixin'-To-Die Rag" - Country Joe
McDonald
12. "Persuasion" - Santana
13. "Soul Sacrifice" - Santana
14. "How Have You Been"- John B. Sebastian
15. "Rainbows All Over Your Blues" - John B. Sebastian
16. "I Had A Dream" - John B. Sebastian
17. "The Letter" - Incredible String Band *
18. "When You Find Out Who You Are" - Incredible String Band *
19. "She Is Lost"- Chip Monck

Disc 3:

1. "We're In Pretty Good Shape"- Chip Monck
2. "Going Up The Country" - Canned Heat
3. "Woodstock Boogie" - Canned Heat **
4. "The Brown Acid Is Not Specifically Too Good"- Chip Monck
5. "Blood Of The Sun" - Mountain ***
6. "Theme For An Imaginary Western" - Mountain ***
7. "For Yasgur's Farm" - Mountain *
8. "For Those Of You Who Have Partaken Of The Green Acid"- Chip Monck
9. "Green Acid Advice"- Jerry Garcia & Country Joe McDonald
10. "Dark Star" - Grateful Dead *
11. "Green River"- Creedence Clearwater Revival
12. "Bad Moon Rising"- Creedence Clearwater Revival *
13. "I Put A Spell On You" - Creedence Clearwater Revival

Disc 4:

1. "Work Me, Lord" - Janis Joplin
2. "Ball And Chain" - Janis Joplin
3. Medley: "Dance To The Music"/"Music Lover"/"I Want To Take You Higher"-Sly & The Family Stone
4. "The Politics Of The Situation"- Abbie Hoffman
5. "Amazing Journey" - The Who *
6. "Pinball Wizard" - The Who *
7. Abbie Hoffman vs. Pete Townshend
8. "We're Not Gonna Take It" - The Who **
9. "The Other Side Of This Life" - Jefferson Airplane *
10. "Somebody To Love"- Jefferson Airplane
11. "Won't You Try"/ "Saturday Afternoon"- Jefferson Airplane
12. "We Got A Whole Lot Of Orange"- Grace Slick
13. "Volunteers" - Jefferson Airplane
14. "Breakfast In Bed For 400,000"- Wavy Gravy
15. "It Just Keeps Goin'"- John Morris
16. Max Yasgur Speaks

Disc 5:

1. "Feelin' Alright"- Joe Cocker *
2. "Let's Go Get Stoned"- Joe Cocker
3. "With A Little Help From My Friends" - Joe Cocker
4. "Rock & Soul Music"- Country Joe & The Fish
5. "Love" - Country Joe & The Fish *
6. "Not So Sweet Martha Lorraine"- Country Joe & The Fish *
7. "Summer Dresses"- Country Joe & The Fish *
8. "Silver and Gold"- Country Joe & The Fish *
9. "Rock & Soul Music" (Reprise)- Country Joe & The Fish *
10. "Leland Mississippi Blues" - Johnny Winter *
11. "Mean Town Blues" - Johnny Winter
12. "You've Made Me So Very Happy"- Blood Sweat & Tears *

Disc 6:

1. "Suite: Judy Blue Eyes" - Crosby Stills & Nash
2. "Guinnevere"- Crosby Stills & Nash
3. "Marrakesh Express" - Crosby Stills & Nash
4. "4 + 20" - Crosby Stills & Nash
5. "Sea Of Madness" - Crosby Stills Nash & Young
6. "Wooden Ships" - Crosby Stills Nash & Young
7. "No Amount Of Loving"-The Butterfield Blues Band *
8. "Love March" - The Butterfield Blues Band
9. "Everything's Gonna Be Alright" - The Butterfield Blues Band
10. "Get A Job" - Sha Na Na *
11. "At The Hop" - Sha Na Na
12. "Get A Job" (Reprise) - Sha Na Na *
13. "The Star Spangled Banner"- Jimi Hendrix
"Purple Haze"- Jimi Hendrix
"Woodstock Improvisation"- Jimi Hendrix
14. "Woodstock Farewell"- Chip Monck

*Previously Unissued
**Previously Unissued Full-Length Version
***Previously Unissued Woodstock Recording

Three years ago, when the collective that runs the community and cultural center ABC No Rio received the deed to the crumbling, graffiti-covered tenement that had housed them on the Lower East Side for nearly 30 years, members of the group and their supporters rejoiced.

Formed in 1980 after an art show on gentrification, ABC No Rio endured attempts by the Giuliani administration to evict it from its city-owned building on Rivington Street in the 1990s. So when the Department of Housing Preservation and Development decided in 2006 to turn the building over to the collective in exchange for $1 and an agreement that the group would make badly needed repairs, many saw the deal as a crucial step for the survival of a beloved local landmark.

Soon after the transfer, however, an architect determined that the building was beyond repair and would have to be replaced. The budget for the project soared to $2.4 million, from $700,000. And then fund-raising — never easy for a small organization run mainly by volunteers — became even more difficult as the economy declined. Housing officials became concerned that renovations did not begin as quickly as expected; others questioned the group’s ability to finance the expensive task of a new structure.

But much of the uncertainty vanished last week when the Manhattan borough president, Scott M. Stringer, and City Councilman Alan J. Gerson allocated $1.65 million for a new building.

Mr. Stringer arranged for a capital grant of $750,000, citing ABC No Rio’s resilience and cultural value. The rest of the money came in the form of a grant of $450,000 from Mr. Gerson’s discretionary budget, which was matched with another $450,000 by the City Council. The money will be controlled by the Department of Cultural Affairs.

“Practically and psychologically it’s a game changer,” Steven Englander, the group’s coordinator, said on Friday. “We’ll be able to make our vision into reality.”

Following the announcement, an open house that night turned into a celebration. Some visitors wandered through the zine library or stopped by a room where a poetry reading was in progress. Others gathered in the art gallery on the ground floor, where they gazed at architectural plans and signed cards thanking the elected officials for their help.

ABC No Rio board members said that they hoped to demolish the four-story tenement next spring and had designs for a one-story building with a basement that will extend farther back than the current structure and provide roughly the same amount of space.

Today, the distinctive pale brick edifice, adorned with murals, fire escapes painted gold, and a welded metal entryway made of rebar and gear wheels, is recognized in art circles around the world. Near the front door is a sign that reads, “Culture of opposition since 1980.” Inside is a computer center, a screen-printing shop and a darkroom, all open to the public. Weekly events include bicycle repair workshops, improvisational jazz sets and floor-shaking punk shows featuring bands like Zero Content and Absurd System.

Mr. Gerson, who represents the Lower East Side, said that ABC No Rio provided a unique outlet for art forms that might not otherwise have a home. He added that it was essential for the grants to be provided this year.

“It was now or never,” Mr. Gerson said. “It was a critical moment in their existence.”

That existence began on Dec. 31, 1979, when artists took over an empty city-owned building on Delancey Street and organized an exhibition called the Real Estate Show. The city halted the show but later invited the artists to lease 156 Rivington Street, where the group formed a collective and adopted its name from the remaining letters on a Spanish sign across the street for a lawyer and notary public.

In 1994 the city stopped accepting rent, filed eviction papers and prepared to sell the building to a developer. But after a series of demonstrations the city stopped eviction proceedings in 1997 with an agreement that the group would begin raising money to fix the building.

Since then the collective has raised about $500,000. Some of that came in the form of $5 fees collected at the door during music shows or other performances. On other occasions artists like Claes Oldenberg and Yoko Ono donated works to be auctioned.

More recently, board members began a determined lobbying campaign, and met with city officials. One of those members, Susan Howard, said that she had tried to describe the feelings of devotion among the people who used the building and volunteered there. Indeed, even as they celebrated the prospect of a new building, there were plenty of visitors Friday night who said they would miss the familiar rooms and hallways of the welcoming old tenement.

IAN ASTBURY's THE SOFT REVOLT: NYC Footage Available - June 28, 2009

THE SOFT REVOLT, the new acoustic project led by THE CULT frontman Ian Astbury, performed on June 12, 2009 at the The Bowery Electric in New York City on the opening night of John Patrick Shanley's play "Savage in Limbo", which Astbury is producing.

Watch fan-filmed video footage of THE SOFT REVOLT's performance below.

"THE SOFT REVOLT is kind of a storefront for me," Astbury told Noisecreep a few days before the concert. "It's basically a tag for me for getting up and doing guerilla acoustic sets. Anybody who's around that wants to be a part of it. THE SOFT REVOLT is kind of like an open door. The last time I played with members of HARD DRUGS, which is a Vancouver-based band. We did a set, more of an electric set, for the benefit, the original benefit we did for the play about a month ago."

He continued, "I sort of make the set up a couple days before we go in with just whatever comes up: Maybe a couple of CULT songs, possibly a DOORS song, maybe a LED ZEPPELIN song, maybe a PATTI SMITH song, maybe a DAVID BOWIE song, maybe a BLONDE REDHEAD song. Things I'm really into. I even tried out some new material last time I played I went into a new song I'd been writing. It's very gratifying."

Regarding his involvement with "Savage in Limbo", Astbury told Noisecreep, "I have an incredible appreciation for anybody who's doing that kind of work in the world. It's amazing. As an audience member, you just walk into a show and see it, and go, 'Wow. That was an amazing piece of theater' or 'an amazing piece of performance.' But you don't really take into consideration the amount of work that goes into it. It's an incredible amount of work. But it's incredibly gratifying because it's like a nonprofit venture and it's done out of total passion for the material, total passion for the actor, and total passion for the craft of acting."

IAN ASTBURY - BOWERY ELECTRIC NYC 12 JUNE 2009
http://www.youtube.com/watch?v=7dYFeGYzo7Q

Gimme Shelter performed by Ian Astbury & Yul Vazquez at Bowery Electric (June 2009)
http://www.youtube.com/watch?v=eb46PFIsBIE

A new studio Alice In Chains is now available: "Looking in A View" can be purchased from now from iTunes and Amazon. An official radio single radio should arrive in mid-August - titled "Check my Brain."
The next studio album by Alice In Chains entitled "Black Gives Way To Blue" and will be released September 29 on Virgin / EMI. This will be the first band release with singer William DuVall replacing the late Layne Staley.

Entitled "StäyGätôW", the third album by the French band Joy / Disaster is to be released on 13 October 2009. If you wish to support the group, you can now pre-order it for € 10 including postage. It will be released on CD and vinyl.
All information is available on their Myspace Page.
http://www.myspace.com/joydisaster

StäyGätôW album :

Coming on October 13th, 2009

PRESALE ORDER AVALAIBLE BY PAYPAL HERE :
CD (1000 pieces) : 10 €
12' Vinyle (250 pieces) : 10 €

PRICES INCLUDING SHIPPING COSTS

...ou pour les Français souhaitant payer par chèque ou cash...
Veuillez imprimer le coupon et joindre le règlement à l'adresse indiquée ci-dessous :
ZEITGEIST? c/o l'AUTRE CANAL 45, Bd d'Austrasie 54000 NANCY

Here is an Interview by RiCo from C.Z.B. with Nico (Lead Vocals) made in Rolland Garros Club (Cluj Napoca - Romania) - May 23rd, 2009 :

JOY DISASTER (France). NiCo. Interview

Joy Disaster

Web: http://www.joy-disaster.com/

MySpace: http://www.myspace.com/joydisaster

I interviewed the lead singer in Roland Garros Cluj on Saturday, May 23rd, 2009. The band is touring Europe, all the way from Nancy, in France.

CZB: Why the name Joy DISASTER?


NiCo from J.D. and RiCo from C.Z.B.

NiCo (Joy Disaster vocal, France): From the beginning we thought we would make a tribute band to Ian Curtis, but in the end we had to find a name for the first band tour, something to represent our music and the message to our songs. Joy Disaster is a compromise between life for people in general (the power of decision, love, money, etc.) and what we talk about in our music and the lifestyle of the band in general.

Our lyrics are about love, death, religion. Sometimes it’s very personal, about my position according to the world we live in. The way we work is that we make the music before the lyrics. I take the spirit of the music to find the right words to say on each song.

…

CZB: Which do you consider your best album so far?

NiCo: We are currently working on a new album, to be released later this year. It is called Staygatow, which means “stage drunk” in Russian.

…

CZB: What is your opinion of the European Union?

NiCo: My opinion is that the EU is only good for the Euro(pean) Economy. In general, it is very boring and really sad because everything is more expensive now, after the EU. I think that it will be very difficult for all the new (East European) countries to be integrated. The economy for the common people in your East European countries is very difficult to manage. It is difficult even if you get the economic problems solved, because after that you have to find a common politics for all the different nations and you have to make it that everyone is ecologically pleased with the Union we are all part of. For myself, I can say that the current situation is quite bad. It is good to have strong governments brought together but the only interest for them is to make MORE money. Going further, to discover new cultures, to have exchange programs, to develop the artistic side of the EU, there is NOTHING happening if you (as an artist) do not make things happen on your own.

…

CZB: You live in a part of France that historically was also part of Germany…

NiCo: Me and my friends are all about 30. We are all part of the new generation. It is very interesting for us because of the story. Of course, our grandparents and the older generations have bad memories about the wars and the problems they had. When we talked for example with our parents or grandparents and told them we were going to East Europe for the Tour, they tried to talk us out of it… because of the history, and your countries being allied with the Germans back then, and they were telling us that this is bad. We were explaining that we also wanted to discover and see these parts of Europe as well, not just from textbooks and old people’s bad stories. We’ve been on tour for three weeks now, going through Germany, The Czech Republic, to the Baltic States and now in the Balkans, we have met a lot of nice people and it is very interesting for us to discover our different cultures and compare them to France. We will have a lot of good memories about this tour. This is very good for us.

…

CZB: You played at the Underground Festival in Timishoara last night. What was it like?

NiCo: It started out with very bad organization, but by the end it turned out to be really great. There were perhaps 80 people at the beginning of the show, when the first local band opened the Festival and as time went by more people started coming. By the time the band from Macedonia played, the crowd was in a really good mood and when we played there were maybe 40 people that pogoed during the whole show. There was a lot of energy during the whole show.

…

CZB: Do you plan to come back?

NiCo: Actually, after the show, the organizers talked to us about this and we decided we will try to link some gigs in the area sometime in November to return to Timishoara, maybe even Cluj. Many people from other countries are also asking us to come back soon.

…

CZB: Was it hard for you to get to play in Paris, being from Nancy?

NiCo: At first it was a big problem. It was very hard for us to gather people at our concerts around France when we started out as a no-name band. Who’s heard of Joy Disaster? We only had fans in our city, Nancy. Of course, we also have friends around the country. There is always a small crowd but generally, when we try to book gigs in other French towns, the clubs are not interested in inviting us because we are still an unpopular band. Maybe it’s because of the style of music we play, maybe it’s simply because the clubs don’t want to have us play. We are working on a national tour in September.

…

CZB: But you’ve been playing for four years now. You’ve been to Paris several times?

NiCo: No. We played Paris three times in a small club because we know the owner of the club and this is the only possibility we can play there.

…

CZB: What artists have influenced your music?

NiCo: We were influenced by the punks, The Clash, The Dead Kennedys, The Cure, Joy Division, Sonic Youth

…

CZB: What is the rock scene like in France? Has it started to rise after 2004/2005?

NiCo: Certainly not. The French Music Culture is concentrated on electro and E-pop music. Pertaining to Rock, we have a very good Stoner, Krust, Hardcore music scene in France. There is a good club circuit for this kind of music but Rock music in general, both for French bands, and for bands from other countries, it is very difficult to find a way to promote them. The French Government is now making some provisions regarding supporting the Rock Culture scene, but only for those French bands that play in French. As we are singing in English, we are not being supported at all in our efforts. We don’t really care about this though, because our main interest is to play out of our country. When you just sing in French, you can only play in France, or Belgium and francophone countries.

…

CZB: But you can play in French and English if you want.

NiCo: No. No. No. No. Because we decided to sing in English, since it is therefore easier to communicate with people from other countries.

…

CZB: and places like London.

NiCo: Yes. We’ve played twice in London already and we will play there again at the end of June.

…

CZB: and then the score between London and Paris will be 3:3.

NiCo: Yes (laughs!).

…

CZB: The decentralization of France began in the 1980’s. Do you feel, close to 2010 that the system works now for the Province as well, or is everything dependent on Paris in someway anyhow?

NiCo: In general, everything depends on Paris. Paris is the capital, both Politically and Culturally. All the artists want to go to Paris because there, you have a way to do something. It has been ten years now since we have started having small squats in smaller cities and towns, where the artists are starting to grow up (out of the capital). I think that in the next ten years there will be a stronger scene around the country, because Paris is starting to slip culturally compared to other larger cities, because France is also going through the economic crisis now and people in Paris are concentrating their efforts on things other than the cultural scene there. I have lived in Paris, because I had a job there, for six years, before founding Joy Disaster. I have tried to manage some things, to find help and pull my band up but when you want to work with mainstream people, you have to have a mainstream mind and for me there is no way I can do that.

…



…

The Band
NiCo (guitar, lead singer, programming & management)
David (drums & D-DRUM)
Simon (guitar, keyboards)
Ghislain (bass guitar)
Florent (sound engineer)

Discography
Promo (Demo, 2005)
J.D. (2006)
Paranoia (2007)
StäyGätôW (2009)

UK DECAY

There are some records that you simply have to have in your collection and this is one of them. Available on CD for the first time, having been lost in the wilderness ether for 29 years, it represents the finest work of one of the most important Goth bands of all time, for here was a band around which the earliest activity pretty much revolved and who, instead of doing the usual snooty band thing of distancing themselves from all-comers did precisely the opposite, becoming a genuine inspiration. As well as the original album tracks they have added the magnificent ‘Rising From The Dread’ EP, plus three single tracks and for a band that split up unnecessarily early, this contains their greatest work. It remains imposing stuff, from a band that never stuck with any safe, expected pool of influences and audience-friendly overtures, but pushed the boundaries like insane cricketers as their songs developed hand over fist into some gigantic claw of noise.

‘Werewolf’ had the nerve to test the patience of listeners with its weird guarded opening of weird vocals in an almost ambient slope of eerie sludge, then the drums start burrowing through, the ghostly guitar swooping like a flurry of quicksilver-dipped bats, and vocals gradually sidle in, as bass rolls around, resplendent. There’s a jolly gruff pantomime quality to the backing vocals as Abbo goes off on a howling rollercoaster. Spon’s mastered the CD and I don’t know how much he’s been able to tweak the recordings but this sounds far more vivid than I remember. (Maybe I had a really shite stereo before?)

After such a genuine clamour ‘Jerusalem Over (The White Cliffs Of Dover)’ is a more considered attack, like the charge of the uptight brigade, as their distinctive and inventive drum style just throws them straight into your face, the arrangement allowing the bass and guitar individual layers of glistening power and agitated grace, as the singing surges and plummets. ‘Rising From The Dead’ seems to be on enormous stilts, the guitar lurching with typical charismas, which isn’t something you could have said for many bands, and they throw their bow-legged rhythmical swaying breaks in as Abbo cavorts dementedly,

After such gleeful disregard for propriety ‘Testament’ is a dignified and elegant paean to glowing defiance, then we’re into the original album proper with the little teasing jabs of a slow burning ‘Duel’ then ‘Battle Of The Elements’ begins to writhe. ‘Shattered’ is like a courtly dance with furtive vocals than spring out, almost overplayed, but like most of their songs unruly power all is still kept neatly in place, as their songs are gangly monsters.
‘Stage Struck’ pretends to be going for restful slumbers when a devilishly intrusive bass wiggles frantically, and the song rises like a fiendish totem pole, twisting up through the musical earth.

I never knew what the lyrics of ‘Last In The House Of Flames’ were about, but musically it’s almost jocular, light and pleasurably slight. More fabulous bass uncoils through ‘Unexpected Guest’ which is one of their best known expeditions into melodrama, a bit like the Ants pulled inside out, actually; tempestuous, and ever so slightly daft. Spindly, phosphorescing guitar lights up the weirder spaces as vocals shudder and the contentedly morose rhythm lumbers on. Brilliant stuff. ‘Sexual’ blasts off from a filthy launch pad of fetid guitar and furious drums, which all sounds like it’s going mental sound-wise, brusque and rusted, and over very quickly, an oddity, always.

Keen to impress upon the audience of the time that they were indeed big girls at heart ‘Dorian’ starts with nothing more than some demure piano before expanding into a kind of feverish Cure-ish annex, and this shows how much scope they had in their sound, as this still teems with life and ideas while so much simpler than their more wracked and raging approach: a strange, delicate concoction. Tension flares throughout the gnarled, demanding ‘Decadance’ with the feyer ‘Mayday Malady’ an altogether different beast, flirting with the ears then withdrawing, abrim with effusive guitar and rhythmical bravado. ‘For Madmen Only’ pokes about in your mind with wavering, quizzical vocals, and the music stays steady before falling slowly away, then seeping back for well dispersed disquiet, with lighter drums, dwindling bass and mild guitar, all easing down. ‘Barbarian’ finished it off in mesmerising style with superbly deft drums and grand vocal flourishes.

Left off, in case you are determined to know, are ‘UK Decay’ and ‘Carcrash’ from the split single, ‘Disco Romance’, ‘Message Distortion’ and ‘Middle Of The Road Man’ from The Black 45 EP, ‘Dresden’ (’Unexpected Guest’ b-side), and ‘Twist In The Tale’ (‘Sexual’ b-side), all of them comparative incidentals, although ‘Dresden’ might have been in with a shout I guess. The final three tracks come from the earlier, angular period, with a vibrating ‘Black Cat’ clomping and chiming, ‘Unwind’ highlighting they way they could fluctuate harmoniously between the order chaos into sublimely adventurous and tuneful tumults. ‘For My Country’ then makes the sort of racket that only those with sufficient swagger could pull off, jagged but still fluid enough to be uplifting and shouty.

They’re back now, and will hopefully record again. If they don’t then at least people can treasure this, as it deserves. A fascinating record, full of unpredictable, intensely exciting songs, and something you really mustn’t deprive yourself of.

I very rarely use the word, because I appreciate how rare it is, but this is a bone fide classic.

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

http://mickmercer.livejournal.com/

Directors: Wolfgang Büld
Format: Colour, Compilation, DVD-Video, Original recording remastered, PAL
Language English
Region: All Regions
Aspect Ratio: 1.33:1
Number of discs: 1
Classification: NR (Not Rated) (US MPAA rating. See details.)
Studio: MVD Entertainment Group
DVD Release Date: 23 Jun 2009
Run Time: 80 minutes

Track Listing/Features:

* London Calling
* Police And Thieves
* Complete Control
* Virginia Plain
* Where'S Captain Kirk?
* All Around The World
* Eton Rifles
* David Watts
* Time For Action
* Murder
* Guns Of Navarone
* Too Much Pressure
* Gangsters
* One Step Beyond
* The Prince
* Swanlake
* Sweet Gene Vincent
* Hit Me With Your Rhythm Stick
* Brass In Pocket
* Stop Your Sobbing

Bonus Materials:

* New and unseen six track set from The Adverts filmed live in 1978
* Trailers for Punk in London and Reggae in a Babylon.
* Women in rock documentary featuring live performances and interviews with Siouxsie, The Slits, Girlschool and many others.

[url]http://www.amazon.co.uk/Punk-England-DVD-Wolfgang-Büld/dp/B001YXXRY8/ref=sr_1_1?ie=UTF8&qid=1246369332&sr=1-1[/url]

Actors: The Clash, The Sex Pistols, X-Ray Spex
Directors: Wolfgang Büld
Format: Colour, Compilation, DVD-Video, Original recording remastered, PAL
Language English
Region: All Regions
Aspect Ratio: 1.33:1
Number of discs: 1
Classification: NR (Not Rated) (US MPAA rating. See details.)
Studio: MVD Entertainment Group
DVD Release Date: 23 Jun 2009
Run Time: 90 minutes

Tracklisting:
* The Adverts - Gary Gilmore'S Eyes
* Jimmy Pursey Interview
* Chelsea Interview 1
* Chelsea - Right To Work
* Chelsea Interview 2
* X-Ray Spex - Oh Bondage: Up Yours!
* Poly-Styrene Interview Part 1
* X-Ray Spex - Identity
* Poly-Styrene Interview Part 2
* Lurkers Interview
* The Lurkers - Shadow
* The Red Cow Club
* The Jolt- Unknown
* Jolt Interview
* The Jolt - You'Re Cold
* Miles Copeland Interview
* The Electric Chairs - (You Make Me) Cream In My Jeans
* The Killjoys - It Could Be Me 1
* The Killjoys - It Could Be Me 2
* Kevin Rowland Interview
* The Killjoys - At Night
* The Rough Trade Record Shop
* The Adverts - One Chord Wonders
* Subway Sect - Ambition
* Subway Sect - Out Of Touch
* Subway Sect Interview
* Rat (Damned Roadie) Interview 1
* Sounds Newspaper
* Teddy Boys Interview
* The Jam - Carnaby Street
* The Jam - In The City
* Jean Jaques Burnell Interview And A Cynics View Of Punk
* The Boomtown Rats - Do The Rat
* Rat (Condemned Roadie) Interview 2
* The Clash - Complete Control
* The Clash - Hate And War
* The Clash - Police And Thieves
* The Clash - Garageland

Bonus materials:
* Interview with the Director
* Trailers
* The Clash live in Munich

http://www.amazon.co.uk/Punk-London-DVD ... 346&sr=1-1

The french In Broken English has just been released in June its first album. It is available for free download on their official website. Feel free to get the paid version with five bonus tracks.

http://www.inbrokenenglish.com/

Tracklisting:
01. In your sound
02. Time is a thief
03. My head machine
04. Phoenixes
05. Criminals
06. Nothing for love
07. Food for worms
08. Like a dancer
09. Your hands
10. Siren's call

Bonus tracks :
11. A new form of dirt
12. Gasoline
13. Nobody needs to know
14. Dogs run wild (in America)
15. Play

Video:
http://www.youtube.com/watch?v=eWTcYKprTR0

Produced by Gregg Anthe.
Published by Sacem France.
Cover, sleeve design by Yannick Dangin Leconte.
(p)+(c) 2009, In Broken English. All rights reserved.


WEBSITE:
http://www.inbrokenenglish.com
MYSPACE:
http://www.myspace.com/inbrokenenglish
FACEBOOK:
http://www.facebook.com/pages/In-Broken ... 3264458032
YOUTUBE:
http://www.youtube.com/inbrokenenglish
CONTACT:
info@inbrokenenglish.com

Peter Ulrich & Sara Wendt
Hanging Man

© 2009 City Canyons LLC (881017001699) (format: CD-R)


A dark and riveting tale of murderous passion featuring an unlikely and powerful assortment of instruments ranging from an Irish whistle to a lapsteel guitar enhanced with a spellbinding video.
tracks


"Hanging Man" the haunting new single release from City Canyons Records combines the unique mind and music of Peter Ulrich (formerly of "Dead Can Dance") with the compelling voice of talented City Canyons' artist Sara Wendt and the sparkling instrumental contributions of New York indie super group, The Jayne Canyons Band. Produced by Big T of City Canyons Records, this tale of love, murder and eternal retribution will linger in the listener's mind for a very long time.

This special enhanced release of "Hanging Man," with a video component, is brilliantly enchanced by the visionary and passionate art work of UK artist, Tony Pinfold. Pinfold captures the dark beauty of "Hanging Man" with a series of every-changing powerfully evocative images that gives the listener a true multimedia experience.
http://cdbaby.com/cd/ulrichwendt

What the hell is wrong with classic rock outfit Deep Purple? You think they'd have more sense than to rip someone off after so many years in the industry.

Oh wait, turns out they just ripped themselves off. That's the situation according to Russia Today, which reports that a Russian court has fined the British rockers for — get this— “illegally” performing their own songs.

Yes, that's right: when the band played a concert in the Russian city of Rostov-on-Don on October 19, 2008, they did so without gaining proper permission to play the tracks they'd selected. We know what you're asking: “Who the fuck did they have to ask about playing their own songs?”

Well, there's an organization called the NGO, “Russian Authors' Society,” which issues licences to publicly perform songs. This organization represents the rights of foreign performers in Russia, whether or not the performers give the NGO permission to represent them.

Therefore, the NGO took it upon itself to bring the issue of a band playing songs live that they didn't obtain permission for, regardless of who was writing and/or playing 'em. If we here at Exclaim! are to understand this correctly, that means Deep Purple will have to pay royalties for the tunes to themselves — no doubt with a big cut going to the NGO, that is.

Considered to be one of the most influential albums of all time, the deleted original 1987 version of this album stands centrestage with works by The Beatles, The Velvet Underground, Jimi Hendrix and Joy Division. It marked a definitive shift in style for Death In June and the true beginning of a new musical genre, Neo Folk. This digitally remastered edition was the bonus CD accompanying the 20th Anniversary Stone Circle Edition of Brown Book issued in 2007, and contains 7 songs from the original album coupled to 7 remixed, re-recorded and rare versions of the remaining songs.

In effect it is Brown Book II, Braun Buch Zwei! To test and to try, this is the sound of the true believer, sounding better than ever! The completely recycled paper booklet and 'Repak' is brown with black 'Ultra Coated' images and runes featuring never-before-seen photos from the period. Stark, refreshed and beautiful.

http://www.neuropa.be

Pending the release of his new album (which is expected around October), Peter Murphy offers for download from the iTunes site, the two following tracks he did covers of:
- Space Oddity by David Bowie
- Instant Karma by John Lennon

Styled in a poetic style and prosaic style the group Deleyaman releases a new album recorded in Normandy, entitled "Fourth" Part One ". For those interested, the group will be in concert September 26 in Paris, at the barge Anako.

http://www.myspace.com/deleyaman

Summer arrives with the new album of THE ETERNAL FALL prolificly named "Alone", as usual self, sharpens the mix between gothic rock and electronic that made a trade name of the Spanish group: goth guitar rhythms mixed with electro-dance that easily gave in the past the fortune to Suspiria and are now giving luster to the Portuguese-Phantom Vision.
Out since June 14.

TRACKLIST: 01 First words; 02 Just with you; 03 In memory of...; 04 Salvation; 05 The killer; 06 Into a dream; 07 The sin; 08 My room; 09 Alone; 10 Death affair; 11 Cierto; 12 Waiting for the shine; 13 My fate; 14 Far from you; 15 The fact; 16 My own hell; 17. An ancient history.

Gigs:
Nov 1 2009 7:30P
Dingwalls. Faith and the muse & The Eternal Fall London, London and South East
Feb 12 2010 8:00P
Alicante Alicante
Feb 13 2010 8:00P
Madrid
Feb 14 2010 8:00P
Barcelona
Feb 19 2010 8:00P
Misery Of Sound @ the Westcoast Rock Cafe Blackpool, Northwest
Feb 21 2010 8:00P
London London and South East
Feb 27 2010 9:00P
Berlin
Jun 18 2010 8:00P
The New Old Way 5 Jahresparty Dornbirn, Vorarlberg


http://theeternalfall.awardspace.com/

"Antioch" (Poor Alice Records), the new album of EX-VOTO becomes reality. The fourth album by the veterans' southern goth rockers "come to light by combining the peculiarities of the band in New Orleans, or a lo-fi goth-rock with electronic 80 ', a fresh paint strippers deathrock (also have or have not been part compilation of "American Gothic") trace as "The hero twins" or "I walk alone." Welcome back dear, old Ex Average!.
Out on June 17.

TRACKLIST: 01 Ah Puch; 02 The Hero Twins; 03 Demons of the Night; 04 Killer,killer,killer; 05 I Walk Alone; 06 A Ring, a Lake, a Deception and An Innocent Girl; 07 Masquerade; 08 Burn This Love; 09 Watch Out!; 10 Show Me the Way; 11 The Chair of Destiny; 12 Your Fate; 13 We'll Have to Try Again.

http://www.exvotomusic.com/

Jobs are not "real" but only downloadable, "weired tales Gonzo and sleaze" (Selfreleased) collects the best goth-western songs composed by JESSICA'S CRIME. A whirl of dark rock'n'roll inspired by the spaghetti-western ... some 'as if the Nephilim were converted to rockabilly (?!). For incurable cowboys ...

http://jessicascrime.com/

TRACKLIST: 01 Cannibal Hymn; 02 Ice Breaker; 03 The Strange Case of Ptolemy Blaine; 04 Nineteen; 05 Mondo Caesar; 06 Up, John Kane!; 07 The Last Man; 08 Purgatory.

"Lakshmi", the last full-length of Angina Pectoris and untraceable at the time of its release (2000), is being reprinted at the initiative of J. Ming. But we do a little 'of history on this album that was to be published unofficially under CODE Company in Spring 2000 but officially, a part of the promotional single "Dying Art", has seen the light of day (but we do not swear) for the Asian market.
Out on June 1.

http://www.angina-pectoris.net/

TRACKLIST: 01 Last Moments; 02 Decayed Lakshmi; 03 Phobia heart insane; 04 Dying heart; 05 Petal and thorns; 06 Residence; 07 Tonight (we will die); 08 In this empty room; 09 Keep me alive; 10 Mandy (cover)

Eventually the musical career of DEMIAN, made up of demo released and jealously kept hidden for the most-namely those who have never seen the live multi-performed "Demian", "Hereafter" and "Death inside", is discovered in "The trilogy collection Volume I & Volume II". The two CDs are made of songs composed between 1994 and 1998 (Volume I) and 2004-2008 (volume II) and confirmed for the umpteenth time that Turin is the capital of the gothic-rock country. Lovers of Bauhaus and Sisters do not let yourself miss this "Trilogy" in two acts.

http://www.demianmusik.webs.com/

TRACKLIST VOLUME I: 01 Intro; 02 Labyrinths in the rain; 03 Eternal love; 04 Across the mirror; 05 Waitin’for; 06 Wild land; 07 Dance of death; 08 In the kingdom of loneliness; 09 Euridice; 10 The Eternal.
VOLUME II: 01 Stigmata ejaculation; 02 I can’t forget; 03 My time; 04 Amphetamine night; 05 Revelations; 06 Sacrifice; 07 A cross on your eyes; 08 Illusions; 09 Our deadly love; 10 Heroin.

Post-punk rhythms of old school, sad gypsy violins typical of bands coming from Eastern Europe and liquid rites by Nick Cave & The Bad Seeds have always been specific features of the ARC Gòtic, a true icon of the music of the dark Europe. The band has selfreleased his most mature album, "Marille Pavilion", a true jewel of folk music, goth and ambient only available via the band site or
The album can be ordered in Romania through Bestial Records Timisoara
http://www.bestial.ro

http://www.arcgotic.ro/

TRACKLIST: 01 Baragan; 02 Dead Letters; 03 Arkadi; 04 Drowning Lady; 05 Pavilion Marilla; 06 The Hunchback's Wings; 07 Ezarzia (1905); 08 Les Voleurs D'Enfants; 09 The Hidden Place; 10 Two Strings; 11 To The Sea; 12 In My Ruined Rosegarden.

This band for a few devotees, born in the distant 1995, finally publishes his first official full-length "Ornithronos" (Triforium Records), compilacion of new tracks and old pieces rearranged and remastered in which our heroes are a good example of American Goth old school with references to Ex-Voto and Kommunity FK. Excellent hard to find and purchase to die for, envy collector friend with whom you are in competition will be amazed.

http://www.dirgecarolers.com/

TRACKLIST: 01 Walk Like Men; 02 Breaking Apart; 03 The Dunwich Horror; 04 Hoof; 05 Chasing Dreams; 06 Bosch; 07 Doubt; 08 Scars of Love; 09 You Scare Too Easily; 10 A Promise11 Want; 12 Zombie Llama

The debut of the Irish THE NIGHT, by the ep "Disconnection zone" (Darkside Music) demonstrate their rock and psychidelic-wave legacy of addressing the audience in a dark (Bauhaus), post-punk (Joy Division) or glam (Bowie) way. This release is another proof of how the underground "British scene" is flourishing with new interesting bands.

http://www.myspace.com/lovethenight

TRACKLIST: 01. Disconnection zone; 02. Love noire; 03. Nighttime ; 04. 999 ; 05. Drift Away.

The 'Illusion Fades' were formed in Athens in 1990.
Up until today they are the most well-known group with a gothic rock, and metal guitar sound in Greece. From time to time many members have come and gone within the band and all in their own way have contributed in the group's long path.
Basically, the songs of the Illusion Fades are a deposition of one's soul.Personal feelings or the search for the way of life are interpreted into sounds and words. The Illusion Fades do not aim their direction only towards one specific group of people who are under a stereotype label but towards every human soul which is drawn to what one hears and can express oneself through this. The previous release 'In Black' received exceptional reveiws from the foreign music press as well as the band's homeland.
Out April 24.

http://www.myspace.com/theillusionfades

TRACKLIST: 01 13th day; 02 Fear of love; 03 Sweet thing; 04 The christmas song; 05 Gothica; 06 Flowers for the dead; 07 Highway 666; 08 Man without a soul; 09 Red door; 10 Awaiting the dawn; 11 Highway 666 (orchestral); 12 13th day (radio edit); 13 Fear of love (out of the ruins mix); 14 Light my fire (new version)

Darkwave, GothPunk and old school Goth from Brazil - ESCARLATINA Obsessive reaching media coverage for the continent with their second full-length "Blossomy parks" (80's Records). The South American duo active since 2006, has in the bag various compilation apperances on Gothic releases, the debut album "Chants of late" performed many times live as a headliner. With "Blossomy parks" the E.O. achieved the enviable goal of return to our dark days, the sound of bands such as Banshees, X-Mal Deutschland and Blood & Roses with the only worry that this little masterpiece is hardly recoverable in the old continent ...

http://www.myspace.com/escarlatinaobsessiva

TRACKLIST: 01 Suburban Dogs; 02 Blossomy Parks; 03 Where Sank One Million Ships; 04 The Spinnin' Boy; 05 The Death of the Bishop; 06 Trans Siberian Railway Thief; 07 The King's Paranoya; 08 Show me your Flesh; 09 Will Still Fall; 10 Appendix; 11 The Lovelorn Halls

Crazy, independent, sexy, clever, commercial, carrier (in) sound of chaos ... The chiacchieratissima Tying Tiffany certainly does not pass unnoticed, strong image of a bully and a handful of songs have become cult clubs of Europe. Between past, present and future (not to mention some arrows launched in style) TT talk to free-wheel with EDS. Let's Read!

=================

Welcome 01

Hello to all and thanks for the hospitality!

02-Many readers do not know that behind the character electroclash hides an old industrial and goth dj ... Want to Talk?

The sounds with which I grew up were definitely the industrial, ebm, dark ambient, Neofolk .. Over the years I became a collector, I have accumulated a large quantity of CDs and vinyl, so I decided to listen to others what I liked. Do not call me surely a dj to all intents and purposes, remains a passion, mainly from listener and passionate because I enjoy experimenting with various musical genres that follow, such as the electronics in all its various facets but also the wave, until the post-punk, even inserting aluna my productions.

03-on this bivalent, what prompted you to choose this kind of music as a means of communication?

I can not divalent, I think that my productions are not easily placed, I follow my instinct and what I love, not to mention genres. The two albums that are out searches using different sound, but on stage are linked by the same sap.

04-your album is coming out of a few years ... that has happened since then?

.. Passed almost without realizing it, of the many live and work in the new disc. The first album, "Undercover" was created simply by means of low-fi / 8 bit oriented. "Brain For Breakfast" instead it was a real production that I was employed full-time and on which I have done a great job. Moreover, the objective was to improve the composition and arrangements and I was confronted by collaborations with other musicians like Nic Endo, Pete Namlook and Santo Niente, all very exciting experience. I also carried around Europe on tour BfB, doing a mini tour with Alec Empire. Meanwhile, pieces of samples already already some years ago and new ideas, I started on the third disc, and now I am with the album almost finished. Probably out for the next winter.

05-what would you send to your pieces? and if one day stop, as you would like to be remembered artistically speaking?

Not intended to go down in history, I think that the sincerity and naturalness with which you pursue your own projects / dreams are messages that can best be provided.

06-as usually compose? what type of machine uses onstage and offstage?

A real creative approach, I do not, depends on the stimuli and the time. Work with software to find groove or sounds interesting, I dwell much on the initial creation of the patterns often working with machines or type Roland R8 Akai MPC-2000 and various instument, from there comes the idea that later developed in the study by adding other instruments and vocal lines. The live line up of the band is bass, drum machine, guitar and Synth.

07-which were the artists or discs that have influenced you most? and how they did?

I will mention a few: Alien Sex Fiend, Angelo Badalamenti, Bauhaus, ATR, World In Motion, Lydia Lunch, Pete Namlook, Pan Sonic, Steve Roach, Black Lung, New Order, Swamp Terrorist, Cabarte Voltaire, Michael Brook, King Black Acid. ... Surely I have unintentionally influenced who more or less consequence, however, nn is said that the ratings are reflected in what you do.

08-the importance of your public image?

I am proud of my femininity and I do not believe that intellect and commitment go hand in hand with the indifference of their appearance.

09-respond to what people accuse you of basing your career on the only physical?

E 'un speech perception, if you only see one, you probably lack the sensitivity or the classic sexist, after all this happens, unfortunately, only in Italy.

Will play at 10-Moonlight Festival. What expectations do you have? Proporrai something special?

Certainly give some new tracks on the disc to which I am working, and will also be the first time that I will hear them.
Expectations and certainties ... finally hear and see a festival that represents this scene, which has little space in our country, with artists that I have high regard and I can not wait to hear live, was born in Italy that a similar event, more often than not we are forced to do km around Europe to participate.

11-months ago on a harmless pop song porno sbancato has the indie charts and more. But do you really just put a text alluding to a dance piece to create a smash success and then?

Frankly I do not know what and how we can make a piece a smash, an alchemy of elements that fit in that period, if the "sympathy" that proof in tui with a record, if the work that many artists do public relations on them or hand, and the process would be more true, the consent of the public who for the most disparate reasons thrill listening to your song. I do not feel I try to judge or understand why this happening and to tell the truth, do not interest me much.

12-Future projects?

Finally the new disk and prepare for the live, I'm also working on some projects sound of concrete and contemporary music in purely electronic form, a tribute to Steve Reich for a digital release.

13-The last words are for you

Given the time, at 5:15 in the morning .... Good !!


http://www.myspace.com/tyingtiffanyy


Max1334

01. First of all, introduce yourself to the Italian public.

Hello, we are the Femme Fatality, an electronica duo from St. Louis.

We are brothers and our names are Alexander and Monanani Palmero Palmero. I (Monanani) I founded the group in 2003 along with a good friend but we had many changes of line-up until things have stabilized with the entry in the group of Alexander.

02. A brief biography of the group ...

The Femme Fatality I'm around for a while 'for years, we started this project for a little messed up' the emo community. We wanted to stop crying and began to dance.

We believe that dancing is much more sexy in tears ...

Internet has helped us a lot and in 2005 the first single of our debut album ( "Dr. K") has positively affected a large part of the American club scene.

That song has allowed us to run the country and do crazy things in order to continue to play more.

03. What we say on the current electro scene in St.Louis?

St. Louis has never had what he requires the electronica scene. When Femme Fatality were formed I had never heard the word "electro". Around us are many sound check band electro although I think that my own is still the most feared of the city.

04. You have also published a 7 " . Do you think that this support has followed? (I think so. I am a vinyl suffered so ... J

We have published a 7 " because we had always wanted to print something on vinyl. Does not sell as much as the mp3 or the cd, but before the merchandise is good.
05. Atari Teenage Riot, Techno, Pop, New Wave ... and much more. Can you describe your music?

We grew up listening to Punk, Indie and Hardcore.

These are the scenes from which we come.

When we started planning electronic music had not really electronic influences, it was done so because he had an interesting sound.

Since we did the second album we are listening to more music and electronica a lot 'of mainstream Hip Hop. Especially the SOV

06. Want to talk to "One's Not Enough"?

It 'been crazy to do "One's Not Enough."

If you tell all the events happened, I probably will not believe.

We recorded in an old-school, there are festivals during the day and night.

In that building happens everything you can imagine, fights, orge, festivals of all kinds, drugs, anything short. I think that we can perceive the folly listen to the CD. E 'davvero un disco de "I'm losing my head" and we are proud.

07. Your lyrics are not stupid and meaningless as those of other bands similar to you ...

Thanks, we try to be without being too excessive. We are talking about pretty crazy things but we have a code to which we remain faithful.

08. It seems that you continue to use analog instruments to record and play. Am I right? Why this choice?

We use some analog synth but also a ton of digital. E 'così easy to embellish the sounds of an analog synth with digital tools. We do not like to put limits to what we use when producing a sound, then put it somewhere in the disc.

09. Future projects?

We are working on an EP right now. For now I am very dance floor tracks 120 beats per minute, a friend said it sounds a little less American in our last record.

I do not know, we also have another alternative-country band which is called "The Sudden Passion ' thanks to which we are doing many concerts.

10th The last words are for you ...

Thanks for having us and for doing this interview.

"One's Not Enough" comes out in Europe in March, give a 'look.

On Add Myspace, Twitter and all other glia internerd sites and not be afraid, we answer! DANCE AND DESTROY!

Max1334

How many times we talk, often wrongly, of so-called living legends, perhaps (???) referring to artists who have made it an album and not just passably and lived annuity for the rest of their days? Too many times. How many times can happen, however the opportunity to really stand face to face with excellent personalities that really made their mark in Goth music and beyond who have changed the history of music playing on albums such as Catastrophe Ballet or Ashes? Few, very few times. Gitane Demone is an icon. But not without merit. Has earned the teeth with the reputation it enjoys today, and should not thank anyone, indeed, could also often complain that much of his work has been unfairly put in the shade of others. But it is a woman of class, Gitane. Do not spit poison free, non-storm rises, and the only thing that really seems to import them, today as yesterday, is to protect their adored children, and able to express themselves freely as an artist. Concurrently for next date in Italy where we will experiment with the songs from his entire solo repertoire or not, the classic Christian Death included, we could not make us miss the opportunity to exchange four (indeed, many more ...) words one who with his voice and his attitude has bewitched and affected over three generations. Put your new dvd in the background and let yourself be taken by the hand through Gitane thirty years of career ...

=====================================

1-start from the beginning ... When you started to play keyboards and sing? You had projects before Pompeii 99?

Yes, before Pompeii 99 I sang in a couple of groups Heavy Rock for two years. Then I lost my voice for six months. You know, playing on the walls of distorted guitars ... it's not for everyone. That is when I joined I was 99 to Pompeii, however, tend to wild and raw. In free time I had written some songs with the help of a small keyboard, learning a little at a time to use it ... I think I have always had a good ear, so it was quite natural to add the keyboard parts, then, the Christian Death.

2 - talking about Pompeii 99 ... it is not surprising that a band that was playing a mainly influenced by the very Wave Ska is merged into one of the most obscure and ill that the Goth scene has ever seen?

You say? Eventually, Pompeii 99 had a mixture of art genres. Punk, Classical, Progressive, Rock, Experimental ... Songs with Ska trends were Valor, however. It was he who loved this kind of thing.

3-After the individual, the demo and the album Pompeii 99 is melted. Valor, you and David there Unisto Rozza in a Christian Death mkII. What happened to the other members of the band?

It is, rough and Valor became good friends. It all began when they met at the release party of 99 Pompeii, "surrealist extravaganza. Rozza wanted a new band and a new line up. His original intentions was to play under the name Daucus Karoti, but in the end we decided to hold Christian Death when the French label L'invitation au Suicide propose to record a sequel to Only Theater Of Pain. Rozzi asked to take care of security arrangements and playing the guitar, while David went to the battery. When I was in semi prison, I was pregnant three months of Sevan, my first child, and wrote pieces for myself. I do not know what has happened Poli Sci ..

I have to find ... Cram Netod composes music, plays jazz and is in a band called The Negro Problem "I think. We worked together for a brief period when I returned from Europe in 1996. David Glass works for The Cleopatra for several years now.

4-Then you were not in the list of possible members for the early Christian Death ...

It 'true. Valor made my name, itself as vocalist and keyboardist. Rozza was intrigued, but first wanted to meet me. I went to his nineteenth birthday to meet him. That experience ....

5 - The first live dates in America and Europe of the period end 83-early 84 were wild, fast, raw. In the studio there was a transformation ...

Oh yes, it was completely different. The concert is un'animalesca challenge with the public, and the plant can be good or bad ... is the top of a cliff, you jump and you riafferri for the ankles when the concert ends. Slowly. In the studio, headphones are the right amount of balancing sound and complete focus on the goals and success of the piece.

6 - How have you been involved in recordings of Catastrophe Ballet?

Catastrophe Ballet? I was very involved, contrary to what Constance or Valor can say. I wrote the music for Awake at the Wall and Cervix Couch. I was Cazzeggio with these melodies, echoes of ongoing trials in pre-European tour of 1983. Rozzi, sitting on the floor with his sheets with texts scattered around him like a long skirt, felt these keyboards and the pleased. He found his lyrics to see fit and they became real songs. The same thing happened with Face on Ashes. I was pregnant during the recording of Catastrophe Ballet. Sevan rested in my cervix Fund (Cervix Couch, nd Max1334). During the recordings, we lived in an old house, the Anchor House, and was across the street of the Rockfield Studios in Wales. The old house was full of ghosts, David Glass even once come to his room he found a small girl sitting on her bed. She was seen by a lot of musicians, but it was a ghost! Rozzi was in bed and was awakened one morning by the sound of

his clothes were all together literally flew away from the hook! I, being pregnant, just entered I heard a lot of good smells and scents. Later they told me that these entities enjoy the new life.

7, are you the model on the original print of Catastrophe Ballet? The photo that goes back to the Contempo sessions of atrocities, but the original one is overexposed and does not understand ...

No, not me. Yann Farcy always chose the covers based on his collection of surrealistic images. And yes, you are right regarding the reprinting of Italy.

8-And the story of your collapse on stage at the Batcave in London?

And 'real ... I went up on the evening before our show at the Batcave, then a couple of weeks I think. I went to the hospital the evening before the date the Batcave, and then postpone the concert by two weeks. We thought enough. In fact the birth was difficult. After two weeks, came out from hospital I went to the hotel with my mother and my son just born, and then straight to the Batcave. It was there that collassai. I did not want to ever stop ... But probably none would have ever done without my beloved mother (RIP), which took care of Sevan in the backstage while played in

Subsequent concerts. Sevan had to be nursed every two hours, was premature. At that time playing a long set of concerts by ... So Sevan care until you are ready to climb on stage. But when we were playing, he again had to be nursed. Honestly I do not know how I did it to do it! At one point I left the tour for these difficulties, but in the end are returned after a couple of days. I could not give up.

9 - It seems that the name dispute began around this time ...

Yes, I remember well. Valor did we sign our rights and we do not realized to put the signature on a contract Misrepresentation, even Rozza. Valor trying to put in its place gave him $ 3500.

Then came 10-Ashes. It looks like a cross between an lp and ep ... Missing something?

No, Ashes was complete and records were not interrupted. I believe that it was already so perfect and not felt the need to add anything.

11-Ashes is the first Christian Death album where songs for an entire song, not just the chorus. I refer of course to Lament, perhaps one of the strangest songs and fascinating of Christian Death feat Rozzi W. ... What memories of the composition and recording of that song?

The text was written by a companion who is German by Eric Westfall, Hans, while the music was composed by Eric. The arrangements for the nine brass are yours. All recorded live in a small room. We could not afford something higher ... I was not very practical with the German language, and I learned the lyrics and vocal line two hours before recording Lament. One of the players of brass was German and said that I had a Bavarian accent (!!!).

12-Ashes after the Christian Death did three concerts in the U.S. between March 30 and April 6, titled "Path of Sorrows." Were the last concerts Rozza with Christian Death, also had a little new bass player, Barry Galvin (Bari Bari) ... What memories of those evenings?

Let's say that I was out of the tour, because I was with my family 800 miles away from anyone else in the same band. Planned a few shows, went to Los Angeles and Barry was the new bass player ... (ndMax1334, Rozza was a want. Please review the interview I made to Barry a few years ago, archive section of this site). The Path of Sorrows was a bit extreme summa of the live show ... we had a lovely stage, lights ... the stage was adorned with eight large paintings that reproduce vintage photographs of people killed by homicide. They were the first concerts since our return to Europe, and the last was particularly memorable. The sound was perfect, the atmosphere still-remember-beautiful, almost unreal. Both recorded the concerts sold out, with people pressed into the room and others were walk the sills of the windows ... memorable!

13-Just after the American dates, Rozza finally left the band. Then you partiste for an Italian tour. In fact the first time of Christian Death without Rozza was in Milan, all'Odissea 2001 (the current Rainbow for instance, ndMax1334). How people reacted seeing him with you? And why Rozza left the band?

Eric Westfall and the best friends I Rozzi said the truth, years later, about the true death of Rozzi and Eric. Telling today would create only problems and rather not make things public .... At first, I also left the band along with Rozza. Then I was asked to remain. I felt that my son Sevan had the right to be with his father. Ten days before the tour called Rozza said that left the band. He and Eric Westfall m'implorarono to stay out of the band and start a new project with them. In fact I had an enormous sense of responsibility for me to do the best for my son and his father, more than anything else. For this

I continued with Christian Death. Shortly before the departure of Rozzano, each of us had left their houses, sold cars, and we were together in a large room in Hollywood, ready to leave the States. Valor sent equipment, changed its name to Sin and Sacrifice of Christian Death, Johan went on bass, Barry on guitar. All this about a week before leaving for Italy. Valor once explained to the Italian promoter as things were, that Rozza was gone, but I think there were misunderstandings or someone told you wrong ... Valor informed (unfortunately I do not remember the name of) the band that was coming were the Sin and Sacrifice, and without Rozzi. We were told to come anyway. None of us really knew what to do, we had left everything to make this tour, and probably not ever go back in the States. Who knows what would have happened ... This is why, however, we embarked on this tour. For me, it was a matter of justice to my son, who was to be with his father. When we arrived in Milan, we discovered that we were expected as Christian Death, despite our warning add "Sin and Sacrifice" ... There was a lot of confusion ... Many thought that Valor Rozzi .... who had noticed his absence took male (see videobootleg the date of Milan, during Cavity, to understand the slaughter that was created between the and public security, ndMax1334) ... trying to explain in broad terms what happened to the people ... were twenty-four hours of hell ...

During the 14-date Italian suonaste also a number of very good new, never published. Do you remember the titles for the event?

Sorry, I can not remember ...

15 In 1985 you have also registered for a label Milan Supports the Fonografici .. .

The Italian tour was absolutely not a financial success ... immediately stop the relationship with the agent and it did for us, moving by train, getting off one part of Italy and the other going up. I remember that I had to breastfeed Sevan and people left me to sit ... in short, we need money to go to England, where Valor had residency, and then find a way to support the band. Brackets Fonografici offered us a contract that is accepted as it could have a bit of money in advance to go to England.

16-come to atrocities. It was one of the disks where your class was really out in a burst. For example, your cover of Gloomy Sunday, or your interpretation of Tales Of Innocence (I have a bootleg where canta Valor. There is no comparison, ndMax1334). How much were involved in implementing the album?

I was constantly depressed Rozza if that were none left. we were using the name Christian Death, and we had the right. This rodeva me inside. The only thing that kept me alive was to stay with my son, which of course I had to hide my dark side. You can not convey those emotions in a child! I was quite detached from writing music in the band, despite what I had chosen Gloomy Sunday ... What was the emotion I was experiencing for a long time, Rozza ... by chance, he was fine with the concept that album, since it was a song on

suicide in 1940. the bass line behind Tales of Innocence was Johan Schumann and Barry also wrote several pieces for that disk. Stay still Anchor House and reregister to Rockfield studios. If the first time that I entered into that house I was greeted by smells, the second, thanks to my black depression, I woke up several times in the night nearly suffocated by the spirits who were adversely affected by my emotional state. After those episodes, I was no longer alone with Sevan in the house! You have to understand ... my experiences in this band began to be very different from those of others and the opposite of what people might expect ... It was my motherhood, and I was also a musician. I had to protect and take care of my children. For me, having two wonderful children, has been the greatest joy of my life, and the best thing that ever has. The fact that in addition to this in my life I managed to be creative, well, makes me feel really blessed. Not many are able to manage things as I have done. The fact that they do not participate in the lifestyle of the Rock and Roll band was probably a good thing, both for my health for my ego!


17-The lineup in those months was still very confused. Barry played on the disc and Johan, but there were already live Taballione Paul and Kota ...

My memory has holes ... remember that my priority was to be a nice young mother, and I passed most of the time with my son. We lived in some cheap hotel, crushed in microscopic rooms as much as possible, then looking for free rooms in hostels, until we found a squat in an old school that had some room, a kitchen and a bathroom at the bottom of the Hall. We had a contract with The Jungle But in the name Christian Death. It was a really terrible time, where reality and truth disappear. Each of us was suffering and had suffered much for his whole life just to create music. The decision was to continue. I wanted to die. We did some shows in London, and then as I have said already registered atrocities. One day I returned and Valor in the flat and discovered that Barry and Johann had give up the band. I never knew or understood why, except that we were all very poor, just had to eat (and not always), and was always so. We never had enough to eat. I do not know when and why Valor took Paul and Kota, and not even tell you so

because Paul was left at home after a few months. I do not care techniques to property of the band, there was the domain of Valor ...

18-Question .... light during this time you changed your hair color! people always recognize you as a blond icon, but before you were black corvina ....

Valor was the way to the business ... ... and I wanted to change. When they left I notice, when he returned I was blonde. I wanted to change!

19-After the tour of atrocities began the recordings of Scriptures. And here you cantasti your first official Hendrix cover, the first of many. Why this passion for the legend of the six strings?

Jimi Hendrix was my first musical idol. The first disc that I bought in my life was Band Of Gypsies. I was 12 years, shortly after he died. I grew up listening to things'60s, and The Hendrix's Experience was in the pile. In my adolescence collezionai any disk Hendrix ... Be considered a singer Wave / Goth is mainly due to the style of bands when I played. I studied jazz singing for nineteen years, dall'80 today. But honestly believe that my voice is instinctively Blues and Gospel, to the Soul. I do not know why. Just

Gloomy Sunday or listen to Lament to understand what I mean.

20-This was the period of Church of no Return. David Glass half spring records, it is said to conflict musical ...

Ah, no, not as musical differences, for what they say .... I know that among other things, there was the need for David to have greater stability. He was tired of the poverty in which it forced the band, and wanted a more stable life with a house, economic stability etc.. He was also a girl who took the time and had very projects. Indeed, shortly after we married and had children.

21-Church of No Return was your second official video clip, which followed that of the Believers Of Unpure. Remember anything of those videos? I think believers should have been shot near Milano ... While the Church is more comical view that serious ...

Yes, Believers was recorded in a forest in Italy, was a place that knew those media Fonografici. It was a beautiful place. I do not remember exactly where it was, but are sure that you are right, it was near Milan. All those you see in the video and that they had shot and mounted in a small circle of friends that were made in Milan. So is an Italian video hundred percent! Church of No Return instead was dramatized by Valor. The movie in the winter, and power generators that were to give us electricity continuously jump. It was a cool dog! The place was an abandoned squallido squat in London. All "fans" of the Christian Death were invited to participate in the video. They came from Scotland, from the North, by all parties, in the early afternoon. There were many technical problems due to the generators that will not sustain and died ... when the time came to resume the public, some of them were drunk and soaked fainted as they had drunk as sponges up to that time, others had taken the train for their return to home ... E 'comunque divertente review some old friend in those times. I am still in contact with some of them.


22-Sex Drugs & Jesus Christ was the last disc in which cantasti Christian Death, among others some of the best tracks the album ...

(Cut short, ndMax1334) This disc was recorded in London in a Squat with electricity supplied by a generator. Need I say more?


23-After your gig at the Marquee in London June 10 89 (documented on Alive Heretics) lasciasti definitely the band ...

Yes The last links were now broken. There was no reason to stay.

24-Then at the end of the 80s you had to reinvent itself and begin a career for you

It was a strange situation that in which I hunted. I started working in music as soon as possible. Just left the band immediately began writing material for myself and developed some experimental event in Holland (have a look at the new dvd of Gitane to get an idea, ndMax1334). I had various musicians and worked with various people before we have a real band. Lullaby was recorded before Heaven A Melancholy, a toccata and fugue with a Dutch artist ... I did mainly for fun. My direction is not

of course the House Music But I have always been open-minded about the registration of individuals and disks. Love For Sale was a live disc drawn from a concert tour of the first solo. The concerts were also focused on performance art, including some forays into fetish, but the music was developing in different directions than they did before. I think it was difficult for those who liked the things I did with Christian Death love new things to sing jazz, blues and Torch Ballads. But I had to follow my heart ... not

I am sure that it was understood at the time, but years after when people ask me yet again that kind of music ....

25-In the first 90 years you were involved in the subculture Fetish. Situation that you abandoned relatively soon, because people felt that now was to "see" your show, more than a "feel "....

The psychology of S & M fascinated me ... And I had to test it personally. I am interested in fetishism and sexuality, by myself of fetishism. I wanted to show the various passions in sexual subculture ... By Demonix, I expressed that, as I did in my live show. It 'true, I felt good and I knew that the public came to see a show, rather than hear the music that I proposed. Anyway, I had exceeded the limit that I wanted to place my personal interests, so for me it was time to close that chapter art (not necessarily had to close the one connected to my private. My Fetish remain my!)

26 -... and in 1994 you came back to the limestone boxes with Rozza ... When did you meet?

Rozzi sent me a beautiful letter in 1989, once I left the Christian Death, asking me to correspond with him. For my part, I still felt terribly guilty for being remained in the band when he went away. Me again when he was doing dates in Germany, I think in 1993, and from Amsterdam to viaggiai Bochum drive to view it. Meet was incredible, so beautiful ... but it was a short time. Still remained in contact to feel again and do something together.

27 Indeed for most of 1994 you were on tour together. But you have not attended all the dates. for example, in Italy have played a Meolo but not in Turin or Rome ....

It was really wonderful to be back around together after all these years. Honestly I do not know why I did not open some shows. Perhaps some promoters do not like the me ?....

28-These are the months of With Love And Dementia (another live album) and Never Felt So Alive ....

With Love and Dementia was recorded during the tour with Rozza. Marc Ickx is an angel ... you tell those memories of privately Never Felt So Alive ... Marc Ickx is an absolute Angelo.

29 -... thus arrive at Dream Home Heartache. From where came the idea of doing an album together? What's left from those sessions?

OWN '! And infinite resources and floods. And creativity as a bottomless pit. We went in the studio to record two songs ... everything else was done on time, making the most of what we had, that a few musicians and instruments. It 'was totally NOT PLAN

30-Then andaste back on tour together, but sharing the stage, instead of alternating bands and your dueting for a couple of pieces. And the circumstances were strange for two as you. Nothing explicit provocations, no view ... just shock you, evening dress, who plays your songs, sitting at a table taking tea ....

Yes And the Rock and Roll rebels is to be ... So if the Rock and Roll "Normal" provides the cliché, I believe that we have destroyed them all, one by one, those evenings. I never loved the obvious, and even Rozzi. I have wonderful memories of our fun in the abnormal state of rebellion ...

31-you feel even with him during the last months of his life? How did you react to his suicide?

Rozzi is cut off from it all during the last months of life, at any level. He was very ill, and full of pain. I fell into a total shock after his death. I ubriacai to exaggerated levels and in a total blackout mental married a boy of 24 years that I knew for seven days. And I of years I had 40 ... to end the marriage lasted a year and a half.

32-Are you still in contact with Eva, William Faith, Monica Richards ....? short with people who were part of the so-called Rozza Williams Family?


We say that there is a small and intimate circle, with many more connections ...

33-Am I Wrong? was 1997 ...

E 'special. It was the first time that arrangiai anything alone, and despite some arrangements are really minimal, I did the best we could. Most of the songs was recorded and mixed a song a night. Very fast, do not you think?

34-There is also a video cd with your video private particularly spicy.

True. Nico B published it and distributed without permission after our relationship ended. And I said.

35-In the notes to Life In Death'85-'89, a compilation of songs sung by you in Christian Death, you wrote that the only true Christian Death were to Rozza Williams. You feel sorry for having been a member of the bandwagon, even after his departure. So, you finally said. Why did you decide to do it?

I do not care what anyone says or think. It happens often in bands. A name is taken and stolen. It is not right. It's never been right. And I can not really justified. Rozza knew why I remained in the band. I always said that he knew and understood it. When he left Life in Death decided that it was time to seriously take a position. And to be honest, I ended up in a hell of problems for writing those notes in the cd. But to suffer for what you believe is a thousand times better than to suffer for things that DO NOT think.

36-in the last fifteen years have you been involved in several projects (Green Eyes Chiascura, Anti-Therapy, LCD, Bis Ende, Goethes Erben, Phallus Dei, RU, Dreadful Shadows, Bamboo Crisis, Deep Eynde ....). What do you remember those collaborations?

I only have wonderful memories of mutual respect among musicians. I am truly grateful to them for those unforgettable experiences.

37-The new millennium began for you with Stars of trash. New image, new sound ... it was difficult to recognize at that!

Trust me, it was difficult to recognize anyone and anything in those months, aside from my friend Andrea and her boyfriend in Berlin.

After 38-Stars of Trash, a long silence, until your return with the recent Crystelles. Why this pause so long?



Disillusionment against the record company. I looked after my mother, who is dead. I had addictions to drugs for the first time in my life. I learned to play guitar and write songs for myself. Then I had to learn to play guitar and sing simultaneously. I painted and sold 200 pieces of paintings and sculptures. I have worked with different musicians. I had a story with a psychotic who had a big heart and a large pea. Now be much better ... I have a great relationship with myself. I have a few trusted friends and loving. My children and I are close as any family should really be. I'm playing the best music I've ever written. I never thought that this kind of happiness could really huge there.

39-What about your last DVD anthology?

It took a year and a half to assemble the material. Better put into service now that ever. I am very fatalistic as you can see ...

40-What about the Sevan? I have some demos of some ten years ago and were very good ...

is now in a heavy rock band "The Sixth Chamber '. It is devoted to the art of writing songs and lyrics.

The 41-and Crystelles, your project with your daughter Zara?


Zara how you will know it is my daughter, so it was quite natural to do something together. Now we have a bass player in training, Troy Rounseville. We'd love to stay with us even when registration for the next studio album. We would like to print limited edition of 500 copies, vinyl only, before the summer. Then do a summer tour in the U.S., and only fall to be signing with a label real propia.

42-what do we expect from your next date?

A series of songs that cover the period 1985-2009. Not songs that sound for years, things like that.

About 43-hours playing with you? Why did you choose them and not other musicians?

Zara, because it is a superb drummer and unique. Troy Rounseville on bass for the same reasons. Kenton Holmes will be on tour with us, especially to play the parts of Christian Death and the solo repertoire. Basically, I chose them because I love them and respect them as persons. Have a family to me. Ever.

44-Upcoming projects?

Expand in any activity in which they are involved.

45-As usual, the last words are for you

FREE BONDAGE!

Max1334

One of the most polychromatic music scene of today's session is newly on the market with its first, long awaited solo disc. Album difficult cataloging, has divided the opinions of fans of the former Vanishing / Autonervous. But let her tell us about both ....

==================

01-Jessie oioi! We felt the last time for the release of the album Autonervous. What happened in Flass time that led to the publication of your first solo disc, Fire Is It?

Autonervous When the project is finished, I spent six months alone locked in my room with my drum machine by writing music for my first solo album. In the summer I went to study in Berlin with Toby Dammit and Budgie to record the batteries. Then Toby and I decided to go to Mexico to finish the disc with the idea of collaborating with Pepe Mogt of the Nortec Collective Tijuana. We met in Mexico and in fact we ended up working together. Besides that, I continued to live in Berlin, playing in several concerts around Europe, as well as dates in Mexico. My last two years has been exceptional, and I feel that the time has come for me to get away from the bike.


02-Do you want to speak of new disk? I saw a lot of collaboration is of a certain thickness. I think a Budgie or members of Calexico ...

E 'stato fantastico can decide how, when and with whom to collaborate. In the past I have always been part of bands, where everyone had their own idea and was putting too much meat on the fire as it should function as a disk. This time it was all in my hand, I had to decide on the people and their spaces, and above all I was able to choose the best. truly exceptional people, and wonderful musicians. It 'been a very formative experience, because I had to produce for my whole disk. I believe that this process has helped me grow a lot as a musician.

03-What about this fascination for a genre of music so different from what has been done before? What was the spring that has triggered this passion in you?

It depends on what you mean by type of music. For what concerns me the new album I find a lot of influences ... New Wave, Jazz, Afrobeat, Latin, etc ... also Eastern I believe that the influence can be nmuova the Mariachi, which derives from the fact that he recorded the album in Mexico. Driving for a month listening to the radio trying to extort the maximum extent possible from what I felt. I feel that I'm gradually coming to my personal style final with my music. And 'as if I am getting older is really close to my conception of musical expression.

04-Even your lyrics seem to have taken different roads than in the past ...

Yes, the lyrics are much simpler than in the past so long ago I realized that for me is much more important but less significantly than to indulge in poetic words rounds. This album is truly a new beginning for me and I feel as if you were coming out of a dark period of my life, planning a brighter future and positive. Despite this, there is still internal. And 'the human condition. But I realized that every song is magical, so I want to make each of them something that will take us somewhere else, which is a celebration of life.

05-feeling that makes you know that many people recognize you as a former singer of the Vanishing, and then linked to an imaginary and a Basically Goth music? Rifarai never like or things like your traditional tirerai ahead and do what you want when you want in spite of the expectations of fans?

Perhaps we will do a reunion tour of vanishing in the future, but only in Italy, hehehe! It seems in fact that when I started to act under the name jmio as Jessie Evans, there is also a major obstacle or comparison compared to what I have done in the past because most people do not recognize the connection between things. And I really do not matter much if they're good or not, will continue to do what I want my way. I feel much stronger now, able to take your hands of my ideas and put them into practice without using any tricks. Obviously, I'm glad that many people love what I have done in the past. Give satisfaction, even though I can not really see these "stages". It's me and that was it.

06-still live in Berlin. I remember that you are andasti from America during the Bush administration and said that I could not stay over in a country with a head like a character. Now things seem to change, at least in the area. What do you think of Obama? Really change things?

I have no idea if and what will change. It certainly is an exception, has become chairman. It 'the first African American to fill that role, and it was now. Furthermore it has an exceptional education in addition to a convincing story. It 'a real character, clear. But I believe that to become president, or even politician, a person is forced against his will to sacrifice many of their ideals and their moral and I think it is daunting. I wish him the best, I feel that it is not just raising the spirit of the Americans, which is beautiful but also dangerous. People want a hero, and they want someone to save them. If people fail to understand through this experience, to get elected, that being united have a choice other than the first ... This is the best thing that can come out of his election.

07-Ok, let's go back to music. Are you satisfied with the responses received so far by the press and public for the new album?

I published the disc for my Fantomette Records label and is currently available only through mailorder or download. To be honest, I have not really started the promotional tour itself because I'm working on new material for the next disc and sincerely engage in this rather than putting in vicious circles of the music business. I'd like to dismiss the disc to someone's assistance in coming out, which distribute discs shops. I know that the album is really strong and that could break out there. The press so far has spoken well, it considers it a job-free crisp easy cataloging. At the same time, I am a creative, and I have to focus on what gives me energy and qyello I can bring to the world.

08-Continue to want to have in your music career?

Turn the world, live in the sun, playing until I'm old.

09-and what your next steps?

I'm concentrating on my new songs. The new material I'm working on which will still be different and I am very excited and curious. Who knows who will come out this time! Apart from that, this year I have a disc with Namosh, maybe something with Lydia Lunch and a 7 "with the Extra Action Marching Band who will perform a couple of my pieces.

10-well, we are at the end of the chat. Want to leave a message to someone?

Yes, send big kiss to all Italians! See you soon!


http://www.myspace.com/jessieevansmusic

Max1334

There are small satisfactions that make you proud. Just the time of a cigarette, why then, however, you must go to work. But these are precisely those moments that make you smile come. KK I know well in advance of their debut, and without false modesty I can say that Erba Della Strega was the first portal, newspaper, magazine to become aware of them. With an interview and a brief review of a handful of songs at the embryonic stage, never officially circulated in any way, at least not at that stage. E 'with great pleasure that today, after the release of its second album and waiting to see them this summer at Fano, again we sit face to face with the Cabaret Ubriaco to take stock of the situation ..


===================


01-E 'spent a lot of time since the last time we talked about here Erba Della Strega. Since then, after quell'advance demo with a handful of songs, you've arrived at a contract with their album and tour. Want to tell us what happened?

Mr Guillotine: After some adventures with various labels, we landed at the Project and we are really happy of it! The only regret is not having a job with them instead of wasting time! We have also done a series of concerts around Europe, a tour with Deadfly Ensemble, drank a lot of alcohol become even more stupid. As you see, everything is big!
Klischee: It 'hard to look through the sight obscure, but in a sense is so
HK ..: I went to a training organized by Genghis Khan in the hills southeast of Latvia.
There I learned to perscare hangers and portaabiti, in addition to fish potatoes with a tennis racket. I enjoyed it a lot, especially the day when Genghis was to take water from the well and is back with the bucket full of spaghetti!
Miss Mary K: Actually I sang into the microphone. not bad eh?

02-The new album has reconfirmed the excellent criticisms received with the debut and demo earlier, and people seem to love more and more your musical proposal. Think they have reached the goal or think you can make much more in the future?

MRG: Haha no, our maximum is still distant. To be sure, for us (me?) GGEV is infinitely better than the debut, but I think a lot of things can (and should) be improved in future. I can not say more, but we are working!
Klischee: I hope that the next album is better, and worse ones to come ...
HK ..: During my course with Khan imnparato that I can be better without us taking her hand from perverse and false ambitions
Ms.MK: Everything has already been said. One never ceases to learn, both in music and in life in general, and we hope to be even better in the future. Assumed to have reached a climax for us would prove as a pack of pretentious idiots. I mean, more than usual.

03-the fact that more and more magazine and public etichettino you like Cabaret Goth bugs you? Do you feel stuck in a cage at a predetermined role or what there infastisdisce and indeed, there is pleasure?

MRG: I honestly do not know, and I personally do not believe that somehow we do something that can be defined Cabaret Goth. Ok, some of our first demo songs in a long duration can play Goth, okay our visual aspect revolves around all'immaginario of Weimar Cabaret, but I do not think that our music actually follow the trail. The thing is that in recent years throughout the history of Cabaret has become fashion, and then ...
Klischee: In the cage ... you ... but the bars are not strong enough for us!
HK ..: As Genghis "You can not avoid that people put the birds in a cage, because for them it is much more difficult to admire the colors when free flying in the sky"
Ms MK: The groups can not avoid being stuck in the genre, people need to give definition to the music. I only hope that we as a group at some point we can escape from the cage are talking. Your question is very acute, if I must be honest. You are the first person that seems to import that, then thanks. Returning to the main discourse, even if uscissimo from that round, people still called us in another way, cataloged and incasellandoci anyway. For my sums, I try to think as little as possible and try to look ahead.

04-I remember that years ago every one of you wanted to record, play live ... each band as a beginner, you had the dream rafggiungere, that emerge in some way and become, say, popular, entering the game of music business. Now it seems that you have obtained this result, at least within the goth subculture. On balance, are you satisfied? It 's like you expected or there are unpleasant surprises? As the whole thing has changed?

MRG: Mmmhh the concept of KK is always changing (ok, this means that we have a well defined concept, I know). We have lots of ideas for KK in the future. At the moment GGEV was published, more than a year after its completion, we were already working on a handful of brand new songs that will end on the next album. I hope to bring you good news soon!
Klischee: Satisfaction ever. never ever. The day that I will be satisfied will be the day that I die. And since a long time ago I decided not to die ever ...
HK ..: Satisfaction is resignation.
Ms MK: Idem.

05-May you have memories of your fallen in Italy with Lucas Lanthier? It appears that Katz and Deadfly Ensemble share some aspects of understanding the music ...

MRG: I loved those days in Milan with Lucas and his Deadfly, I lack both the ability to play with him! As I said, we had several opportunities to do concerts with him and was probably our best act!
HK ...: I remember having walked long looking for a boutique Viktor & Rolf
Ms MK: We had a lot in Milan, both with friends and with whom we met fibula. Despite this, in retrospect now I am totally dissatisfied with the performance that I gave, and at misicalmente stage. I feel bad for people who wanted to see us (especially considering that was our first concert in Italy). I was stupid to be involved on stage and I canatato really disgusting. The supermerdosa version of punk rock? I have not even the excuse of being drunk or other things you have said. Failure to sleep is not an excuse. HOWEVER, I hope to be able to fix one day. As Nico said, since we played with the Ensemble Deafly's always been the desire to do even tour with them, and take every opportunity. Go out with them now is to feel like family, without the boredom and broken than real. They are so funny!

Perhaps start a community when we have all of 468 years. Going to live in the mountains. Lucas told the stories of old, Katz teach the world how to dress with fog and dust, Nico Mediterranean and reach the ultimate low frequency climatic yoga connection with the Zen master Robert Smith. Marzia and Steve fucking day and night to help the balance of power in the chaos karma of the universe, Klischee silent symphonies composed for the trees, Dizhan piccherà strong with his heart, and
sell the beauty in his eye. And james probably be out to hunt dinosaur-robot.

06-For years, everyone is talking about a huge crisis that is attacking the market discografico. Few people at concerts, records that do not sell ...

Klischee: The crisis is a good thing because it serves to find new solutions, new ways to create art and new roads to go to touch people with your music. The labels should work with the band as the Project is with us and not merely consider the "players of music." Today, as an artist, you have to do a lot of things for you. Although there is internet, a lot of work, but it is the best way to share what you do. Perhaps for the pop (which does not write their texts, not compose their own music) and the Major, the crisis is really big, but for us it has not changed much.
HK ...: A crisis? Where? Plan to the day when we have more milk because Jhemuk Lepre Hà will be too busy to call in his sixth pony?
Ms MK: We have never played with sufficient frequency to hear the difference to be honest, since we can not even live music. but for me the whole affair of the crisis is a cheat. I mean, there is a difficulty in the world, of course, but the way in which the media are doing the brainwashing people is shameful. There is no day without hear alarming reports about the bullshit of the crisis, as if he were a cursed product covered by copyright or similar stuff, and oh-my god-lose-all-i-our-money-and-die. It seems as if looking through the terror is the best way for people to save. Fuck, for musicians, however, there is even a slice of cake.

07 - In the summer, play in italy again, the Moonlight Festival of Fano. What do I say?

MRG: That is great! I am very happy to play with the Sex Gang Children! With respect to our set ... mmm ... I think that play a large part of our last album ... but who knows what can happen ...
Klischee: It would be my first time in Italy and I want to see the reactions of the audience to songs of the new album. Maybe even play something new ...
Ms MK: I am very happy! I can not wait to see how it will be, and I have rifarmi the terrible performance that I did in Milan. We have not yet decided what to play, but probabilmnete boys are right ... but let us leave it to the surprises to make it to master, no?

08-you are always "drunk kid" or something has changed?

MRG: Oh this regard nothing has changed and nothing will change ...
Klischee: .... peter pan syndrome .....
Ms MK: I will be sober when I'm dead

09-What are your next steps?

MRG: I have always said, you know. but I want to really make something of KK on vinyl!
Klischee: Publishing the new album as soon as possible and do some things in Berlin in September. Too early to talk about it now ...
HK ..: I wonder if the next time will not be better that I do teach to dance the tango on a tangerine ...
Ms MK: I have some bands in which fun, including a solo project. I like to experiment with friends, but nothing precise and defined at the moment. I really hope to do a tour with the Katzenjammer in America before anything else happens

10-The last words, as tradition, are for you!

MRG: WE ARE THE KNIGHTS WHO SAY "NNNNNNNNNNI!"
Klischee: I'm still looking for my Spongebob that I lost in Paris. If someone finds .... find them ......
HK ..: I need to call my travel agent for that stuff of tan
go ...
Ms MK: Yes cancan we!

Max1334

Many dreamed them, many kept this secret desire, others have prayed for years ... and finally'S THE DREAM COME TRUE! UK Decay The meeting will play three concerts in Italy! What better to exchange four words with Steve Spoon? Past present and future of a band that has made school and have much to teach the new recruits with regard to the spirit and attitude!



================================



Welcome to 01-Erba Della Strega! First of all identify the young audiences who do not know yet and there raccontategli un po 'di storia ...

EDS Hello! I'm Steve Spon, guitarist of UK Decay. Let me introduce the rest of the band. The voice we Mr.Steven "Abbo" Abbott, the low Mr Edmund "Twiggy"-also known as "Dutch" Branch-and our newest member, Mr Raymondo Phillpott drums. We have recently reformed after our lunch breaks record: Well twenty-five years!

Whether coincidence or not, it seems that now was the moment to do so: the world is falling into economic depression and we are back together.

Between 1978 and 1983 the amount that would become UK Decay came out of the Post Punk, had in place a huge recession in small town England. In our case, the city was Luton, a small town 40 km north of London.

The idea of the name was a wish to reflect the English of those years, which were the result of the Thatcher government.

While time passed, looking for new ways to go musically and broadened our concept of degradation and decadence.

For a time it was fascinating to assume poses that miserable crucible in sadness and melancholy, but it was not our style. We were brought out and make the most bang you put in situations of pure protest. Let those things AnarcoPunk groups. We also had us declare our serious, but we had several ways to develop and communicate. Abbo defined so our statement of position regarding the forfeiture:

"The word Decay Decay in UK is about to lapse. Our means to be different is the decline in non-nichilistico sense, which includes drug abuse etc, but in the sense of using different methods and routes to an end "

02 - What led you to hold it then? What happened?

Initially, after Steve died in 1995 Harle believe that any reunion of the UK Decay was impossible. But a few years ago a friend made us notice that the name on the Web UK Decay was always surrounded by interest. After visiting Deathrock.com and other similar sites, we decided to put together one of our online community. Quickly a lot of old and new fans or as we prefer to call them tribes, have registered and have begun to participate in the forum. In the past we have never lost touch with our audience, we grew up with and thanks to them and we understood the importance of never losing contact. This until we separated in late 1982-early 1983.
Now our fans, or "tribes" or "audience", have the opportunity to reconnect with each other and with us. This brought the inevitable question, which has led us to think about a possible reunion.
We have put together a couple of re-union party to the old tribe "to get back together, putting ourselves in a couple of bands and DJs. A few days before the party in January 2007, Abbo phoned me, jumped out from nowhere and told me that it could be nice to play a few songs. We did this thing with an extemporaneous song only, and it was like putting a cat among the pigeons. The website was alive and now new and anticipated concerts and, finally, the reprinting of our work on CD. It took another 17 months before making our first real concert at home, in Luton. Four months later we were in Lisbon in Portugal to play the Drop Dead Festival. Playing together has given us a real energy discharge, we had a lot, even if having family and work commitments will not allow us to date with intense long tour as in the past. Nevertheless, as you know, we will do some special shows this year.

03-reactions of the public as your still on the road are enthusiastic. It surprised you or I expected in some way?

Do not give anything for granted. We must earn the respect and appreciation in the twenty-first century. So far, the two concerts we have done (albeit with the inevitable technical problems of any) have generated very positive feedback. We have been shown to play through the enthusiasm that has surrounded us in all these years, not only by long-time fans, but also by new recruits who seem to know everything about us.

04-What were the main reasons that led to the dissolution in 1982?

I think there were several reasons that led to our dissolved in late 1982. There was increasing pressure for us to still play a lot of concerts, writing more songs and, more importantly, to make compromises that would dilute our mission. We have played literally hundreds of concerts in northern Europe and the United Kingdom over the past 18 months when we were together. We were exhausted! Understand that success would be something big in the scene that the UK Decay had helped to grow ec'era the feeling that we should have to emerge to change our old skin with something totally new.
The intensity of life on the road was also affected relations between the members of the band. I have always seen the bands as a marriage of more persons, usually of the same sex! I believe that Abbo and I had developed several ideas about new ways to go. In the end, Abbo decided to form a new band with Steve Harle and ED. I thought they could take the name UK Decay, but in respect of the meaning that had the band, the moniker was sacrificed (as Tze Valor ... ... ndMax1334) decided to play the last two dates to 'Hammersmith Clarendon where Abbo promise to audiences moved and with tears in his eyes "is not an end but a beginning ... all over again." It was a symbol, we pass the baton to fellow band who were bubbles in our underground scene. Then continued with our respective bands. But I believe that after many years is it clear how the Fury in excelsis they had the same energy or the spell of its UK Decay.

05-What do you think you can offer to your audience today? You still have a message or is just a way to get back together to play the old things fun?

"It seems a lifetime passed since giravamo the world with the UK Decay. We had a pioneering spirit at the time, with an attitude and a fresh and new music. Return today has nothing to do with nostalgia or groped to recapture something lost. Applies only to keep that spirit alive and fresh. We play music like no other band and we continue to give us all the concerts themselves. We guarantee that our performance will be at most "

Abbo

I think our message is more relevant today than ever.

Each of us has the potential to unleash the beast that we have inside, or in advancing the progress of humanity through kindness.
Depends on the choices we make, based on our reactions to try to nurture what matters. We must take the path to the left or right? Try the dark or light? What is good and what is bad? Questions, many of them. Confusion? Maybe. But Domandatevi, Domandatevi, Domandatevi anything! This is what makes us who we are. Let your spirit is playful and young in the light!
The rebellions come and go, but the aspiration for human 0individualità and light remain. Chase your dreams and aspirations with the sword of optimism and with the festive spirit that is living. This is the true spark of light in the darkness. All you need is your belief, an inner feeling

'But when the rebellion's causes, like a Spartacus its yours,'

We must continue to think outside the box and I go to look for mysteries that enchant our imagination.

06-1980-2009. Music scene and society have changed. You do not have twenty years more and maybe something has changed inside of you. That you can track differences between now and then? It parallels?

Twenty-nine years later and a large circle at the end back to zero, only this time it is moved inwards. E 'a spiral! Well, obviously something has changed. Especially in the areas of sophistication and complexity. In 1978/1980 the explosion of Post Punk and Do It Yourself had returned the form to the way the music business operates. Before then, had never heard of this little fringe of people who challenged the majors and their status quo. In a short, it became possible for a small band around the outside of the labels produced an album and have it in your hands. And it does not stop there. The fanzines sprang from every hole. Now the bands and fans everywhere took power through their censored message to the world. There were no longer using. People took part in the revolution ec'era really a great musical ferment nell'underground. At no one knew what would bring everything but the music business would be changed forever. Alimentato now this new revolution and label producing our staff, our Fantine and for a while 'time our shop in independent! Today what remains of the music biz is in another phase of change, this time around is to rebuild the World Wide Web The web amplifies the power of the free expressive potential of an individual or a band. You can reach and touch anyone and anywhere via the web. In a way, the Web is the definitive expression of the DIY culture, culture that has emerged in 1979. E 'via the web that UK Decay and many other bands have had the opportunity to get back in touch, to play together again facing a new audience. In other words, it seems that we have a sort of Myspace page since 1979! Musically we passed through several stages, and all took different paths in music, taking experiences, inspirations, every time (we hope!) Growing a little 'more and buying more experience. Between us, we now have a great musical potential. The imagination is the only limit!

07-Are you going to publish something new?

Nothing happens quickly in the twenty-first century for the UK Decay. The boys are busy in their careers and their families to devote more time to the band and what the turn around. Despite this, I have good ideas for pieces of equipment, and Abbo said that he prepared the new text, so I think that yes, record something, but one step at a time. Perhaps we can focus now, and have stopped a handful of songs such as four, and seeing how they work. It might be something to be done by 2009. A goal, we say. If goes well, we could organize and throw out another group of songs, it stopped, the first months of 2010 and then who knows, an album true to the end of next year ... I admit, there are too many "maybe" here inside . But making a new disc would have enough ideas to the embryonic state, which should be flexible so that we need to to develop the writing process in a realistic and positive. In addition we have yet to check and compare our approach to things. That said, simply do not have the money to hire professional, but when there is a will, there is a way! I can do a bit of things in my personal study, but it is not suitable for full band with drum kits. It may be good for throwing down the first ideas. And was in the neighborhood for a weekend recently, and we improvised together, putting on a little tape 'ideas. We worked in a very emotional and is rather a musician who has the ability to break up a song to draw the guidelines and work until everything is perfect. We are both always been interested in dark progressions of agreements, and we developed our individual styles in the last 25 years. The potential is truly exciting. I believe that every hypothetical new disc, as well as the guitar, playing a lot of keyboards. Again, however, in songs that retain the old matrix of dark and joyous sound old UK Decay

08-And I say that the impending Italian tour? Have advances from us? I think this is the first time you performed with us ...

We are very happy to come to Italy. It 'something that we always wanted to do, but there is never an occasion when we were at in turn. We have always had a tremendous feedback from your country, requests, letters, contacts constantly asking us to come to you to play. The enthusiasm of some people gave us the go! We can not do so many concerts, but we are quite happy to play three dates in Italy before a reduced playing for ourselves in shame without a penny! We met some Italians at Drop Dead Festival in Lisbon and we had a warm beyond expectation! And yes, there are some previews: Italian concerts will be the third, fourth and fifth concert we played in over 27 years! We each concert as if it were the last time we play! Each show will be special for us and we hope even more that it is for the public. We will focus on classic ladder for this tour. Unfortunately we have not yet complete material to play, but I am sure that most people will come to hear the old warhorses, and it gives us no problem. We are indebted to the Kamo Mi-Decay for having invested a lot energy and work to bring us there! (yep, I join: Kamo thanks! NdMax1334)

09-Do you have something in the pipeline?

The Rebellion Blackpool 2009 is confirmed and also the WGT in Germany asked us to participate. We are still discussing, nothing certain. We will do even a couple of concerts later this summer, perhaps in England, perhaps in London. We should play a couple more times next winter. At the time we had to refuse any offer to do concerts. Not because we do not want them or because the money was not enough simply for the reason that I have said before: families, personal lives etc.. We must plan our show with a margin of advance really long. For my personal experience in organizing concerts in my hometown, before the schedule date, the better the chance to make a real night of celebration and festivity! In the meantime, we should obviously write the new material as I have already said.

10-Thank you for the long chat Steve, I leave the last words to you

Thanks to all who have taken time to read this interview. It 'a pleasure to correspond with people really interested in things that we have to say. At the beginning of our career, we had always time for the jockeys. It was a way to communicate directly with our audience and it is good to see that today much of that spirit has moved on the web, as your Erba Della Strega. We look forward to our first Italian tour and we are excited to know a lot of groups during the festival. And of course we want to know you, audience!

Thanks to you Max and all the staff at Erba Della Strega.

Finally, for anyone interested will carry with us the merchandise. In addition to the shirts, we have the much longed-cd, "For Only madmen." Will contain all our back catalogne in a single disc "It will be implemented worldwide in conjunction of the Italian tour.

See you there!

Steve Spon with quotes from Abbo for UK Decay


http://www.ukdecay.co.uk

http://www.myspace.com / ukdecay

Max1334

A band of revelation in recent months reveals the background of the new album and more. From the capital three young boys but certain, with the clear idea in mind that you are doing way to little time in the Italian underground scene and beyond. Keep an eye!

=============================

01-oilalà! First of all, introduce yourself!

Emma - Hello! Christabel Dreams, Rome. Pass!

02-A bit of history ...

Emma - Autumn 2005. Get three people with seemingly 'little' in common with each other, three distinct personalities, which in a lot of, a wrong or why it is not up to us to determine this, during our live. However, we were imbued by a desire to say something, using language that surely we do not have 'coined' us. The reflection that I myself was the following, ie if not worth the trouble to try to revive those sounds, however, with the help of new means and techniques of recording, make sure that the result would have been even in the worst case that a personnel. To see all this materialize, however, time is past: the first four tracks that have registered have been born just two summers ago and is much less than two years we do concerts. All in all we are very satisfied.

Chris-The passion for music with which we grew, the desire to express ourselves through language that, while remaining anchored to a well defined style, find a way to express such personal matters musical, always in respect of our mutual tastes. The need to continue a discourse style that we believe have much to say, if you lived in an update of what was ... All these components have caused us to give life to Christabel. We obviously can not be sure we assess the results, but we can say with certainty of being motivated by a sincere passion and now we are happy of what we are.


03-You have arrived at the publication of the second job ... although it is still self produced, the jump in quality is obvious. Want to tell of his gestation and its development?

Emma - Well .. gestation had a very long time considering that some of these pieces there existed with same arrangement before they put foot on a stage. With the exception of 'Lies' and the title track' The Broken Toy ', which are subsidiaries of it later! The compositional process was different than the songs in the demo when, orphan of a stable drummer, I began to program the drum machine, discovering which buttons to press has its charm. Gianmarco the battery was followed exactly those grounds. Another important note is the work done by Frederick on guitars, sometimes bitter and essential. Finally there are highly beaten about the lack of a label that can distribute it and we went straight for our street 'against everything and everyone'.

Chris - First of all, thank you for the compliment;) The genesis of the new work was very troubled, not least for the unanimous choice to present in a different manner, compared to the previous output. After the face was clear intention not to repeat and we have chosen to follow our instincts, with total stylistic freedom ... The result has undoubtedly fulfilled. I personally have experienced pregnancy later, the final study, with a particular state of mind due to personal problems of the period. In my little I hope I have translated about music, the emotional state of the moment ... I think it is one of the reasons that leads us to make music, after all.

Faith - You're right it is a work which has now appeared very different from the previous year although this was not a fully conscious choice. Say that with this work we show another side of the CD + +, we address issues that are present from the outset in the way we play and write, and that simply have not found space in the previous demo. The choice, however there has been within the sound. In this case we have chosen a sound thin and straight, leaving the space empty and rhythmic changes, all say with good results.


04-The texts are very personal, although I noticed a little veiled reference to Fusch, literary character known by the fans of the Cure ...

I needed a female subject and I thought 'why not mention the star of what is my favorite Cure song?' (with whom I grew up). Should not be completely veiled and that is more than a 'thanks' for what they have represented me for Bob & Co. But it has only symbolic value, could be called in a thousand other ways. The lyrics of that song is a story in which I have spared direct sentences! E '.. but a fairy tale without happy ending. You could have doubts? 

Chris - The Cure have influenced all of us ... What better to make them a "small gift"?

05-when I saw you live you have given me a set dry, without too many frills, straightforward and honest. How you live the live situation?

Emma - You say, in my imagination the live should be thin but you do not deny that we have worked hard on that dimension. For example we are now used to start a song instrumental in our entry and perhaps now it is somewhat 'less controlled. Species we have really taken pleasure from concerts and especially the two dates away from Rome, perhaps because we lived most of the flavor of the challenge! And for me being on a stage is just that: a challenge to yourself and to those who listen. In the end everyone would like to win.

Chris - The size for all of us live, is the more directly and spontaneously to give shape to our emotions currents. The emotional component is crucial to our proposal, and the live is a vehicle, to communicate through expressive urgency such as direct as possible ... With hope in my heart that a part of our emotional experience on stage, infection at least in part the present

Faith - Playing live for us is crucial in several respects. So far we are up on stage thinking almost exclusively to play well, which is not always easy for those who do not have much experience live. What we are trying to give to those who listen to us live, is a beautiful and intense concert pulled. Recently, we try also to enjoy a little '.


06-speaking of concerts, you have been chosen from hundreds of bands to participate in the Moonlight Festival. Satisfied? that you have expectations about it? how you plan to immerse yourself in that situation and what they give to these?

Emma - We are honored to be present only from the Moonlight! The only thing I can say about this is that the mine - but I think I can say our - goal is to raise awareness and further appreciation of the proposal. Basically we are among the emerging markets.

Chris - Happy? Until recently we only dreamed of being part of such an experience, now that we are offered a possibility that the common objective will be to make good by giving up on stage to demonstrate, especially to ourselves, to be worthy the choice implemented by the organizers
Faith - We are really happy. However, will be an important moment in the history of our project. We certainly live with great transport and emotion. We hope that anyone who will listen to us live the same emotions

07-album back, I note with pleasure that for the Roman scene Gianmarco Bellumori remains a point of reference to aid in the study. He plays the drums in your disc and I believe the studies are its ...

Emmanuel - E 'was the second recording session signed Christabel / Wolf Recording Studio! The first goes back two years ago. In reference to our goals we are happy for the second time results. The songs certainly feel the touch of Gianmarco now engaged behind the battery as well as bench mixer 

Chris - A significant delightful collaboration with a previously set goal ... The result you can hear on the optical disc;)

08-hour per flight, give me a song that you will represent one hundred percent

Emmanuel - I just citerei 'The Broken Toy'

Chris - The next song that will write ...

09-future projects?

Emmanuel - eheh .. good question! These days we are working on songs that will compose what will be our full-length. I do not think there are many others at the moment. For the rest play live as much as possible consistent with the commitments extra-musical.

Chris-in our minds are taking shape well-defined the idea of a full-length that can fully meet our expectations, we are currently working on new songs and good ideas, in our humble opinion, there are certainly ...

Faith - We are working on new songs, even if we do not know when and how to leave.

10-the last words are for you!

Emmanuel - Thanks for the space you've given and good luck to all! 'Keep alive your trust in nothing';)

Chris - Thanks for everything! A presto;)


Faith - As we write these answers in Italy there are people who lost everything. We do this with great pain. Only two words of solidarity and thanks to you for having granted this space


Max1334

waiting to see them on stage Italian Este (Padova) Rimini and a summary of chatter ... Between visits to Kassel, gossip concert post, telephone calls and varied stuff, here's a quick summary of speeches and funny between me and Fulvio in recent months . With some interesting gem ... Obviously I have omitted all the criticism ... and things "internos";)

====================

want a cigarette?
diana the fumes?! cristo nooooo ... an Italian in Italy who does not smoke the Diana has been seen sti ... dark ...

Ah yes, true, the Gothic world is in Germany ...

Leipzig mean? That's one thing to start with ... if you look at the charts you see here is how things stand. Interpol are the Joy Division cone at the end, and that is good. I like the feel, however, X-mal Deutschland or the Cocteau Twins, who had those great guitars, but the fact is that having these new bands that reflect the sounds of the past is positive. Like the placebo, I know a few years ago, but which are very good to me ...

you've played for years with Godkrist ... how come you stopped work?

Perhaps it is taken with his stuff ... do not really want to leave the house ... I do not know what to say ... We still have a good relationship but if it is no longer interested in playing I do not know what to do with it. Everyone makes a choice. The reasons that push someone to make music are many, I probably would be different from its ...

2008 saw the return suille scene of the Mother of ... from what Vizio does not play live?

ten years ... the evening of the concert in Milan was strange, we had tried very few hours and we made several mistakes on stage. But people have enjoyed, and this has served as a stimulus to do even better!

you were expecting this reaction of the public good?

no, absolutely, can only make me happy!

And the other dates in Europe?

Some went well, others not. but it is normal. I am sorry diover little half hour to play a festival and not find kindness in all the promoter, but we can not do anything ... At the end just have fun!

New disc coming?

There is no ... we are finishing recording and mixing ... The title should be Love Love, and will contain items such as Linda, the girl-eyed virgins, and blue ... We have had some problems in finding a label available, but now it seems that things stiamno going well.

What do you think of people who blindly believe in your lyrics?

I can not put on any mica words "no animals were abused in this scene," eh ..... I hand my thoughts ... then everyone does what he wants

Forced me to buy compilation terrible just to save your songs ...

Yes, I noticed (laughs) ... but have nothing to do with those things. Investments to the compilation, as announced, and the disks never left, they are all works of GodKrist ... I repeat, everyone does what he sees right ... For example, in Kassel, in the pub where I work, nobody knows that I play or singing. I'm not interested in being recognized as "the one that sings," my girlfriend found my mother spent in the Vizio after only a few months. And not because I am ashamed, but I do not think the main thing. I am Fulvio, and that was it. For that, I work, I do spending ... son always Fulvio.

About discs out ... just the Apollyon put on the market a kind of Best Of the Mother of the Vizio ...

What I do not like it at all. Or rather, if one has nothing to us is fine. But I would have preferred to reprint God God God, so as to give due weight to that disc. O up to reprint the whole discography and put it on a double cd, with some demos added. God god god put together with the split with Fleurs Du Mal, for all around, a feast of blood and scattered on the individual songs would have done is that on a cd dioppio one could have everything together. Instead so 'has a few sample. I do not know, I would not have conceived so completely, but here I did not say ...

but apart from all Rogne, you've enjoyed in recent years?

azz! and how! are depressing because I like the melancholy, but then I'm there to mica farmi pears ... football game, I make my life ... and not one of those who shoot their hair at the top of the weekend, if I do so always, otherwise let lose, I always rest.

on the fly ... that you think about:
Metal?
Mica types are those that bring the barbarians on the covers ...

and J Rock? (visual or key)
Who? clones of Sailor Moon ...

Galaxy Express?
but daaaai but as a locomotive to travel in space ?....

What a day ...
What a Day .. all day .... it is a cover of throbbing Gristle, even if it had not been marked as such ... even here I can not assume the responsibilities ... The same goes for Kingdom of heaven, which was sphincter of the Mighty ...

Alejandro Jodorowsky?
pitcher of the knives that killed his wife and pours acid on them ... aaahh ....

The Rap?
if I only talk about Public Enemy and Beastie Boys ...

And we end with a serious question ... sounds very soon in Italy. What awaits us in the next concert?
Lots of fun, we have also prepared other songs to play live and be well, we hope that people really have fun with us as we are fun to play!
See you in Rimini and Padua!

Max1334

01.First of all a brief introduction about your past for the younger audience

It 'a long story, I started my first real band in 1978, the name was COMA

Before disbanding did leave a single LP described by critics as a cross between the Residents and I have to.

I decided to become a soloist, with the help of some former members of COMA, by the name of Charles De Goal at the end of 1979. Disk played all the instruments alone so it was not possible for me to get on the stage alone. The first album "Algorythmes" was printed by the fledgling label "New Rose" in 1981 and was a true surprise in terms of sales (about 15,000 copies). Followed by three more albums ( "Ici l'Ombre", " 3 " and "Doble Face"). He began playing live around 1985, with semi-professional musicians hired for the occasion, but I was never happy with the result. The fifth album really took a long time to be realized, in the meantime the "New Rose" (1991) and no label appeared to be interested .. in fact they were right because this album was not really good, I was lucky that it has never left. So I decided that the adventure and Charles De Goal were finished.

02.La second question seems stupid but it is not ... Why the decision to have a reunion?
At the end of 2005, a remastered version of "Algorythmes" was printed on CD. I was asked to do a concert to promote it ... I used two months to convince me to do it because I'm not a big fan of reunion. It 'almost always about the money that leads to this kind of thing. I had never experienced in my music, it was too underground to make enough money to live. Finally accepted to do this concert, but in my mind was not clear there would be others. Of course the rhythm section called the "Test Monkey" who had already played at the end of "Charles De Goal": Jean Philippe Broant on drums and Etienne Lebourg to bottom. A friend introduced me to a long-time fan of Charles De Goal, Thierry Leray former member of the "End Of Data" and immediately settled between us a bond so he took the second guitar, synthesizer and laptop. At the end tenemmo the concert in Paris in March of 2006. Only one thing ... we can not talk about the reunion because "Charles De Goal" have been the project of a single person. It would be more correct to speak of "rimaterializzione".

03.Vi been enjoying as a band now? Differences with the past?

This concert for me was an explosion. I finally found the musicians that I had always dreamed of. The "Charles De Goal" played on stage as I always thought should have been and this is the real reason why I decided to continue to play together until we bored. So YES 'I really enjoy this new band! The main difference with the past is that "Charles De Goal" is now a real BAND, not something tied to a single person. For this new album every choice has been made in common, each has their own ideas in the project.

04.Il your attitude has changed over the years or have the same feelings towards your art and your music?

First of all I do not think of doing "Art". Music has always been a passion for me but I have always considered what I was doing more a hobby that something else. I should not say this but I am not so proud when I see what I have seen the first disc, the thing for me is staggering. I've always done music in a very instinctive and I'm glad to see that you liked a lot of people. Twenty years have passed since the album "Charles De Goal" and are still very interested in what happens in the music scene is so natural that my music has changed a little '. I think it is still very much "Charles De Goal" but is also nourished by new influences. I have lived in the coffin in the past twenty-five years and I do not expect to do the same with the music in the past. For me who does not evolve is dead .. and I hope not to be. The nostalgia I do not like much.

05. "Next Stop Disneyworld" is a punk anthem. For many many years, the band seemed to wave to try to hide their punk roots, now all (and many of them without being really punk in the past) will fill your mouth with the word "punk". What do you think of this?

Thank you for compliment, I am happy to hear what you have said. Although I have listened to the rock long before the punk movement, there is no doubt that shown things in a way completely different from how they appeared. In less than a year old punk changed drastically with bands like Wire, Devo, or Gang of Four that inject a more bizarre and intellectual. The first time I heard the band so I just realized that that was the kind of music that I would have done so we have always been punk roots in my music and I was very sad that no one had noticed. I was assessed at the time as "Cold Wave" or "New Wavw" although I always thought it was punk. Things are better now that they say I'm doing electro-punk, something closer to reality.

06.Internet, Myspace, technology ... all things in "Charles De Goal" is not used or did not know in 1982. As regards you now? Interested? E 'is the real future and people are returning to buy discs as before?

I was always interested in new technologies even if they are not a "nerd." Since 1978 I worked in a company that was using computers, this is why I have composed a song called "Modem" to the time when nobody even knew what it was. Someone says that the song is not visionary but as for me, was what I was experiencing at that moment ... the Internet was a big change (for good I think). Twenty-five years ago it was impossible to get in touch with people from all over the world as we do today with Myspace for example. It 'great fun talking with people interested in what I do. As for the concerts we have no longer need to press officers or manager, you can do everything using Myspace. The only problem with these new technologies is the difficulty of selling records. Major record companies have exploited for years, what is happening today for me is delicious. I do not think that someone in a band like it really is compared to a disc to help (especially if we talk about groups or self independent labels). This is what I do. The CD was the first step towards the dematerialization of music which is now almost complete with the mp3. Dell'mp3 for example I like the ease with which I can create a huge juke-box, however, at my age nothing can compare to vinyl. I like books, paintings, records ... I like real objects.

07.La press seems to have only good words for you and I agree. What do you think about it? Are you satisfied oc'è something that changes?

I must say to be very lucky with the press. Although we are proud of this new album, I was a little 'scared of how the reaction would be. A "return" is not always easy to imagine. The most important thing for me was to demonstrate that it is not been stuck in the past. I could make a copy of "Algorythmes" but it would be interesting? So enough soddisfatto.Il next album I would like do a more minimalist and bizarre, but there are still pop songs ... I can not do anything!

08.Sulla cover of the new album there is a man with a tv on his head. Do you think the media at the end really have had the best on people? Is there a solution or are we condemned to be all equal and with the same ideas?

This is the main subject of the song "Decadence." The media play a big role nell'assopimento minds. I do not understand why people are so interested in gossip. The heroes of today are not scientists or writers, but football players and actors. The Western countries seem to me to be in total decline. Governments have always preferred that people watch TV than to think with their heads, but I am confident in humanity. There will always be free thinkers and rebels. I do not think you can live forever in a world where money controls everything.

09.Qui in Italy the newspapers have spoken at length of the marriage of Sarkozy and Carla Bruni. This is really boring, but second, but I am curious to know if you saw in France the same things allla TV or in newspapers? They think that perhaps we are all stupid?

This is linked to the answer than before. We've got the hair right above the couple Sarkozy - Bruni. The French government has even advertised the new album by Carla Bruni! I do not think that this is very healthy. Sarkozy is handling his presidency in a very "popular." I hope that people will wake up soon. You do not have the same problems with Berlusconi?

10.Progetti future?

We are currently working in our "Restructuration" tour in Europe. To play Drop Dead Festival in October and I hope some of you there. A concert is planned in Naples for the next January if things go well. At the end of the tour definitely will begin to work with the new album. Nothing strange for a band, I'm sorry.

11.Le last words are for you.

What does' Erba Della Strega " mean? Hello to all.

Max1334