Dead Voices on Air
@ The Cotton Club - Atlanta, Ga
June 8, 2000
~review and photos by Brian

Dead Voices on Air took the stage to an anticipating audience of diverse spectators eager to discover Mark Spybey's magical madness that would soon be emanating from his peculiar console. As his scrumptious soundscape hit the air, all eyes were on Mark as his fatal voice came alive, backed by Niels flirtatious flute and horns. Together it was an orgy of madness transforming into perfect logic.

He performed a short set of musical art that portrayed the very texture of his innocent web.  For those of you not familiar with DVOA, Mark is truly one of the best experimental artists today.  He uses instruments - mostly toys from Toy-R-Us,  even his famous Godzilla robot,  which he claims is the real star of DVOA.  In Marks own words  "Imagine the soundscapes
punctuated by words.....So much potential."

For those of us who were privileged to see him perform - we thank him for such a superb performance.

To see and hear more go to

with Au Tempo, Elizabeth Elmore and Sonna
Saturday July 22, 2000
at The 4040, 4040 Locust St., Philadelphia
~review by Michael

The scene outside the 4040 looks like just outside a punk warehouse, except that we're on the Univeristy of Pennsylvania's campus so it's a bit cleaner looking.  Kids mostly between 16 and 21 milling about out front waiting for a show advertised to start at 7 (which has past a long time ago and bands some bands are now loading in).

The inside is large and clean and carpeted even.  It's well presented and the speakers even look nice and fairly new.  It's $7, everyone inside already makes a line to pay.  Everyone takes a seat on the floor in the room somewhere, facing the stage.

Sonna is a four piece, mostly two guitars, bass, and drums, though they mix it up a bit with a keyboard and an extra guitat here and there between the four of them.  The first and last songs of their set seemed to have a similar theme.  Both were up tempo insturmentals with a rich texture.  The rest of the set was much more sombre and even thicker.  Not to say the band didn't understand dynamics.  It wasn't a full on wall of sound, it had it's footings and melodies.  Some may compare Sonna to Slowdive and Mogwai, and I don't think they'd be far off at all.

Elizabeth Elmore is touring to support the last CD from her former band Sarge.  Elizabeth insists that the songs sound better with the full band, but I think her songs stripped down to the one electric guitar and voice had the perfect amount of dynamics and personality that I would fear losing with the band.  There's a Liz Phair appeal to Elizabeth's approach except Elizabeth may be a bit more rock oriented.  I enjoyed her spunky personality and humor as well.  She concluded with a Prince cover by damand of the Ida merchandise table.

Au Tempo is a curious group.  The lead singer and guitarist has excellent control of his guitars, acoustic and electric, and sings quite high.  The acoustic may have actually been a classical, with nylon strings, though even if it wasn't he played it like it did.  The music was generally light without being thin.  Also in the band is a flugelbone/bass player, a keyboardist, a violin, and drummer.  We could have been on an exotic island, though the band is from New York City.  This was a refreshing set.

Ida is on tour to support their newest release will you find me.  This was my third time seeing them within the past year and there wasn't a lot of new material in their set, but it sure was strong.  I wasn't surprised to find myself crying during the first song.  Ida uses dynamics better than any band I've heard.  Their songs are soft and sweet, with strong guitar punctuation.  They use a variety of instruments to creating lulling and creative songs, not with wicked time signatures, but floating on a single chord at times, with all different voices playing a harmonic role.  Their set spans songs from most of their albums and they are willing to play requests for the audience off the cuff.  Their closing song for the evening was a Secret Stars song called "Shoe-In".  Simply beautiful.

The Legendary Pink Dots
 @ The Cotton Club - Atlanta, Ga
June 8, 2000
~review and photos by Brian

It was my first time at the new Cotton Club submerged under the
Tabernacle in Downtown Atlanta.  This was my second Legendary Pink Dots show; the first had beeen  one of the best concerts of all time for myself . So knowing how incredible they are live I was quite pumped up. Most of the crowd seemed to be experiencing some sensory overload, so I decided to tap into it as the energy was there for all to absorb.

The lights went out and the stage was lit. A surrealistic dream started to come alive, kinda like liquid Dali', as Mr. Ka-Spel, Ryan, Niels, and Phil appeared.  The crowd was vibrating to the sounds escaping from the stage.  The horns were screaming bitter sweet sounds to the swaying masses. The entire set was filled with Edward's chilling vocals and the bands creative instrumental abilities.  Though there was one new addition to the band this tour and I did not get his name, he played violin and guitar on the last few songs.

On one of the very last songs performed seemed to be a personal serenade for one very special blue haired angel named Desire'.  At one point Edward held her face, looking deep into her eyes as the words poured out of his very being.

It was delicious and I want seconds.

Edward Ka-spel and the Legendary Pink Dots

Myssouri: Riding the Dark Train Out of Georgia
Thursday August 10th
Atlantis Music Conference, Echo Lounge - Atlanta, Ga
~by Blu
(with photos by Blu from a previous concert)

Ever since I made up my mind to leave Atlanta and head for the emergald-green of the Pacific Northwest; I've had this list of "things to do before I leave Georgia" floating around in my head. One of the most important ones was to see Myssouri perform one last time.

"As insects worship and are sacrificed on the violent violet altar I cry, 'My eye! My eye!' " - from "My Eye"
Myssouri is a band that over a year ago,  I saw by chance opening for some one else. The depth and intensity of their set floored me. I bought 2 CD's that night from them at a bargain of $5 a piece and grabbed a handful of bumper stickers. I don't even remember who they were playing with to tell you the truth -- that night was all about them.  There was a darkness and raw pain to their sound that reminded me of Nick Cave or the Swans and only later on that night, tucked away under the covers reading the lyrics did I realize just how powerful those words  were and what a visionary Michael Bradley must be. I became fascinated.  In a world of bubble gum pop and wanna-be rock stars, this was something of deep substance that transcended everything that every band was putting out. Something even beyond what I could comprehend. The depth of emotion and the inspiration that one must draw from to create this music mystifies me. I said it when I first reviewed the band and it holds true today: this is what legends are made of.
"Wonder what obscured our vision. Cloaked our sight in bloody gauze. Who ordained our execution? Maligned our blind allegiance to the cause? Years of tried and faithful service to the source of light and time culminate in no real purpose when our mortal coils unwind. Blindly, blindly: see how we fall." - from "Blindly"
So I set out to see them several times after that -- always impressed with the tightness of the band - the silent communication that went between them, always on cue, always seeming like they had played for years together.  But as with any relationship, people grow and sometimes drift apart. It was with a little fear and disappointment that I read in June that the members of Myssouri had split -- some to form a new group called Fancy; leaving Michael searching for some new souls to populate his dark world with. I'm sure I was one of only several fans who held their breath waiting to hear the fate of Myssouri.  To our delighted surprise, Michael announced they would be performing as part of the Atlantis Music Conference with new lead guitarist CJ Bargamian, keyboardist/steel player Andrew Hodgson accompanied by stand in drummer David Goodwin and one-time Mysouri bassist Hampton Ryan (who would be replaced by Todd Oakley afterwards on a permanent basis).

Playing to a full house that included previous members of Myssouri there to cheer the new line up on; their set was a good mixture of old songs I recognized off Malamerica like "Blindly" and "My Eye" along with a few I'm used to hearing like favorite "Devil on My Shoulder" as well as a handful of new ones including "Ride you Down." I got a few goose bumps as Michael's vocals sailed through lyrics I had long since memorized; but all in all; the performance was a little loose compared to past concerts  which is understandable considering the line up flux.  Chris Jansen -- previous drummer for Myssouri, stood by me that night -- caught up in the sounds of music he knew so well, at times drumming along with the beats. Clearly enthralled, that music was a part of him and I am not surprised, reading from their web page this evening, that Chris has re-joined Myssouri as their drummer. CJ and Andrew seemed quite at home on stage that night - in tune with Michael both musically and mentally.  I'm betting that with Chris's return and the addition of Todd Oakley on bass, that Myssouri will be up to speed and putting out new material before I can get unpacked in my new abode.

"There's an open road that runs from the cradle to the mouth of God. And you navigate convoluted by your tragic flaw. Over vague terrain you try in vain to learn to ascend. And the open road arrives abruptly at a cold dead end." - from "Open Road"
There are only a handful of things that I like about the South and will take with me when all is said and done -- fire flies, honeysuckle, magnolias, thunderstorms and a band called Myssouri.  They are a band I quit a magazine over once.  They are a band that I believe in more than most.  They continue to keep me guessing with their cloaked emotions and riddle like lyrics.  I replaced their bumper sticker on my car several times over the last year as the weather wore it away.  This past Thursday, I got a new, shiny sticker from them.  Much like the band - its a new design and little sturdier than the first bunch I got. But the vision - the name - remains the same and I'll take it with me, across the states as I travel -- riding the dark train out of Georgia.
"And maybe I'll die, be outdone by some stranger. I may be undone by my deeds. But I will live to look upon the western sea. I will live to look upon the western sea" - from "Western Seas"
Official web site with photos, reviews (even from StarVox!) and downloadable songs!

19 Hours with Poppy Z. Brite
July 29, 2000
Dallas, TX
Rick's Place
~reviewed by Adrian
(Photographs courtesy of the Love and Slack Poppy Z. Brite page.)

There are times in ones life that are forever engraved into your memory and soul; the first time you discover your favorite band, the first time you see that live concert that just blows you away, and the first time you meet that famous idol that you have always worshipped, but never had the chance to know. Well, this past weekend, I had such a time not only engraved, but acid etched into my psyche and it was everything one could hope for, if not more. For 19 hours, I had the extreme pleasure and fortune to meet Poppy Z. Brite and to actually talk with her and discover what makes this icon and idol of mine tick. From uncovering where she gets her images in her books from to her ideas and history, Poppy is a person full of magic and light, and she is ready to share with the world.

The evening in question was for a concert, Faith and the Muse with Machine in the Garden and DJ Void from Austin opening up at Rick's Place in Denton, right outside of Dallas, TX. Brought in by the Sin Factory of Dallas, TX, on July 29th, both bands put on a spectacular show, as always, bringing a raw, untouched energy that swept the crowd into a luscious daze that will not be forgotten, but in my eyes, and the eyes of those who ever so carefully watched and listened, Poppy was the show stealer for the evening.  When you think of Poppy Z. Brite, you think of such images as little, waif-like gothlings, the sexual, bourbon-laced ghosts of New Orleans, and the nerco-lust divas that haunt her intense, yet morbidly fascinating and erotic stories such as Lost Souls, Drawing Blood, and Exquisite Corpse, and you expect such a person to have illusions of these things seeping into their life and persona. Far from the truth. This woman is one of the most real, sweetest, understanding, and thought provoking creatures that I have ever meet, and to live up to any and all expectations of what a hero should be just created in me a new found respect for her and her work. Like a warm, luminescent fairy, Poppy commanded the stage with her presence and charmed the listeners that evening with a special treat, a reading from her upcoming book, Plastic Jesus, which is a brief, yet magical novella that covers "peace, love, rock, and the Stonewall riots" and was beautifully illustrated by Poppy herself, except for the front cover, which has a wonderful, psychedelic creation by Mary Fleener. The first $400 9-copy very, very limited edition, which was signed and contained a piece of original artwork has already sold out, as is the 600 limited edition, but coming this fall expect a 2200-copy hardcover to be released by Subterranean Press. Poppy also blessed us with one of her short stories called "The Devil You Know", which was a delightfully humorous look at the Devil and his cat in New Orleans, and this piece can be found in the anthology Imagination Fully Dilated 2, edited by Alan M. Clark and Elizabeth Engstrom, and also in her upcoming anthology, which has yet to be named. Afterwards, she opened herself up to sign books and to talk with anyone and everyone, being the center of attention and very humbly, always smiling, creating the illusion of a innocent 15 year old sitting in the corner, not really sure as to why she is getting or deserves such attention.

Later on that evening, as we sat on a couch at the afterparty, I really began to see the true face of Poppy, as she giggled and laughed, really enjoying herself and the people she had grown to know over the past day. There she was, sitting in a Hello Kitty tee shirt, again, portraying the innocent 15 year old who is many years wise beyond their time and who somehow knows the answers to all the mysteries that you dare not ask. Perhaps it was the spark of love and homesickness that you could see coming from her eyes for her husband and cats, whom she talked about with great adoration and a sly smile, or maybe it was the magic that you can sometimes create when you reach that moment in time, when you are really content and happy with your surroundings, living for the moment and nothing else. For me, it was the latter and I was ecstatic. There I was, getting to actually speak face to face on a personal level with the person that I have always admired, and the image was not shattered, but solidified, made whole, and she lived up to every expectation, and more. So for all you promoters out there, I HIGHLY suggest booking her at your next event. I know I already miss her and am waiting for her next visit! For more information, please do visit Poppy's wonderful website at and keep on the lookout for her new novella, Plastic Jesus which should be out in September! Thank you Poppy for everything and for the wonderful evening, and thank you Sin Factory for making the best move yet.

The Official Poppy Z. Brite Page

Rick's Place
125 Avenue A
Denton, TX

Sin Factory

Subterranean Press

Sumerland, Tri State Killing Spree, Written in Ashes and  Licorice
Thursday, May 27th
Tonic Lounge
Portland, Oregon
Pre-C6 Show
~review by Blu

The Pacific Northwest has long been a haven for creativity – and not just the flash-in-the-pan grunge kind either. Between Portland and Seattle, there’s a bevy of talented local bands. On this particular Thursday – the day before official convergence events got under way in Seattle, four such bands came together in Portland to rouse the spectators – Licorice, Written in Ashes, Tri-State Killing Spree and Sumerland.

Licorice was up first and due to other band members having pre-existing engagements, we were treated to Julian Tulip – solo. Julian, armed only with a keyboard and some programmed samples, set out on his musical vision with confidence and quickly over took the crowds attention. The first song was a spoken word/industrial-dance collage of sorts filled with deeply personal dialogue emitting a range of powerful emotions. Composed almost scholar-like on a stool in front of the keyboard – he launched into a song that I think was called “Lip Gloss” which was a terror-ride on a carnival nightmare waltz, then changed paces completely and went into a mournful, melodic ballad. His quick-witted sarcasm at times reminded me of David E. Williams as he complained about people who were “young and inspired with nothing to do.” “Juliet Loves Me” seemed to be a favorite amongst the locals the faded and transformed back into the industrial landscape he opened with – neatly tied like a perfect package. Overall – Julian Tulip of Licorice was amazing live – with careful attention to annunciation and an out of the ordinary emphasis on certain syllables, he was a poet in a cyber whirlwind of dark emotions created on his keyboards.

If you ever feared those good old goth bands were a thing of the past, fear no more. Written in Ashes is as gothy and as dark as they come. With undulating bass, bell tone keys, and a galloping beat underneath; vocalist Kevin soared using descriptive, sometimes creepy spoken segways into songs that sometimes have him wailing operatically or crooning seductively and sensually. Dark and dramatic – Written in Ashes was definitely a local draw as many people piled up front for a closer look. I hear they’re touring the West Coast and possibly the South West this fall…check out their webpage for more details and definitely go see them if they’re in your area!

The crowd grew thicker before Tri State Killing Spree took the stage – and having heard their CD, I was eagerly waiting their show as well. The CD doesn’t lie – in person they are what you hope they’d be and more. Sean’s vocals are smooth, liquid streams cascading over well-structured bass, guitar, drums and keys while Jyri’s electric violin adds neo-classic flavor and texture. They have a well-balanced mature sound reminiscent in ways of The Cure  - at times Sean’s vocals sounding eerily like Roberts but much darker and more fantastical. “Toy Matinee” is a good example of that – beautiful, haunting and creepy all at the same time. The crowd erupted in applause for an obvious favorite when Sean introduced it as “a song about a toy marionette I had as a child and hated.” 3SKS is definitely a band worth following – they’re here for the long haul.

The last band of the evening was Sumerland – a bit of a Portland legend known for their beautiful shows; they set the atmosphere perfectly by drenching the stage in candle light. I had heard stories of their live show – of their improvisation and fantastic drum kit made up of some found objects. Without much fanfare, the music began and I was soon caught up in the dark, other-worldly swoon that is Sumerland’s. Its not often that ethereal or ambient bands can hold my attention live – but with the candles dancing against the dim light of the club and Dorian’s deep vocals spinning listeners into realms of mystic chants; time stood still and I was hypnotized. Utterly beautiful and profound; it was more akin to a spiritual experience than a musical one. If you ever get a chance to see this band live – do not miss out. Hopefully the band will be feeding eager fans some new songs soon – check their web page for updates.

Written in Ashes -
Sumerland -
Tri-state killing Spree -
Licorice -

Blixa Bargeld of Einsterzende Nuebaten
~by guest writer  Rev. A. Strangerz

When D.J. Fernando Poo from KJHK (Lawrence, Ks student run radio) asked if any fans, or informed persons wanted to help interview Blixa Bargeld of the German Industrial pioneers Einsterzende Nuebaten.  I knew I was the man. I had seen an interview with Blixa go bad in 1996.  A reporter for a not so
chic S.F. publication had basically accused Blixa, and his band E.N. of destroying modern music, and even insinuated they where part of the destruction of Western Culture.  This, and the fact that the sound guy was working with a limited sound board that kept producing feedback, made for a very intense evening.
Blixa was giving dirty looks to the sound man, and eventually started cursing him out in German so intensely, that everybody ducked, and the soundman disappeared (almost in a puff of smoke).  The tension from the bad interview, finally relieved the show then began.

So, with all this in mind I thought to myself, how can we have a
relaxing interview with the artist, the performer, the intensely German,  Blixa Bargeld.  How indeed, we just stay calm, and do

July, 25th, 2000.  It is almost 3 p.m. as I head into Lawrence, KS.  It is a 40 minute drive from Kansas City and the interview begins at 3 sharp. We were told by Mute records that we had exactly 20 minutes.  Luckily Fernando met me, and we had been cut off by another group of interviewers, who were very eager, and traded our 3 sharp for their 3:20 appointment.  "I don't know if Blixa was mad, but he slammed the door on me," Fernando told me.  My normally calm and cool friend, was visibly shaken.  I loaded the batteries to my DAT Walkman, and my new microphone in the lobby of the Eldridge Hotel.  A very nice place in downtown Lawrence, home of Kansas University, were class and country meet in an odd manner.  This part of the world does not get Blixa's very often, and I am not going to let him slip through my fingers.  Finally feeling centered, we enter into the elevator, to ascend to a potentially difficult interview.  I already have my
DAT recording, testing the levels, when the elevator doors open and Blixa is on the other side.  Departing!

Blixa: "Here you are, I was about to go!"

Fernando: "You were."

Blixa: "Yes," gesturing to me. "Hallo, lets do it."

Rev.Strange: "Hallo, I'm the Rev. Strange, How is the tour so far?"

Blixa: "Oh, it is good, since May now..."

We enter his room which is very nice, with a distinct center table made of marble.  It is divided from another room by French doors, and during the interview, a crew member comes in and goes to yet another room.  A very cozy setting, be it for an interview, or a romance.  Yet Blixa is not relaxed, not even in this environment.  He is partially somewhere else, but he is willing to talk to another "reporter".

We get a quick station ID, for KJHK, part of the reason for doing things on tape.  He accidentally says KJSK, and we have to start over, but there is no worries, no signs of impatience, even through the brevity of the situation. Blixa Bargels may be in a hurry to start his day, but he is a gentleman, and ready to talk.

Rev.Strange: "When is the last time you toured? Two or Three years now? "

Blixa: "Two years now."

Rev.Strange: "Your doing American Tours a lot more in the recent years, are you just touring America, or are you touring the whole world?"

Blixa: "No we are just doing Europe, and the U.S."

Rev.Strange:"Has the American Landscape given anything to Einsterzende Nuebaten?"

Blixa: (Taking words very literally) "American Landscape? Hmmm, no!  American scrapeyards maybe, but not American

(laughter, and a moment to compose the next direction. )
Rev.Strange:"There are a lot of people wondering, is Nuebaten a new thing now, or is it something that has progressed from it's beginning, a part of a full journey?"

Blixa: "It is new in a sense that there are two new members in the band. I mean they were touring with us on the last tour already, but since then we have made a recording together.  I guess that's Nuebaten number four. The concept has remained the same, but there are different members involved in it."

Rev.Strange:"Do you ever sometimes miss any of the old members, or members you used to work with?"

Blixa: "No! (pause)  Well except for the one who died of course."

Rev.Strange:"Ahh, yes that is a different story, though. Did you ever think, some 20 years ago, that you'd be brought to such places as Lawrence, KS?"

Blixa: "I didn't even know Lawrence existed at that time probably."

Rev.Strange: "Are you looking forward to potential influencing new people, who maybe haven't heard of the old Nuebaten at all?"

Blixa: "I'm always quite happy when anyone in the audience actually does see us for the first time, I am quite happy when people don't have any conceptions, or especially mis-conceptions about what we are doing. Because sometimes, of course we have to play against our own legend in a way, the legend of being destructive, or playing with drills, um uhh
electric drills and what not. If that's the conception of people as what we are doing, it is pretty hard to play against it. I can see that subsequntially in the last couple of years it became less and
less people expecting that, and thats good!  We have done incredible things in the past, and I think that they were all very... they were fine with me, but I did not start Einsturzende Nuebaten to repeat myself endlessly.  It does not hold enough interest to me do what I have already done for a long time."

Rev.Strange: "Did you ever think that maybe some of the older concepts are buried enough in language barriers, that you could maybe reinvent them now."

Blixa:"Well the language barriers are always there,certainly, but I do believe that you can get enough entertainment out of Nuebaten even if you don't speak German."

Rev Strange: " You have also done stuff in French,and Japanese!"

(My point got lost here, as Blixa was still composing his response, I get the impression that it may still be early for a touring Blixa, and I was better to have had the second interview time slot.)

Blixa: "You certainly get a bit more out of it if you do speak German, that is fine!"

Rev.Strange: "Especially now that you translate more of your
recordings/lyrics. If somebody was coming tonight, that hadn't listen to the last few albums, but were more familiar with the older stuff. Would you tell them to go ahead and go, or would you tell them to stay home?"

Blixa:"No, no, no, fine!  We are playing very very long, we're playing like two and half hours. We're not just playing stuff form the new record, we are playing some older things as well."

Rev. Strange: "Any surprises, or stuff that is not on any record?"

Blixa: " Yeah sure, sure!"

Rev Strange: "We have covered all the old and all the new now,is there anything you wish to give out of the blue, off the top of your head."

Blixa:"Believe me , there is nothing off the top of my head right now.  We drove all night, all the way from , uh er. Denver.  We were in Denver last night."

Rev.Strange: "My last point now, this interview is going to be transcribed onto an Internet web-zine, what do you think about web-zines and Internet communication? Is it something you are a part of?"

Blixa: "It is something I am familiar with on a daily basis, yeah. It is something that certainly changed my life, and has changed others life too, Nuebaten at the moment is working on a subscription page. We are going to have a subscription page within a couple more months, or somthing. "

Rev. Strange:"So you'll have your own page for news: live things etc.?"

Blixa: "We are going to have and and both them are going to be subscription pages that offer all the things that you can possibly offer on the Internet, and some things that we believe we have made up so far, that we believe that nobody has offered yet."

At this point we recorded a promo specifically for "Radio Babylon" this time.  It did not take any time at all, and we headed out to catch the elevator.  Blixa seemed relived that it was over, that the obvious questions about Mufti (F.M. Einheit) were
avoided. In this sense maybe Lawrence, KS. offers a lot to him because it does not have as many reporters wanting to talk to him.  It is morning for him, and the day of another show.  He jokes about the slow speed of the elevator, as we wait.

"You have to start earlier to catch this one," Blixa jest.  "Let me take this moment to thank you again for doing an interview
for Starvox and KJHK," I say, a little more relaxed myself.

"No problem," Blixa is quick to respond, "it's my job!"

During the show blixa was very relaxed, and performed outstandingly. His presence was as viable up close as it was from in the balcony.  It was a very respectfull crowd, and they were completly riveted. (No pun intended.) He told a story that I will not transcribe, but it was very amusing, he told it in broken sections inbetween songs.  I hope that his relaxed stage manner was as much a part of the interview we did, as the stressed stage show in San Francisco many years back, was a reflection of the negative press he encountered.  If so, I hope to see Einsturzende Nuebatan here again soon!

This interview could not be possible without student run radio KJHK's help. Radio Babylon is a Sunday evening show. Starting at 1 A.M. Eastern (technically Monday morning) and can be heard via internet radio.  Listen any late night, and you'll be bound to hear free-form radio still in an untamed environment.

Current links for Einsterzende Nuebaten include;

Keep on the look out for the "subscriotion" pages that Blixa was speaking of as well.
~Rev. A. Strangerz

What's Inside of Broken Men?
~interview by Blu

Having recently waded through the emotioinal depths of newly released songs, I set out to find out just exactly what makes David Love from The Broken Men tick...

SV:  Where did the name The Broken Men come from?

David: I was reflecting one evening on my life as well as Eddie's and all of the strange events that have happened to us. Everyone our age are having children, getting married, and it made me think of horses broken to be domesticated. I guess you could say it's to remind me to never surrender. A broken man is a man that has given up his wildside for calmer seas.

SV: How long have you personally been creating music? Have you been trained in music at all or is this all just natural talent?

David: No training except for a few breathing lessons in Los Angeles. I've known Eddie my entire life and as far back as I can remember, we've written together off and on. He knows the kind of sounds and melodies that bring out the passion of my lyrics. His music inspires me to feel, and in return I give life to his music.
I've written a few alone but I prefer his writing right now.

SV: Your songs are often very emotional - do you pull from real-life experiences, or is it fictional?

David: Always real life, but then told in a fictional manner so that my lyrics are personal but not to the point that someone could know everything about me by listening to a song. The older I become, the more fear I feel that I will not accomplish everything I want. To love, to travel, to experience life as an adventure and not some huge waste of time where I buy tons of things I never needed and then spend eternity paying them off. A walk on the beach, a novel in the park, poetry under stars, these are free and are what we should remember. Not that we were respectable, honest, and with good credit.

SV: How is the music for the Broken Men created with you being in Atlanta and Ed living in Florida? Are their any plans to do live performances?

David: Quite alot of traveling on my part. But I love driving anyway. Eddie usually writes a slew of songs as I am writing poems and short stories and then we usually began to record them over four days. The cd we just recorded has been in the recording process since January. Song after song, hour after hour, I would sing. A few of the songs such as "Spinning Dream" were sang on the spot without lyrics. Just whatever struck me as I listened to it.  I would love to do live shows but the scene is a bit strange at the moment and we seem to be more popular overseas which I think is great considering that Rap and boy bands rule it all here.

SV: Your lyrics read like gothic prose at times - is that something you strive for? Do you read a lot? What's you favorite book(s)? Movies?

David: I love Anne Rice. I know that she's a trendy read but I am to old to follow trends and there is no one around to be impressed. Edgar alan Poe is another favorite. Both of them are very visual writers and I wanted the same for my lyrics and poems. I want people to picture the scenery, smell the rain, shudder at the cold, cry for the sadness, and to look at themselves differently.  I love period movies, Braveheart, Last of the Mohicans, Legends of the Fall. I enjoy French films like Queen Margot, but no one ever wants to watch them with me.

SV: Where does your inspiration come from?

David: I think my life has been strange enough that I could take inspiration from it for two lifetimes. I've been writing in day to day journals since 1995, so every relationship or conversation has been documented. To be able to go back and read of falling in-love and then watching crumble is tragic, that I could've been
different. All I ever wanted was to be a woman's perfect mate. Not the financially secure, white picket fence guy, but the one she meets on a tropical island where a castle sits in the mountain tops and birds of sea migrate. Where the hissing whispers of the ocean are never far from our ears.

SV:  If you could live anywhere in the world - where would it be?

David: A plantation home in New Orleans would be beautiful. I could finish my books. The city pours inspiration. Paris or London would be wonderful as well. I have a master plan of moving overseas in ten years, but if given the chance, I would leave tomorrow.

SV: I notice there's artwork on your site - do you do all that yourself? A renaissance man withmany talents...

David: Yes, I just try to stay busy and I've a million ways to express myself. It seems I would need three or four lives to enjoy everything that I like to do. Artist, Poet, writer, Musician, actor,etc. I used to think that I had it made because every girl would tell me
that they'd love for a man to sing, write poetry, or draw for them, but they seem to eventually surrender to reality and leave me alone in never never land.

SV: Your writing is so good, do you have any plans to write a book or even a book of prose at some point?

David: I have so many things started but have to bounce around between them that it takes forever for anything to be complete. Eddie actually brought up the idea of recording a concept cd. I thought it might be good because it would give me a chance to use a short story called, "Angel Bones" that I've been working on. He's writing so we'll see.

SV: What's your fondest memory?

David: I haven't experienced it yet. I guess that is what keeps me fighting for my life. My fear of becoming a broken man.

Official Site of The Broken Men

MP3 Site:

Interview by BlackOrpheus
(photos courtesy of Crocodile Shop)

According to their press kit, Crocodile Shop was formed in 1988 Berlin.  It  is a history laden point of reference, but not wholly accurate.  It would be  more correct to say it was conceived of in that city, perhaps. Their first album Lullaby (produced by Chameleons UK's Dave Fielding) was a  dark based guitar work, with a decided gothic sheen.  With the advent of 1990, we see a move toward a more electro - industrial sound as evidenced by releases like " Measure By Measure,"  and "Technological Optimism."  With their new release " Order + Joy," they  continue on in their established tradition of providing articulate renderings of their neuroses for the discerning ears of their equally mad listeners.   Below is the content of my recent interview with the band, enjoy.

1) Out of the gate, what was it about gothic music that appealed to your need  to create?  Please articulate why you changed direction, and how you feel industrial  better serves your need for individual self expression. Do you anticipate a need in the future, to employ  gothic as a means of communicating, or exploring anything further by means of  a side project or collaboration?

mH: To me it's not so much about how "Gothic Music" instigated any need in me to create, because I had been writing music for 3 or so years before I ever heard anything "Goth," so it's more like my tastes at that time [we're talking about 1987, here!] were shifting from a more Pop oriented listening pleasure to enjoying the darker sounding material.  I guess you could say it was more of a David Bowie-styled shift in direction that I took with my writing style.  Like Bowie, I was doing a more Pop-song oriented approach when I started to feel "opened up" to more diverse & experimental approaches to the whole 'music in general' thing.  Going from Psychedelic Pop to darker & more experimental stuff in that way.  Material like Joy Division, Red Lorry Yellow Lorry, Magazine, Wire, Dessau helped push me more in that direction...

2) Would you say that each album explores a theme,  is a period statement of your lives, or a mixture of both? Please flesh out this idea, by walking us through the "Celebrate The Enemy" album, to your present album " Order + Joy."

mH: Yes, it's always a period statement in life, even if you are creating certain "characters" or "angles" to write from, it's still whatever's going on in the authors life [& head] at the time, innit?  I think that the band has made the full-circle with "Celebrate..." to "Order+Joy" - the middle albums like "beneath" "Pain," & "Everything Is Dead & Gone" delved way into the thought process - the personal side of issues,.... "Celebrate," to me, was C/S's real start [& actual start on CD - "Lullaby from '88 was vinyl only], so we sort of came in on the playing with political imagery & throwing it back in their face sort of social-political lyrics & went more personal for a while & now "Order..." is back to the start.  I think after we "pushed" the industrial envelope so far out on "Everything Is Dead...." getting back to "Order..." was the only logical place to go after that!

3) Individually, what types of music, and bands are you all drawn to?  How do  you reconcile the diversity (if it exists), with the creative process?

mH:  Well we are all into electronic music to a degree, so that's our 'common-point' -- from that Markus goes in for more of the Trance/instrumental stuff & Len for the Noise type of abrasive thing. Me, I like the disco-danse aspect of it or EBM, so it all sort of pulls together in the "Mixx."  Of course we all listen to other forms of music too, but that doesn't affect C/S too much, i think.

4) Mick, I understand you do music for independent films.  Do you score them,  or select the music of the artists featured throughout a film?  How did the  first opportunity arise?  What films have you been involved with?  Would you  have any interest in filmmaking?

mH:  Yes, some soundtrack/ instrumental music for very underground stuff, it pays well... & to the next point: I do have a limited interest in visuals, I do the montages of them for the video monitors for the  liveshow.

5)  I understand Mick & Markus are graphic artists, and Werner is an electronic technician.  Are you all still holding day jobs?   What percentage of your income would you estimate the music contributes to?   If you're still working day jobs, would you say that those jobs help to  subsidize the music, at least for now?  How do you reconcile shows, touring,  and relationships with the demands of " jobs?"

mH: Markus is an Art studio manager in NYC Medical Advertising firm, Len is in graphics & Prepress [Film running] as I am - I also have done some cd covers & Reconstruction of CD Art [from bad formats,...etc.]  Funny! about "Werner," he hasn't been in the band for about 3 years now,... he wasn't on "Soviet" in 98, "Everything Is Dead" 99 or "Order..." 00... he works for the phone company now lives at his Mom's house & has left music, as far as I know!

6)  Tell me about touring Europe.  What is the response, country by country?  How does the American fan respond versus his counterparts elsewhere?  Have  you toured Asia, or South America at all?  If so, how do you feel culture plays a part in audience response?   What country's fan do you most enjoy playing for, and for what reasons?

mH: Well Europe was fantastic - it was actually just a few dates in Germany - & the crowds were more responsive than USA for sure!  LA & NYC are the worst places to do shows, in my opinion.... people are spoiled or something - I think because there are so many shows to go to & EVERY band goes thru those two cities, the crowd just acts pathetic... as if they are at a wake or something - lifeless!  Texas, Salt Lake City - we had GREAT reactions there!!!

7)  I understand the band put together a digital studio with advance money.   What were the first extravagant, "wish list" items you added to your inventory?  How did these items  immediately enhance the quality, and capacity for creation that you had? What  items still remain on that list?

mH: THE Main one: Alesis aDat 8 track digital recorder, which I eventually "bought out" from the other 2 guys... I still do something on each track with it --even if we construct most or all of the track in the computer - it'll get dumped into the aDat for the vocal overdubs or something!... couldn't live w/o it!!!  We have added so much since then, tho-- now Markus & Len both have satellite locations where they do preproduction [making loops, sounds, samples etc...] & then I get the ZIPs at DAMn! to play with -- it's a weird way of working "together" . . . apart!

8)  Artistically, speaking for yourself- would you say the side project acts as a vehicle for exploring your psyche as well as your creative impulses? Mick, can you tell me about your "Hand of God" project on Tinman.  What specifically were you wanting to explore through this project?  Were you fully successful, and if it was at all personal; was it cathartic for you? Can you answer these same questions as they apply to Division #9 as well? Everyone is invited to respond to this question as it applies to them.

mH: Well Division #9 uses some of the instrumental tracks from the films mentioned earlier - a bit more fleshed out so to speak,... & yes, it is a 'release' of sorts to get out OTHER styles of music we all like [we all 3 have side projects going right now.]  With D!V9, it's obviously a techno / house /dub regga sort of thing I guess like FLA had Intermix, etc... For Markus he has his project on now - it's Euro-trance type of stuff called: SUBLIMINAL GRAVITY, Len, on theother hand has mp3 files available at his website for mortmain()...  With the Hand of God project, I am very happy with the result of the final cd.  The promotion end of it seems to me to be a bit 'strange.'  But whatever!  It's the first release for HoG so maybe it'll be something that takes time to catch on.

9) I understand Mick dj'ed once upon a time.  He has his 'zine DAMN!, and  DAMN! Productions that's involved with designing artwork and printing film output. What bands and album covers might we recognize as your handi work?  Mick, what  can you tell me about all of these experiences as they apply to Crocodile  Shop, and your other projects?  As a dj for instance, I'd imagine acting as a  middleman between artist and  music consumer you gain a sense of what addresses the club goer on an  emotional level, is this true?

mH: I think yes, when I dj-ed I was affected by what I saw people 'react' to, & that experience stuck.  As for the Graphics, I did the Art for the Fektion Fekler "Kling Klang" cd on Pendragon, I did the "Empire One" comp for Tinman, I reconstructed the files for the Wumpscut "Blood Child" release for Metropolis, who I am also working on a compilation for now... A lot of stuff, the proGREX.iv release on the Fifth Colvmn label... Markus did a lot of the C/S releases covers.  Here's a bit of trivia that we've never been asked about before - the cover of C/S "Crush" was originally sent to Sister Machine Gun for "Burn" - obviously SMG passed on it - but we got a GREAT image out of it!  As for DAMn! - We still publish the magazine - about 2x a year, it's a little something to try to 'give-back' to the scene & expose a lot of other under-covered artists.

10) I believe the person who feels music more than just hears it, often has a  need to make a connection with the artist.  The music itself is a major component of that connection.  Another part of that is recognition by way of seeing, and even passively becoming "acquainted" with the person.  This is where interviews, and even video comes into play.  We feel a kinship with the artist, through  his experience, explorations, and methods of processing the same.  It's often been said that electronic music lacks a face.  I feel that for the above  reasons, it does in fact need a face.  Without it the music will be relegated to near under ground status. This isn't so bad in and of itself.  Personally, I feel the world community  would benefit significantly by greater exposure to this musical form.  While exciting, it's also heartbreaking to know how much goes unheard.  The artists struggle, and some go under.  How many bands could I name that are  far worthier of the support for their music, and themselves than most of the "passing" music heard today?  I invite all of you to respond with your feelings as they apply to what I've just expressed.

mH: My only response is YEA, Brother - Amen! I couldn't agree with you more!  I think there are way too many "clones" out there right now...  I mean of course there will always be 'elements' in any artists music that remind one to another, but some of these new "big" electro groups out there now, are just carbon copies of Covenant - I don't like it at all... but that's just MY opinion!... something I tried to work into the lyrics on the new cd a bit [hehhe!]

11) Musically, whose music is challenging, exciting, and inspiring all of you  these days?  Are there any new bands?  Please cite albums as well.  I  reviewed Cleopatra's The Unquiet Grave last year.  I was blown away by fellow  NJ band Android Lust.  I tried repeatedly to get a promo for review to no  avail.  I understand you're friends?  What do you think of what their doing?

mH: I love AL, Shikkie gets such a great amazing sound on her material... & I think she's got a highly original sound too,... more power to her!  Her remix on "Soviet" is one of my favourite Croc Shop 'songs' ever -- [& I only sing on it!]...  As far as other 'current' electro artists - I dunno... we opened for XYMOX last tour & they were great live, I always dug them...  I like Athan of Spahn Ranch's vocals, but their newer jungle/techno backing material is a bit too 'at odds' with his great voice [to me]... a new Ohio act Dubok, has something good happening w/ the vocals & synth sounds, too...  Not much else really gains my interest anymore, however! 242, early Ministry, early Ebb, Die Warzau & Puppy just are like the only thing that I find to have had that really HIGH QUALITY in their material.  I am waiting for ANY NEW CD to just 'hit me' the way any of that 1st wave of stuff did.  & w/ C/S I just TRY to make music that I like to listen to... so I have no illusions that I'm any better than anything I've said above - but it's just my opinion of the current crop of big "Names." [VNV, Apop, :W:, etc...]

12)  What's ahead for Crocodile Shop in the next year?  Do you have a west  coast tour planned yet?  Will you make it to Seattle?  I hope you'll keep me posted.

mH: Doesn't look like West Coast will happen for this tour, we might  just do a mid-west to Eastern Seaboard type of thing, sorry!  But Keep an eye on our website for future developments & announcements, THANKS for taking the time to do the interview & for the support.!

On behalf of, I want to thank Metropolis Records and Crocodile Shop for the opportunity and their time respectively.  Crocodile Shop's new disc "Order + Joy" is in stores now.  I recommend it highly.

Crocidle Shop:
Metropolis Records:

Interview by Cyberina Flux
(photos courtesy of Melotron)

The first time I encounted Melotron was in odd context. Last November, when In Strict Confidence and Das Ich were on a North American tour, Edgar from Melotron was filling in on keyboards for In Strict Confidence. In the two days that followed, I was struck by Edgar's sense of humor and generally positive and outgoing attitude. Not to mention, Dennis Ostermann of In Strict Confidence constantly spoke so highly of both Edgar and Melotron as an act.

My curiousity was piqued, and as soon as I could I hunted out Melotrons web site and listened to their sound samples. It was a very easy sell! Emminating from my Altec Lansing studio monitors was some of the most progressive Industrial music I had the pleasure of hearing for the first time. From that point onwards, I can't tell you how many good things I had heard about Melotron!

Placing their rank in the German Alternative Music charts, being spun in clubs across Europe as well as New York, DC, Dallas, and California. And they very well deserve the attention they are getting as their a fabulous act with 10 years of experience under their belts.

This September, Bloodline is releasing their very first EP to be distributed in the United States. Under the title of "e.p.sode 3" it will be packed in a digipack with a video clip of "Tanz mit dem Teufel" and other multimedia goodies, and is due for release September, 2000.

For those of you in Europe, I highly suggest checking out their shows. A full tour itinerary is included at the bottom of this article.

Special thanks to Edgar of Melotron for taking the time to sit down with StarVox to tell us what's on their minds!

::CF:: You guys have been playing music together for some time. Things have really been paying off for you well. I hear that you have been doing well on the German alternative charts, and you have been playing some exciting shows. How does it feel to be reaping the rewards of years of work now?

Edgar: It feels rather good. Even though we have worked hard during the past years we were quite surprised by the positive feedback from our audience. This gives us strength and motivation for future projects of the band.

::CF:: Being a 3-piece band, I would imagine that each of you are quite important in every aspect of the group. What's something that each member provides for the band that no one else would be able to do quite as well?

Edgar: Within Melotron every member is responsible for his own special scope of duties and functions: Andy is doing the compositions, I´m doing the lyrics and Hilde is responsible for the production. This distribution has developed over the years and is rather crucial for a good work climate in the band.Further more is there another fact that is very important: we are friends.

::CF:: What goals and aspirations for the band have you already met, and where do you want to go next?

Edgar: We have already reached an important goal: the publication of our first CD. It was very much like a milestone we had to reach in order to focus on new targets. Concerning our next goals, all we can say is that one of them is that we definitely want to play some concerts in America.

::CF:: Now that you've come as far as you have, if you had to go back and change any one thing what would you change?

Edgar: Nothing!!!

::CF:: At what point did you decide you wanted to be musicians, and why do you think you made that choice?

Edgar: We had the possibility to have a look at common work life and, to be honest, it didn't appeal to us. We came to the conclusion that the meaning of life must be something different than working 40 up to 50 years in job you don't like just in order to make money. Therefore, we decided to do something we enjoy - even though it is tied to the risk of never leading such a secured life as you would do working in a regular job. As we had to decide about which way to go we didn't care much about security and time has told us right.

::CF:: Alot has changed in German culture in the past 10 years. Considering that, if you were an electronic band in the 80s, what would be different?

Edgar: First of all there wouldn't be that many electronic bands, all trying to do the same - groping for a piece of the cake. And secondly we were much likely to have different hairdos.

::CF:: As a band, what has been the hardest road to cross for you?

Edgar: The road to ourselfs, to recognize who we are.

::CF:: If you were to write a book about Melotron, or the music of Melotron, what kind of book would it be and what would you title it?

Edgar: It would be a rather thick book, with many little funny but also sad stories from our 10 years of band history. The title would be: "The Holy Three Kings or The Long Road to Success"

::CF:: So now that you have a new album out, do you hope to play shows outside of Europe?

Edgar: We don't just hope we are actually planning to go the States in the near future in order to play some gigs.

::CF:: You are quite an incredible electronic act, and are quite established in the European scene. However, you don't have as strong of a presence in the American market. Why do you think that may be?

Edgar: Up to now we didn't have a record label in the States. That's why our CDs had to be imported, which was the reason why our popularity was quity limited. But this is to change in the future.

::CF:: If you had to pick something that you would say Melotron stood for, what would you say that would be?

Edgar: Melotron stands for three guys playing excellent music.

::CF:: I know at least you, Edgar, are from what was once considered East Germany. Are you all from that part of the country, and how did you all come together?

Edgar: All three of us are from the former "East Germany". We all live in the same city called Neubrandenburg. We used to be big Depeche Mode fans. When The Wall came down we suddenly had the chance to get cheap keyboards and synthesizers. During East German times it was pretty much impossible to get equipment since a simple synthesizer was as expensive as a good car. Further more you could only get them from foreign western countries.

::CF:: Is there anything in particular you would like to say in closing?

Edgar: Amercia, we are coming!

Upcoming Melotron concert dates:

 12.08.2000 Helsingborg (S) Tivoli-Festival
30.09.3000 Hamburg Markthalle Party for the masses

Pleasure & Pain Festival" 12.10.2000 Leipzig Moritzbastei
13.10.2000 Freiberg Tivoli
14.10.2000 Jena Kassablanca
15.10.2000 Magdeburg Factory
16.10.2000 Zürich (CH) X-tra
17.10.2000 Potsdam Lindenpark
18.10.2000 Bielefeld PC 69
19.10.2000 Mainz Kuz
20.10.2000 Rostock Mau Club
21.10.2000 Düsseldorf Stahlwerk
22.10.2000 Bochum Matrix

Postfach 101303
17020 Neubrandenburg

Erlenkamp 13
D - 22087 Hamburg
phone: +49 (0) 700 / PLUSWELT (75879358)
fax: +49 (0) 40 / 45 03 78 69
info-line: +49 (0) 40 / 45 03 78 67
isdn (fritz): +49 (0) 40 / 22 75 92 42
US-mailbox (phone & fax): (001) 505 210 11 31

41464 Neuss
Fax: 02131-779120

Production by art4art media.

Mentallo & The Fixer
~interview by Black Orpheus
(photos provided by Gary)

I'm most pleased to have the opportunity to interview the highly esteemed Mentallo & The Fixer on Love Is The Law and other matters of interest to myself and I hope, my readers as well.

1) Tell me a little about the mid-eighties scene in Texas. I understand the scene down there has generally been a strong one for music in general. What bands were influencing you at that time, and for what reasons?  Ever cross paths with fellow Texan, Charlie Sexton back then? Of the bands still making music, who if any do you still follow?  I understand Gary Numan was an influence. What was your response to "Exile"?

Gary: Believe it or not Texas used to have a very large underground scene in the 80's and early 90's, but there isn't much these days though. It's still around, but it's not the same to me anymore. Times have changed.Back then, the scene was much more eclectic, much more colorful; everything wasn't so dark. Yeah darkness was a facet of the scene, but it wasn't the
whole of the scene as it is today. No I've never crossed paths with Charlie, but I have run into many others in this town of Austin. Hey remember Al Jourgensen & his whole Ministry/REVCO Crew. They moved down here and lived here for several years. I've run into him. Jourgen from Die Krupps lives here & he is from Germany, so Texas must be the place. But Texas is changing as well, Austin especially with the technology boom.

Numan was a huge influence on us for the fact that he had a unique sound. My sister was the one who turned us onto a lot of his music in the early days. The first time I heard Numan I must have been 8 or 9 years old. He was a pioneer; all of his music was played live, no sequencers involved. I heard EXILE just a few weeks ago and to me it still sounds like Numan with drum loops, minus all the MOOG synthesizers.

2) At this point in your career, looking back on Benestrophe, what are your thoughts on that band? Personally, artistically, what if anything were you trying to work out or explore?  I understand Ras DVA released some of that material a few years back. What kind of response and or demand was there then and now?

Gary: The one thing I really love about composing music is that it can take you back to a place and time in the past. I have very fond memories of Benestrophe; it takes me back to my youth. Actually the first incarnation of Benestrophe came together in 1985. Vocalist, Richard Mendez didn't come in until 88. Things seemed very new & exciting back then and we were trying to develop our songwriting skills. I've always thought Richard was one of the best lyricists ever. He has a knack for writing very well versed lyrical poems, all with a story. Yes Ras Dva released a good portion of the early material, which we initially recorded in 1988-91. We ended up releasing 2 volumes of that music/ VOL.1 SENSORY DEPRIVATION released in 94 and VOL.2 titled AURIC FIRES {half of that release was recorded in 95}. Unfortunately, Ras Dva is non-existent so the Benestrophe material is no longer in print. If you are looking for a copy, you may able find it at this web site
I hope to release what is left from the early sessions, when & where, I'm not sure. Any offers? haha

3) As projects independent of Mentallo, what in particular were you exploring through "Parking Lot In A Drug Form," and "Mainesthai"?  Do you feel you've been entirely successful in the realization of those explorations?  If so, where did that culminate for you?

Gary: Well Parking Lot was actually a weekend spent with Rick Laciak, owner of the now defunct Ras Dva. He was vacationing in Austin & wanted me to help him co-produce a song with him as an experiment. It was something to pass the time, having fun. It was never meant to be an on going project, just a one shot thing.

Now Mainesthai was a very serious thing for Mike Greene, vocalist, Dwayne & myself. Dwayne & I had just finished recording "Where Angels Fear to Tread" & I still had a lot of creative energy. I wanted to focus on the music & had no desire in taking part in vocals. I read an advertisement in the newspaper for a person wanting to do vocals for an electronic band. When we first auditioned Mike I knew he was the suitable person. Our first audition we had him writing & vocalizing lyrics for "Join the Club". We all agreed it had to be something different from Mentallo. Mike writes about different subject matters all together and sings about political and social issues. We wanted to bring this human element across that was mainly Mike's voice. He didn't want to rely on heavy effects, no distortion. His subject matter is different from mine, some being 180 degrees off. But that's art. We wanted each song to touch on something different, which can be easily heard on "OUT TO LUNCH". The songs are meant to be played with intentions of a live theatrical performance.

Much of what Mike writes about is politically & socially driven as I said before. He performed many Mainesthai songs on our previous Mentallo tours. It gave me a break from vocaling during our sets, plus it helped promote Mainesthai. Some of my favorite songs are Mainesthai traxs, like "Y Mama's Crazy Kitchen Mix" & "Exit" {Lesionary mix}. We also had the idea that some of the songs should be able to be transposed onto traditional instruments.

4) Please tell me about "Love Is the Law". Where did the idea for the album originate? What source materials if any did you consult?  William Blake?  How did the ideas for the artwork concepts come about? What idea or personal issue were you reconciling with in this album?

Gary: Love is the Law has several different meanings for me and it's a very personal thing for me to talk about. The songs are based on different subject matters. The material on this album was approached in a new way than previously done. For starters, the title for me isn't a reference to Allister Crowley, or anything of that nature as people appear to believe. In fact, it means the exact opposite because it is in reference to the bible. There is a passage in scripture that explains what the true meaning of love is. So I put the meaning in the CD booklet because I feel most people have a distorted view of what "love" really is. Every release is a testament of myself about how I feel, and believe. So this release was very much a learning process.  In addition, I was learning new software & gear at the time.

A close friend of mine created the artwork, "DARYL LITTS". He is great at following, and understanding an artist' concept and running with it. He is very meticulous and we both think along the same lines. The layout is all biblical. There are some key points in history in which {Adam & Eve's expulsion from Eden/The building of the tower of Babel/David beheading Goliath}, but the layout itself is prophetic. The passage about Michael & The Dragon, {represent Christ & Satan/angelic entities] This event was suppose to have taken place already in the year 1914, the year World War I broke out. It is a sign of the last days before Armageddon comes. Armageddon is not the end of the world, as most people believe it is, but a war between God & wicked mankind. Armageddon is not the end of the earth; the earth will always stand. The ALGORYTHUM release was a warning to myself of what is coming. ALGORYTHUM was an epic release to me, which should be listened to as a whole, not necessarily as separate songs.

Every song on "LOVE IS THE LAW" is a separate piece and should be listened individually. The song "Love Is the Law" has nothing to do with the art/concept or the scripture but has a more personal meaning for me. I don't think people would understand anyway. Most people like music to be the soundtrack to their lives & usually form their own interpretation to reflect their lives. This is why I usually opt not to release lyrics sometimes because it makes the song personal to each listener. the vocals are

5) As I recall Dwayne was the band's troubleshooter, fix-it man. Have you had to assume those duties, or do you have someone else who thrives on fixing technical glitches? What is Dwayne doing these days?  Now, is he wholly absent from the process, or does he still contribute in an unofficial capacity? I did notice his involvement in re-mastering the album.

Gary: Dwayne will always be that "unofficial member". He's actually up to a great deal these days, but has other priorities & hobbies other than music. So it isn't really his #1 focus anymore, although he helps out whenever I need him. He did a lot of digital editing & manipulation on LOVE IS THE LAW, and at that time he was learning a new software as well. I told him let's just have fun. Go crazy. Currently he is in the process of re-mixing & mastering a "Best of Mentallo" live recording from our Texas shows on the "False Prophets Tour". It sounds excellent because the shows were recorded direct to digital 8 track & he's cleaning everything up. It actually sounds like a studio recording. It's amazing. Dwayne has always been a very meticulous person and I've been the spontaneous one.

6) I also noticed Robert Bustamante of Fektion Fekler was involved with "Love Is the Law." I really like the band. How do you two come to know each other?  To what extent are you involved in each other's projects? What is your own feeling about the band?

Gary: I have known Johnny Bustamante, FEKTION FEKLER VOCALIST since I was 13 or 14. So it's been a good 17 or 18 years. We're like brothers. Johnny actually turned me on to a lot of really cool music when I was young. In time I got to know Robert. What's really neat is that Robert once told me the first Benestrophe show we did was what inspired him to make music in the first place. I still remember that show. I'm frequently in touch with them. In the past I've had Johnny Bustamante vocal on MENTALLO traxs for me such as CARBON BASED & MICHAEL. I'm very fond of Fektion Fekler. If there is anyone whom I feel is worthy, or having elements of the Mentallo sound, it's those guys. They have been there since the beginning. I am very proud of them, & what is really cool is that they did it without my help.

7) So, tell me how is that keyboard collection coming along?  The last I heard you had in excess of 25?  Have you been able to update your computer? Are you still using the Proper 2000, and E-max samplers or have you upgraded these? Have you acquired any new programs? Are you still using Texture and
Librarian? Have you acquired the mixer of your dreams?  How is technology driving your sounds or the lack thereof?

Gary: I've kept my addiction down at bay for the past several years. Our top number of synths at one given time was 33; it was quite an arsenal. It was almost too much. But the great thing was that when Dwayne & I divided the equipment, we weren't at any loss because we still had a great deal. Currently I'm using several different types of software, but yes, I'm still using texture. I think that program is at least 10 years old. Before that, we were running a commodore 64, which was the standard of the time. All of Benestrophe & NO REST FOR THE WICKED were recorded using an old 64. As for MIXERS, Dwayne & I have gone through several, or more like we have several. I really dig the MACKIE 32 8 bus we have. That is sweet.How is technology driving my sound? Hmmmm, well, ALGORYTHUM was an escape from that technology & that was the whole point with that release, exploring new territories. I really didn't want to rely on any hardcore programming. There is very little sequencing on that release, and much of it is played live. All vocal trax on that release were done in one take. I wanted it to be like an epic jam session.

8)  Have you been presented with the opportunity to score movies, or video games yet? I know it's proven to be a viable source of income for other artists. Are you using The Slum strictly for your projects, or are you renting it out at all?

Gary: No I haven't been presented any opportunity of the sorts. I think it would be a great way to try something new & make extra income. Ever heard of the term starving artist? It doesn't come from no-where.Can you hook me up with some career opportunities? {hehe} Dwayne & I never rented out the slum because we were always too busy working with music of our own to ever get anybody else in there. Also, Dwayne & I were too paranoid to let just anyone come into our home & view what we had. At the time, the Slum was our treasure chest. There are times when Dwayne does the occasional mastering  or remix job on the side.

9)  If you could cite a few up and coming bands that excited any enthusiasm in you, who would they be? Please cite albums and songs if you can.

Gary: Hmmmm....Well there is this group out of Los Angeles called the AUTUMNS. They are very talented, gifted musicians. They are friends of mine. Their CD, "THE ANGEL POOL" is awesome. They can actually make their guitars sound like synthesizers. In fact Simone Raymond of the Cocteau Twins produced their most recent effort "In the Russet Gold of this Vain Hour". I was able to hang out with Simon & the Bella Union crew during South by Southwest's Music Industry Showcase held here in Austin yearly. I had a great

10) After well over a decade in the industry, what are your thoughts about the issues that effect you as an artist? Please cite any of particular interest or concern. Do you have any words of advice, especially after your Simbiose and Zoth Ommog experiences?

Gary: Some of the issues having an impact on me are private and very personal to me. But I convey such emotions into my music. Unfortunately, some people who listened to it did not get the sense of it, nor do they understand. An example of this is the ALGORYTHUM release. I was disappointed that people were not turned on to this because I exposed a private and personal part of myself in the music. At the same time, I'm still receiving email from fans that loved it and understand the true sense of it. Fabulous. This incident was a learning experience. I appreciate more doing music for myself first. Then the rest will follow. I hope.
Word of advice: Educate yourself about the music industry if you have desires of getting into it. Talk to people who are currently involved. DON'T BE AFRAID TO MAKE DEMANDS. Once you get signed to a label you have to treat your band as a business otherwise you will be taken advantage of.

11)  What's ahead for you through the end of the year and in to 2001? I'd like to thank Mentallo & The Fixer for their time today.  I want to wish you the best of everything in the future. On behalf of, I'd like to thank Metropolis Records for the opportunity to interview the band.

There is a lot coming your way from me musically. I currently have 3 projects going at the time; my main at the current time is SHIMRI. The first release will be due out September 2000 and will be on ARTOFFACT records {} This is exclusively electronic dance material, all instrumental, somewhat compared to Mentallo meets ORBITAL/APHEXTWIN/SQUAREPUSHER, material that falls into the category of what the ASTRALWERKS or WARP label would be putting out. I'm very psyched up about this release because I feel it is the most intense programming I've ever done from any past release. There will also be a Limited Edition Shimri vinyl release very soon.

My second project is with Dwayne completing the mastering for the Mentallo- BEST OF LIVE/GRIMPEN WARD. I'm not sure when that will see the light of day, but we should be completed by late September with this.

My 3rd project, which doesn't have a name just yet, is way out left field from anything that I've done before. It primarily consists of acoustical sounds, live heavily effected guitars. It's much in the vicinity of Dead Can Dance/Cocteau Twins/Slowdive/the Autumns, very warm, beautiful & shimmering. It's music to relax to. Furthermore, it will also contain a female vocals, and possibly myself vocaling, but nothing heavy though. I'm very proud of
this project.

To keep up with all information on upcoming projects write to me at
Or get on the MENTALLO/SHIMRI mailing list at
or  go check out

I would personally like to thank everyone at for giving me the opportunity to do this interview.
Thank you
Gary - Where even the silence does not go unheard.

Written in Ashes
~interview by Jett Black

Home to the Portland city of rain, and now also to RainCloud Records,  Written in Ashes steps into the drought of Summer 2000 and upto the  microphone to issue one more Epiphany for your consideration.

North Western USA music scene fervor continues with somber musical bards Written in Ashes.  Ready for adventure, Written in Ashes prepares to release another darkly romantic full-length collection of songs entitled Epiphany, and then extend erotically motivated passion out like a flood into neighbouring communities and further down into South  Western music venues.

Today, we pause to recap with vocalist Kevyn Hay and to move forward  with Written in Ashes.

SV: When and where did Written in Ashes rise from conception to first  performance?

Kevyn:  In late 1996, I answered an ad in a local music rag (the rocket) from a bass player (original bass player Eric Holde) who was looking to form a dark music project.  He and I got together, and started writing music, soon we placed a similar ad in the same publication soliciting for a drummer, and we actually end up with guitarist/violinist David Anderson.  (The drum machine continued to function and did not complain the long hours and low pay) After several more months of rehearsing and writing, Written In Ashes played its first show in May of 1997 at the Mt Tabor Theatre in Portland.

SV:  Who are now core members of Written in Ashes?  What contributions  does each member provide?

Kevyn:  Currently the core members consist of Daivd Battrick on drums, Michael Draper on bass guitar, Fritter keyboards and percussion, Peter Guzzardi lead guitar, Christopher Robin synth and electronic percussion.  Oh yeah, and Kevyn on vox and rhythm guitar.  During the writing process, whether as a group or as individuals, we really don't tell each other how to play our instruments, or what parts to play.  It's more a process of trial, respect and contribution.  Trying not to fill up all the musical space with one frequency, trying to keep it interesting...

SV: Cd insert artwork for Epiphany moves from scenic antiquity wrapped in arboric foliage into scenic decay wrapped in chaotic strands and bows of  steel and wires amid a disheveled mess of broken concrete.  Where were  these images captured?

Kevyn:  All the artwork (with the exception of the on disc printing) are pictures taken by bass player Michael Draper. The cover is a castle in Spain, the inside cover is a picture of Roman arches (in Spain) and the back cover is from here in Portland.  The angel girl picture was courtesy of our friend Marshall Serna of Sumerland.  Michael did all the layout and design for the CD.  It truly captures the spirit of Epiphany, the realization that your world is in a constant state of flux between beauty and decay...

SV: What are RainForest and RainCloud?  How did Written in Ashes become  associated with each?

Kevyn:  RainForest Records is run by a long time friend of WIA, Ray Woods.  We've had this relationship where Ray has been a big fan and supporter of the band, and willing to help in anyway he can.  However, WIA did not exactly fit with the rest RainForest line up.  So we came up with the idea to create a subsidiary of RainForest, and calling it RainCloud seemed to make a great deal of sense.  Ray and myself are splitting the responsibilities, with an emphasis on gothic/darkwave music.  Our first release under RainCloud is the new WIA album Epiphany.  We are in the works now of soliciting northwest  acts for a compilation album to be released later this year...

SV: How did Written in Ashes come to select Lisa Stringfield to provide  backing vocals on 'Shattered and Gone'?

Kevyn:  Lisa has been a fan of the band for a long time, and vice versa.  Carmina Pirhana is the most amazing band I have seen in a long time, and Lisa has the most beautiful and haunting voice I have ever heard.  She and I have talked over many glasses wine about working together, and we finally had the opportunity to do it on Epiphany.  I only hope we get to do it again!

SV: Why is Mark Blewett considered to be so indispensible?

Kevyn:  Mark has been our sound guy from early on.  He has got to be the best sound engineer in Portland, if not on the west coast.  Mark really has WIA dialed in, I mean we've done shows in venues where he has basically created sound systems from nothing and made WIA sound great!  He has got us trained!  WIA play at stage volume and let him do the rest, without him we'd be all over the sonic map!

SV: How does the new full length of Epiphany differ from the limited quantity  version distributed privately during the summer?

Kevyn:  The advanced copies that were circulated this summer were limited to 25 copies, and the final mix is very different.  We needed something to show perspective labels and distributors, so we released those promo copies to a few select, important individuals.  Something to show that we were still working on recorded material.

SV:  What does Written in Ashes have planned to specifically support and  promote the release of Epiphany?

Kevyn:  We have about 5 days worth of release events.  I really try to planperformances that are more than just a bunch of people showing up at a club the watch bands.  Performances that will reach as many people as possible, without excluding anyone.

*Wednesday 9/6 -  We will be playing live on KBOO 90.7fm here in Portland. The cool thing about this is not only will it be broadcast locally on the radio, but it will be live streaming audio over the internet!   We will be able to reach fans all over the world!

*Thursday 9/7 -  The CD listening party at Bar of the Gods, a local wine bar that caters to the laid back alterna crowd.  Talk about ambiance! Small, smokey, darkly lit images of Roman gods and goddesses adorning the walls and ceiling, and a fabulous selection of beer and wine!

*Friday 9/8 -  We are doing a live performance at The Cobalt Lounge.

*Saturday 9/9 -  A private party for friends and family.

*Sunday 9/10 -  An in-store event at Music Millennium, a record store here in Portland. And then the west coast tour in October!

SV: How has the writing and mood evolved since the release of Eternal?

Kevyn:  The mood has evolved and matured since Eternal.  And WIA continues to change and mutate.  It's also been a reflection of the bands lineup, and the contribution of each of those members.  WIA has always had a unique sound and style, and regardless of who has been in or out of the band, we've managed to retain the essence of what WIA is all about.  Dark, emotional, sensual, and moving...

SV: What do you do to keep the monthly bills paid?

Kevyn:  Me personally?  I work for a wine distributor as an operations manager here in Portland.  The running joke is, that I get paid to drink all day!  Well, it's pretty much true!  But someone has to protect the public at large from drinking shitty wine!

SV: What does Written in Ashes intend to accomplish by year's end?

Kevyn:  WIA would like to accomplish a successful west coast tour, have our distributors sell out all of our copies of Epiphany, maybe sign with a label. Most importantly, we like to be able to reach as many people as possible with our music.  Help people to realize and discover whats going on inside themselves, and bring out the true self in all of us.

SV: Doppler Effect's compilation 'Transcendence' has picked up  'Please'.  'Please' appears both on Eclipse ('99) and on forthcoming Epiphany (2000).  Which of the two recordings of 'Please' will appear on Transcendence?

Kevyn:  The track from Eclipse will appear on the Doppler Effect compilation. It features former guitar players David Anderson and Nathan Hyatt.  It is a truly unique track in the aspect that it was a transition between members, and benefits from both of their contributions.

SV: Where can readers find this compilation?

Kevyn:  The compilation will be distributed by Doppler Effect and a grouped known as 'The Collective'.  Which I  believe consists of small indie labels such as ADSR Musicworks, Nilaihah  Records,  Magnetic Resonance to name a few.

SV:  When and where will Epiphany first be broadcast to the public?

Kevyn:  I guess that all depends on who gets their advanced copies first! Radio Free Underground as always been a big supporter of the band.  RFU - It wouldn't surprise me if it was already in rotation!  However, the first live performance/broadcast will be at KBOO on 9/6.

SV: What is KBOO?

Kevyn:  KBOO  is a community owned radio station.  Marc Baker and the Church of the North West New Music has been the cutting of edge of new music in the northwest for a long time.  The coolest thing about the broadcast is that it's live and streaming over the internet.  So, our friends around the world will get to listen in.  I think it starts at 10:30 pm PST on Wednesday 9/6.

SV: Where can readers find KBOO located on the internet?

Kevyn:   KBOO  has a link to their streaming audio.

SV: Where else might readers click on-line to hear Written in Ashes songs?

Kevyn:  Someone loading NightFeast to Napster somewhere.  I mentioned Radio Free Underground,, In Perpetual Motion -, The Black Channel, those are the internet stations that come to mind immediately.  We're planning on throwing something up to in the next few days...

SV: Where is Bar of the Gods located?

Kevyn:  Bar of the Gods is located at 4801 SE Hawthorne Boulevard, Portland Oregon   503.232.2037.  It's very kewl, not only on the inside, but they have a fabulous patio out back that is partial heated and covered.  We have actually played there a few times a couple of years ago.  I'm still not sure how we fit in there!

SV: Who is on the bill at The Cobalt Lounge Septemeber 9, 2000?

Kevyn:  Julian Tulip's Licorice will be opening the show, and we've got some performance art surprises as well.

SV:  How many copies of Eternal remain for sale?

Kevyn:  We originally pressed 1000 copies, but we're down to about a dozen if that.  I hope at some point in time to remix/master and re-release Eternal.  It still remains as another snap shot in the evolution of WIA.

SV:  How many copies of Eclipse were pressed in 1999?

Kevyn:  Eclipse was a DIY release, it was actually suppose to be a full length album, but we were focusing on live shows, had some changes in lineup so it turned into an EP.  I think we ended up printing about 150 copies. We had to release something.  People all over were communicating to us that the wanted new music.  Fortunately we had these compilation projects going, so we put those tracks together and released it as Eclipse.

SV: Who will be distributing Epiphany beginning in September?

Kevyn:  In North America, Metropolis will handle the retail distribution, Projekt Darkwave and Locals On-Line will do most of the internet sales, and NightBreed Recordings in the UK will deal with most of Europe.

SV: When and where will Written in Ashes begin the next tour?

Kevyn:  We're still negotiating with Salt Lake City and San Francisco, but either city on 10/2 or 10/3.  Our website will have all the details as soon as they become available.

SV: Along what route of cities will the Fall tour take band members?

Kevyn:  Salt Lake City, Denver, Albuquerque, Vegas, Anaheim, Phoenix, Tucson, San Diego, Hollywood.  Most of the dates are confirmed, and there are a couple of others pending.  The dates are 10/1 thru 10/15.

SV: How many performances does Written in Ashes already plan for the Fall tour?

Kevyn:  We are hoping to do 10 shows in 14 days.   And its shaping up really well. Most of the booking agents I've spoken with have been very cooperative, and reasonable.

SV: Eclipse, a 3 track ep recorded in 1999, introduces initial recordings of 'Inauspicious' and 'Please' which appear anew on Epiphany.   How do the two recordings differ between Eclipse and Epiphany?

Kevyn:  Eclipse features former guitarists David Anderson and Nathan Haytt. So it's very rich in guitar tracks.  The coolest aspect is that they play two very distinctive styles.  Eclipse was recorded at our rehearsal space with our own gear.  So, it has more of a live feeling.  Also it was mixed differently, using different effects, and different recording techniques.

(note from Jett: Eclipse rates a certain and impressive 5 on a 5 point scale within Octavia's Alcove, OUTBURN magazine, No. 12, p. 76.   Additionally includes Corners which does not appear elsewhere in  Written in Ashes discography.)

SV:  Insight into the upcoming Fall tour... Which songs will be revised and  returning to appear in the Written in Ashes live performance set lists?

Kevyn:  I can't let the cat out of bag!  Lets just say two tracks from Eternal will be returning to the set list. (one of which was featured on the Cleopatra Records compilation The Unquiet Grave).

SV: What other bands will Written in Ashes expect to share a stage during the Fall tour?

Kevyn:  I'm not sure at this point.  I've been talking to Glampire who will be on the road around the same time, so we're hoping to hook up somewhere.  Most of the promoters have been building shows around us!  That comes as a surprise even to me!  The first time a heard that I was like 'Whoa, wait a minute, we're just a band from Portland who has never been to your town.'  I guess this means something.

SV: Which cities on the tour will be virgin territory for Written in Ashes?

Kevyn:  We've had radio or internet play in most of the cities we'll be visiting. Truth is, we've never physically been to any of these cities.  So, it'll be our first time.  I hope it doesn't hurt.

SV: In hearing 'graves' mentioned now and then in Written in Ashes lyrics, I wonder, what lyrical history lies within graveyard sites?

Kevyn:  Graveyards have always been a source of comfort for me personally.  They tend to be quiet, serene, and empty.  As a child they were a place I could go to be alone.  As an adolescent, it was the only place we could hang out worry free.  This might sound strange, but there is also a certain thrill to having sex on a grave.

SV:  Which musicans do you idolise as mentors?

Kevyn:  Personally, David Bowie, David Sylvian, Mark Bolan and Iggy Pop come to mind.  I've met Jello Biafra on a number of occasions and I still can't figure out if he's a mad man or a genius.

SV: In the past year, which live performances have impressed you most?

Kevyn:  The two performances that have impressed me most were opening for Black Tape for a Blue late last year Satyricon, and opening for Faith & the Muse.  William Faith and Monica Richards are such wonderful, genuine people, and great musicians.  Both shows were very successful in the sense
that a great many people in the scene who don't attend shows on a regular basis came out to support these two truly excellent bands.

SV: With the completion of Epiphany, which songs already present themselves as prime candidates for the next recording session?

Kevyn:  What we might do is go back into the mastering studio and do some radio versions of Inside of You, Shattered & Gone, and Knew.  There are also a couple of new songs that we'll be playing on the road in hopes of recording in the late fall.

SV: Written in Ashes uses what electronic instrumental gear during live performances?

Kevyn:  WIA is more or less and organic band.  What I mean is, we don't use DAT machines or drum machines.  Occasionally there might be a sample here or there, but those are few and far between.  Fritter and Christopher Robin both play keyboards, but that's about the extent of electronic interaction... well, with the exception of our amplifiers.

SV: Which venues have been most favourable for Written in Ashes?

Kevyn:  In Portland?  The Roseland, The Cobalt Lounge, and Satyricon.

SV: What gives you the most pride and pleasure?

Kevyn:  My nine month boy, Griffin.

SV: What do you wish to accomplish next?

Kevyn:  Surviving the tour, and getting signed this year.

SV: Where can avid readers and music enthusiasts go to learn more about, and contact Written in Ashes?

Kevyn:  Our website is probably the best source for information about the  band. Reviews, up coming shows, biographies, contact info, and more. The e-mail link on the contact page comes directly to me, same with the voice mail.  503.233.3075  I try to keep everything as up to date as possible,  and I usually respond to all the e-mails.

SV:  ::drum roll::  Please share a few final words with our readers.

Kevyn:  No matter what people say or do, stay on the path.  Keep your hopes and dreams close beside you.  Respect is your ally, fear is the enemy.  Blessed be.

Most memorable about Written in Ashes are the lusty, romantic live performances.  Kevyn Hay makes every fan the most special music enthusiast, often leaving stage and singing directly to the never-dying fans of  Written in Ashes.

Fritter remains one of my personal favourites among musicians in the NW territories.  Fritter, who also contributes amazing percussion skills for Noxious Emotion, brings unmistakeable intensity and dedication  into every performance.  Fritter's passion, which spills out like a dam bursting upon the keyboards, speaks volumes and produces absolutely sensational accompaniment... with the help of Mark Blewett who makes every Written in Ashses performance sound like orchestral harmony building between Heaven and Hell.

No doubt, cd releases by Written in Ashes make for great memories amid candles, sweat and bedposts... and that's a hard act to follow!  Written in Ashes manages to make new memories with each successive performance.

  Catch them live at any available opportunity!

        Written in Ashes Group Photo Gallery

Home to Portland, Oregon, Written in Ashes will travel based on demand and reasonable reward.  Tours beyond the west coast are currently under consideration.  Contact Kevyn now for more information.

Written in Ashes -

PMB# 164
4110 SE Hawthorne Blvd,
Portland, Oregon 97214
Vox mail/Info Line:  503 233-3075

Kevyn Douglas Hay - Vocals, Guitar
Fritter - Keyboards, Drums
Michael Draper - Bass
David Battrick - Drums
Peter Guzzardi - Guitar
Christopher Robin - Keyboards, Percussion
Mark Blewett - Sound Engineer

 Eternal -  12 track Full Length ('97) distributed by PROJEKT on-line Projekt Darkwave -
 Eclipse -   3 track ep ('99) distributed by Metropolis - N. America
    Metropolis Records -
 Epiphany -  11 track full length (2000) distributed  by
    Nightbreed Recordings - UK  -
Official release date of Written in Ashes Epiphany = Wed. Sept. 6th, 2000.

Compilation tracks include:
NightFeast appearing on the Cleo comp Unquiet Grave, vol. 1 ('98)
Corners appearing on the Northwestern comp Ramen Holiday ('99)
Please appearing on the Doppler Effect comp Transcendence (2000)

Rainforest Records
 P O Box 14627
 Portland OR 97293
 (503) 238-9667