2
Contents
I
Eat your Make-up - Interview with Plag
Interview with Exces Nocturne - Interview with Corine
Interview with Scarlet and the Spooky Spiders
Complot (Bronswick) - Interview with Nikolai Ada
Danya Yushkov
Russian view of post-punk
Interview with The GraveyardZ
4
8
12
15
20
23
27
II
Clair Obscur - Interview with Christophe Demarthe
Tragic Black, Corvid - Interview with vISION
Eric Ert Trochu
Interview with The Knutz
Coldwave - The never existed movement
The Strange Walls - Interview with Jon Vomit Worthley
30
34
40
44
48
52
III
Interview with The Last Days of Jesus
Interview with Acid Bats
Interview with Bloody Dead Sexy
Emmanuel Manu Zorch Ninet
Interview with The Spiritual Bat
The Spiritual Bat - Through the Shadows review
Durnoe Vlijanie - Interview with Sasha Skvortsov
Chants of Maldoror - Interview with Loren
57
60
64
68
73
76
78
82
3
4
Plag.
h
it
w
w
ie
v
r
te
In
www.myspace
Nattsol: I'll begin with rather typical question. Tell
me how did ‘Eat Your Make-Up’ begin to exist? What
was the original idea? Who you were influenced by?
And, of course, tell me the story of the name of the band.
Plag: The idea of creating a band came first to Mac
Gregor (bass guitar). The first time I saw him was during
a music meeting in ....Dijon.... and he immediately asked
me to join as singer. J-F (guitar) and Thib (first drummer)
were already part of the project. The band is officially
born in January 2003 and we quickly got on as we had
the same musical tastes with bands such as Shadow Project, Rudimentary peni or David Bowie.
My partner, Emilie, who is also part of « Somniloques », found the name Eat You Make Up as we were interested in John Waters’ early films. The band was
looking for a name that would be reminiscent of self-derision and of the way we wanted our music to develop
with sarcasm while keeping a glam imagery.
.com/eymu
Plag: We decided to record five songs in March
2004 cos we were meeting more and more demands. We
chose to release it as an untitled cassette to pay homage
to the early 80’s medium. We later re-released it in CDR.
In the first album, you can find 3 of 5 titles of the
demo. Roger was revised for the second album. Also, our
debut album is a kind of digest of the first two years of
works. Even if it’s filled with quite different songs, with
quite different feelings and musical influences, this was
the way we choose to share with audience two years of
music composition. The name « First Dinner » shows
exactly the thoughtless state of mind in which we were
by recording it.
Nattsol: Now tell me why there aren’t any concert
videos of the band? I saw just very strange video of
“Vegan Hyena” and nothing else. None of amateur shots
as well as professional ones….
Plag: I believe that you can find an extract of a gig
Nattsol: Tell me more about your first demo and
we performed in Marseille. But I think that it is the only
first album.
5
available video on the web. However, there is a recording of each of our concerts, but we’ve never decided to
broadcast them, through lack of time or of means. The
Vegan Hyena video is part of a few video clips J-F and
I made for fun. In this case, it’s made of extracts of video
of parties with friends.
Concerning photographs, as Emilie and I studied
photography in a Art school , we’ve never thought useful
to ask anyone else to do it.
good bands such as « Rosa Crux », « Norma Loy », «
Jacquy Bitch »… and of course those I’ve quoted which
put themselves entirely as music enthusiasts.
Nattsol: I noticed that style characteristics on your
myspace page tell that your style is ‘punk/new wave/progressive’. I wondered because I noticed that every band
with related sound calls its style ‘post-punk/gothic’, and
“Eat Your Make-Up” is probably the only exception. So
what are the reasons to be this exception? Just those
characteristics are closer to you or there’re some others?
Plag: Of course, our music sounds like old school
deathrock but we never wanted to retreat in any particular style. And we don’t think our music really sounds
gothic, even if we used to compose in a dark way and to
mention bad feelings in our songs. That’s finally quite
superficial to us, we could say we play some kind of «
international variety » mixed with some dusty cosmetic
psycho-blues in a punk state of mind.
Nattsol: ....France.... avant-garde post-punk scene
always seemed to me one of the most individual and independent. And for now there’re plenty of absolutely individual bands with dark and obscure sound. So how can
you characterize this scene? Do you have bands – friends
there?
Plag: Yes, we used to play in pubs near our hometown with my brother ’s trash-metal band « Acetylène »
which helped us a lot at the beginning. We also shared
several gig with « Varsovie » with whom members we
Nattsol: You took a part in recent Christian Death
quickly became friends. We wish we could play with «
understand this show was imporCastrati » for we’ve been friend with their guitar player 1334 show. As I could
tant for you? Tell me more about it. Can you call me
Brïtz Mila… « Arwen »… ;))) for a long time.
nce?
And even if France remains a rather refractory other shows with huge importa
Plag: The best gig ever… amazing… the evening
country in post - punk styles and that it seems difficult
We are very proud of it and it’s
to make live, the French stage is composed with very passed off so quickly.
n wishes, she brought a new
’t re- own influences and her ow
don
I
ise,
erw
Oth
it.
ut
abo
re
mo
develop in my
still hard to tell you
dimension thanks to which I could
al
voc
y
The
…
one
lly
ecia
esp
e richer.
member any amazing show, not
turn. Also, new compositions becam
4 and replaced
were all unique.
Anthony integrated the band in 200
ed the demo tape.
d Thib with whom we had record
ase
rele
n
bee
had
um
alb
t
firs
the
Nattsol: After
period (I’m talking
s of the band
you kept silence for rather long
Nattsol: Are there some side-project
t?
tha
was
at
Wh
s).
about studio record
e to compose members?
posing songs
Plag: We just decided to take the tim
Plag: Yes, I know that J-F started com
. As
out
up
line
the
hed
fles
had
.
Isa.
self. And what
new songs as ..La
year, but I wish he answered by his
last
t
firs
the
,
mix
the
as
n,
s… It’s a rather different
well as regarding compositio
ted can I tell you about Somniloque
wan
We
nt.
ere
coh
y
ver
not
and
I are painters
album was very raw
of working. Emilie, ..La Isa.. and
y
wa
an
g
atin
cre
of
n
ntio
inte
we’re using music as
to work on this point, with the
- above all. And in this project,
mix
and
ing
ord
rec
of
nity
ortu
opp
torial works
unit. Also, we had the
g. Music can be a soundtrack to pic
ntin
pai
we
if
n
eve
d
An
s.
nth
mo
ing the new songs over several
el, the reason why and vice versa.
have wasted time in searching a lab
because we decided
the new “Eat
we stood silent such a long time is
Nattsol: So now let’s speak about
They Should Be”.
to take the time.
Your Make-Up” album “Things As
and uncomproPlag: It’s the new one… ;) Darker
just
d
ban
the
ed
join
.
Isa.
..La
,
iced
not
be. Let’s see
Nattsol: As I
. It’s our second album how it has to
ing
mis
als?
voc
ale
fem
add
to
s
recently. What were the reason
think about it.
ments in the band? what people
Were there other changes or replace
band, we were
e “Eat Your
Plag: When ..La Isa.. arrived in the
Nattsol: Do you have your favorit
king
bac
a
or
ce
voi
ale
fem
a
for
g
kin
not especially loo
gs?
a try with her, she Make-Up” son
a hissinger. It happened that by having
not one particularly. They all have
,
No
g:
Pla
her
r
ove
All
.
ject
pro
the
into
rge
me
quickly managed to
6
7
erest in my opinion.
tory as well as their own int
broke up what’re you
Nattsol: Now after the band
e
close to deathrock or you’r
going to do? Will you stay
er things?
going to try yourself in oth
is, for all of us, a major
Plag: Of course, deathrock
nity, with EYMU, to share
influence. We had opportu
mutually discover different
other influences, to make us
ether. Whatever we make
styles and to experiment tog
still be influenced by postin the future, our work will
opinion.....
punk styles. At least, it is my
rutskiy
Questions: Pall ‘Nattsol’ Za
“Grave Jibes Fanzine”
www.myspace.com/excesnocturne
8
Interview with Corine (Exces Nocturne)
Nattsol: As I know, the band
began to exist in 1984. And you
joined two years later. So what
was ‘Exces Nocturne’ in that period? What were the band’s origins?
Corine: It started when Rémy
(guitar player) was 16, with
Thierry, who played the drums.
At that time, Rémy never imagined that Richard (Thierry’s
younger brother) would become
Excès Nocturne’s bass player…!
They used to rehearse a bit
everywhere, including Rémy’s
Mum’s bedroom or in their living
room…
4 years later, they became a more
serious band: they met 2 other
musicians (bass and keyboard)
and they found the name… the
title for a porn movie …!
Then I joined, the same day as
Richard. And the keyboard
left.....
And in the end, just before we re-
leased the ..12”.., Thierry left the This song eventually became “Il
band.
disait”. And it’s one of my
favourite!
Nattsol: Now tell me, how did
you join the band?
Nattsol: Next my question is
Corine: It was more like a coïn- common for bands which
cidence, in fact...
were/are close to coldwave. Tell
I was running a rock-bar, then, me about that coldwave era.
and Rémy used to come, and one What was that actually? Do you
day, he told me they were look- think that it’s over?
ing for a new male singer. I don’t Corine: I’m surprised to see it’s
know why, but it just felt like not over : bands like « No Tears
“that’s your chance, go ahead!” » or « Guerre Froide » for examSo I said “I know one” and when ple, are very successful today…
he asked who, I just said “me”.
and the fact that a label like InHe looked surprised but then frastition is releasing all the old
suggested an audition. I don’t re- stuff from bands from the
member that he was particularly 80ies… it shows there is a real
enthusiastic at the time, though interest today for what cold wave
…:) So I auditioned one after- represents.
noon and I was scared to death Now, back then, it was different
cos they played one of their new : you see, without the internet, it
songs and asked me to improvise was difficult to feel we were part
on it. I ended up using a sentence of a « French cold wave movefrom one of Siouxsie’s songs and ment » : I didn’t feel there was
singing it for a long long time!
such a movement, then… which
9
sounds really weird, now !
I was into Bauhaus, the Cure (until
Pornography) personally, and I felt I was
part of a whole new sound, but nothing
more, in fact. And it was hard to know if
people actually listened to our music !
It’s easier today :)
feel I wouldn’t react the way I reacted
then, but you grow up, hopefully! I realised when we met again in 2006 that it
was a complete misunderstanding, it felt
stupid we didn’t clear it up then… we
never had the opportunity to talk about it
before…
Nattsol: So you weren't in contact with
other 'coldwave' bands in 80's?
Corine: No, actually... we had a few
friend/bands, but they split before they
managed to do anything...
It seemed so hard to find new friends!
Nattsol: …and you had the reunion in
2006. How did it happen? What the band
members were doing for that period
when the band didn’t exist?.
Corine: Remy was contacted by Alex
from the Infrastition label. The track «
l’echo des lumieres » was selected, to be
featured on the Transmission compilation and Alex wanted the band’s agreement; and later, “Cauchemars blafards”,
our video, was on the RVB Transfert
DVD.....
So a coldwave fan from our region, Em-
Nattsol: The band broke up in 1989.
What were the reasons?.
Corine: Misunderstandings, ego problems, side projects that were not so well
accepted… Maybe the end of a cycle and
we didn’t manage it properly… Today, I
manuel, managed to get us in touch
(I mean, Rémy and me) Emmanuel
is
running
the
www.nordwaves.info site, dedicated to ..Northern France.. cold
wave and is very influential in the
world of French cold wave. (He has
also founded the Brouillard Définitif label and they will release our 4
track) So I knew it was not a hoax,
and I agreed to contact Rémy…
And then, I started looking for
Richard’s contact, but although I
knew for sure he was a musician
and still living around ....Lille...., in
the North of France, it took me a
very long time to find him. But
then, he works under the name of
Doobig, and I didn’t know that, so
…....
Richard had become a professional
bass player and is touring with
Brisa Roché, and also plays with
other bands. Rémy had started a
family, and had given up playing in
bands, and I had started a new job,
and turned to graphics arts rather
than singing.
Nattsol: Tell me more about your
videoclip "Cauchemars blafards".
Corine: We had recorded a demo
tape (the first one) with a big national radio that used to run local
programs, and they had that big
studio where they would record
demo tapes for local bands... free!
After we recorded the demo, the
local branch for a national TV
channel
(they
shared
programs/ideas) offered to film a
video for us : they had this rock
program and they played our vidéo.
That was like we were becoming
famous… A little :)
We filmed it on the location of an
old coal mine that was being destroyed.
Nattsol: What live performances
of ‘Exces Nocturne’ actually are?
What has changed since 80’s?
Corine: Personally, I enjoy it more
today, just because I feel okay with
my life, more … cool :) but I’ve
never been very keen on being on
stage : I like being in the dark, in
fact !
But concerts today are more intense, just because a lot of people
have not seen us on stage in the
80ies, so they are very happy to see
us now… (which always surprises
me, but it’s great !!!) so we get a lot
of positive feedback.
Nattsol: Do you have bands –
friends, or bands with which you
would like to share the stage?
Corine: I would love to share a
stage (and a song why not!!) with
Castrati, a French band I love. I
think they belong to the same family as Cinema Strange. Very good
band !! ....
And I also love deVolanges, a Belgian band who sound a bit like
Modern English/The Chameleons :
lovely guitar and sad voice. Very
good too !
And, if I may be very very pretentious… Siouxsie, my all-time
favourite :)
Nattsol: Now let’s speak about
your CD ’86-..06’.., released by Infrastition records in 2006. The stuff
of the CD includes songs from
your ‘Evacuation immediate’
(1985), ‘Exces Nocturne’ (1988)
and ‘L’echo des lumieres’ (1989).
Is that all the band’s stuff of 80’s or
there’s something which wasn’t included in this compilation?
Corine: There was older stuff, yes,
and they’re not on the compilation,
but those tracks were the very first
tracks we composed when we all
got together, and they were not so
representative… they were on our
first demo tape.
And then, we couldn’t include our
cover version of « Ziggy Stardust
» because of copyright.
But apart from that, I’d say it’s
quite complete ! I was even surprised that very old tracks such as
« ....Nikopol.... » and « trop belle »
were on the compilation : the
recordings were quite poor, initially !! ....
But I was happy cos I really like
Nikopol :)
Nattsol: Now let’s speak about
two songs, dated 2006 – ‘Mots
Dits’ and ‘Et du bleu’. In comparison with 80’s the sound really
10
changed. The music stays cold,
dark and mysterious, but it has
other energy. And it stays the
‘Exces Nocturne’ music as well.
So what’re the reasons of those
changes? 17 years of experience
or something else?
Corine: You’re right, those two
songs are quite different, for several reasons : first, Mots Dits was
composed on keyboard by Rémy
at the time we were still playing
together, and when he played it to
the band, we were not so keen, so
he kept it for later ; and then we
split.
Et du Bleu was also written on
Keyboard by Rémy. So there was
no other musician involved in the
creation of these songs, and they
are keyboard-based.
And second reason, at the time, I
didn’t compose any lyrics or add
any vocal to them. I did that in
2006. With other influences, of
course, and other things to speak
of, another spirit…
It was strange too, because I
didn’t think the band would play
again together, then. So it was like
my last songs for Exces Nocturne,
and I had the feeling they had to
be powerful to me. With intense
lyrics, like everything I wanted to
say, in 2 songs.
I spent hours on them :)
Nattsol: I also wanted to ask you
about the texts. All of them are
written in French - why didn't you
ever wrote in english? And who
you're influenced by as the text
writer?
Corine: You see, in fact I didn't
really know why I started to write
in French... And it was quite
strange as I usually didn't like
bands who sang in French!
Today, I think it was partly because I use English in my job, and
so it is more like a technical tool,
to me.
And also because it has always
been very important in my family
to speak French and respect this
language (my grand parents were
immigrants)
So I guess, inconsciously, writing
in French was more "valuable" to
me...
And my dad loves Baudelaire and
Verlaine, and lots of French poets,
he reads a lot and he made me discover them very early, explaining
Nattsol: You took a part in recent
tribute to Christian Death’s ‘Only
Theatre of Pain’ with the song
‘Dream for mother’. Tell me more
details about this tribute and about
your cover version there.
Corine: The project was launched
by Hélène, from AloneProd (label
of Jacquy Bitch).… we had to
choose a song and cover it, the
track list would be the same as the
original Christian Death album. ....
I chose Dream for Mother … at the
time we had to choose, Remy was
on holiday and Richard on tour…
but when I listened to this song, I
could hear their guitar and bass, so
I felt this was the right one to pick.
And then, Richard came with that
sort of jungle rhythm, and I loved
how they play with sounds, and so it immediately. Remy sent his guitar tracks (he lives 1200km away,
on...
So my favourite poet became in the South of France !) Then
Baudelaire, because he mixes Richard suggested that weird effect
sounds, colours, perfumes... this is on the voice, and I loved it too, so
that was it ! He’s very easy to work
my perception of the world too.
That's why I chose "Correspon- with, he always comes up with brildance" as the basis of l'Echo des Lu- liant ideas !
mieres. And I decided to read it
throughout the chorus. And when I Nattsol: So at the end of our intersing this song, obviously, I cant read view tell me something about yourthe poem at the same time but, I can self...
Corine: What could I say about
hear it sometimes :)....
me, I mean, outside Exces NocNattsol: As I know, you’re going to turne…
release the new vinyl 4 track 12". I love autumn, because of the smell
Tell me more details about it. And of earth lingering outside, the
colours… I always wondered why
about the music there…
Corine: The idea of the vinyl was Baudelaire felt so anxious when ausuggested by Brouillard Definitif, tumn came… I love it and love to
the label run by Emmanuel. I was think, like in one of his poems : «
thrilled because a vinyl meant a large bientôt nous plongerons dans les
sleeve to design and that’s what I froides ténèbres »… But I also love
spring for the smell of flowers…I
love above all !
Richard, the bass player had come up also love writing, but not writing
with the idea to entirely remix our texts, not at all : I find that very difsongs and he gave a new life to our ficult and painful. It often takes
set for our concert in March 07 in ages before I find the right idea for
a song… and I can be stuck on a
Lille, our hometown. ....
I love what he did and then we de- word for days too...What I love is
cided to release 3 of our old tracks, calligraphy… beautiful letters…
completely re-recorded and remixed, (that's why I think your alphabet is
with new arrangements. And one so beautiful!!) pens, nibs, ink…I
new track called « Moi dans le si- always think the most thrilling moment in releasing a new record is…
lence »
So there will be new versions of « le making the cover :) I write everysoleil s’est noyé », « Mémoire », where : on my clothes, my bags,
my walls… It feels like I was born
and « La vie peut être cruelle »....
The originality of this vinyl will be with a pen in my hand :)....
the sleeve : the first hundred sleeves Thank you for the questions, and I
will be original items as I will redec- hope your fanzine will be very sucorate each of them personally, so cessful :)
each will be a different and unique Questions: Pall ‘Nattsol’ Zarutskiy
“Grave Jibes Fanzine”
sleeve.
11
12
www.myspace.com/scarletandthespookyspiders
Interview with Scarlet and the Spooky Spiders
Nattsol: So tell me how it all began?
Scarlet and the spooky spiders: Everything started in November of 2003 after a
Cramps' show here in Italy from the idea
born from Scarlet Spider's sick mind.
We liked the feeling to re-create some good
rock'n'roll with creepy atmospheres and
some punk rhythms we wanted to use. We
started to practice under the name of "Sunglasses after dark", then after the arrival of
the guitarist Lerch, the name was officially
changed into "Scarlet and the spooky spiders".
Anyway, the whole story is in one of our
songs who tells how "Spooky Spider's
Gang" formed so when the new album will
be released, you all will know our real origins.. EhEhEhEh...
Nattsol: Did you have any previous experience, or may be there’re some current
side-projects?
Scarlet and the spooky spiders: We all
comes from previous (and various) musical
experiences. Lerch and Bollox are still running 2 side projects, one is a punk band
named "PNC" and the second is a Rock'N'Roll cover band who plays just for fun.
Nattsol: Did you have any replacements in
your line-up?
Scarlet and the spooky spiders: Yes, indeed! We could answer to this question in a
"less diplomathic" way, but it's enough to
say we started with another drummer and
then, "luckily", a spider named Bollox get
into the spiral of the insane atmospheres of
the band. This drove a lot of advantages in
terms of musical skills and from the human
point of view. Enough said that today's
members are the definitive and best ones!
Nattsol: For now can you say, have you realized all of your ideas in music you wanted
to? Just it usually happens that in the creating process some ideas go away and some
new take the place.
Scarlet and the spooky spiders: The work
13
in the practice room can be highly productive or can have high levels of "up'n'downs"
but until we'll be animated by the fun we
have and the fun we give to the people, that
means we're following the right direction.
Normally we have a live setlist which includes 20 new songs added to the old ones
of the minialbum, that's why we consider
ourselves more a live band than a studio
band. We love to gracelessly dance, together
with the people who comes at the shows, on
the cadenced rhythms of our horror tales.
Nattsol: Mary0 of ‘The Last Days Of Jesus’
recommended me your music. He said that
it sounds like the mix of ‘The Cramps’ and
‘The Damned’. What do you think about
this characteristic? And what else do you
prefer in music?
Scarlet and the spooky spiders: Mary O
is not only a great friend and a beautiful person, he's also an incredible artist and we all
admire him a lot. We honestly have to admit
that we're very happy about what he told
you about us. If a musician like him find
something of us that remind him to these
two bands, it means we're working well, especially because Damned and Cramps are a
source of inspiration for us and are also
milestones of what we consider "punk".
Beside these two bands, everyone of us
have musical preferences, but in general, we
find common points mentioning Ramones,
Misfits, Batmobile, Lords of the New
Church, Bauhaus, David Bowie, Iggy Pop,
Christian Death and talkin' about contemporary artists, the Hardcore Superstars :-P
Nattsol: So tell me more information about
your first mini CD.
Scarlet and the spooky spiders: The Mini
Album has been recored the very fist period
we started playin', just to make some promotion of the band and have the chance to
play around ..Europe.., and infact it happened exactly that way.
Concerning the lyrics, are tales and stories
inspired by old horror comics, like "tales
from the crypt" style, with some innovation
and our typical black humor. Just in example, in the song "Zombie Werewolf" there's
the riff taken from "the ....Munsters...."
theme.
Is not necessarily to punctualize that the
song "Garbageman" for us is more than a
simple cover version, it's a tribute to our
idols! ;-)
Nattsol: And once again about your discography. There’s written in your profile that
‘The Spiders are about to get back to the
studio to record a sequel of their first bite
CD. New album will be available around
April/May ..2006.’.., and there’s no any updated information. So and the label isn’t
signed too….
Scarlet and the spooky spiders: Ahahahahah, good question! Since now, we always
self-produced our work, and this costs a lot.
We always used the money we get from the
live shows for pay the recording studio and
the printing of the CDs. New album is ready
since 2006 but, due to several appearances
in various compilations (New Dark Age,
Bats from Europe and Ghoulies Tunes, only
to mention some),we decided to postpone
the release. Then some labels asked us to
send them some material because was interested to work with us and now, we keep our
fingers crossed waiting for good news! ;-)
Nattsol: Next question is about your auditory. So how many people usually visit your
shows? What are they? Tell me about the
stage you’re in, in.Italy..
Scarlet and the spooky spiders: Ahahahah, it's difficult to say a real number,it depends a lot by the venue's size... let's say
from 300/400 people to 800 all mixed from
different cultures and scenes.
But in Italy, the Underground scene is quite
small, it's hard to have normally the people's
amount average mentioned before, even if
we have our best record of crowd in a show
in the deep south of Italy. Anyway, in Lisbona, there was a lot of italians on front of
the stage who supported us and gave us the
energy to do, with no jokes, a superb show.
14
Nattsol: You took a part in many festivals.
What of them were the most important for
you?
Scarlet and the spooky spiders: Every
Festival has his own importance. For us
doesn't matter to share the stage with important and famous bands or have shows in big
cities, even if we had that chance and we did
it. An event, Festival or not, give us strong
feelings according to the human and musical relationships that born and grow inside
the event itself. All these relationships can
be with musicians as well with the people
from the crowd that stop us and offer a beer.
It's only rock'n'roll, isn't it?
For sure we've been very lucky on finding
a promoter and partners that are becomin'
part of the Spooky Family, same we can say
about people that was our fans and now are
mainly great friends. All in all we're a band
famous also for our after shows!!!
Scarlet and the spooky spiders: The Drop
Dead Festival has been a great experience
that gave us the chance to improve ourselves and live an experience in a new country we've never been before. We really hope
this initiative will go on for long time and
we hope to be again a part of it, if not as performers, as audience. We also have to say
we met a lot of old friends and we did a lot
of new ones!
Nattsol: And the last question. Tell me
about the plans of the ‘Scarlet and the
spooky spiders’ for the nearest future.
Scarlet and the spooky spiders: The plans
are simple: play, play, drink, play, play,
drink, meet more people at the shows, let
people have fun, play and drink again and
hopefully comin' to pay you a visit in Russia!
Questions: Pall ‘Nattsol’ Zarutskiy.
Nattsol: And of course I want to know “Grave Jibes Fanzine”
some specialties about your show at ‘The
Drop Dead Festival’.
www.myspace.com/complotbronswick
15
Interview with
Nikolai
Ada
(Complot (Bronswick) )
Nattsol: I had many tries to know something
about your line-up. But I didn’t find any information. So tell me please about the replacements and
the reformations in it. Who used to write music
and lyrics?
Nikolaï Ada: From the beginning, COMPLOT is a variable geometry band, with a fixed
base, but many musician crossed the history of the
group and participated in its life (anneli Maria
Dreker from Bel CANTO, Peter Principal from
Tuxedomoon, Maitre Nono Manzanza Tsakala
from Zaire… etc…)
(Here is a link to the page of our site and
some informations for all musicians who participated in the COMPLOT (members 2008 are
Nikolaï Ada/ERT/Peking O/Pierre Fablet/Paolo
“c”» Uccello)
http://www.iconaki.org/complotgeneal.htm )
Since 1988 I write texts, but there were on
“L’image oubliée” : Arnaud LE Brusq, on “Maiakowsky”; “Darkroom‘s delights”: Patrick
Chevalier, “Iconoclasmes” with the participation
of several song writers: The Fanou Braz, Manu
Norma Loy, Dominique Dalcan... etc ...
16
Nattsol: So you had (and still have as I
know) the play based on the life of Maiakovskiy. What was it? Tell me more details.
Did you have some other plays?
Nikolaï Ada: I was in the 70s very touched
by poetry and life of Maiakowsky artist in his
time engaged in the revolution but also very
critical and then it is also love the character that
was Maiakowsky we hit. We wrote a song “who
killed Maiakowsky” which raised the question
of his death, Why did he kill himself? Too many
questions about the Soviet system? or unhappy
in love? In any case it was a great poet. He left
us unforgettable works "”la flute des vertèbre”
(The flute of vertebras) and many other beautiful poems.
Nattsol: That’s really interesting to know
about that coldwave era. As I understand there
was the huge influence by some post-punk and
so-called ‘goth’ bands. Tell me more about it.
What was it actually? And how did you start?
What was the original idea of ‘Complot Bronswick’?
Nikolaï Ada: We met in 1980 (the Brusq
Arnaud 1er singer, Yves André Lefeuvre (aka
Peking O) drummer, Mauriice Chesneau (aka
Paolo Uccello C) painter / graphic designer and
I, Nikolai Ada to the guitar. We were influenced
by groups as Can, ....Bowie...., Kraftwerk, the
Sex Pistols or Eric Satie ... but also movies. The
Italian cinema of Fellini, Russian Esenstein or
cinéastes of the French New Wave: Godard
etc... literary works: Lautréamont, Baudelaire,
Maiakowski or more contemporary writers such
as The French : Le Clézio ... painters like Picasso or Yves Klein and then ... “The case Bronswick” an animated film Canadian handling
mental image ... the 25th image “image subliminal” Television advertising to sell all the
”crap”... the question of manipulation of minds,
by what authority they are always been at the
center of our thoughts and inspirations ...
Nattsol: So tell me more about this film.
Nikolaï Ada: I saw it in the early 80's.
Some lady was complaining about buying dog
food, despite the fact that she doesn't own one.
It's a funny fake documentary about a conspiracy involving TV sets and people being brainwashed into buying goods compulsively.
”The Bronswick Affair” is a lively spoof
17
of television journalism, exposing the excess of
consumerism fostered by a steady stream of commercials...
Nattsol: The music of ‘CB’ was changing
from album to album. And the changes were
rather global. Even may be style changes. Sometimes it’s difficult to imagine that such songs as
‘Little girl’, ‘Who killed Maiakovskiy’, ‘Born in
a cage’, ‘Sparks’ and so on are the songs of one
band. What was that? You were growing up in
music or you just tried yourself in different
things?
18
Nikolaï Ada: Since the beginning of the group
we have the rule to avoid rigid rule, "it is not the
function of the COMPLOT (conspiracy) to create
static universe" is one of our "slogan" preferred. Our
artistic evolution is a bit like the logic of life on Earth
through life by meeting people, situations which we
turn, even if we change remains a part of the origin
of what we are, with our identity,
Le World moves, we move ... but there is the
energy of "rock" and questions about the world
around us.
We could say that we have had our periods (a
little as Picasso, in all modesty) white, brown, again
white and red today…Dream..
”Red Dream” But we are always COMPLOT.
Nattsol: You shorted the name of the band.
Why did you do it? Because the style was changed?
Nikolaï Ada: In France people call us COMPLOT (conspiracy), it is easier to remember, and
then the idea of conspiracy is to ask questions about
the handling of mind by some powers whatsoever,
too, remained "the bronswick case " (bronswick affair) seemed simplistic.
1996. What were the reasons? What were you doing
after 1996? Were there some side projects of the
band members?
Nikolaï Ada: We have never dissolved, it is a
false information, we have composed for the theater
until 1999: creating music for Coy "the space of a
moment", directed by Dominique Dolmieu ( Tasks
dark the con, Paris in 1998 and 1999). Then we just
made a haul and have everyone working on projects
around the group, me with a French choreographer
Bernardo Montet, then from 2000 with director Jean
Beaucé for whom I created the sound of the universe
Cerisaie Anton Chekhov (2001), history of Mary according to a text of the photographer Brassai (2003)
and ..130 grams.. theatrical fantasy around the shuffleboard (2004), Iceman (creation in 2006). In 2004
I also participated in a coin Coy of "Wild Pansy" and
Annie Lucas for the creation of Land, text Paol
Keineg , created in the theater of Cornwall in
..Quimper.. in ....Brittany..... I also "March Drive" a
group with ERT and a Moroccan singer (2000/2003)
and we worked with "ARKAN" with ERT
Nattsol: When was the ‘resurrection’ of ‘Complot’? What is it now?
Nikolaï Ada: We found 2 years ago to create
Nattsol: As I know, the band was dead after
19
the music show "ICEMAN" piece by Jean
Beaucé rise from the work of Eugene O Neil
"ICEMAN COMETH 'Iceman proposes as
game situation, the expectation - and dangerous
illusion - the savior (Messiah), the beautiful
speaker whether political, religious, trade representative artiste or ... The subject was very interested.
This work has helped to create the music
as we play together now
The group is being formed to the scene of
ERT : Voice, Synthesizer, trumpet, Nikola Ada
: voice, Guitar, Peking O : Battery, Pierre Fablet
: Guitar, Paolo Uccello C : graphics.
The bass player Pascal Humbert (Bass on
Darkroom's delights) he lives in the U.S. and he
make music with “sixteen horse power”.
Nattsol: Tell me about shows of Complot.
What was that actually?
Nikolaï Ada: We just resume beginning
concerts and it's really great. We should have a
concert series to February 2009 (Paris, Rennes.,
Quimper ....St Petersburg ?Moscow ? Why
not?) For the release of new album
Nattsol: Do you think that coldwave era is
over?
Nikolaï Ada:I don t know? Everything is
Nattsol: Do you keep in touch with past only eternal resumption, but in a different way,
members of ‘CB’? Do you know what are they then let us recreate the life in music....
doing now?
Nikolaï Ada: We are always in contact
Questions: Pall ‘Nattsol’ Zarutskiy....
with some former members of the group , for
“Grave Jibes Fanzine”
example : Arnaud Le Brusq the first singer and
now he writes books ...
20
le, W
i
V
to
at
, . ..)
s
m
ssu
o
p
gO
n
i
h
c
a
y
n
a
D
iant
l
a
(V
Yushkov
e
lianttovil
e.com/va hingopossums
c
a
p
s
y
www.m
m/watc
s
space.co
y
.m
angewall
w
w
w
e.com/str
c
a
p
s
y
www.m
the small Russian
This story began in
as
re Danya Yushkov w
he
w
rm
Pe
d
lle
ca
n
tow
to
ter his family moved
born. Some time la
hood
spent my early child
Saint-Petersburg. "I
ound
ar
g
e 80s, wanderin
in the remains of th
ng
re I lived, exchangi
he
w
ok
ul
re
pe
v
ko
Bas
s", change with friend
bottles for pocket
int-Petersburg Danya
Sa
in
st
Ju
.
lls
ca
re
ya
Dan
ing
ic for himself. Dur
discovered rock mus
inhe was sometimes
re
he
w
es
rti
pa
e
us
ho
hds, as well as his brot
vited by his older frien
t
en
nd "K.P.D.(Koefitsi
ba
nk
pu
ed
liv
t
or
sh
ers
usic
ya)" he faced the m
Polezdnogo Deystve
ta,
uktsion, Spinki Men
A
as
s
nd
ba
ch
su
of
r,
hek, Gr. Ob., Televizo
Kino, Objekt Nasmes
s,
xsie and the Banshee
Bowie, Bauhaus, Siou
rty
ision, The Birthday Pa
The Pogues, Joy Div
11
ginning of the 90's,
be
e
th
In
.
rs
he
ot
d
an
21
year old Danya moved to New York City.
There he met Steve Kurlat and, inspired by the
punk movement, they created their first band
in 1997. "It wasn't really good music, it was
terrible. We were just kids making noise." One
time, Steve's friend Yuri Khorodzie visited
their rehearsal and decided to join them on
bass. He couldn't play at all, but as it usually
is, it didn't matter much for that period. However a few years later, the band development
reached a deadlock and the band broke up.
After that, Danya had been strongly fascinated with the music of a more obscure and
darker sound, including bands such as Virgin
Prunes, Sex Gang Children, Legendary Pink
Dots, Tom Waits, Clan Of Xymox, etc. Infused
with their works, he was looking for musicians
to realize his new ideas. He got together one
night with Steve and Yuri, since he had moved
back into their neighborhood, and they suggested to him to play together again despite the
fact that they didn't have many common views
on music. "They wanted rock, I hated rock."
Aside from the differences, the union was
keeping itself alive for a rather long time.
Shortly after reconnecting, the band which was
now called Valiant to Vile recorded the songs
"Veils Of Ashes," "All That Was Human,"
"Knife," and "Carousel Days."
During that time Danya was trying to
open a post punk/goth club in an old church,
so he was looking for local bands which could
play there. He found the band Strange Walls
and met the band's leader Jon Vomit. They
rather quickly became friends because they
found that they have many shared interests and
ideas. Soon Danya visited a Strange Walls
show at CBGB's and stayed impressed by it. "I
felt that we were on the same page, in what we
were trying to do..." Jon, in turn, tried to become Valiant to Vile guitarist, but Yuri rejected
his candidacy. However, Jon and Danya kept
in touch, getting together on roof tops and
playing old acoustic Irish and Scottish folk
songs. Later, Danya helped record Strange
Walls' latest album, The Robber, which featured his guitar work as well as vocals interspersed throughout. Even later on, he was
invited by Jon to play guitar in the Strange
Walls' Halloween show. So, after that show he
became the official band member. Unfortunately, after putting so much effort into opening a club to promote the post punk/gothic
movement, the idea stayed unrealized because
the owner of the building decided to refuse
even after initial agreement.
During the summer of 2007 keyboardist
Kira Hosbein attended a Valiant to Vile show
and, impressed by the music, decided to join
them, since Danya originally recorded the keyboard parts but was unable to play them live,
being busy with the guitar and vocals. Kira re-
22
newed the old keyboard lines by adding her
own diverse melodies that were not previously
conceived by the band. The renewed line up
quickly finished recording the album Ugly Little Children. However the tension in the band
was building up. Yuri and Steve absolutely didn't like the changes the band went through.
They often rejected a lot of the outlandish vocals or new ideas coming from Danya and Kira
that would stray from sounds they were familiar and comfortable with. Rupture was only a
question of time. Soon the band came to such
frequent disagreement over this evolution that
progress was stunted. They thought that since
they were unable to find compromises when it
came to recent joint creations, making new
songs in the project would have to be put on
hold. But just recently the band, now without
Yuri, put aside their musical differences and
decided to continue a creative process together.
Steve, Danya and Kira recorded a new song,
called ‘Figment of Imagination’. After a few
seconds of listening to this song, a listener can
recognize Steve’s manner of playing. It’s probably one of the most recognizable things in
Valiant to Vile. The next six minutes of the
song can really astonish. The sound became
more light and clear, Danya’s vocals seem
more melodic… probably in these minutes the
band can be conceived as more mainstream
than it actually is. But the next part of the song
which begins after a few seconds of silence
breaks all doubts. This part is filled with energy and that Valiant to Vile cynicism. It shows
that this ‘lightness’ actually comes from the
depths of feelings. Like that condition when a
person is above his feelings and emotions.
When they become absolutely clear…. So it’s
difficult to say, according just to one song,
what Valiant to Vile will be in the future. I hope
it won’t loose its individuality anyway.
In that quarrel period Kira suggested creating a separate more intimate project to realize all the songs created and rejected by the full
band. Therefore, the project called Watching
Opossums, whose name is still a riddle to me,
began to exist during the summer 2008. Watching Opossums, which is the duet of Danya (vocals, guitar, bass, drums) and Kira (keyboard,
conventional and unconventional drums, vocals), rather quickly recorded new songs and
compiled a 12 track album out of these and
some works created by Danya that predate
Valiant to Vile even. They are playing shows
currently.
It's really difficult to characterise the style
of this project. The only thing I can say is that
the music became more experimental in comparison with Valiant to Vile. The songs combine many different styles altogether or one
after another. Rather typical deathrock sound
can be suddenly covered by a noise sound canvas and then sail out of it again. In addition the
music can become absolutely unnatural and
stay filled with emotions as well. Some songs
have typical folk motives. The song character
is absolutely unpredictable too. It can be artificially positive in the diversicolored "Technicolor" or have dark depths swelling in "A
Lullaby For Heavy Dreamers". Unfortunately
both albums (Valiant To Vile – Ugly Little
Children, and Watching Opossums album) are
not printed yet. But they are going to be at the
end of 2008.
Pall 'Nattsol' Zarutskiy,
"Grave Jibes Fanzine"
23
Russian view of post-punk
The post-punk era in the USSR has come
after the similar period of that music in England,
but a few years later (England - the end of the
70s - the beginning of the 80s; the USSR – the
middle - the end of the 80s).
As the fact it wasn’t the original Russian
phenomenon, it was the adopted European
music. However, as well as Russian punk-rock
(for example, Avtomaticheskie udovletvoriteli
(1979) were almost like Sex Pistols at all), and
Russian rock as a whole. Bands, such as The
Cure, Joy Division, U2, Duran Duran, The
Pogues rendered essential influence on the for-
Nautilus Pompilius
3 components:
sound;
lyrics;
image.
Now let’s consider these items more in details.
The characteristic sound field of the postpunk was used in the creativity by many Soviet
groups of the 80s. From the collective unduly almost forgotten today the Center up to such faAgatha Christie
mous and loud names of the middle 80s, as Alisa
(or rather prev. group Stil, album Nervnaya noch
– 1984), Nautilus Pompilius, Televizor
mation of the Soviet post-punk.
(‘Shestvie
Rib’ album, 1985). By the time of the
So, let’s divide Russian post-punk into the
Russian view of post-punk
edition of the album Nachalnik Kamchatki
(1984), the music of KINO became well related
to the sound of The Cure, and some song places
were rather similar (for example, the track ‘Eto
ne lubov’ from the same-called album and the
song ‘Fire in Cairo’ from The Cure’s album
Boys Don't Cry). By the way, music of this
album as a whole is impregnated with minimalism of sound characteristics of the post-punk
which gave a «dark» sound. The further sounding, KINO had been affected in many aspects by
The Cure, Duran Duran, and less by Joy Division.
Above-mentioned Center is partly the
unique phenomenon on the Russian scene (with
new-wave collectives of the period of the beginning of the 80s Nikolay Kopernik and Obermaneken). Experimental avant-garde music and
the vocal sketches in the initial period, the postpunk and rock’n’roll sound of later creativity in
aggregate with midpsychedelic lyrics and using
of different vocalists in songs and the boundless
talent of the main vocalist and the leader of the
band Vasily Shumov didn’t let merge this command with other bands.
In the lyrics of that period the main themes
were household sketches, romantic and social
texts, avant-garde verses.
The "Boom" of the post-punk fell on the
second half - the end of 80s. Bukva O, Missiya
Anticiclon, Durnoe Vliyanie, Petlya Nesterova,
Agatha Christie, Objekt Nasmeshek, Matrosskaya Tishina… In my opinion, in this period appeared the brightest and most interesting
representatives of the russian post-punk, most
"characteristic" for this style were created.
Sounding, lyrics, image merged so much, that
the post-punk for musicians became something
Durnoe Vlijanie
more than simply musical style. Acc. to interview of magazine R.I.P. № 3 (October / November 2005) with Alexander Skvortsov, the vocalist
of Durnoe vliyanie,:
" R.I.P. The post-punk is a certain style of
life?
Petlya Nesterova
Alexander: As against the punk, for me it is
an image of feeling, understanding of life. We
sit, we talk... It is a punk. And if I come home
and start to tell about it, having passed it all
«through myself», - then it already will be the
post-punk."
More and more influence of the darkest European representatives of the post-punk was
gathering momentum. Durnoe Vliyanie searched
for inspiration, listening to Joy Division,
Bauhaus, Nick Cave; Agatha Christie copied in
many details The Cure (but with more electronic
sound), Petlya Nesterova was guided by minimalism of the sounding of U2, Echo and The
Bunnymen and The Curе, later on Joy Division.
" We had never pursuits of stamps, but at
the same time we didn’t escape from them ", said Ed Nesterenko the leader of Petlya Nesterova speaking about the influence on the music
by the European bands.
There are decadent motives, the theme of
death, a hopelessness, misunderstanding of
themselves is frequently mentioned in the lyrics
of this period even more often. There were texts
about unaccepting of existing values; the desire
to change the society took place too.
24
Russian view of post-punk
Durnoe Vliyanie had the most hopelessness
and «dark» texts. "Many texts were about death
because this theme is close, intimate, there can’t
be a deceit. It is difficult to tell lies, when there
is your familiar, lying in a coffin. Only when you
face it, you can understand the true values ", said Alexander Skvortsov in one of interviews.
The band Petlya Nesterova, which was
formed on the ruins of other post-punk command Kofe, was very similar with DV. Simple
drums, a «front» bass and "dense" sound of electroguitars created, on the one side, not difficult
in playing, but on other side - tremendous on influence on the listener the dark sound environment. It supplemented ideally suitable vocal of
Ivanov Daun
western artists, partly confusion in the Soviet society of that period.
There were groups which intentionally
wrote "unconscious" associative texts, leaving
main role to the music. There were Matrosskaya
Tishina, Ivanov Daun and some other bands
among them.
Separately it is necessary to notice the band
from Moscow NII KOSMETIKI. Performances
were something more than a simply concert of a
musical group. "Texts had bright and romantic
mood with a shade of decadence. The visual line
was based on the traditions of glam-rock. Concerts of group became some kind of quintessence company when actors on a scene appeared
more than musicians. Using skill of a mimicry
and gesture, they improvised short gags on a
background of sound lines created by group. It
was Show. Having a sharp sexual orientation,
has quickly won popularity at the Moscow public, and the group actively began to give concerts
in the capital and situated near Moscow platforms." (A.Kushnir "100 magnitoalbomov
Ed Nesterenko
sovetskogo roka").
Edward Nesterenko:
The post-punk of the 90s almost nothing
differed from the post-punk of the end of the
" … I hear a voice calling me.
80s. Most likely it is connected by that the new
I don’t know, I’m alive or I’m already dead. names, appeared on a musical scene, which only
I can’t anything, it is the end.
seemed new. Actually groups arose on the ruins
I can’t explain, I can’t find the words. "
of the bands of the end of the last decade, which
disorganized the post-punk. The amount of
Such feature in the general mood of texts is young collectives decreased in comparison with
caused partly by the influence of the lyrics of the the past decade.
25
Russian view of post-punk
Perhaps, among the music of that period I
can notice the band from Saint-Petersburg,
called Ugendshtil. The choice of such unusual
name is nothing else but analogy to the choice
of the name of the cult post-punk band Bauhaus.
"It’s influenced by some trivialities. My name is
German, when I was in the army, I served in
Germany, and my favorite band is BAUHAUS",
- the leader and the founder of the collective
German Podstanitsky explained the choice of the
name of the band. At the first time the sound had
"the Bauhaus manner" too, but further it was
harder, and the band got some originality (the
similar sounding collective Ivanov Daun
achieved little bit earlier). Music of the band represents a powerful stream of energy, decadent
texts were from time to time replaced almost not
carrying in themselves sense and loadings by
phrases (for example, a song Figure skaters (Figuristi in original), text of which consists only of
one phrase " we’re the figure skaters on the pink
ice", repeating some times in this song).
Image of the post-punk musicians was the
diverse. With the brightest clothes and make-up
differed the band from Magadan Missiya Anticiklon, and NII KOSMETIKI from Moscow.
"The leader of the band, Michael "Mefodii"
Evseenkov (vocal, show) left on a scene in the
bright make-up and motley clothes, there was
sewed the big red hand on the fly front of his
Televizor
trousers – with it he had on the spot struck all
"decent" rock - fans". (A.Kushnir "100 magnitoalbomov sovetskogo roka", NII KOSMETIKI). Members of the band Missiya
Anticiklon often used a make-up in traditions of
glam-rock and "gloomy" club life of England,
all this cosmetic "art" was added by the unusual
motley clothes. Very often groups wore circus
and theatrical suits which were got with the help
of familiar.
On a decadent wave of the second half of
the 80s russian post-punk musicians more often
began to flash black color of clothes (KINO,
Durnoe Vliyanie). "I remember how I was taken
away by the cops on the Griboedova channel because I went in black clothes ". - recalled Igor
Mosin (the drummer and the co-founder of
Durnoe Vliyanie). Copying the European idols
was observed. "…some cloths with Lurex,
painted forelocks, that was such an imitation of
The Quinsy
DURAN DURAN. We were the first neo-romantics in St. Petersburg, nobody before dared
do such imitation (KINO, maybe, in certain degree - then they were already enough brisk)", said D. Nesterenko (in 86th he still was the
member of the band Kofe). Though, for example, the musicians of the collective Matrosskaya
Tishina acted in quite daily clothes without
strongly pronounced image features.
Now the post-punk music has lost the popularity of the second half of the 80s - the beginning of the 90s, but it does not mean that the
Russian post-punk died. And now there are such
remarkable bands as QUINSY, the Vinujdenie
Kolebaniya, K.O.C.T., inVerse, Letuchie
Obesyani, at last Agatha Christie. Still there are
fans of this music and those who are ready to
play it, those who don’t afraid to be misunderstood and not claimed in Russia.
Kostya ''Osty''
‘Grave Jibes Fanzine’
26
www.myspace.com/graveyardz
27
Nattsol: First of all, tell me more details about the birth of
‘The GraveyardZ’. So now tell me about the reformations
in the line up. As I understand, it was the duet for the first
time?
TGZ: The band was formed one year ago, in October 2007
and we were not a duo, we were 5. Everything began well,
until for motives (mainly musicals) several went away of
the band, and we continue with the project as a duo. There
was a temporary bassist, but he did not last too much,
equally we manage more in this stage than in the previous
one. The band grew much more as a duo, and it became
more personalized and creative. Our musical beginnings
and first recordings were bad, but then, we could find our
way. Now we feel much more comfortable, and though we
are ..2 in.. the creative process, there are more people working with us.
Nattsol: You had several concerts. Tell me more about it.
Did you take a part in some festivals, or it was solo concerts? Tell me about the deathrock stage in Argentina.
TGZ: In first place, we only did some spontaneous samples
in our test site, because here the deathrock scene is not very
spread as it is in the capital city of our country, where the
genre is more known by the people, although there aren’t
bands lol. It was difficult to be able to obtain a place to play,
but thankfully the next week we are going to do it! :D In
an exhibition of underground art. Later on, we expect to be
able to play more often, including in ....Buenos Aires....,
the capital city.
Nattsol: I want to ask you about the manner of your play.
As I understood, this thing makes the TGZ style more
unique and original. But this manner, which makes your
sound more dirty and surrealistic, and breaks the rhythms
in really interesting way, looks like as you’re just studying
to play the music. So how did you ‘discover’ it? While you
were studying to play, or any other way?
TGZ: Everything that we do is part of an evolution, the
things are arising, agreeable to our musical experiences. We
do not have a school formation, and we prefer not to call
ourselves musicians… we are just people who transmits
our feelings to the music trying to be original…that's why
sometimes things come out of the ordinary.
Nattsol: The next question is about The Gravecat. As I understood, it’s like the symbol of the band?
TGZ: There are several symbols that identify us, and certainly Gravecat is one of them. We love the cats, and we
love Gravecat. At this moment it must be playing with
branches in the yard.
Nattsol: So now about your new album. First of all, tell me
the translation of the name. And tell me, do you have some
common ideas of your texts? What are they about?
TGZ: The album is called “Projections of a Macabre
Childhood”, and we both think about the lyrics in an equal
way. The lyrics of this album treat principally topics as the
childhood and the fantasy; especially this fantasy that we
lose when we grow... a fantasy which we should all live
again once.
Nattsol: Why did you decide to release the online album?
Do you have the plans to release the CD?
TGZ: Mainly because we are in favor of free copying and
copyleft license, to our country there does not come any
disc of the bands that we like, and it is very difficult for us
to get them... we do not want that the same thing happens
to other persons, beside being able to spread it in a more
ideal way non-profit-making in the middle. And as regards
to the CD, we did some copies, and we sell them in fairs at
musical shows.
Nattsol: The release of the first album is really important
experience. Now looking back, what would you like to add
or remove?
TGZ: As you say, this album was a very important experience…and we feel it has synthesized all the experience of
this year of life. In the future we are planning to make a
more extensive album with a different thematic, but we are
not in a hurry, we're going to let it emerge from the experience.
Nattsol: While listening to your release, I noticed some
songs which presents ‘the soul’ of the project. And the
‘Souvenirs’ seems to me the most important. (Not the best,
but the most important). The popular melody, the mechanical sound. While listening to it I imagined the music casket
with dancing toy – ballerina in it. That strange unnatural
machinery of life…. So do you have that ‘the most important’ songs? And what songs for your opinion are the best?
TGZ: All of them are important; they all represent something in particular... “Souvenirs” is beautiful, and it is for
us the soul of the disc led to the daily thing. "..La Pesadilla..
de Amara (Amara’s Nightmare)" is also very important to
us, because I composed it in ....Buenos Aires.... with Uxor,
a very good friend, and it is for us the "opinion" outside the
band.
Nattsol: And the last question. Tell me about the plans of
the ‘TGZ’ for the nearest future.
TGZ: To continue playing and fighting for the art freedom;
we hope to be able to know many places and take all kinds
of beers! However, the most important thing is to continue
opening graves and leaving to go out to bat!
We send greetings to all that listen to us there… and those
who do not listen to us too lol.
The Russian cold must be beautiful …and Moscow! A city
with so much history…
Thank you for the interview Nattsol! Бай!
Questions: Pall ‘Nattsol’ Zarutskiy.
“Grave Jibes Fanzine”
28
29
http://www.clairobscur.net
Interview with Christophe Demarthe
Nattsol: Tell me, how did you begin? You were
‘on the wave’, or you didn’t depend on any?
Christophe: Like any young people who like
music, we had our groups. They were Joy Division, DAF, The Cure, The Talking Heads,
Tuxedo Moon... At that time we lived in Creil in
the north of Paris, and the music that we loved
was not played on the radio (this was just before
the birth of the free independent radio channels
in France). So we naturally decided to write the
music which we wanted to listen to. It was not
our purpose to belong to a 'wave'. Simply the
bands we preferred mainly belonged to what was
called new wave at that time, and which would
be called cold wave today. So yes, when people
asked us what kind of music we were doing, we
answered 'new wave'.
era? Now it’s really difficult to imagine what
was that. Was it organized movement?
Christophe: In france it was not organized. This
must be typically French, I mean our incapacity
to create real networks, unlike the British people
for example who through the Cartel managed to
federate the independent labels. In France everyone stupidly thinks that he is clever enough to
make things by himself and better than his
neighbour. This is a pity because no network really existed for this scene in the 80's. Even if
today foreign people speak about French cold
wave as a movement. The only thing which existed in the early 80's (and was partly linked to
the victory of the left wing in 1981) was the creation of informal places like squatts where more
post-punk bands could play and where the audience could attend concerts for little money. Of
Nattsol: Could you tell about that cold wave course there were also many small independent
30
31
photos (c) Carine Le Malet
labels which were created in the early 80's allowing such bands as Clair Obscur and others to exist,
but once again the pity is that all these indie labels
were never able to federate and create a genuine
alternative to mass culture.
Nattsol: Your music always seemed to me more
avant-garde than rock. Some of your songs like
‘Tristan Tzara’ prove my opinion. Also I can remember here that Clair Obscur was called ‘rock
Artaud’. So tell me about it. What cultural movements and art actors you were influenced by?
Christophe: Truely speaking we were barbarians.
Clair Obscur was called ‘rock Artaud’ by the journalist Jean-Francois Bizot but we had not even
read 'Le theatre et son double' at that time... However we were very interested in discovering other
artistic proposals in theatre, dance, cinema, visual
arts, which nourished our music and our live performances. 'Rock culture' was too narrow-minded
for us. We were not longing to belong to 'avantgarde'. We were just interested in searching, experimenting new tracks, new fields. Also what was
clear for us was that just being on stage with a guitar was not sufficient. I think that the originality of
Clair Obscur in our live performances was that we
were at the same time giving a live gig and questioning the conditions of this gig.
Nattsol: Another question of this type. The name
of your song ‘Blume’ strongly reminds me Kurt
Schwitters’s poem ‘Anna Blume’. So is that what
I’m thinking about or it’s absolutely another thing?
Christophe: It is absolutely another thing. The
lyrics of 'Blume' speak about joy and flowers, and
the music is very dark. 'Blume' is all about this
contrast. It is a good example of most of our songs
where words do not say what I mean. Most of the
time what I mean is to be understood not in the
words but in the way I utter these words. So for
the listener the exercise (quite difficult) would be
to try to replace the words of the song by other
words which can perhaps be guessed in the way
words are expressed and also by the music. But
perhaps it is rather an exercise for a psychologist
more than for a music listener... And to complicate
things a little more, in some songs what I say is
what I mean...
Nattsol: I noticed that the music instruments in
your songs are rather different. For example
there’s absolutely amazing saxophone play in ‘Bad
Lover’, there’re lots of wonderful bass parts in
32
other songs. Others have only noisy ‘dirtysounded’ guitar and so on. So it depends on line
up or the songs tell what they need?
Christophe: The songs tell what they need. For
our new album (to be released in early 2009), I
wanted a more physical atmosphere. So we decided to use 'rock' instruments and analogic machines. The songs exist first. Then we invite
musicians according to our needs.
Nattsol: Clair Obscur grew up not only in music
but in performances too. Tell me about your performance experiments. And what are they now?
Christophe: I have answered to this above.
I cannot tell you about our next performance (in
December in France near Paris / http://www. lesiteducube. com/site/breve. php?id=416) because
our audience have to experience it first before we
start to explain it.
Nattsol: Looking back, can you tell me what has
changed in the band and what’s stayed? What
makes Clair Obscur itself, of course, except the
line-up.
Christophe: Our music has partly changed, because it has always been changing (right from the
beginning of CO). Our shows are less spectacular
(I mean there are less paraphernalia), because we
have perhaps sufficiently worked with this notion
of 'spectacular', and we are more interested today
in working with the physical part of our music,
which cannot be reduced. This is perhaps what
makes Clair Obscur itself, the physical part of our
music, whatever the music instruments which we
use.
Nattsol: There was the period when Clair Obscur
kept silence. What was that? Searching for new
ways? And have you had any side-projects?
Christophe: Our seven years of silence were
caused by a disinterest of the French music profession for our music. These years allowed me to
create a solo project called Cocoon (). But because I missed the physical experience of the
stage, I decided to reform Clair Obscur in 2004
and was happy to see that our music did mean
something for younger people.
Nattsol: What do you think, do you have the followers in music? And what bands do you think
are related to Clair Obscur?
Christophe: Oh I do not know. Perhaps you can
tell me...
Nattsol: So Infrastition records re-released four
your albums – ‘Play’, ‘InOut’, ‘Antigone’ and
‘Live 84/86’. Sould we wait for other re-releases?
Christophe: This is not impossible...
Nattsol: Tell me about your new album ‘We
Gave a Party for the Gods and the Gods all
Came’. What will it be?
Christophe: I partly answered above. Our new
album will be published in January 2009 by the
French label Optical Sound (http://www.opticalsound.com).
It will be rock, dark and sexy...
will express yourself in the most relevant way.
Today the music of Pan Sonic for example is
much more interesting and relevant than the
music of many young 'cold wave' groups.
Nattsol: So you had many shows. Tell me,
which shows and where were the most important
and interesting for you. And where do you want
to play else?
Christophe: My answer will not be very intellectual. I mean in our shows despite our relexion
for creating the conditions of a general atmosphere and the possibility for our audience to ask
themselves questions, in the end what worked or
not has always been a curious alchemy between
our public and us, on a special day, in a special
venue. Why did it work on that particular day,
in that particular venue, with that particular audience, I do not know the answer. This is perhaps
a kind of luck both for the public and for the
artist.
Perhaps one of the most important and interesting shows for us was when we played at Festival
des Musiques Mutantes in Paris in 1986, because we had decided to take the risk to play
with classical musicians in front of a rather punk
audience (performing after Annie Anxiety and
The Ex) and the public decided to play the
game... and made an encore for us for at least ten
minutes after the end of our show. This is a
strong souvenir.
photos (c) Marjory Salles
Nattsol: For now what do you think, is cold
wave alive? Or it took it’s place in music history
and cold wave bands went out of the borderlines
of this style?
Christophe: Cold wave as it existed in the 80's
is dead. Young bands who write cold wave
music today only make copies. It is as if they
were making rockabilly music. There is no sense
in only trying to approach the sound of the 80's.
What has more sense is the interest of today's
young musicians for the sounds of the 80's when
they attempt to create new sounds at the meeting
point of these older sounds and the sounds which
appeared more recently in the (experimental)
electronic scene. Of course the interest for dark
music belongs to all periods. But it is not by Questions: Pall ‘Nattsol’ Zarutskiy
copying the sound of a certain period that you “Grave Jibes Fanzine”
33
http://www.tragicblack.com
http://www.myspace.com/tragicblack
http://www.myspace.com/corvidband
ith
w
w
e
i
v
r
Inte
vISION
(Tragic Black, Co
rvid)
Nattsol: Tragic Black
began to exist 8 years ago. Tell
me the history of its birth.
vISION: I was a Senior in
high school in 1999, was hanging out with some friends and
was thinking “what is an obvious goth word?” and the word
Tragic came to mind. Then I
was thinking about bands like
Christian Death and Black Sabbath that are strong names but
also have polarity in their names
(Christian, light and Death dark,
Black dark and Sabbath light)
you get the idea, but I didn’t
want any “light,” only the dark.
So naturally came up with
Tragic Black. It was a nice idea
that remained just that, an idea
until Vyle and I had been hanging out a lot and I shared the
idea with him & we formed the
band. We mostly drank a lot and
conceptualized for quite some
time until a friend introduced us
to Ashe, who we called “Nothing” based on some Poppy Z
Brite’s “Lost Souls” inspiration.
The thing was, we never played
live before and since didn’t hear
back from the band who offered
34
35
us our first gig (Redemption)
until a week before, and we
weren’t totally ready. So basically we had to hurry and practiced
everyday
until
Halloween/gig day.
Tragic
Black was to be a visual, aggressive, in your face band so
we all put a lot into our look for
the first show. Our first songs
were;
“Hannah”,
“Sickly
Fiendish”, “Nevere”, “O’ come
all ye Faithless” and the “Boys”
Bauhaus cover. It was a short
but sweet show, and our friends
were pleasantly shocked by our
talent. That night we were approached by Toni, who later
joined the band after a few
months of decision making.
Nattsol: As I understood,
your reference is Rozz Williams
(I can remember three your covers of his songs), and also you
were influenced by Bauhaus (as
you said, you made cover of
their ‘Boys’). So who else
you’re influenced by?
vISION: “MALIGN” was
a big inspiration for Vyle and I.
He borrowed my “Shatter & Impale” cd and learned all of the
keyboards on the album. I
loved Xavier Haight’s high
pitched vocals and dark sociopolitical lyrics. Besides Malign,
SPECIMEN, SEX GANG
CHILDREN were also big inspirations on the goth side at
least. I was also really into
bands like AFI, Leather Strip
and Rudimentary Peni. As time
went on and I became friends
with Stich, he introduced me to
a lot of amazing punk bands
who became a big inspiration,
bands like; Aus Rotten & The
Unseen.
Nattsol: Tell me more details about your self-released
CDs - Articulate Lacerations,
Vatican Demonica, The Sixx
Premonitions and the live album
Burnt Black (did I miss something?).
vISION: Before we had
the pleasure to release albums
under a record label, we were
determined to get our music out
to people into dark and under-
ground music, so we spent a lot
of time and money recording,
designing and producing our
own CD’s. For me, I knew that
one day we would have a record
label and wanted to create selfreleased CD’s, things that would
become rare and out of print for
those who gave us the support
we needed. I looked at my Malign CD and how much it meant
to me, knowing that the record
label it was released on had
been out of print for almost ten
years, I felt lucky to have it and
be a part of the time it was
available. So that’s something
we wanted to do for our fans. It
was strange too, I wanted to
make a ultra-rare cd and call it
Vatican Demonica, so one day
we made a mp3.com exclusive
CD and titled it “Vatican Demonica”, thing is, no member of
Tragic Black ever got one! So
it became so rare that not even
we had a copy, due to the untimely closing down of
mp3.com.
Nattsol: Now about your
36
first ‘official’ CD ‘The Decadent Requiem’. In comparison
with your self-released CDs this
work seems full and finished.
Think it was really great experience. So can you say that it was
the end of some creating period? What actually did it
change in the band’s life?
vISION: The Decadent Requiem contains the attitude of
what made us want to form the
band in the first place. It’s all
about awakening. Awakening to
the lies we were fed in public
school. Awakening to a spiritual reality and feeling no need
to believe in any religious
dogma. Awakening to all sorts
of forces in the world and discovering the cause and effect reality of the world around us. It
is also related to the element of
Fire, along with the first three
chakras on the human chakra
system (Red, Orange & Yellow). Starting the fire on the
path of Awakening which is The
Decadent Requiem.
Nattsol: All your releases,
may be, except Articulate Lacerations and Vatican Demonica,
are very different. And your last
album ‘The Cold Caress’ proved
it one more time. So what’s actually that? Is it progress in
music, or it foremost depends
on your perception of the
world?
vISION: We will keep
making CD’s related to different
elements of the world and
human chakras. The Decadent
Requiem was the Fire element
and red, orange and yellow
chakra CD, this is why the lyrics
and sound is so fiery. The Cold
Caress was the water element
and the blue chakra CD, which
is why we made it more fluid
and melodic like water. Next we
plan to create a Earth element
and Green chakra CD. The
sound there will be larger, like
the world, and fleshier. The
lyrics will be written differently,
I’ve already started actually. Instead of me writing all the
lyrics, this time I’ve reached out
to the whole band, including our
amazing graphic designer (Jordan Livingston) to give me
lyrics, ideas, and themes of
what we should sing about. The
idea is to write music we all feel
connected to, band members
and fans alike, more so than
ever before, after all it will be
the Earth CD and we are all a
part of the Earth.
Nattsol: What can we wait
from future releases of ‘Tragic
Black’? Will they follow the
way of the musical evolution of
‘The Cold Caress’?
vISION: I’d say maybe a
little, but we don’t want to release a CD with the same sound
and attitude twice. We have two
guitar players now (Stich &
Hex), so it will be very guitar
driven.
Vyle is an amazing bass
player and he’ll add a thick,
earthly bass tone for the Earth
cd accompanied by Seputus’s
improved drumming. For me
I’ll push myself to achieve the
most dynamic vocals I’ve ever
done before and also push the
rest of the band to play a bigger
role singing back up vocals, so
again it will be something that
the whole band feels even more
connected to, which will hopefully sound transparent to the
listener so they feel more connected to what were singing
about.
Nattsol: In one interview
you said that you were influenced as the text writer by the
surrealist movement. Tell me
more about it.
vISION: I like getting out
of the ordinary mindset, entering a more natural place where
pure fluid writing happens. It
feels very honest and artistic to
just let the words flow from
your fingertips and discover the
meaning later. Also, writing in
that fashion enables the listener
to hear it in a way that is personal to them as well.
Nattsol: And once again
about lyrics. I read the lyrics of
your last album, and found them
rather typical for ‘Tragic
Black’, but they have plenty of
differences as well. So what do
you think has changed?
vISION: Instead of singing
about the world around us and
the way it could be, in The Cold
Caress, we escape that world of
religion, politics and etc and instead enter a world full of limitless possibilities. I just finished
the book “In The Cold Caress”
that inspired the lyrics of “The
Cold Caress” cd, and once it is
finished being published, you’ll
be able to gain a new perspective on where the lyrics came
from.
Nattsol: Now the question
about your promo videos. Your
website says that you have
‘Faith in Decay’ and ‘Surreal
Catharsis’ videos, but it keeps
silence about ‘Circuit 3’. So is
37
38
it the official video? Tell me
more details about their creation. And all of them are from
your first album. Will you make
a promo of a song from ‘The
Cold Caress’?
vISION: “Circuit 3” video
is official, we just need to update our website with that,
thanks for the reminder. We
made all three videos with The
Rose Phantom. Surreal Catharsis was filmed next to the Great
Salt Lake at this abandoned
building called “The Temple of
the Birds”. Faith In Decay was
filmed at a few locations; my
haus, the Cathedral de Made-
line, and on top of a mountain
overlooking the Salt Lake City
Valley. Circuit 3 was done at a
few locations as well; behind a
venue in a dirty alley, the Lime
Kilms, and Hex’s practice
space. We had a line up change
during the making of The Cold
Caress, when Hex left and Jesse
James joined. Then Stich joined
and since Hex wrote the guitars
on The Cold Caress with additional recording performances
by Jesse James, it didn’t accurately reflect who wrote what
for those songs, plus the addition of Stich. Besides that, we
wanted our next video to be a
step up from the videos we did
in the past and since we have
not yet had the chance to do a
higher quality video, we decided to wait until the next CD.
be even related to ‘Tragic
Black’?
vISION: Besides our related projects (Corvid, Redemption(bound),
Disruptive
Creatures, A Lilac), we are
friends with and close to bands
such as; Bella Morte, Cinema
Strange, Frank The Baptist,
Blood, Death In Dresden, Gorgonas, and don’t forget about all
our
local
friends;
Redemption(bound), Domiana,
Negative Charge, DieMonsterDie, QstandsforQ, Cavedoll,
Riverhead, Carphax Files, Subrosa, I’m sure there are I’m for-
getting, but we love the SLC
scene.
Nattsol: Which bands in
your opinion are close, or may
Nattsol: Now let’s talk
about your new project
‘Corvid’. Tell me the band’s
original idea.
vISION: Stich had extra
time on his hands since Tragic
Black wasn’t as busy as we
were in the past – he seeked to
create a new project. After
looking around for a while he
found an amazing Drummer
(Seigh), but didn’t find others
who shared his vision. So in
time Vyle & I eventually sug-
CORVID instead, and I’m glad
he did, because it’s great and
gives us a more diverse sound.
gested he do the new project
with us, because we too,
needed/desired to be more active than Tragic Black has been
for a while. Corvid is a different band than Tragic Black,
even though we share a lot of
the same members. We all have
always loved rock n roll, punk,
metal and other hard music, we
wanted to create some music
like that. So we began practicing and just after two weeks we
went to Kitefishing Studio to
record. After ten hours of
recording and two hours of mixing and adding the finishing
touches we created “Ambers Artery”.
Nattsol: What are future
plans of ‘Corvid’
vISION: We have three
new songs and we will record in
Mid November 2008, and every
time we create 3 songs we will
record until we have enough
material to play a live show and
aim to release a full length
album with a record label. So
that’s the plan, keep writing,
creating elements for the live
show and aim for a record deal.
Then, after that we will begin to
tour!
Nattsol: So the band released the demo ‘Ambers Artery’. What’s the stuff there?
vISION: Here are the
songs on it; “Ambers Arteries”,
“Saturated With Innocence”
and “Slop it to the Side”. “Saturated With Innocence” was
originally going to be a song for
Stich’s solo project “A LILAC”,
but he decided to use it in
Nattsol: Apart from these
two projects – are you involved
in any other music action?
vISION: Yes, we are all
busy guys. Stich as I mentioned
earlier has “A LILAC”. Our
drummer Seputus also plays
drums for “REDEMPTION”, I
sing in a electronica/new
wave/minimal project called
“DISRUPTIVE CREATURES”,
we have a few songs recorded
already, but we have a few more
things we want to do before we
release it online.
Nattsol: You call your
music ‘goth’ music. But for now
there’re plenty of absolutely different ‘goths’ and ‘gothics’. So
what does this term mean in
your opinion?
vISION: I think it’s a word
each “goth” or “gothic” gives
their own personal meaning to.
It is an ever evolving scene of
people, art, fashion and music.
I think those who associate with
goth make it what they want it
to be for them.
Nattsol: And the final
words are yours….
vISION: Thanks so much
for the interview! You had some
great questions, we really appreciate your support and hope to
do this again in the future!
Questions: Pall ‘Nattsol’
Zarutskiy
“Grave Jibes Fanzine”
39
Eri
c
‘Er
t’ T
roc
hu
40
In 1982 the young music photographer
Eric Trochu arrived to Rennes from Lorient
(Brittany). Then, for some period he made
photos of different bands in their rehearsals
and performances. Some time later he met
Patrick Chevalier, the singer of Warsaw Pact
for that time, who invited him to one of their
rehearsal. The band members gave him a microphone and let him take a part in their
music. After that rehearsal Eric became the
second band’s vocalist, and decided to abandon photography for the music. Warsaw Pact
was inspired by Joy Division, Bauhaus, The
Stranglers, The Cure and other bands which
played that new music. “The musical atmosphere was very Joy Division (our reference),
punk and coldwave”, - recalls Eric. Unfortu-
http://pagesperso-orange.fr/catert.trochu
http://www.myspace.com/ertjogleor
http://www.myspace.com/endofdata
http://www.myspace.com/complotbronswick
http://www.myspace.com/jogleor
http://www.myspace.com/toriikami
http://www.myspace.com/connecticat
http://www. myspace. com/pascallamour
http://www.myspace.com/fraktureband1
http://www.myspace.com/rroseselavylelabel
41
nately, for the two years of its existence, the band
gave just about ten performances (sharing the
stage with such bands as Marquis de Sade, Les
Nus, Ubik, Sax Pustuls and others), and released
the K7. The band broke up on the summer of
1983 because the musicians hadn’t felt staying
the same musical direction any more, and everyone had own ideas of creation the music. So the
band members began to search for other ways:
the bass player formed Prima Linea, Patrick
Chevalier joined Complot Bronswik as the
singer…. Eric was in search for his way too. He
met AE, the guitar player of Geisha. They improvised together on the AE’s music for a concert;
they repeated songs in the afternoon and played
the same evening. After that he made for him met
the Warsaw Pact ex-keyboardist Didier and they
had created End of Data on the 12th of June in
1983. The original idea of the band, which was
influenced by The Residents, Satie, Police, Can,
Talking Heads and others, was creating electro
new wave music with punk spirit. “At the end of
the period, a new music thanked to the electronics, Bassline TB303, drumtracks TR303, TR909,
synthesizers Juno 106, Sixtracks with the protocol MIDI, all this with the spirit and the energy
of the Punk”, says Eric.
Eric, AE and Didier were the constant band's
line up, but during 1984 two musicians from Orchestre Rouge, Pascal Des A (bass) and Pascal
Normal (battery) took a part in the project too.
Also since 1984 End of Data began to use
plenty of choreographic elements in their shows.
Since that time, the band had performances with
the show of contemporary dance Quartz, and
gave solo performances as well. But the most important achievement of the band in 1984 was finishing their first LP ‘Sarah’. The LP’s stuff shows
that the band’s original idea was realized in the
best way. Some of the songs, like ‘If I'm not a
killer’ or ‘Trottodaf’ are very dynamic with the
punk energy and cynicism. Some others, such as
‘Like a sucession 1’ or ‘Sarah’ are more calm, but
filled with inside energy with soft and light vocals with a touch of romanticism, which can suddenly become infernally deep and cold. Just one
year later, the second band’s LP ‘Dans votre
monde’ was released. Actually, it’s difficult to
say, had the music changed there, or not. The title
track ‘Dans votre monde’, which, against all traditions, goes first, shows that it had changed. The
music there became lighter and less ‘dirty’, so I
can call it played in more new wave manner. But
while listening to the album the same question
appears. The LP is filled with echoes of ‘Sarah’;
some of the tracks can be called the straight fol-
42
lowers of some ‘Sarah’ songs. But once again,
some time later the band members found themselves on different waves. They were tired financially and psychologically, and did not
believe any more in the band. So the band broke
up in 1986. After that AE joined ‘Charles de
Goal’, and Eric was involved in more experimental music. The End of Data’s brake up was
the end of very important and interesting period
in Eric’s artistic activity. As he recalls to it, “It
was the time, when a one who did not know
how to play the music could begin in a band
with musicians of any musical level. People
were disenchanted with the system but had an
explosive vital energy. We could improvise the
same day or for the next day for performances
or shows, maintaining it is more difficult, him
a more legal and technical constraints in the Eu-
was joining the legendary band from Rennes
‘Complot’ in 1995. In my opinion, his joining
broke plenty borderlines in Complot’s music and
discovered new horizons for this wonderful
band.
In June 2007 Ert joined one more legendary
band Frakture as the keyboardist. This band
began to play in 1977, even before that era which
was called ‘coldwave era’ some time later. The
renewed line-up finished and recorded six songs
at the moment.
Also Ert with his projects took a part in different compilations, such as ‘Rrose Selavy’, the
one dedicated to the legendary art actor Marcel
Duchamp, or ‘Cycles’.
I didn’t mention many Ert’s projects, such
as Ana Ata Kik (Laurent Guillemot (DJ) & Ert),
the solo project Illtronik, Kakashi (Ert & Eko
Sato), Poupia Colors (Laurent G.), Lamour,
Anissa & Mars Drive (Francois Posseme, Anissa
Derkaoui...)…. In these projects Eric uses different instruments, and when common instruments
are not enough for him, he creates new ones. It
also difficult to mention all the aspects of this
wonderful artist’s activity, such as photography,
works as producer, works for theater and many
others.
Also I’m glad to say that Eric doesn’t feel
himself tired of his activity and has the plan to
stop it in 2058 (at the age of 100). So in this case
I hope to be able to listen to plenty of Eric’s future projects.
Pall 'Nattsol' Zarutskiy
'Grave Jibes Fanzine'
Splassh, Daho en carton & Ert 83.
photo Ian Craddock
ropean society. It is a paradox, more we have of
technical means and finances less we can make
of spontaneous things.”
So 22 years have passed since End of Data
broke up. These 22 years were very strong period of Ert’s music activity. Foremost his projects became the expressions of his influences in
electronic music. He expressed himself in plenty
of aspects, such as composing, VDJing, mastering, mixage and others. All Eric’s projects have
the same electro/experimental basis, but they all
are very different. It can be a step to ‘around
dub’ music, as we can see in his Torii Kami (the
duo of Ert and the drummer Bertrand Henri), or
more calm and a bit meditative space music, as
we can see it in ConnectiCat, the project of Ert
and his wife Cat (unfortunately, this project released just one CD, called ‘Of Mice and Clones’,
and gave no concerts). Or it can be absolutely
space experiment of Ert’s same-called main project, which was born in 1982. The single chapter
of Ert’s music activity is his projects with
Mourad Ait Abdelmalek, such as Jogleor (their
duo project), Arkan (Pascal Lamour, Mourad Ait
Abdelmalek, Adamix & Ert). It’s really hard to
make some style characteristics and, especially,
forecasts about the music of these projects. It can
combine some echoes of the projects I mentioned before, and also a listener can hear absolutely unexpected music influences, such as
eastern or Celtic motives. What I can foremost
underline in Ert’s musical projects, is his absolutely amazing ability to work with pauses and
musical speeds.
The other important step in Eric’s activity
43
44
http://www.myspace.com/theknutz
Nattsol: You began to exist in 2005. The band’s
evolution for these three years really impresses. In
your opinion, what has changed and what has stayed
in the band since that time? Did you have previous
music experience?
The Knutz: At the beginning, we didn’t know
exactly what kind of sound our band would play. Despite the brothers Tiago (bass) and Daniel Abud
(vocal/guitar) had already done the lyrics and the main
melody of most of the songs before the band starts,
each members had different ideas to compose, based
on different music influences. Until the end of 2007,
there was almost nothing defined about the way our
work would be developed.
However, during 2008, we finally discovered who
we were and we created an original identity. The new
album shows clearly our proposal, considering all the
artistic conception of the band, and the directions it
45
will lead us to. And I think these were the most important changes since we started.
What remains is the relationship the members
have with one another. And as the time passes, I realize that we become even more closers as friends
and musicians.
Yes, we had previous music experience. Actually, the members met one another by studying at the
same music school.
Nattsol: Your music combines plenty of styles,
and stays original as well. So what did you want to
express in the music when you began to play? Can
you say that you managed to express all that you
wanted to? And how can you describe your style?
The Knutz: As I said, when the band started,
each member had distinct ideas in relation to the
other ones. On account of this, our Demo CD became a bit mixed and it didn’t correspond to our expectations as we thought it would.
However, with the new album, it was totally
different. Everything was defined and everyone enjoyed the result. We did express all we wanted to.
Our style is something among post-punk, punk,
death-rock, electronic music and Gothic rock.
Nattsol: Tell me about Brazilian post punk /
goth scene. What’s the public there? Are there some
bands with a sound related to yours?
The Knutz: The scene here is very small and
underground. The WoodGothic Festival, which reunited 13 bands from all over the country including
us, was watched by just three hundred people in
each day, being two days of performing.
Yes, there are great goth bands in Brazil as Elegia, Plastique Noir, Scarlet Leaves, Escarlatina Obsessiva, Zigurate, Luiza Fria and many others.
Nattsol: The next question is about your first
Demo CD, released in 2006. Tell me about it.
The Knutz: This CD has 17 songs, including
2 live tracks. Despite it didn’t correspond to all our
expectations, it is still a good album. As Mick Mercer said in the review he wrote about our Demo:
‘The majority of the record is great but there's a few
tracks they could have dropped, which weren't sharp
enough towards the finish. They do slip on a couple
of live bonuses though, 'Where Are You Now' politely controlled and gracefully contrite, 'The Hanging Man' wonderfully moody with guitar trickles
and inflamed drum pushes, the vocals gloomy and
desperate and very touching.
A very cool band, with masses of character and
potential.’
With this CD, we started to be recognized in the
Brazilian Gothic scene, something really important
to us.
During our current shows, we still play some
songs from the Demo.
For more information about our Demo CD,
read the review Mick Mercer wrote:
http://mickmercer.livejournal.com/825283.html
party, dancing to some songs and arriving home in the
early hours of a rainy morning. It still counts on a
Brazilian cover as bonus track
Nattsol: Were your songs released somewhere
Nattsol: Who is the song writer in the band? Do
else?
The Knutz: No. But fortunately, we could sell a you have a common idea of your texts?
The Knutz: Daniel Abud (vocal/guitar) is the
lot of copies at our shows as well as by mail.
lyricist and all the members are composers. There isn’t
Nattsol: Now I’d like to ask the question, which a pattern, but most of songs are about feelings and sitis the most exciting for me. Tell me about your future uations lived by the lyricist.
first ‘official’ album, which is suspected to be released
Nattsol: So you shot the video clip on your
at the end of 2008.
The Knutz: This is a concept album. The art and “Ghost Dance Party”. I know “The Knutz” as the band
the order of the songs are related to “Ghost Dance which will work with the stuff until it’ll be perfect.
Party”, the theme song and the name of the album. Lis- And I was a bit surprised when I saw this video, betening to it is like listening to someone entering in a cause it doesn’t seem finished, so I thought that I
46
missed something important in it, may be, the main
idea….
The Knutz: Actually, this video was made in a
hurry because we didn’t have an official video and we
needed one to include in a Crawling Tunes compilation. And unfortunately, we didn’t have money to
make a brilliant video, so we did it by ourselves, in a
very independent way and without costs. Even so, I
think it’s a nice clip.
However, during the last months we recorded
two more videos (“Where are you now” and “The
Hanging Man”) and, in spite of being independent
ones too, we did it in a very professional way as we
had a team of cinema students who supported us.
They are almost finished, we are just concluding the
edition.
Nattsol: You had many shows. Which of them
were the most important? Did you have an experience
of playing abroad?
The Knutz: The most important show was the
WoodGothic Festival, which reunited 13 important
Brazilian Gothic bands in two days of performing. It
was probably the biggest Brazilian Gothic event ever.
We haven’t played abroad yet.
But an invitation is always welcome =)
Nattsol: Can you call me the bands you’d like to
share the stage with?
The Knutz: The Cure, Cinema Strange, Deepeche Mode, Los Carniceiros Del Norte, Bauhaus,
Duran Duran, Echo and The Bunnymen, Siouxsie and
The Banshees, Alien Sex Fiend, Specimen...
Nattsol: And your final words to all our readers.
The Knutz: We would like to thank you for reading this interview ^^
Hope you have enjoyed it!
For more informations about the band, access:
www.myspace.com/theknutz
Our e-mail:
[email protected]
Greetings from Brazil!!
Questions: Pall ‘Nattsol’ Zarutskiy
“Grave Jibes Fanzine”
47
48
Co
:
e
v
a
w
d
l
The never existed movement.
Chronology:
1978
Marquis De Sade “Air-tight cell / Henry” 7”
1979
Zed “Visions of Dune” LP
Marquis De Sade “Dantzig Twist” LP
Marie et les Garçons “Re-bop / Attitudes”
Maxi
1980
Bernard Szajner “Some Deaths Take Forever” LP
KaS Product “Play Loud” EP
Marquis De Sade “Rythmiques” 7”
Frakture “Sans Visage” 7”
Visible “A Fine Aim In Life” 7”
Elli & Jacno “Tout Va Sauter” LP
Mathématiques Modernes “Disco-Rough”
Maxi
Taxi Girl “Mannequin” 7”
Guerre Froide “Cicatrice” K7
1981
Cerbere “Mangue Amère” 12”
Charles De Goal “Algorythmes” LP
Guerre Froide “Guerre Froide” Maxi
Mathématiques Modernes “Les Visiteurs
Du Soir” LP
1982
Clair Obscur “La Cassette Noire” K7
Orchestre Rouge “Yellow Laughter” LP
There is a country in Western Europe called
France. And in the late 70’s in this country (like in
many other European capitalistic countries) new
wave began to exist.
‘The elder brother’ (which was born in Britain)
had a bit other backgrounds. That’s the reason why
British public didn’t have much interest to the
French modification of new wave (Nouvelle
Vague). Also it would be important to notice that in
comparison with the British line, French new wave
was rather chaotic movement. During the whole period this article is about, the movement didn’t manage to become unified. Often, bands which were
formed ‘on the wave’, didn’t suspect about the existence of many their colleagues. But, however,
after the end of this period, researchers and just fans
of the movement have become able to see absolutely unique phenomenon, which seemed like
the unified movement. And this phenomenon
needed a name. So the term coldwave (or cold
wave) seemed very apropos. This term wonderfully
characterized the minimal and neutrally ‘cold’
sound of this musical phenomenon.
Such bands as Metal Urbain, Taxi Girl и Marquis De Sade can be called the pioneers of the
French new wave movement (and the forerunners
of coldwave as well). However, new French musicians went out the borderlines of this music. And
even in 1980-1981 the term punk gothique (UK
Decay preferred to characterize their style so), positive punk (Southern Death Cult), came to France.
DZ Lectric “Russo-American Songs” K7
KaS Product “Try Out” LP
Charles De Goal “Ici l’Ombre” Maxi
Indochine “L'aventurier” LP
Visible “Indicible Fréquence” 7”
Der Knall “C-D-E / Pensée Hebdomadaire” 7”
Martin Dupont “Your Passion” 7”
Les Provisoires “Quiet Room / Anne” 7”
Hôtel du Nord “ Bienvenue” Maxi
1983
KaS Product “By Pass” LP
Tanit “Can An Actor Bleed?” Maxi
Leitmotiv “Philosophy” 7”
Complot Bronswick “L'image Oubliée”
Maxi
Movement “Perfect Day” 7”
Trisomie 21 “Le Repos Des Enfants
Heureux” LP
Dazibao “Les Tambours Lointains” EP
Act “Ping-Pong” 7”
Norma Loy “Romance” 12”
Epitaphe “Syndrome” LP
Les Maîtres “Les Maîtres” K7
D.Stop “Nouvelles Du Front” LP
Nuit Blanche “Nuit Blanche / Adolf
'umanchu” 7”
Clair Obscur “Santa Maria / Toundra” 7”
Bernard Szajner “Brute Reason” LP
Die Bunker “Die Bunker” K7
Theatre “Ambiance Bar” 7”
1984
Les Provisoires “Loin De La Plage” LP
Baroque Bordello “Today” Maxi
End of Data “Sahrah” LP
Ausweis “Ausweis” LP
Trisomie 21 “Passions Divisées” LP
Cérémonies “Le Goût Du Saké” 7”
Clair Obscur “Dansez” Maxi
Bernard Szajner “The Big Scare” Maxi
Leitmotiv “Morne Libido” 7”
Opéra Multi Steel “Rien” Maxi
Tanit “To Alaska” LP
Soma Holiday “Shake Your Molecules
(The Neutron Dance)” Maxi
Dick Tracy “Je Veux Voir La Mer” LP
Grise Romance “Le Miroir” 7”
Martin Dupont “Just Because” LP
DZ Lectric “Le Moine” K7
Complot Bronswick “Maïakovski” LP
Masoch “Masoch” LP
Dazibao “Dah Kin” 7”
Soon there were formed such bands as Charles De
Goal, Les Provisoires, Norma Loy, Mathematiques Modernes, Elli & Jacno and others. Listed
bands can be referred to the first coldwave bands.
These bands began actively use keyboards in
their music and do it in minor and depressive way.
In difference to Siouxsie And The Banshees, The
Cure and Bauhaus, French musicians didn’t avoid
electronics. And if, for example, British musicians
didn’t manage to develop their experiments of this
kind, and returned to the guitar sound, French
ones like Guerre Froide or Clair Obscur added
electronics to their work, which saved post-punk
sound as well. And new synth-pop bands (Trisomie 21, Visible) brought their contribution to
what now is called gothic electro.
Then there was the braking point in 19821983 which was caused by the appearance on the
coldwave screne such bands as Opera De Nuit,
Gestalt, Ausweis, Epitaphe, L'Enfance Eternelle,
Pavillon 7B, Odessa, Leitmotiv, End Of Data,
Baroque Bordello, Tanit and, of course, one of the
most important bands on this scene, – Complot
Bronswick. These bands had the obscure sound
like so-called ‘occult guitar’ (Odessa, Tanit), or
related to deathrock sound of Christian Death and
Burning Image (Ausweis, Leitmotiv, End of
Data).
There should also be mentioned the development of minimal synth and industrial, closely connected with coldwave. (Pavillon 7B is the best
example here, other representatives are – KaS
Product, Reseau d'Ombres, Opera Multi Steel,
Norma Loy, The Grief, Etant Donnes, Achwgha
Ney Wodei, The (Hypothetical) Prophets, Bernard
Szajner, DZ Lectric).
Also there should be noticed rather unusual
band Trop Tard, which mixed post-punk with
‘dense’, around-drone elements.
The situation had changed in the second half
of the 80s, and coldwave obtained other appearance (foremost it was connected with forming of
Little Nemo and Asylum Party on the one part and
Neva and Exces Nocturne on the other part). The
first type of bands began searching for the commercial success, because musicians got bored
being ‘idols of garages and basements’. So it
caused the appearance of the coldwave branch,
called Touching Pop (the representatives are – Little Nemo, Asylum Party, Neutral Project, Mary
Goes Round, Babel 17, Club De Rome). These
bands were influenced by ‘new romantics’ of the
beg-mid of the 80s. For that period it was more
49
Brigade Internationale “Regard Extrême”
K7
Odessa “Attente” EP
Zéro Divide “Ciné Club” 7”
Les Fils De Joie “Tonton Macoute” 7”
Persona Non Grata “Our Shade Of Sin”
LP
Réseau d'Ombres “Ireos” K7
Hymn “Tired” Maxi
Jad Wio “The Ballad Of Candy Valentine”
Maxi
1985
Message “Dernière Nuit” 7”
International Sin “Out” LP
Evening Legions “Evening Legions” 12”
Excès Nocturne “Evacuation Immédiate”
7”
Opéra De Nuit “Amour Noir” 12”
Opéra Multi Steel “Cathédrale” LP
Après Guerre “Mise En Bière” 7”
Réseau d'Ombres “Sotcha” LP
End Of Data “Dans Votre Monde” LP
Pavillon 7B “Overdose” K7
Guerre Froide “Archives” K7
Jad Wio “Colours In My Dream” Maxi
Leitmotiv “Leitmotiv” Maxi
Les Amants De Lune “Blank / Life To Live”
7”
Fatidic Seconde “Métropolis” 7”
Echo Prism “Jade Flower” 7”
Baroque Bordello “Via” LP
The Bonaparte's “Shiny Battles” LP
Trisomie 21 “Wait & Dance” Maxi
Clair Obscur “Smurf In The Gulag” 12”
The Grief “The Grief” LP
L'Enfance Éternelle “Sur La Terre Sacrée”
K7
Ruth “Polaroïd/Roman/Photo” LP
1986
Coldreams “Morning Rain / Eyes” 7”
Les Amants De Lune “Le Clown Triste /
Une Fille Etrange” 7”
Complot Bronswick “Dark Room's Delights” LP
Réseau d'Ombres “The Locket” K7
Opéra De Nuit “Sourire De l'Ombre” Maxi
Trisomie 21 “Chapter IV” LP
L'Enfance Éternelle “Le Jour Des Fous”
LP
Pour l'Exemple “Pour l'Exemple” K7
Thérèse Racket “Survie” LP
actual than obscure avant-garde of ‘early goth
stuff’.
The second type, on the contrary, became
more radical in the expression of their music and
image. Here could be mentioned ‘Neva’ with their
fiercest deathrock image.
Also there should be noticed the appearance
of neoclassical elements in French coldwave in
1987-88. Of course, the fashion (if it’s possible to
say so about neoclassical music) had been run by
Dead Can Dance, but the French band Collection
d'Arnell~Andrea seems to me more interesting.
They managed to mix coldwave and neoclassical
in good proportions, so they can be called the innovators too.
In the beginning of 90’s the wave had lost its
musical actuality and attraction. This was the end
of the important and very interesting space of
time. As it’s mentioned before, nobody gave separated characteristics for this style of music at that
time. It means there is some kind of paradox, classical coldwave bands, per se, didn’t really know
that they were creating the music of that style. The
development of the internet made possible the creation of some kind of general view which permitted to researchers to consider by-turn coldwave to
the unified movement. If trace the history of the
term further, it’s possible to state that it acquired
sufficient popularity. In the beginning of the XXI
new bands started to appear, which described their
sound as coldwave, Paris band No Tears seems the
most remarkable of them. And at the same time
new labels, as Infrastition (http://www.infrastition.com/) and Brouillard Definitif (http://brouillard-definitif.fr/), specialized on a Guerre Froide,
L'Enfance Eternelle, Сlair Obscur and others albums’ reissue, began to appear.
Well, can we really say that the age of coldwave is over? Of course that atmosphere of the
spontaneous creation never will be repeated. But
it’s impossible not to recognize the interest that
appears at the present for this movement which,
per se, didn’t really exist at any time before. And
at the same time the most part of bands which
were at the source of genre, like Clair Obscur or
Complot, for now get out faraway of the style’s
borders. In terms of this, though the end of this
entire age looks undoubted, this age’s overwhelming impact on the actual post-punk/new wave
scene is undoubted too.
Rommel
‘Grave Gibes Fanzine’
50
51
Closed Session “Song For Sale” K7
Trop Tard “Ils Etaient 9 Dans L'Obscurité”
K7
Little Nemo & Rain Culture “La Cassette
Froide” Split K7
Clair Obscur “The Pilgrim's Progress” LP
Résistance “Between Two Lights” LP
Bunker (Bunker Strasse) “Offensive” K7
Seconde Chambre “Seconde Chambre”
K7
1987
Little Nemo “Past And Future” K7
Neva “Hallucination” 7”
Bunker (Bunker Strasse) “Untitled” K7
DZ Lectric “Be Eclectic!” LP
L’An III “Untitled” K7
Excès Nocturne “Live” K7
Margaritas Ante Porcos “Restez Sur Le
Quivive” K7
Trop Tard “Photodrame” K7
Clair Obscur “In Out” LP
Dazibao “Les Musiques De La Honte” LP
Pavillon 7B “Pavillon 7B” LP
Réseau d'Ombres “Axe” Maxi
SS 20 “Vincent Goes To Tchernobyl” EP
1988
Les Enfants De l'Ombre “La Haine Rôde
Et Nous Guette” Maxi
Pour l'Exemple “Pour l'Exemple” Maxi
Complot Bronswick “Iconoclasmes” LP
Opéra De Nuit “Opéra De Nuit” LP
Pro Memoria “Pro Memoria” K7
Collection d'Arnell~Andréa “Autumn's
Breath For Anton's Death” Maxi
Little Nemo “Private Life” LP
Excès Nocturne “Excès Nocturne” K7
Anechoic Chamber “Untitled” LP
Gestalt “Le Sommeil Du Singe” LP
Résistance “100 Lives” LP
Die Bunker “Dreams Are Not Free” LP
Asylum Party “Picture One” LP
Norma Loy “l'Homme à la Moto / Ghost
Parasites” 7”
Tuatha De Danann “Éclectique” K7
Neva “Individu” K7
1989
Excès Nocturne “L'écho des lumières”
Maxi
Passions Mortelles “Sur La Croix” K7
Asylum Party “Borderline” LP
Collection d'Arnell~Andréa “Un Automne à
Loroy” LP
Bunker Strasse & Modèle Martial “Untitled”
K7
Little Nemo “Sounds In The Attic” CD
Sombre Septembre “Le Nez Rouge” 7”
Mary Goes Round “70 Suns In The Sky”
CD
L’Avis G821 “Die Kaisergruft” K7
Neutral Project “Comme Un Oiseau De
Proie...” K7
Vendredi “Le Ciel Attendra / Noémie” 7”
Neva “Fausse Conscience” K7
Mary Goes Round “Sunset” 12“
Club De Rome “Club De Rome” CD
1990
Asylum Party “Mère” LP
Pro Memoria “Elegeia” 12”
Little Nemo “Turquoise Fields” CD
Babel 17 “Celeano Fragments” LP
Collection d'Arnell~Andréa “Au Val Des
Roses” LP
L'An III “Les Internés De La Raison” K7
Mary Goes Round “Highway Planet” CD
Sombre Septembre “Une Lune d’Hiver” 7”
Complot Bronswick “A Kind Of Blue” CD
Voyage De Noz “Opera“ LP
52
e
t
n
I
w
e
i
rv
th
i
w
n
Jo
ey
hl
rt
Wo lls)
Wa
t’ g e
mi Stran
‘Vo (The
Nattsol: First of all, tell me, how and when you
began to play the music. And how did you come to
the music that you do now?
Jon: Guess I started learning to play at around
Ten years old, I had a teacher who was having me
play classic rock on guitar but I wasn't serious about
music until around thirteen or fourteen when I was
introduced to early punk and indie music through
college radio.
After that I didn't really care about anything else
and I still don't.
s
m
all
co
w. gew
y
n
.sp
lls /stra
a
w om
ge
c
a n a ce .
r
t
s
p
.
ys
ww
/w w.m
/
:
w
p
htt ://w
p
t
t
h
Nattsol: Tell me about the SW foundation. Was
it your first project?
By the way, tell me the meaning of the band's
name.
Jon: I started the band with some childhood
friends, I don't know if that's the name we used but I
consider it all Strange Walls.
A couple things that helped alot with the foundation were hearing the soundtrack for the film Liquid Sky, and Second Edition by Public Image LTD.
Before that it hadn't occurred to me that electronics
could be played badly... that a synthesizer could mess
53
up and go off-beat, or how beautiful that could sound.
That’s when I started recording with cheap electronics.
I didn't hook up with Dandrogynous and Danya until
later when I moved to New York City, Those guys had
similar backgrounds and early inspirations.
What you liked in your teens will usually effect
your playing for the rest of your life.
The band name came partly from a fetish I had
for strange architecture, I was reading HP Love Craft,
and also I was writing a lot about hallucinations and
visions I was having while staring at the bedroom
wall.
Nattsol: As I know, you also take a part in other
projects, such as Post-Abortion-Stress, ElectraJet (did
I miss something?). Tell me about it.
Jon: It's nice to stay busy with different projects,
there's never enough.
I played guitar for a glam punk band called Split
Me Wide Open (now defunct) for a long time. Post
Abortion Stress is a very experimental/ Space music
project lead by my friend Pepper. Playing with them
is fun & a bit of a challenge because it's the only time
I get to improvise with music, besides when recording
soundtracks.
54
Occasionally I play some minimal Violin with the
rock band Electrajet.
I tried and failed taking over on guitar for Danyas
death rock band Valiant to Vile & theres an electro pop
project in the works with my friend Fearfull Christopher called Push Business.
People call me to sit in with their solo projects
sometime & Ill just grab a random instrument and run
to the bar where they're playing..
Strange Walls is my handicapped child & it's the
only one I actually write music for.
Nattsol: The next one is about your discography.
Tell me about SW studio records.
Jon: We’ve always recorded and packaged our
Cds ourselves.
There must be a over a hundred little demos
recorded by now, alot of those are just masters sitting
on shelves getting dusty now..
Alot of times we'll just make a humble CD stack
of our latest work and send it out to anyone we think
would be interested, then move on to the next concept.
I don't know if were still waiting or hoping to be
picked up by a record label.
Nattsol: So you said that after recording a CD
you move on to other concept.
Could you call me some of SW concepts, which
in your opinion you managed to express the best way
you could?
Jon: Starting with a concept; something will always come from it, whether the product works with
the original concept or not.
Once I spent a year in Isolation (terrible teens!)
& began writing down all my dreams and recording
them as songs, and at that point I had the time and the
solace to let me record over two Cds worth. That became a concept album called Disappear-Reappear.
After I became convinced that an unintentional
murder mystery was unfolding in the random lyrics,
either from outside influences visiting me in my
dreams, or at least from an incredible subconscious influence. I decided that no one would ever have the patience to appreciate all this, combined with the fact
that the very personal sounding songs from a bad part
of my life began making me deeply cringe instead of
giving me the deep chills they originally did, had me
decide to just take a few of the (near) listenable tracks
and present them under the name 'Dreams of dead
pets'.
Now there are three or four of those songs we still
try to do, and although the lyrics are nonsense out of
context, I like to think they kept some mystery and intensity from where I was when they were written.
In my first sessions with Dandrogynous he had
the Idea to record an album called 'Grimmshow' where
every song would be about characters in a different
Brothers Grimm story. A lot of those came out pretty
good, 'The robber bridegroom' never left our live rotation.
A little later Danya & I's concept to drink and
only listen to Irish music for awhile was interesting
because we're not Irish. Unfortunately for me, the best
ones that Danya wrote ended up being used for his
other project.
I love writing soundtracks. That’s a good example
of having to work with someone else’s concept, I just
love doing that.
At the moment were composing a song for a site
called The Method Learned where all different types
of artists interpret the writings of the poet from Detroit
Gregory James Wyrick: www. myspace.
com/themethodlearned
Those clever pentatonic melodys in Celt' folk I'll
always love and want to emulate or rip off.
Cathy recently did an interview on the radio and
mentioned me, so Im happy to grab a chance to mention her back.
Nattsol: Tell me about SW Live shows. What is
the project on stage? What does it express?
Jon: Our shows used to be a little rougher when
we would just have the music recorded on DAT and
sing along.
Now that we’re all playing our instruments live
there's less room to fuck around. I haven’t cut myself
on stage for a long time, or had to set Dan on fire for
falling asleep during a song.
I won't show up at the venue drunk anymore.
Nattsol: You mentioned your soundtracks. Tell Now I wait until we arrive at the venue to drink. We
me more about it.
used to have a performer/ glass eater on a bed of nails
Jon: I started out doing sound for my own films but we couldn't keep audience members from laying
which just served as something to present to other di- down on it which cheapened the effect.
rectors to show them we were able.
A couple of the first were film adaptations of HP
Nattsol: And now about your public. What kind
Lovecraft stories. Lovecraft is easy because he de- of people usually visit your shows? And how does
scribes otherworldly music that his characters are public depend on performances?
hearing with such genius in his writing.
Jon: We usually draw a small crowd of individIn NYC I did alot of work with a director I don't ualist artist types & true freaks.
want to promote.
We rarely see alot of sneering Victorian types,
While looking for film makers to work with here maybe we make bad posing music. We don't see alot
I ended up doing some sculpture for film, and zombie of true nerds either (though both would be welcome).
prosthetics for one called Dead Roses.
One thing we see alot of are the backs of the
The last ones I've done have been for two off-off heads of people leaving.
Broadway plays based on the Edgar Allan Poe stories
The system of Dr. Tarr and Proffessir Fether and The
Nattsol: Tell me about your show on the' DeproFacts in the case of M. Valdemar, both directed by gramming Hour'.
Candace Burridge and starring Dandrogynous.
Jon: Deprogramming hour is a Manhattan cable
http://www.myspace.com/systemofdrtarr
tv show that I co-host. It’s a mainly political show
Nattsol: Now I'd like to ask you about traditional where viewers call in.
folk part of your songs.
The time we played was a special show because
Jon: Well that comes from my dad, I never lived it was Halloween
with him but I'd spend a little time with him each sumhttp://www.myspace.com/deprogramminghour
mer & my brother and I would kind of roadie and do
merchandice for his folk duo when they toured New
Nattsol: Thanks, Jon. Now I'd like you to say a
England.. The SW still sometimes butchers a tradi- few more words, anything you think is necessary.
tional Celtic song I grew up hearing from his performJon: Thanks Nat. I love to read your zine.
ances called Blackleg Miner.
When you fall keep your mouth closed so you
Recently he (my father) had a sex change and don't break your teeth.
(now I say she) continues to do music. Her legal name
is Cathy Worthley.
Questions: Pall ‘Nattsol’ Zarutskiy
http://www.cathyworthley.com/
“Grave Jibes Fanzine”
I think she was the first (over a decade ago)) to
play me Shane McGowan & The Pogues. She definitely introduced me to loads of Celtic music & Celtic
/fusion like Steeleye Span, Christey Moore, etс...
55
56
http://www.myspace.com/thelastdaysofjesus
http://www.thelastdaysofjesus.sk
57
Cartoon by Stefan Andrejco
Nattsol: As I know, you took
a part in the foundation of the
‘goth’ scene in Slovakia. How did
it grow up? Tell me more about
your activity there. And how did
you face ‘goth’ music?
Mary0: Well, I don’t know
what to say… I work for the scene
here in Slvakia more than 15 years.
In the beginning there were the parties, then the fanzine/magazine
called Stigma, radio show in the
local radio station, concerts and so
on. It’s a long time and a lot of
work was done inbetween.
Nattsol: Tell me more about
Batcave.sk. What is it actually?
Mary0: Actually it’s more or
less just the monthly party including Live acts. However, we’re
working on new visual of the webzine at the moment. Well, it’s always a question of time to work on
the projects like tis. Especially
when one has a family and regular
job. Then the priorities change a
bit…
Nattsol: The next question is
just to Mary0. Now, looking back
to your past activity as the dj, organizer and other, what were the
58
most important moments? And
were there some things that you’d
like to change, or some curious situations, may be?
Mary0: Well, of course there's
always the things to change in the
past but you can't do it anyway. So,
I rather look forward. I organized
some really cool bands and knew
really cool people in all those years.
I don't wanna say which band was
the best one or which people are
more friendly or nice. It's because I
don't wanna forget anyone. Well, I
also played really cool places as a
Dj, too. It’s always interesteing to
play the different places in the
world and see how people react the
music I play.
Nattsol: So The Last Days of
Jesus began to exist in 1992. What
was the original conception of the
band? What did you want to express for that time?
Mary0: Hm, I can’t remember
what was the original conception in
that time. I know that I was talking
something about the war, religions,
stupidity, shortblindness and so on.
It’s almost the same as today. Only
the way of expression is different a
bit. In those times I believed the
man could be better and the way is
to combine half to half the man’s
and woman’s aspect. I’m afraid I
lost some illusions in time…
Nattsol: As I know, you began
playing some metal stuff. Can you
describe the band’s musical evolution?
Fessy: It was caused mainly
by our music influences in that
time. We listened more Valor´s
Christian Death, Superheroines etc.
But I think this was fine for our future music skills, we were training
so much that time :) Actually we
started to play more punky from
album Alien Road.
Mary0: I don’t think we ever
played metal… It’s a bullshit!!!
We always experimented a lot. We
combined a lot of musical elements
like gothic – electro – industrial –
punk – ska - and metal at last as
well… But I don’t think anyone
could mark us as a metal band. Nobody who ever heard our old stuff,
I mean ;)
Nattsol: What were the breaking points in the band’s life?
Vajco: Russian tour. After
show in Voronezh I felt for a moment like an Ice Hockey Star –
when audience screamed Slo-vakia! (notice: We love ice
hockey=we love Russia:o)
Fessy: I think there were more
important points in our history.
First German tour with bands Marquee Moon and Forthcoming Fire
in 1995. We were young band with
no offcial CD and concerts in
Berlin or Dresden opened us the
doors towards main German labels.
Very important moments were our
first gigs at WGT and Bolkow festival as well. Maybe the last breaking point was the conclusion of
contract with Strobelight records.
Mary0: There were some
more breaking points in the band’s
life I’m sure. One of them was contract with the EMI in 2001 for example. Then there was the U.S.
tour as well… This was not so
good experience but important anyway.
sold out. Do you have a plan to rerelease some of the old stuff?
Vajco: We planned to re-release album called “Songs from the
Psycho TV”, because this album
hadn´t chance to be sent to abroad
listeners as other recordings because of contract between us and
major label.
Nattsol: Now the question
about two TLDOJ last works –
‘Alien Road’ and ‘Dead Machines
Revolution’. These releases seem
related, but there’s the difference as
well. In your opinion – what has
changed, and what has stayed?
Vajco: Stayed: the band.
Changed: Recording process.
“Dead Machines Revolution” was
recording longer than “Alien
Road”. We also composed and
recorded (both at the same time) for
the first time a new song in studio
– “Machine of Calm.”
Fessy: I suppose the sound of
DMR is quite better. There´s not so
many sound foots and also songs
don´t have so difficult structures in
comparison with Alien Road.
Nattsol: The next one is about
your texts. It seems to me that most
of them are about freedom and escape from routine and ‘the life machinery’. So can you say what kind
of freedom is it? Is that the real
one? And can you call yourself
free?
Fessy: It´s a difficult question.
Your freedom ends where other´s
freedom begins. The problem is if
this is not in the middle of that way.
Telling the truth mostly this is NOT
real. But sometimes if I´m far away
from people, on my bike in broad
country, I feel my self really free :)
Mary0: Believe me – if I
know the answer on your question
I’m the happiest man in the world!
Just the simple answers: No, unfortunately, I don’t think I’m free.
Every song is different. One is
Nattsol: So, except two last about everyday‘s rouitine at work,
albums, all the band’s releases are some kind of machinery. Then an-
other one is about the stupid so
called revolutionaries making the
bombs in the streets and killing
people. There is a song about the
feeling overused man of nowadays.
Nattsol: When should we wait
for the next album?
Vajco: Next long play (LP)
album – at the moment no idea,
sorry. I hope we can do it. But EP
album is already in our minds, we
will do something – maybe next
year.
Mary0: There is a plan to realize the new record in Spring of
2009. We already started the
recordings in the studio.
Nattsol: Of course, there’s the
question about your Russian minitour. :) Tell me your impressions
about the shows, public, beer and
everything that you want. :)
Vajco: For me the most interesting impression – it was really
something very special. Public:
very open, very close to the band.
Beer: good taste, a lot of kinds of
beer, at this point much more better
than in Slovakia (really).
Fessy: Yes, our fans in Russia
were amazing! We enjoyed every
gig so much and we want return
back definitely!
Mary0: Every gig was different and special in some way. We really enjoyed our time spend there
in Russia. We knew a lot of nice
people!!! Hope we could stay there
longer and cross the country even
more.
Nattsol: And your final
words. Apart from your music activity, or not. Just what you want to
say.
Vajco: See you in Russia ;o)
Mary0: THANX for the questions and sorry for the delay! Hope
to cu soon!
Questions: Pall ‘Nattsol’
Zarutskiy
“Grave Jibes Fanzine”
59
Interview with
mx
http://www.myspace.com/acidbats
60
Bars-Ursula: Tell us, please,
where and when your band was
formed? How has the collective
structure been formed? What made
you to play death-rock? And what
is the conception of the group?
Acid Bats: Well, we started the
band in October of 2007, since the
beginning we three composed the
band, Edy bat at voice, Gregor at
Bass and johnnywitch at guitar. All
of us are originally of Mexico City,
more exactly from a part of the city
which’s called Nezahualcoyotl into
the metropolitan zone of Mexico
City. Maybe is no important talk
about, but it is a marginalized area
of Mexico, it’s very difficult to live
here, maybe that’s one reason, why
we make post punk deathrock
music, we have very difficult lives,
and we see the world with punk
eyes, with deathrockers eyes and
with post punk eyes.
At the beginning, the idea was
play some kind of post punk, but no
one of us can deny the influence
that we have from the deathrock
hehehe(laughter), but we don’t like
the etiquettes or being classified in
a kind of music, we just want to
make music, to develop the darker
thoughts of our mind and to denounce the evils of society in a subtle way, we feel really connected
one to one for give a message, not
only for deathrockers, even to all
individuals who seek an alternative
thinking, we don’t close ourselves,
to the deathrock, we all the days
want new concepts to make a good
music and make a new good message. The proposal of the band musically speaking lies in the sound
mix of the old guard with more current sounds, created with the help
of technology. On issues such as
my coffin or slaves these elements
can be strong in the sequences.
beginning points of most groups.
How did you manage to reach such
level on the demo-record?
Acid Bats: The work with the
demo was very hard, because we
don’t have a good equipment, just
a computer, a console, and all the
energies to make this work, but at
the same time it was easy for us,
because we had many songs before
to concretize the band (acid bats),
we played in other bands and we
had enough experience at the moment we made the demo, in addition we really love the music, and
although curiously none of us is a
musician by profession, we always
want to make a good stuff, with
quality and good composition.
Bars-Ursula: Your EP «Exhumation» appeared in 2008. When
and how the release was made?
What is the cardinal difference between the demo - release and EP in
your opinion?
Acid Bats: We made the EP in
the mid of 2008, between June and
August, we made the EP like the
Demo, with a computer and a console, in the house of Edy
hehehe(laughter), well, there’s not
so much difference, we see the
same music quality, but the subject
changed.
Bars-Ursula: There is a cover
on «Exhumation» of Paralisis Permanente’s «Quiero ser santa».
What has induced you to make a
cover on this cult post-punk formation? What other groups, besides
Paralisis Permanente have affected
on you?
Acid Bats: Paralisis Permanente is a cult band in all the world,
especially for the Latin-Americans,
many people think that paralisis is
the most important band of post
punk of Spanish language, and
Bars-Ursula: Your demo - there is the major influence for
record contains qualitative and very many bands of Mexico, they had a
interesting stuff , what is rare in the single subject and a very unique
sound, which we believe no one
could match, and of course, it was
a great influence for us; that cover,
was a somewhat curious, since a
version that emerged from here to
Alaska this issue, and this version
is very inspiring us to create our
own version. But paralisis doesn’t
have the unique influence for us,
we have more musical influences
like, Madre del Vizio, Bauhaus,
Christian Death (With Rozz
Williams, of course), Mephisto
Walz, Corpus Delicti, Euroshima,
Specimen, Toys Went Berzerk,
etc… etc.. all the classical post
punk and deathrock bands.
Bars-Ursula: The most of your
songs are on the native language.
What themes are mentioned in your
texts? Are you going to use English?
Acid Bats: We talk of many
subjects, for example in parasites
we talk about the politic, the song
begins with the sound of speech of
Vicente Fox, the Mexican President, who was in the midst of constant scandals, and he was the most
unpopular president that Mexico
had before, all the song is the critic
against the Mexican politic. In “Esclavos” (Slaves) and “Mi ataud”
(My coffin) we talk about the selfdestruction of the human’s being,
in slavery the human is looking like
a slave of himself, like an animal
dominated for thinks, that they cannot see, and this is any destruction,
the human been without feelings
without thinks, without brains. My
Coffin is about the global destruction, the end of the days, we say,
“talking with the death, about this
decadent word, I can see we are
sentenced, at the horror, at the horror” most of all talk and tell the realities of the world as internal
problems in the minds of human
beings to political dissent, until the
metaphor.
And we have one song in Eng-
61
62
lish, it is called paranoia, it is in the
EP, and talks about an addiction,
but we are thinking make more
songs in other languages, for example we have a new song, which is
called inquisition and the lyrics are
in Italian, we are very versatile in
the subject of the language texts, in
the future we will make another
songs in English, German and
some dialects from Mexico, like
the Nahuatl (Dialect of Aztec people).
Bars-Ursula: There are a lot of
remarkable bands in Latin America, but unfortunately badly known
in the world, playing a postpunk,death-rock. Besides such
music has been played on your
continent since 80th years of the
last century, we can remember such
cult Brazilian formations, as
Muzak, Kafka. Are you upset with
such injustice? Do you feel unification with the whole Latino-American scene?
Acid Bats: Yes, we feel a little
angry about the badly known, but
if you see in another corner, the underground music has not much dif-
fusion because it wants to be out of
the commercial corners, some
bands like Joy division, Bauhaus,
or Siouxsie and the banshees, are of
the line of post punk music, however they are in a more commercial
line, we like too much this bands,
but the most of the groups are
wanted to be in underground scene,
maybe that’s a reason for not
knowing about the Latin American
bands. In other corner, another
problem exists, the poverty in
which the majority lives, we
haven’t many resources to make
many things, as I said before, we
make our disc by ourselves, with a
computer and a console, and the instruments of course, but not everyone has the possibility to record in
a special studio or make great productions for the records, here in
Mexico and many Latin American
countries, the underground music is
considered a bad music, because,
the government, the institutions,
and all the society havs a Conservative Thought, with many customs from the catholic church, and
another institutions like that. In fact
in Latin America, it hasn’t got
much unification, because the
scene is not too big, or is censured.
There’s the small unification of the
scene on a continental level, it cannot be looking at the simple eye, at
least not at this time, but we hope
to see a real unification of the scene
in the future, and that the people
will know more than the television
gives to them.
Bars-Ursula: So it has turned
out, that thanking to Hocico, the
majority of admirers of dark music
worldwide associates your country
with dark-electro. But there are you
and Gorgonas in Mexico . What do
you think about Gorgonas?
Whether there is a competition between you or friendly mutual relations? Which band could you mark
within compatriots?
Acid Bats: Yes, that’s right.
Unfortunately, Mexico is known
for Hocico and many people associate Mexico more with the darkelectro, we have not anything
against the dark-electro and the
synthetic music, in fact, we like too
many bands of that, but Mexico has
many things, apart from the dark-
electro, and we are really sad, that
post punk and deathrock scene is
losing for this musical genre. We
just hope that the scene will survive
over time.
What about Gorgonas, they
are a great value friends of us, we
have a great friendly relations and
we admire them for being pioneers
of deathrock in Mexico, we never
considered our relations with Gorgonas as a competition, because they
are a good persons, and make a really big quality music. In fact, we
played with them in the same setting, and we have plans to play
again with them.
What about more bands, the
scene has many of them, but the
bands that we can mark are: La Voz
de Tus ausentes, Nietzsche’s Bitch,
Cyteres, Orlok, Aves a Veces, etc..
etc…
Bars-Ursula: Do beside musicians took part in Acid Bats?
Acid Bats: We only have two
besides musicians, one is call Fernando (Grave) for put the sequences in live, and Owald
(Mishi(Cat in nahuatl)) in the keyboarding, they are good friends of
us. But we didn’t have participation
of other musicians from other
bands.
record a new material in 2009,
maybe for May – June, we have
enough new stuff for a new album,
and of course we will announce on
the space of the band about it. As
we said before, we will try new
ways to talk to minds, for takeout
the things that we have in our
minds, and put it in a song. People
can expect the best for the 2009, we
are really energized for make more
music, we have many things to say
to the world.
Bars-Ursula: And your Final
words
Acid Bats: Finally we want to
thank all the public for support
from Europe and especially thanks
to Bars-Ursula for the interview.
And we want to emphasize that the
music, especially Deathrock means
expression for all those who are not
in conformity with the society that
enslaves us every day. We must rid
ourselves of slavery corporatism,
and have own minds, free of
garbage that we seek to introduce,
these is the reason that we and
other musicians choose the music
to talk about the world. Cheers with
love from Mexico to all Russia.
For all European community,
you can download our albums in:
http://zorch.free.fr/label/acid_
bats/index.html
Bars-Ursula: What can we expect from the band in 2009? When
Questions: Vadim 'Bars-Ura new release will appear?
sula' Barsov
Acid Bats: We are planning to
“Grave Jibes Fanzine”
63
http://www.myspace.com/bloodydeadandsexy
http://www.bloodydeadandsexy.de
64
ahn)
I
a
s
o
R
(
Sexy
&
d
a
e
D
,
loody
B
h
t
i
w
w
Inter vie
65
Diegabrial:You’ve been making
music together for a long time
(since 1997). How did the band
get together?
Iahn: We started the band when
we were kids. We didn’t have
girlfriends so we had plenty of
time. Enough time to sit in the
basement and dreaming of becoming rock stars. And for working on songs, of course.
Diegabrial: We know you was
influenced by David Bowie, Iggy
Pop, Roxy Music, Black Sabbath,
Kiss. What about the other members of BD&S?
Iahn: We all love handmade rock
music. The spririt of glam and
Rock’n’Roll. I think there is no
use to list a hundred names of
bands who share this love.
Diegabrial: It’s very interesting,
what was the main conception of
your band in the end of 90-s?
Have it been changed for years?
Iahn: There never was a real
concept. Concepts are created by
rationality and Bloody Dead And
Sexy songs are not made by the
head but by the heart. We do what
we feel to be right. Hmmm…
sometimes this might seem as a
concept.
Diegabrial: Your 1st album
“Bloody Rose” (2003) brought
you fame & garnered comparisons to early Christian Death.
How do you evaluate constant
comparisons with Christian
Death? Is it smth pleasant or not?
Iahn: When you are new to people, they try to compare you with
something they know. And it’s
funny, most of the bands you are
compared to you have never ever
heard about. This is normal I
think and I really don’t care, this
is the affair of the people who
judge. And there are worse bands
to be compared to than early
Christian Death.
But I notice these comparisons
have dropped in the last years.
People see us as that what we really are: Bloody Dead And Sexy.
Diegabrial: «Narcotic Room»
(2005) seems to be the most likable album of BD&S. That’s the
source of energy & unity of style
in this album?
Iahn: Three years after release of
the album I still can say that I like
the album. It’s a bit slower, more
polished than the first album.
“Paint It Red” lives from our
naivety, we were young and hungry and had no clue how to use
the technique in the studio or
even the instruments we were
playing. “Narcotic Room” was
different, a little bit more grown
up.
Diegabrial: After your successful cover the Aryan Aquarians
«My Secret Gardener» do you
think to cover smth again & what
song would you choose?
66
r own
We only wanted to create ou
.
ing
yth
an
r
ve
co
to
nt
wa
band we didn’t
u play some
Iahn: When we started the
ur songs at the first gigs, yo
yo
s
ow
kn
e
on
no
n
he
W
r
:
too simple
g Stones. But this was neve
llin
Ro
the
songs and sounds. It’s just
e
lik
l
fee
u
yo
d
an
on our
audience goes crazy
u know. We rivilege to work
yo
tunes the crowd knows, the
,
xy
Se
d
An
ad
De
dy
oo
Bl
d to feel like
what we wanted. We wante
are now.
s the right to get us where we
.
own songs and I think this wa
fear of covering songs a bit
r
ou
t
los
we
ars
ye
t
las
the
also couldn’t
But as you noticed, during
d felt that this is a pearl. We
an
ed
on
nti
me
u
yo
g
son
n
y unknow
” by Iggy Pop. This is some
ng
Ba
g
an
I found this wonderful, totall
“B
e
Lik
st.
pa
the
ourite songs live in
resist to play some of our fav
e something really
kind of a homage.
ver a hit and you have to giv
co
n’t
do
:
ng
rki
wo
x”
de
co
gs
But there is still the “cover son
Iahn: When we started the band
we didn’t want to cover anything.
We only wanted to create our
own songs and sounds. It’s just
too simple: When noone knows
your songs at the first gigs, you
play some tunes the crowd
knows, the audience goes crazy
and you feel like the Rolling
Stones. But this was never what
we wanted. We wanted to feel
like Bloody Dead And Sexy, you
know. We rivilege to work on
our own songs and I think this
was the right to get us where we
are now.
But as you noticed, during the
last years we lost our fear of covering songs a bit.
I found this wonderful, totally unknown song you mentioned and
felt that this is a pearl. We also
couldn’t resist to play some of
our favourite songs live in the
past. Like “Bang Bang” by Iggy
Pop. This is some kind of a homage.
But there is still the “cover songs
codex” working: don’t cover a hit
and you have to give something
really new to the song. The song
must become your song in a way.
Diegabrial: Your fans have been
waiting for your new, the 3rd
album for several months. Is
there anything new in your sound
or a new conception? May be you
can open some secrets or surprises for us about coming
album?
Iahn: After we took a long time
to write the album, we are now
stepping into the recording
process. And I really love the
new songs, the new album (working title “An Eye on You”) will
be the right successor of the albums we made before. But it’s
too early to say too much about
the new work as it is useless to
say too much about music in general. Just listen to the songs when
it’s done.
We played some of the new songs
live in the past month and I think
they are worthy to be on a Bloody
Dead And Sexy album.
death-rock?
Iahn: Not really. The world became small in the last ten years.
Internet made the death-rock
community a big international
family. I don’t see many cultural
Diegabrial: For what experi- differences concerning death
ments in music are you ready? rock.
What would you like to try?
Iahn: I’d like to play a show in a Diegabrial: As we know,
kindergarten. Or in a rest home. Bloody, Dead & Sexy liked the
No, kindergarten!
USA tour very much. But what is
your favorite scene or club in EuDiegabrial: How do you think, rope?
what band you can make a song Iahn: A difficult question. The
or even an album together with? world is full of wonderful places
Iahn: Believe it or not. I have a to play and wonderful people to
list with people I want to make a play for. Sure, Germany made us
song together. But I’m sorry, it big. The legendary “Zwischenabsolutely top secret.
fall” in Bochum by example is a
We worked with some people in club that helped us a lot.
the past and enjoyed the process But really, I like to play everyvery much. And I’m sure we’ll do where. Every club is different,
this in the future again.
every audience is different and
every show is different.
Diegabrial: «Sex, drugs &
gothic-rock». What is your opin- Diegabrial: Are there any plans
ion about drugs ?
of BDS members to make a sinIahn: Door to paradise, door to gle projects?
pain. It’s like fire, fun to play Iahn: I put everything I want to
with but absolutely dangerous. express into Bloody Dead And
So I have nothing new to say: Sexy. This is fine for me at the
You can’t control them, they con- moment. In some way it seems
trol you. And they cause damage that Bloody Dead And Sexy is the
to your brain.
single project for everyone of us.
But did I mention that I like
Diegabrial: There was the august suprises? So Never say never.
2004 interview with Iahn, & discussing your USA tour he told Diegabrial: Imagine, if it was
about USA president (ex-presi- possible to transfer into the past
dent now). Can you say what you & to visit any place & concert,
are interested in politics? Can we what would you choose?
consider you as a band with an Iahn: Sorry, the past is not interactive political view?
esting for me anymore. I like
Iahn: No not really. We all have suprises. And surprises work betour opinions about what is going ter in the future.
on in the world. But I think I am
more interested in the depth of Diegabrial: No doubt, Bloody,
mans soul which is the origin of Dead & Sexy is a rather successful band. You have fans in many
his deeds.
Diegabrial: In your own opinion, countries. Can you say now what
is there a large difference com- BD&S is the very that you’ve
paring European & American wanted?
67
68
hfactor
om/zorc com
.c
e
c
a
p
hfactor.
ww.mys
http://w
ww.zorc
a mp
http://w
/zorchc
ce.com
a
om
p
.c
s
y
-z
p
ww.m
w.cam
w
/w
http://w
:/
p
to
htt
hfac ry
om/zorc s.com
.c
e
c
a
p
s
ord
ww.my
ctoryrec
http://w
lz
.zorchfa
w
w
etarygir
/w
m
:/
http
/thece
m
o
.c
e
c
pa
ww.mys
http://w
l
e
u
n
a
m
m
E
t
e
n
i
N
’
h
c
r
o
Z
/
u
n
a
‘M
Ninet had
Emmanuel (Manu)
in his musical
very winding way
to play when he
career. He began
old boy, and
was just six year
he finished the
played cello until
e age of fourmusic school at th
andoned music
teen. Then he ab
he was about
first time. When
ng inspirations
twenty he had stro
ch alternative
of hard rock, Fren
he decided to
rock, punk, etc, so
He became the
continue playing.
l musical band
drummer of a smal
ut after about
of his friends. B
ing drums and
three years of play
ded to be out of
guitar, Manu deci
to his personal
music, according
reasons in 1996.
In the beginning of XXI
century Emmanuel faced the
post-punk/goth music. He was
impressed by discovering the
movement, and, while looking
for more information about it, he
met many people through the internet. One of his new acquaintances was Saphire, the founder
of the band ‘Sleeping Children’;
they met each other in 2001. Fascinated with that new for him
music, he decided to play once
again. “Going back into music
on the net gave me the idea of
playing again. And I went back
to my now old guitar, learned my
first synth drums software and
started recording horrible stuff.
As I was listening to a lot of post
punk, what I made started sounding post punk.”, - Manu recalls.
Some time later, in 2003,
Saphire offered Manu to join
‘Sleeping Children’ on drums,
and Manu accepted it. At the moment of joining, ‘Sleeping Children’ was Julien (vocals), Nico
(guitar), ThomS (bass) and
Saphire (keyboards). Julien and
Nico were the new members too.
This line up had existed since
September, 2003 till March
2004. During this period the
band had several concerts in
France, Germany and Belgium,
and also released the demo
which has never been released.
It’s the only record in the history
of the band with a drummer. In
March 2004 all the line up except Saphire left the band according to some musical
reasons. While Manu was taking
a part in ‘Sleeping Children’, he
also run his solo project. “At the
same time I started doing stuff
on my own I had joined Sleeping
Children on drums. But I wanted
to experiment singing, guitar,
etc. So I started recording, and
chose my nickname of the time
Zorch and added Factor. My first
project Zorch Factor was born.
At first it was really minimal,
with a really poor sound quality... I had no gear to record
properly... But I tried. And some
people were interested so I carried on”, - Manu says. The first
Zorch Factor EP, called 'Voodoo
Billy Man’, was released in
2004. Actually it’s difficult to
give some style characteristics to
this EP. Vocals on the most songs
strongly remind some metal
stuff, even more than ‘goth’. The
music is hard and obscure. There
should be underlined psychobilly guitar additions which
seem very interesting there. Perhaps, the most interesting song
on this EP is ‘Beef Beat’, which
goes straight after ‘Intro’. In this
song one can see these influences divided in two parts. The
main one sounds more like postpunk/psychobilly with clear
vocal line, and the chorus part
sounds more aggressive like
hard post-punk/metal with distorted vocals. This song is a sort
of preparing a listener to the
whole EP. Then just one year
later the band released its first
demo-album, called ‘The Last
Shower’. This work seems more
mature in comparison with the
previous one. It contains also
two re-recorded songs from
'Voodoo Billy Man’, called ‘Sick
Priest’ and ‘Voodoo Trance’. The
best way to characterize the
album, most likely is to compare
these versions of the songs. The
vocals there are not so fierce,
and the music became more tempered as well. In this album
‘Zorch Factor’ partly lost its
swelling atmosphere. It can be
called the change to the better,
because the music got some light
melancholic notes, which are expressed in the best way in the
song, called ‘Sad’. Also there
should be underlined that the
music there came closer to postpunk/gothic rock.
Both releases were recorded
by Manu only at his home studio, but when the ‘Sleeping Children’ line up left Saphire alone,
the musicians (Manu, Nico,
Thoms and JP) tried to reform
Zorch Factor into the band. The
band gave some shows, and also
re-recorded the songs from ‘The
Last
Shower’,
called
‘Wish/Hate’ and ‘Shadow of
Life’, which were released only
on the ZF myspace page. But
some time later the musicians
found themselves too busy in
their activity (Nico and Thoms
play in ‘Violet Stigmata’), and
Manu had some other ideas as
well. So he finished his activity
in Zorch Factor, and started another project, called ‘Camp Z’ in
the end of 2005. Just a few
months later, in April 2006, the
first self-titled album was released. The album begins with
the atmospheric intro, called
‘Credo FK’, where the obscure
music combines with the sample, which speaks in Russian
about the unity of the USSR on
the ruins of the previous system.
And once again, the next song
‘Whats This World’ seems the
real introduction to the album.
The dark swelling voice repeats
there “Endless falling into the
Dark…”. Perhaps it’s the best
description of the whole release.
Then one can hear plenty of influences. It can be ‘dark electro’
background of ‘Alice in Trance’,
post-punk sensitivity of ‘The
Right To’, or even strange combinations
of
styles
in
‘W.Hell.Come’ with vocals a-la
James Hetfield (‘Metallica’). In
whole this release is a good one.
It exactly has hits, like
‘D.Hell.Usion’, or above mentioned ‘The Right To’. But it
69
seems like Manu didn’t manage
co combine all he project’s influences into one style, and there’re
also suddenly dropping musical
lines in several songs. Listen to
the music, just listen without dividing it into different stylesthat’s all what I can recommend
to a listener .
Then Manu began to think
about live performances. That’s
what he says about it: “At this
time, I met Nico from band ’Joy
Disaster’, and Cyril from band
‘Dorcel’, both living in Paris at
that time. They loved the music
of ‘Camp Z’ and decided to help
me to build a show together with
JP. So this first live line-up was
made of Nico guitar, Cyril bass,
JP second guitar and me singing.
But this was clear between us
that ‘Camp Z’ would remain a
solo project, this was just a live
line-up. We gave two
out in 2007. It’s the real pressed
CD, signed by the label “Manic
Depression Records’, and it is
very important achievement of
the project. In my opinion, this
album is the best Manu’s work.
In comparison with his previous
works, ‘Violent Memories’
seems unified and conceptual
work. Manu changed his vocals
manner to less brutal and more
melodic and ‘cold’. The music
had also changed to less ‘styledivided’. But it does not mean
that the songs are similar. The
stuff has huge emotional differences. Slow and moody ‘Primitive Rebirth’ attracts the
attention, the contrast of the
music and the atmosphere of
‘Fight (Lethal Reaction)’. Some
more songs are wanted to to be
underlined, like ‘Lonesome
Road to Nowhere’, which begins
shows with
this line-up”. After those gigs
Manu began creation of the second project’s album. The album,
called ‘Violent Memories’ was
with nice acoustic intro with
sampled backgrounds (sampled
intros are rather typical for the
album’s stuff), which slowly
grows into depressive song about
the useless of the life, which
goes to nowhere; or the cover
version of the ‘Warsaw’/’Joy Division’ song ‘(They) Walked in
Line’, which exactly shows the
project’s
post-punk
backgrounds, but keeps the ‘Camp Z’
style as well. And also I’ll make
the accent on the re-recorded
version of ‘Whats This World’.
This version does express all the
changes those are mentioned.
And it has a kind of paradox: the
second version became lighter,
but didn’t loose its darkness.
After the release, Manu had
several shows with the line up of
him (bass, vocals) and JP (guitar), and then he began to work
with the new stuff, which was released recently as the EP, called
‘Our World to Come’. This 6
track EP is a step back and a step
forward as well. Id
est , it has some
echoes of the first
project’s album, but
also it seems not
even unified but
monolith
work.
That’s why it’wouldn’t to be correct to make an
accent on single
songs. And the unusual thing is that
the EP doesn’t
have intro, stops
to seem so if consider the first
song,
called
‘Enter Darkness’
to the intro to the
whole work. All
the songs are
100%
hits.
Probably, they
can also be used for dance,
but it would be very dark and obscure dance….
So, in this EP Manu managed to combine by the incomprehensible way all his
70
Picture by Cadav'Eric.
influences into something, what
could be called an obscure mix
of classical post-punk and contemporary
post-industrial.
That’s also wonderful to see that
‘Camp Z’ becoming
more
and more professional,
especially if not
forget that fact
that all the
recordings have
been done by
Manu at his
home.
Some
‘Camp Z’ songs
were also released on different compilations,
like ‘The Sexy
Zombies Part 1’,
‘The
Black
Lodge Volume
1’,
‘Poisoned
Dead Frogs’, recent Xmas compilation ‘Howly
Night’ with unreleased ‘Camp Z’
track, and some
others.
A few years
ago Manu met
Alien S Pagan
through the internet, and when he
got the information that Alien
was moving to Paris with a band
project (it was the time when
Manu just finished the second
‘Camp Z’ album), he proposed
to Alien S Pagan to join this
band, called ‘The Cemetery
GirlZ’, as the guitar player and
Alien accepted it. In ‘The
Cemetary GirlZ’ Manu also met
another ex-Sleeping Children
member Romeo (they knew
each other only through the internet, because they took a part
in the band in its different peri-
ods). The band rather quickly it can be strongly recommend to
recorded the first demo at you.
Manu’s home, and started doing
Unfortunately, some time
gigs. ‘The Cemetary GirlZ’
later
Manu
found himself
too busy to be
the
sterling
member of the
band. “I do have
other projects,
‘Camp Z’, the
label, and more
important I have
a family, I have
children, a job,
and I am older
than the others,
so for me it is
too complicated
to tour, go play
far away, etc”.
So at the moment
Manu
plays with ‘The
GirlZ’
just
when he can,
the band, in
turn, has found
another guitar
player Little
Spigaou, and
there’ll be both
guitar players
in the future
band’s debut
album.
The other
could be called the bril- important part of Manu’s activliant in contemporary ‘goth’ ity is the foundation of the netmusic. The band’s style is char- label ‘Zorch Factory Records’,
acterized as Batcave/Coldwave, which was born in April, 2008.
and it’s one of the best style “With the years, I started knowcharacteristics of this music. The ing more and more people, for
music of the band has rather typ- real, and on the net, and a lot of
ical minimalism of these styles, bands in particular. And I realand its sound strongly reminds ized, lots of these bands had
the 80’s, but sounds contempo- demos, or free CDs. But it was
rary as well. It seems as the band not so easy to find them. So I dehas developed its original influ- cided to federate all these bands
ences into their unique music and records through one single
with greatly supplemented website’, - Manu recalls. The
Alien’s vocals. So if you didn’t label rather quickly became suchear ‘The Cemetary GirlZ’ yet, cessful, because many bands
71
72
than a
. That's why more
ry
to
ci
rti
pa
r
ei
th
od like the 80's, I
ri
were interested in
pe
ic
if
ec
sp
of
ere plenty
like
pation in it. There w
ly into movements
al
re
am
ch
su
,
ed
volv
t punk. I
interesting bands in
st punk, no wave, ar
po
he
‘T
,
r’
te
uias ‘Joy Disas
e bands such as ‘S
lik
ly
al
re
d
an
’
id
onoz
, ‘PIL’,
Cemetary Girlz’, ‘M
’, ‘Devo’, ‘DAF’
de
ci
e
th
t,
en
om
m
many more.
many others. At the
‘Wire’... And so
ex
l
ga
le
of
s
nd
ore into
label has thousa
o stuff of today, m
ls
A
e
th
ith
w
ings that
clusive downloads
nth punk. I like th
sy
e
Th
s.
nd
ba
e
rticagreement of th
e rules. I am not pa
th
k
ea
br
os
op
pr
l is
to think
next step of the labe
ly nostalgic; I prefer
ar
ul
y
ad
re
al
u
an
ent
ing real CDs too. M
post punk movem
e
th
e
lik
,
Z’
p
s ‘Cam
t again.
began doing it for hi
let's rip it up and star
d:
di
lim
e
th
as
future is
publishing its last EP
e future is ours; the
Th
o.
0 in
ited edition CD to
make. This is year
e
w
t
ha
w
g
in
st
re
e and all
Manu is really inte
ic. Of course for m
us
m
nt
ce
re
e
th
r
cannot be
and active artist. Fo
the scene today, it
ith
w
gs
gi
l
ra
ve
e, bese
time he had
0 in music any mor
ar
ye
y
ar
et
em
C
gs have al‘Camp Z’ and ‘The
cause so many thin
ith
w
ng
ki
or
w
ost
’s
GirlZ’. Also he
been done! Alm
y
ad
re
w
ne
of
e
punk and
the new stuff (som
erything in rock,
ev
a
ith
w
ed
rd
music has been ex
songs will be reco
ic
on
tr
ec
el
be
ill
it w
is anylive drummer). So
ed. But I think this
or
pl
plo
ve
de
e
th
g I have in
great to look after
way the main thin
fu
e
th
in
ts
ec
ic, do
ment of his proj
when writing mus
d
in
m
le
tic
ar
e
th
n, even if
ture. And perhaps
mething of my ow
so
s
u’
an
M
ith
w
are here’.
should be finished
at the influences
th
y
sa
ld
ou
w
I
l
words: ‘Wel
n a lot to old
kiy
personally I do liste
Pall 'Nattsol' Zaruts
's,
70
so
al
t
bu
's,
e"
stuff, not only 80
"Grave Jibes Fanzin
acts
tr
at
ly
al
re
t
ha
w
90's... But
original, that
me is music that is
music hisbrings a change into
73
Interview with
’
t
a
B
l
a
u
t
i
r
i
‘The Sp
SPIRITUAL BATS DISCOGRAPHY
Spiritual Bats (vinyl EP, 1993)
Confession (CD, 1995)
Sacrament (CD ep 1999)
THE SPIRITUAL BAT DISCOGRAPHY
Through The Shadows (CD, 2008)
www.myspace.com/thespiritualbat (Through The Shadows)
www.myspace.com/thespiritualbats (Sacrament)
www.myspace.com/spiritualbats (Confession)
Nattsol: First of all, tell me
about the foundation of ‘The
Spiritual Bat’. As I understood,
it’s a kind of evolution of the
previous project ‘Spiritual
Bats’?
Dario: Yes. The Spiritual
Bat is a new project, conceived
in 2004 in New York, but it is an
evolution from the "Spiritual
BatS" project which I had
founded in 1992 with Matteo.
Then we decided to split…due
74
to different choices…
Nattsol: What are the
main differences between these
two projects? Why did you underline their relations in this
way?
Dario: The main difference is that, although the
music themes still come from
me, now it’s just me and
Rosetta, and the vocals are now
hers. The line up on the CD is
different, too, but it was different on each recording, anyway.
With the name we chose to underline the continuity in the
evolution. In the song Through
The Shadows you can hear the
passage from the old and the
new Bats. The original name
was actually Matteo’s idea,
back in 1992. In 2004, as I
said, he and I took each his
own direction. For him the
Spiritual BatS and gothic were
dead and buried. But I had
given my blood to this project,
the music had come from my
most intimate feelings, and I
personally didn’t feel like
abandoning or burying it. It’s
like my child. Plus this name
reflects perfectly my personal
dimension of shadows. I myself didn’t feel so dead… so I
playfully changed the name to
the singular.
Nattsol: What are the project’s musical references? And
how can you characterize the
style of the project?
Dario: Well, that’s a difficult question. We don’t really
worry about defining our
style… It has been described
by other people as old-school
yet modern goth, Elegant Dark,
Batcave, Gothic rock, with influences from the 80’s under-
ground
and
post-punk:
Siouxsie and The Banshees,
Joy Division, Christian Death,
Bauhaus, The Cure, but also
Dead Can Dance, Classical
music, Pink Floyd, with references to Shakespeare and
Tolkien, and with a lot of imagery that makes the music feel
like a sort of soundtrack. And
in the instrumental tracks it
leaves the listeners a space to
participate, to create their own
lyrics, their own story, their
own film.
Rosetta: Actually, I personally listened to completely
different music before meeting
Dario, from Opera to Jazz, to
ethnic music from gamelan, to
ragas, African drumming and
Cuban santeria ritual music… I
don’t know if any of that can be
heard in what I do, but it certainly is a part of me. I discovered gothic music late, but I
don’t mind, because to me it’s
still fresh and I feel as if I were
eighteen years old.
recently our friend and sound
engineer Claudio passed away.
He had been trying to convince
me for years that a musician
shouldn’t play only in his own
studio… The last time I saw
him we even argued a bit about
it… That time he was really
very emphatic about it…He
kept on saying I just had to go
and do it. Now I know that I
have the duty to come out and
play live for Claudio, and for
those people who have written
such touching words to me. I
owe them. And this duty is beginning to turn into a pleasure…
Anyway… in the few gigs
we had in the past there were
projections and art installations… Maybe we’ll still do
that …As far as who we would
like to play with…of course
with some bands who don’t
exist anymore, like Joy Division, Siouxsie and the Banshees, Requiem In White…
But there are a lot of bands out
there today we are sure it
Nattsol: Tell me, what is would be fun to share the stage
‘The Spiritual Bat’ on stage? with, musicians who might
Which bands did you/would give us emotions.
you like to share the stage
with?
Nattsol: Do you have a
Dario: I have never liked plan to involve some other muplaying live much… music for sicians for your shows?
me is a very intimate dimenDario: Oh, certainly…
sion… So I didn’t even play in The only reason we are premany concerts as Spiritual senting ourselves as a duo is for
BatS (although I can say I had practical reasons, but our
the pleasure of sharing the dream is to have a full line up
stage with Rozz Williams). again. Alessio and Bruno are
With this new project we have two good friends of ours and
just started playing out, be- excellent musicians who
cause something has changed played drums and flute respecrecently… I started getting tively on our last album,
very convincing letters from in- THROUGH THE SHADOWS
dividuals who expressed the … it was fun to finally work todesire of experiencing The gether… But they are also proSpiritual Bat live … and then fessional musicians, it’s their
75
job… so we knew we couldn’t
expect their presence with us
“full time”… Hopefully they
will be available again soon,
or we’ll have to find other musicians who are as good….
Nattsol: What are the
band members apart from the
project?
Rosetta: I am an English
conversation teacher (just by
chance) and Dario is a composer. Music is a primary
need, what fills our life with
dreams, our days with action,
our darkness with colour. It is
the magic part of life, without
which we would feel just as
pieces of meat walking around
the planet doing things just because everybody else is doing
them. Nevertheless ,there are
things that must be done to
solve other primary needs in
the physical world, which then
ultimately allow us to make
music.
Time is never
enough…And the things we
like doing, like travelling, seeing our friends, going for a
walk, cross country skiing, unfortunately have to compete
against our work and music.
Nattsol: Now let’s speak
about the new band’s album,
called ‘Through the Shadows’.
Tell me about it in your words.
What is it about?
The Spiritual Bat:
Through the Shadows is a rite
of passage, the soundtrack of a
change, the act of picking up
the pieces once again, meditating, getting up and walking
and running again after a
paralysis… There is a song,
“Twins” that was born while
breathing in the ashes of New
York in September 2001…
This album reflects our sour
observation of historical
events, and something that is
intimate, an intertwining of
shadows and light, macrocosm
and microcosm. It’s The Bat
alighting on the ruins of collapsed symbols and broken
oaths, to silently mourn the
loss… awakening to the sound
an ancient voice claiming eternal youth, but it has to march
on, still in the maze of the
nightmare, until it summons
the ritual, the painful solution,
the light…
there was one part, he told me,
that couldn’t be done… but
then I showed him how I had
developed my drum arrangements by playing physically
on the drums before programming… because even though
my technique isn’t so good I
have some intuitions (maybe I
have them and they seem interesting to me just because I
never liked studying traditional exercises)… At that
point he told me, “Cool, you
have taught me something
new!”… And in few minutes
he had learnt it… I was so
Nattsol: You had the in- proud of myself… and he was
vited musicians there. Tell me so great, fast, respectful and
more about them.
expressing his own personalRosetta: It is an honour ity at the same time.
for us to have Bruno Lombardi
on the Flute. He has worked
Nattsol: Are there some
with
Morricone,
with ideas which stayed for the fuPavarotti, he has played at La ture releases? What should we
Scala and around the world wait from them?
with most of the great direcDario: Hey, we can’t
tors in classical music. But he predict the future…As soon as
is also the type of musician we find out we’ll let you
who likes experimenting with know! We are already workother dimensions… What can ing on the next album, but a lot
we say… he is what we call a may happen between now and
Maestro…He won a contest to the end… we don’t know what
enter the National RAI Sym- to expect exactly, we’ll follow
phonic Orchestra when he was our instinct.
eighteen…And yet he is not a
snob, he just likes playing…
Nattsol: And the last
Then we also have Alessio ‘free’ question. What would
Santoni, an excellent drummer you like to add to our interwho can play any style… I ac- view?
The Spiritual Bat:
tually played electro-acoustic
drums myself in the previous Thank you so much for this
line-up (Sacrament). But I space Nattsol! We’d love to
needed somebody technically come and visit you guys in
better than me to play my own Russia… We hope soon we’ll
drum
arrangements
for be able to come over and meet
Through The Shadows, and you and the scene in person!
Alessio was perfect, even
Questions: Pall ‘Nattsol’
though he told me sometimes
my parts were kind of cere- Zarutskiy
bral! I have a funny episode:
“Grave Jibes Fanzine”
76
The Spiritual Bat
–
Through the Shadows
review
‘…in a limbo
Between thinking and doing’.
‘New Dance’
‘Through the Shadows’ is the
debut album of ‘The Spiritual Bat’,
the reformation of the cult Italian
band ‘Spiritual Bats’. This album is
conceptual, very professional and
poetical work. So it probably
would be easier to dedicate a poem
to it than write a review.
The album begins with the
catchiest self-titled song ‘Through
the Shadows’. It’s a kind of key,
which opens the release. Short atmospheric intro flows into dynamic
hit song about sacral cleansing and
reformation of feelings and emotions due to escape of spirit. There
are words in this song ‘I fall to the
ground, gasping for Air / Into the
Light, through the Shadows’. This
contrast of falling into the light
which is beneath shadows can be
called one of the main themes of
the album, because it is the ‘inside’
spiritual light. This ‘spiritual escape’ is the only reason why this
dynamic and energetic song can’t
be the 100% club hit in spite of its
powerful synth background line,
and very expressive vocals of
Rosetta Garri.
The next song is the instrumental work, called ‘Wandering on
Cobble Hills’. A listener can notice
that half of the songs on this 12track album are instrumentals. On
four of them (this one, ‘Prague’,
‘Primordial Call’ and ‘Twins’) we
can have a pleasure of listening to
77
Bruno Lombardi’s flute play. The
touch of this master made these
compositions really unique.
Moody flute touches plenty of
musical stratas, for example, we
can hear some folk motives on
‘Prague’, but the music always
keeps the band’s and the postpunk spirit.
In my opinion, the most interesting instrumental composition on the album is the one,
dedicated to the 11th of September, 2001 and called ‘Twins’. The
staccato guitar sounds, which
stays moody and melodical, combines with rich bass line, atmospreric flute and synths, and
amzing drum line of Alessio Santoni. A listener can also notice
pauses in the composition which
marks out single instruments and
lets the character of the song get
different shades. It’s rather hard
to say, why flute hadn’t been used
in two other instrumental works
– ‘In the Golden Cage’ and
‘Trance’, because there’re other
accented instruments which play
the flute’s role there. In any case,
it brings some difference, but in
common all the instrumentals are
similary worthed. Regarding to
the songs with vocals, the voice
of Rosetta can be called not even
an unstument of expression, but a
sterling musical instrument. Her
voice has rich diapason, and she
perfectly works with it. Some-
times there can be some etnical
motives in it, or it can be done in
more post-punk manner. The expression can be underlined by
tremble or breath as it can be
heard in ‘Silver Lakes’, or there
can be very low vocals with too
clear pronounciation in the last
song, called ‘Sogno Tribale’.
As it was mentioned before,
the certain theme of lyrics and the
album in common is Spirit. I
think, it was expressed perfectly.
The only minus I found is that the
songs seem a bit similar after the
first one. There’re no strong surprises to a listener, by there’s the
exciting atmosphere of falling
into this music.
In conclusion I’d love to say
that this work would be interesting for those who’re more in
post-punk or gentle deathrock
and for those who’re more into
mystical and atmospheric socalled ‘gothic’ music as well. It’s
absolutely another music, but
‘The Spiritual Bat’ is partly the
follower of the previous project.
It’s hard to give some style characteristics to it. May be, it could
be called ‘Gothic Post-Punk’ or
‘Spiritual Batcave’. So, the spiritual bat is released. Let’s wait and
see what will be in the future.
Pall ‘Nattsol’ Zarutskiy
Grave Jibes Fanzine
78
Interview with
Sasha
Skvortsov
(Durnoe Vlijanie)
Myspace fan page:
http://www.myspace.com/durnoevl
ijani
Nattsol: How did you come into
the music?
S.: I was listening to the music I
was into at the time (real loud too).
And I used to just yell along. Then
I started doing lyrics in Russian to
match the rythm. I thought this was
good stuff, worth performing.
Nattsol: Tell me more details about
your appearance in ‘Durnoe Vlijanie’. What had unified the musicians for that time?
S.: I was a student. I challenged so-
ciety by the way I dressed and cut
my hair. One of my class-mates
said to me: «Look, I know a band.
They got a small rehearsal room.
They need a singer. Go see them, I
reckon you might be in». And I
was, mainly because they liked
how I looked. And I had a notepad
full of song lyrics. They liked the
lyrics too. I think we were misfits,
we kind of recognized each other.
Like: hey, this guy is one of us,
dude! And we didn't like «Russian
Rock». In fact, we didn't like any
e
«rock», I mean we didn't like
chops.
Nattsol: Could you call me the
band’s main musical references?
As I know, you had contacts with
some of foreign genre colleagues.
Tell me about it too.
S.: I was heavily into Bauhaus. And
we all adored Joy Division and The
Cure. Of course we had never met
these bands or any other band of
such calibre for that matter. And we
did not know much about contem-
porary alternative music either. We
opened for Sonic Youth in Moscow
and I didn't know their albums.
They gave me Daydream Nation on
tape. It blew my socks off. I remember after the gig a girl came to
talk. She was American. She said
we would go down real well in the
US and that her boyfriend would
fix us up with gigs and shit. She
said he sang for a famous punk
band. I remember asking what
band. She said Poison Idea. And I'd
never heard of them. What a
plonker!
Nattsol: How did the band interpret its name?
S.: The drummer came up with the
name. We all thought it was funny.
Ironic. Like we single-handedly
gonna destroy whatever standards
there were on the scene. I don't
think there was any particular
«why» behind the name though.
People got used to it with time, like
they got used to names like Butthole Surfers.
Nattsol: The next question is about
the band’s releases with your participation Enumerate them, please,
and describe in your own words.
How were they created?
S.: There always were quite a substantial amount of our gigs taped
and then kicked about. They
sounded real crap. I only liked two
such tapes. One was a Moscow gig,
the other was taped in St. Pete. I
think they were my late «performances» as in the early stages of
my «career» I could not sing for
toffee. In 1987 we demoed some
songs at the rehearsals. The recording sounded very raw but still was
damn sight better then those live
bootlegs. We should have pressed
on and done a proper recording, totally DIY you know, but we were
like waiting... fuck knows what for.
Some big shot producers I suppose...
We had enough good sense to
record some of our faves in 1989.
It was done on a 4-track, one or two
takes per song — two days, boomboom, album done. A bit like The
Stooges. We didn't think it was any
good at the time though. However
this was what became our first
album and the only «official» release with me on vocals.
A small label (Karma Mira) released it on tape. I wrote about the
history of the recording for the
inlay. Unfortunately the English
translation wasn't done by me. The
bloke from the label had a go at it
but I don't think he quite nailed my
style.
Nattsol: Now I’d love to ask about
the band’s videos (as I know, it has
two – ’24 chasa’ and ‘Sejchas’).
Tell me, how did you manage to
achieve such a professional result?
Can you tell, what are they about?
S.: We had a request from the TV
people for a video. Our mate Andrey Ventslova did the shooting. He
used a 16 mm camera. The song
was «24 hours». They didn't like it
at the TV. For starters it was in
black and white. The transfer on
video was poor, for the TV anyway.
They gave us the budget to record
a song. We cut «Now». Our original guitarist had dropped out by
then because of personal reasons,
heavy stuff. We asked Igor «Dlinniy» Borisov to give us a hand and
he did. He is an excellent guitarist,
but too soft really. Thats why that
take of «Now» sounds so subdued.
Our friend Aklya was directing the
shooting. We did it in a flat in a
house that was going to be demolished. Painted entire premises
white. Professional TV crew
worked on site, thats why the result
is professional. By the way it's Edik
Nesterenko on video as our guitar
player. He played with us for a year
afterwards, did the Germany tour
and the album too. He did really fit
in, was totally right man for the job,
you know. I never liked the video
for «Now». Too much of that 4AD
rubbish, very nice, lots of pastels.
«24 hours» is a much better job, although admittedly very Bauhausy
in places. I don't care. I still think
its good.
Nattsol: Tell me about your shows.
What corresponded the band on
stage? Which bands you shared the
stage with were related to ‘DV’?
Tell me also about your audithory.
S.: I think we looked sharp.
Dressed entirely in black. It took
me about six months to learn to
move on stage. Later I ditched
those hectic moves, became more
static (was saving my breath).
Many bands were getting real
dressed up for the stage. We just
used to come out in our regular
cloths. I did have a very nice black
jacket though and used it purely for
performances. As far as other bands
go - we didn't care much for bands
we shared bill with (in other words
we got along with everybody reasonably well). First band that we
were friends with were Petlya Nesterova. Oh yeah, and Narodnoe
Opolchenie. I knew Brigadiy Podriyad quite well, original line up I
mean. We had some pretty hardcore fans. Some used to come out
with us when we played out of
town. That was cool.
Nattsol: I’d love to pay a special
attention to your texts. Tell me
more about them, and about the
creation process. Foremost it would
be interesting to know more about
the theme of look and pricked out
eyes. What meanings this visions
have? What are the other key
themes of your lyrics?
S.: As I said, initially I used other
people's music as backing tracks.
Often it was Bauhaus. I guess some
imagery got into my lyrics. My
English, of course was next to non-
79
existent, all I could do is to snatch
some words out of context... they
do use the eyes thing often y'know?
And I loved the way their singer
delivered his lines, I wanted to
copy his style desperately. Of
course Mr. Murphy is far better
singer then I am (he is the best, always will be) and Russian is entirely different language - I recon
that's how copying mutated into
Nattsol: Why did you leave the
band?
S.: I didn't. I was sacked. Or, at
least, I guess it was mutual. I
wanted to be a Nick Cave, lads
wanted a good singer who don't
give them that rock-star bullshit.
Fair enough, I wasn't stable performer, fucked up now and then.
Our last guitarist Oleg «Malyish»
could sing. They told me they want
original. Besides, when we started
playing together, I mean the band,
music was different, so the initial
material got to be bashed into
whatever shape the music would
demand. As for the songs being
about death and stuff... it just sort
of felt natural. I sounded more convincing singing about dark matters,
less two-dimentional. There some
irony in it of course, like some of
them are really over the top, but I
guess it isn't easy to distinguish.
Anyway, people mostly took it at
face value.
to try and do without me for a
while. I was like: oh yeah? Fuck
you then. I was convinced they
would come crawling on their
knees after me. But they never have
done. They broke up instead.
Nattsol: What were you doing
after it? Did you keep in touch with
other band members?
S.: I was all set to become a solo
recording artist, but realised soon
how hard it is to find like-minded
inividuals. I did see my ex-bandmates perform as different group
(Bonzinski). I thought they were
terrific. Dan from The Stunning
Jivesweets sang for them at that
show. About three years after the
break up we talked. We all expressed regrets.
Nattsol: Tell me more about your
other projects? Do you have the information about the acivity of the
other band members?
S.: I was in couple of German
bands and in couple of bands in
England. In 1994 me and my mate
Max had a band in St. Pete. It was
called 69RPM. We never played a
show nor recorded a song. Now we
are together in a band again. Its
called Zadvorki. We play shows
and we do record too. I also currently play with Messer Chups.
New album is due January next
year. Going on European tour with
them in March.
About the others I know very little.
Our first guitarist Vadik Kudriavtsev has stoped playing for good.
Igor Mosin,the drummer, presently,
80
is not doing anything music-wise
neither. Dima Petrov, the bass
player is in this band called Grandshattlebanda. Edik Nesterenko was
popping up in different bands, but
his own band Petlya Nesterova was
pretty much defunct since about
2002 I think. Shame, he was very
talented. RIP.
good as is. Just go with the beat and
bash your head against the wall.
Nattsol: How can you characterize
the things which did ‘Durnoe Vlijanie’?
S.: We did what felt right. This stuff
is from the heart, man. I am not
saying we didn't copy anything, of
course we did, everybody does. But
Nattsol: There were some rumors whatever we lifted we put through
about the reunion of the band in the ourselves. We were creative fuckbeginning of the XXI century. If it ers.
was true, why it didn’t happen?
S.: The initiative came from Edik Nattsol: In your opinion, does the
and myself. He was sober for a band have some followers?
while and wanted to work. I had S.: I think many site the band as an
written an album worth of songs influence (no pun intended). I don't
and we called up the others. We had think there are any direct descenabout 1 ½ rehearsals. Mosin, the dents though, this stuff is too disdrummer, didn't like the stuff, so tinctive. Its hard to copy.
we called it off. Edik started drinking again. I wrote another bunch of Nattsol: What can you say about
songs. And started Zadvorki.
yourself apart from your music activity?
Nattsol: The reunion happened S.: I live mainly in the UK. Am
when you played 4 songs on Ed homeowner, husband and father of
Nesterenko memorial show. How two.
did you feel yourself on the stage,
performing the old stuff after so Nattsol: And the last ‘free’ quesmeny years of its silence?
tion. What would you like to add to
S.: It felt good. Secure. Great mu- our interview?
sicianship. I think we rocked.
S.: Some folks are pissed off with
us for not making it. I think three
Nattsol: Is that possible to see the years for a band like this is actually
band on stage again?
a pretty damn good life span. And
S.: I am all up for it. However, I can to those who are pissed off I would
only speak for myself.
like to say «You go and try to live
hand to mouth for three years and
Nattsol: Many people call ‘Durnoe stick to your believes and shit».
Vlijanie’ the first post-punk band Besides, its not guaranteed that we
from USSR, or even the Russian would have broken the camel's
‘gothfathers’. What do you think back if we'd only stuck to our guns
about it? And what is ‘gothic’ for for another year. Sometimes these
you?
things take long fucking time.
S.: Thats some pretty flattering shit. There are other people at the top
Maybe we were first. I like goth- and you have to wait for them to
rock, always have. With all the pos- die off. And for your new audience
ing... And the clothes are nice. Its to grow — you wait for this too.
apolitical too. I don't think rock- Well, I guess that be it, cheers!
'n'roll should be used as a soundtrack to the world changing thing. Questions: Pall ‘Nattsol’ Zarutskiy
Leave the world alone, its pretty “Grave Jibes Fanzine”
81
82
http://www.chantsofmaldoror.com
http://www.myspace.com/chantsofmaldoror
Side-projects:
David: http://www.myspace.com/sexchairprovider
Loren: http://www.myspace.com/peoplelikeadance
Echo: http://www.myspace.com/gogodivasproductions
Interview with Loren
(Chants of Maldoror)
Nattsol: Let's begin with the preChants of Maldoror period. As I
know, two found- members came
from the band, called ‘Mater
Tenebrarum’. Tell me more about
this band. Tell me, how the other
members joined.
Loren: Well, “M.T.” was a band
in which David and Adolphe used
to play a long time ago, before
C.O.M., and as far as I know they
never did a single concert and
never recorded anything, even if I
remember that there were plans
for a demo cassette that never saw
the light. We are all friends by
years, and we knew each other
long before being bandmates , so
for us was absolutely natural playing together when M.T. disbanded. It was very much like
being in a band with your brothers
and sisters…
Nattsol: The next question is
about the band’s name. It was
taken from Lautreamont’s ‘Les
Chants de Maldoror’. Maldoror is
very difficult character. I can remain the quote from the book: ‘I
dedicate my talent to the description of those pleasures, which evil
can give’. So was that your original conception? Which influences
did you take from the book and
from this character?
Loren: When we started the band
we were in search of a good name,
something that gave immediately
the idea of what the listener had to
expect from us, and a friend came
83
out with the name of the book
“Les Chants De Maldoror”… It
was a sudden success for various
issues, but we were particularly
fond of it mostly because of our
Surrealist and Dadaist likening
and tastes, a quality that lots of
people have ever found in our
music since the beginning. I
think that “Les Chants De Maldoror” is a unique book, but we
never had direct influences from
it in particular… it’s more in the
general mood, in the “surreal”
approach to music and musicianship…
Nattsol: Now tell me, how did
the band begin? As your bio
shows, the band’s development
wasn’t too fast. The first ‘unofficial’ show (Dec 1995) had
been played one year after the
foundation (Dec 1994), the
demo (June 1996) had been
recorded one and a half years
after it, and released only one
year after the recording. And the
first official show had been
played even two years after the
band’s foundation (Jan 1997).
What were the reasons of these
delays?
Loren: We never liked to hurry!
Seriously, the first show was basically a fun show, done at a
Next Year Eve private party with
an audience made of friends, and
we played 6 songs from our
next-to-be recorded demotape.
Then we finished the songs and
put some money together (we
were all students at that time) to
start recording the demo, “Ritual
Death” which was recorded between June and July 1996 in a
very “unusual” way (we all
share good memories of that
whacky sessions). Then, we just
did rehearsals for a while, and
wrote some new songs, in order
to have a bit more stuff for a
“true” concert, which was done
84
photo by Alessandro Chimera
in January 1997 in Rome. After that that Christian Death NEVER had:
show we released the demotape.
no electronic beats, no prominent
keyboards and pianos and other
Nattsol: The next question is about further elements from other kinds
your musical references. As many of music (some of the very influenaspects show (such as image, the tial bands on us were and still are
manner of the vocals, and cover of early Pink Floyd and Velvet Under‘Spectre’), you were strongly influ- ground)… Few people has noticed
enced by the works of Rozz that, because lots of them has no
Williams. Tell me about his and musical culture and knows nothing
other influences to your music.
outside of those 3 or 4 easy names,
Loren: Ok, none of us has never so even if someday we do a
denied that, but I’d like to clarify “saltarello” or a “tarantella”, everyone thing… As I said before, when one’s gonna say that sounds like
we started the band we were just a C.D. This is stupid, really. I don’t
bunch of youngsters (I was 16) even think that our image as a band
with barely an idea of what “play- has something in common with
ing” was, so it’s normal that we Rozz or Christian Death in the last
(just like everyone else) started im- 8 years…
itating or paying our homage to
something that we really liked, in Nattsol: Now I’d like to ask you
this case was Rozz William’s about your first album ‘Thy HurtChristian Death… It’s normal and ing Heaven’. In comparison with
I can accept it. But as the years your demo the sound had changed
went on, we added some elements from more darkwave to more
deathrock. What caused this musical evolution, which, as I know,
took a place in your demo too in
comparison with the band’s original sound?
Loren: I think that was a sort of
natural evolution… none of us just
came in the rehearsal room saying
“hey guys, we got to be a deathrock
band”… I think that was just related to our increasing self-consciousness as musicians, since at
that time we started listening hardly
to more rock-oriented stuff like
Bowie, Bolan and Sex Gang Children as well. A funny thing is that
today we fell the demo to be much
more “darker” than everything
we’ve done further, and some of
the songs that were in “Ritual
Death” were recorded and rearranged for the cd…
Nattsol: The single chapter of my
questions is the texts of your first
album, which all seems to me the
strong poetry. ‘Thy Hurting
Heaven’ is filled with contrasts
(‘Lucifer-Christ’, ‘I’ve kissed you
or I’ve killed you?’, the blame and
the innocence in ‘The Innocents’,
and even the title of the album
shows this contrast). So what was
its conception? And who is the text
writer?
Loren: I suggested the album’s
title, but Adolphe, the singer, writes
and wrote 100% of the lyrics… and
it can’t be elseways, since he’s the
one who talks and sings about
those things, and you really can’t
be honest if you don’t believe in
what you say. Anyway, you’re right
about the issue of contrasts: it’s exactly what we meant at that time. A
great part of the record is focused
on the contrast between something
“good” that heals and helps but at
the same time is “evil” , and kills
you and takes away life from you,
just like a form of extreme payment. But I’m sure that there are
hidden meanings that only Adolphe
knows, since his lyrics talk a lot fortune of having a talented direcabout his private life, but in a tor in the band, our keyboardist
“symbolic” way…
Echo, so when it comes to somebody’s mind to make a video for a
Nattsol: The next question is about certain song, we don’t need to ask
your second CD, ‘Every Mask for a good producer and start imTells the Truth”. Once again, this mediately thinking about it, brainrelease doesn’t look like the previ- storming over script and scenes…
ous. What has changed in this re- No frills, no bills… Working on
lease in your opinion? And what videos is very funny, with anyone
does in express?
of us doing something, just like a
Loren: Well, “Every Mask…” was cinematographic troupe. “Somea big step further, maybe since times…” and “Wounded…” are
when it came out we were really very different videos, the first more
sick of being considered the next “poetic” and “symbolic”, the other
Christian Death clone, since, as I is more of a kind that people is exsaid before, we never ever felt this pecting from a band, with instruway. I believe that those songs re- ments and stuff…
flect this deep will of change, both
musically and lyrically. For the first Nattsol: One more ‘single chaptime we recorded the album in a ter’. It’s about the video ‘Somemore “professional” way, spending times a Poison’. What is its story
a long time in studio searching the about? Who’s that person, who’s
good sound of instruments and taking out ‘dried’ letters from his
voices, and trying different mixing mouth and collecting them in jars?
solutions, avoiding to be satisfied Who’s that overhearing person?
at first step… It’s a very wide-rang- What’s written in that book? Etc…
ing record, there are very danceable .
songs and very deep and introspec- Loren: It was our very first video
tive songs too, acoustic and piano experience, a sort of experiment,
suites and noisy parts, and the nice completely realized and developed
thing is that most people appreci- by ourselves (as I said before)…
ated that, and we earned fans out- The basic idea of the video script
side of the gothic movement. If I was mine, and came out from my
can say a thing on a personal level, personal feeling of that song… in
when I listen to “Thy Hurting fact, it has no relations with the
Heaven” I don’t like it anymore, It lyrics’ content. For personal reajust doesn’t represent me anymore, sons I relate “Sometimes…” to a
but with “Every Mask” things are situation of extreme solitude: I tried
different: I feel it distant and sur- to simplify this feeling by using
passed, but I still recognize myself brutally “meaningful” images in
into it, if you understand what I order to communicate an unreal sitmean…
uation of isolation from the world;
so my key of lecture is of total isoNattsol: Now I’d love to ask you lation, in which nothing means
about your promo videos – nothing and everything you do is
‘Wounded Canvas’ and ‘Some- useless, except for yourself. Then I
times a Poison’. Tell me more de- suggested the figures of the one
who listens to nothing, and the one
tails about these videos.
Loren: We always loved cinema who rips up a book that nobody
and visual arts, and we’d like to ex- will ever read. Of course we develpress ourselves a bit more with vi- oped the script and the images all
suals in the future. We got the together, as we usually do for
85
everything concerning the band, so
the other guys created the figure of
the one who “spits” out words to be
closed in jars as no one will hear
them, and of the girl that covers her
reflected image in the mirror for no
one to see… We did the full video
in a very short time, and the result
is a mix between german expressionism for the acting and subject
and an Italian ’60 horror movie for
the use of the colors and the “raw”
directing style…
Nattsol: While looking at your myspace prophile, I found some unexpected for me influences like
Marcel Duchamp and the French
line of Dada/Surrealism. How does
this experimental/avant-garde art
influence on your music?
Loren: Well, as I said a couple
times before in this interview, we
all had a crush on Dadaism and
early Surrealism… Our artistic
background is very strong, if you
just think that everybody in the
band is involved in other forms of
expression outside of music; I am a
painter and I’ve studied history of
art, Echo is a film director, David
is a graphic designer and does
paintings and engravings too,
Adolphe is very talented in painting, sculpting and graphic art… So,
you can understand that we’re
deeply influenced by a long list of
painters and visual artists as well as
bands and musicians, and both
have a strong role in what C.O.M.
are…
Nattsol: Tell me about the stage
you’re in Italy. Is it developed? Are
there some related to you bands?
Loren: Sincerely, we don’t know
much about the Italian bands… we
don’t follow the scene and go to
dark/goth concerts as well. If
you’re asking for some good bands,
I just can do the name of Sex Chair
Provider, which is the other band of
our bass player David. They just
finished recording a 5 songs ep and
it’s really nice… I’m also playing
in another band called People Like
a Dance, in which I play guitar and
occasionally bass too… it’s different from anything I’ve done before
and features a female vocalist…
Nattsol: What is Chants of Maldoror on stage? And tell me also
about the most important for you
shows.
Loren: On stage we are a bit different from the record… some
tracks assume a more “raw” and
aggressive feel, some just stay the
same, but it depends on the overall
mood and the interaction with the
crowd. We usually like to give a
complete idea of what the listeners
are going to live with for the time
of the show… nothing is left to the
occasion, from the way we are
dressed to the way we move, and
even the order of the songs is depending on that. Some people told
us that they prefer us as a live band,
since we are a bit more “rock-oriented”, if these words are proper
for a band like us. I don’t know if
it’s the most important of our
shows, but I really enjoyed the one
we did in Utrecht as opening act for
Bauhaus… The place was very
nice and the acoustic was perfect…
very funny! Moreover, we got the
chance to play for a crowd that was
there for a bigger name and gain
their respect. Some of them had
never heard of us before, obviously,
and the very pleasant thing is that
we’ve received lots of emails and
messages of compliments for
weeks after that!
Nattsol:The band keeps silence
since 2005. There’re no new tracks,
updated news and so on. What are
the reasons? When should we wait
for a new band’s stuff? And what
will it be?
Loren: Well, we’ve done lots of
promotional concerts in Italy and
Europe as well for “E.M.T.T.T.”
since the first months of 2006, and
did the last one in February 2007.
From then on, we just buried ourselves alive in the rehearsal room
in order to compose and arrange
the new stuff and record some
demos. Sometimes we like to manage over a song continuously, until
reaching a very different form from
its birth, and this takes away a lot
of time in rehearsals and recordings
too, so I can’t really say a certain
date or anything else. Anyway, if
I’m not wrong, this summer we’ve
put out a live recording of a newer
song, “Young Recruits” on a USA
cd sampler…
Nattsol: What is Chants of Maldoror in 2009?
Loren: We’re about to release our
first dvd, which will contain a complete live performance of the 2006
“E.M.T.T.T.” period, the two
videoclips, some special content
and a picture gallery. After that,
we’re thinking about a couple more
funny things that are still in the developing stage, and will remain secret for a bit more…
Nattsol: And your final words….
Loren: Thank you very much for
this interview, hope to have been
satisfying enough for both you and
the readers… Always keep your
mind open and look at the truth…
Questions: Pall ‘Nattsol’ Zarutskiy
“Grave Jibes Fanzine”
86
87
Worked on issue:
Pall 'Nattsol' Zarutskiy - interviews, reviews, author, director;
Nikolay 'Tacitus' Polyakov - chief editor, technical director;
Psycho Oboroten - authentic fanzine's covers author;
Mila 'Mauzz (R)' Vassilieva - pdf 's layout & artworks, graphic designer
Vadim 'Bars-Ursula' Barsov - interview;
Irina 'Diegabrial' Afonina - interview;
Konstantine 'Osty' Chervyakov - author;
Roman 'Rommel' Nikolenko - author.