“I had a tight vision of the record — despairing people in tight corners who can still find some hope. If this makes me sound naive or overly precious, I’m sorry.”
“My deal is that I never force anything. I might go months and not write anything, then write four or five songs in a couple of weeks. Often, melodies and words appear while I’m out walking. I never sit down and say ‘I’m going to write a song.’”
“I wouldn’t wanna go back to the Husker Du mentality, side 2 of Zen Arcade. That’s not really good for anybody’s health.”
My neighborhood was turned upside down. I live right in the epicenter of Obama world. It’s a huge difference.
It would be nice, instead of waiting 18 months to put out an album, to just be able to put out 7” singles.
Now I’m back on the guitar on a more consistent basis and I have a satisfactory outlet for the electronic stuff.
The final part of my interview with Chris Ashford.
Part 3 of my interview with Chris Ashford.
Part 2 of my interview with Chris Ashford.
LA’s first DIY label creator offers his opinions on digital music and the current state of the music industry.
I am a massive XTC fan so it was mind blowing! I went over to his house in Swindon and we sat in his garden shed writing songs with our acoustic guitars.
I think that what I’ve learned is that if you sing off-key and that’s just what you do, you have to work with that and let it be part of what you do instead of trying not to.
I think that I was chosen because we all get along. That was it. I made it a point not to ask any questions about MINOR THREAT and I think that helped.
What I love about that solo on “Here’s to You” is that it really pissed DOUG CARRION off.
I think that in their own way JUDAS PRIEST is one of the world’s great disco bands.
Part Two of an interview with the internet metal mogul.
The conclusion to my interview with Steven Stapleton, the creative force behind Nurse With Wound.
Steven Stapleton gives a rare glimpse into the mysterious realm of Nurse With Wound.
Part One of an interview with the internet metal mogul.
Creeping forward whilst changing form and focus since the turn of the century, The Funeral Crashers have become a mainstay of New York City’s fledgling “new dark rock scene.” A new appreciation for The Crashers grew after immersing myself in their first full-length, so I decided to fill in the blanks through an interview.
Dee Kesler explains why fish, rabbits, dogs, frogs, monkeys, sharks, piranhas, eagles, turkeys and bears have all found a home in the group’s discography.
Dee Kesler: “Belgian audiences are ridiculously attentive and then equally appreciative after you finish each song. They were by far the best audience we’ve run across on a national basis.”
Over the course of an evening, in bathroom lines and at bars, I tracked down P.H. Lovecraft, singer for the Funeral Crashers, Peter Mavrogeorgis, singer for the Bellmer Dolls, and Josh Strawn, singer for Blacklist, to see if they believed in the existence of a burgeoning NYC dark rock scene.
Since 1997, the five members of Dir en grey have thrashed their way to prominence in Japan, leaving an indelible bruise on the rock scene wherever their black leather boots have tread.
After attending GOLDFRAPP’s delicious live show twice in the past six months and falling in lust with their newest electro-glam masterpiece, Supernature, I was excited to speak with the platform-loving siren behind the songs, ALISON GOLDFRAPP.
Before a revamped 45 GRAVE took the stage for a hellacious set at CBGB on March 5th, I had the honor of speaking briefly with lead screamer and reigning queen of deathrock, DINAH CANCER.
