Interview with Gitane DeMone
~by BlackOrpheus (A.F.)

"In every work of genius we recognize our own rejected thoughts: they come back to us with a certain alienated majesty," -Emerson

The Christian Death story is the stuff of legend. It is a tale as inspiring and tragic as any Greek tragedy. If there was one personality that always intrigued me, I would say it was that of Gitane DeMone.

I always considered her a "woman for all seasons," the modern equivalent of Anais Nin or George Sand. It would be easier to detail the things she hasn't undertaken...yet. StarVox.Net is privileged to speak with her on the eve of her February 2000 release Stars of Trash.

1) As a woman in "the biz," tell me how you were perceived at the start of your career versus the present. Also please contrast the respect accorded women musicians in Europe, compared to the US.

Gitane: I don't beleive I was regarded with much importance at the start of my career, I didn't regard myself with much importance... Christian Death was a 'borrowed vehicle' after Rozz left, and I was deeply ashamed to be involved in the band, barely aware of what I was doing, or how the audience perceived me. I have my own particular artistic standards that i am continually working to attain, so attention or high regard for my work I generally dismiss with my own self- critical mind. In the last year, i've come around to apreciate my earlier efforts. Hardly any gothic- rockers of the new generations have been aware of my work, it is the fans of my voice along with open minded interest in my musical forays that has withstood time. I am coming into more serious artistic regard these days because I have withstood time, I am still around, still full of surprises, and actually, the music I'm creating these days is more communicative, or accessible. In fact, Stars of Trash is a ROCK album!

I don't know exactly how other women musicians are perceived. I work within the boundaries of " dark music " and all women get interest to some degree with press of this particcular genre. I think it's the same in the U.S. ... Women are always more subject to press attention and judgement depending on looks and sex appeal rather than actual talent.

2) What are your feelings regarding intellectual property rights? Do you feel enough is being done to protect artists, and their work? Do you have any idea what piracy has cost you personally over the course of your career?

Gitane: I beleive that whatever is made available to public world exposure is subject to creating influence. It's impossible to protect: art IS an inspiration for art. I have no idea how this affects me personally as I live quite oblivious to mainstream/outside information regarding piracy of my work. I am aware of bootlegging, and I have been shamelessly ripped- off by all the men I was involved with whom I trusted with my work. They are all pathetic- I'm a struggling artist who can not support myself nor my two children due to the independent nature of my work, and these lying deceivers would really put the last nail in my coffin- they can all die and go straight to hell...

3) Please share your thoughts on the emergence of MP3. Had it existed 15-20 years ago, what kind of difference do you think it might have made to your early career?

Gitane: I don't have a vast knowledge concerning MP3, but I did read an article on it before moving to Berlin 8 months ago. This article was written in conjunction with an exposee of the corruption involved in major music industry companies. It seems to me that MP3 offers an independent outlet for artists - and whatever can be done by artists independently to avoid industry corruption, the better. It's time for a change, the only way should not be via control & decisions of industry pigs or the alternative- starvation, anything an artist can do to retain rights, dignity and financing for themselves, they should do it, unless they have a very worthwhile exchange with their record company. I don't know how MP3 would have affected my early career... again, I left it then in the hands of people I trusted. I do think my material would have been more widely available, more exposed, and had there been interest, more sales which would have been a welcome situation.

4) I understand you spent some time in Amsterdam, as have I. The Netherlands have a history of tolerance. Do you feel that history has prevailed, and will continue to do so, even in the wake of nationalism? Please share your impressions of the city, and its' inhabitants.

Gitane: Yes, I lived eight years in Amsterdam. I think Holland will retain its tolerance due to the sheer individuality of the country. However, some things have changed; for instance just before I left the country there was a crackdown on the independent coffee shops, which led me to beleive that perhaps the sales of hashish and grass would become exclusively controlled by the government or mafia. Amsterdam is a romantic city, with its shimmering canals and dreamy weeping willows.

The Dutch are considered 'the children' of Europe, I was informed by a Dutch source, and there is an atmosphere of innocence and an enjoyment of the value of life, and a fair dealing with life's downfalls, weaknesses, tragedies. There's a mixture of tradition, futuristic obsession, hardcore sex, drugs & addiction exposed openly, freaks and sophisticates, artists, alcoholics, business. The city of Amsterdam can be walked in two or three hours, it's scenic. Most people there have a sense of humour, and an apreciation of the absurd.

5) Amsterdam is a bastion of jazz, not unlike many European cities. I'm given to understand, that you worked briefly in a jazz club. Can you tell me about your interest in jazz, favorite artists, and what you gained through your association with jazz artists?

Gitane: In 87 I discovered Thelonious Jazz Center in Rotterdam, Holland, where improvisational jazz was prevalent. I studied and practiced with recordings of jazz singers such as Billie Holiday, Sarah Vaughan and others due to the intensity of their expression of emotion, depth & range. So I had an interest in jazz. I met the owners of the club, who supported my vocal abilities, and being an experimentalist, went very naturally for improvisation. I wanted to learn more about jazz, and to experience improvisation, so the owners of Thelonious let me work behind the bar, or tend to the backstage hospitality for visiting artits, to pay for my train & ferry ticket from London (where I was living and working with Christian Death). I was allowed to sing in all sorts of situations there: sometimes there would be a few good musicians in the club with their instruments and we'd turn on the PA and improvise- the club was a beautiful old, small theater with great acoustics, and an ever - ready PA- also I'd get invited by bands or artists to join them for a performance.

My biggest thrill was getting to sing with a 20-piece jazz orchestra. I learned a lot from the late great Reverend Frank Wright, a saxophonist who'd gotten a job with John Coltrane by playing his sax over the phone to Coltrane! And I sang with the late, also inimitable Woody Shaw, who is marked in jazz history as one of America's greatest jazz trumpeters. He particularly liked me to sing the blues with him. I met Mal Waldron, Billie Holiday's pianist for years, James Blood Ulmer and many more, and heard much more, either in concert or from the excellent collection of the DJ. All my gained knowledge of jazz is a part of my voice, and the best advice given to me by Frank Wright is still in my pocket: any note fits anywhere, as long as its a true note, and he also told me that I yell too much, which made me take care with my tones...

You ask about jazz in Amsterdam? I met musicians there in a jazz club, sometimes I'd sign up to do a song on the open- mike sessions. But I'd been spoiled by the freedom I'd had in Rotterdam. You could wait all night at this A'dam club to do one song. There was a little scat singing, I was the only one who did any free jazz, and due to my agressive expression with ballads I was criticized by the locals as ' the rock and roll girl'. I developed a sound with piano and electric guitar & alternative percussion- such as hammers, smashing television screens, smashing mirrors, which came under a new label: jazz punk, and this seems to be a continuing genre of sorts in the jazz world.

6) As a mother, do you think your career and musical tastes have influenced your children's choices in music?

Are your children musical? Do they have any aspirations to follow in your footsteps?

Gitane: I know my children have had my own music, that of Christian Death and the music of my listening choice available, and I'm sure it's influenced them, whetherconciously or subconciously as they were growing up. My daughter Zara is into voice and writes songs- she's thirteen. She works at developing technique on her own,same as I did all the years she was growing up.

This is a girl who's favorite band was Ministry- she loved "Filth Pig" at 10 years old.

My son Sevan has his own story. Being fiercely independent he shunned my work until he was thirteen- now at nearly sixteen, he's had a death-rock band for a year. The band is called 'The Laughing Dead'.

7) Do you have a spiritual practice, you observe? If so, of what nature is it? How does it influence your life and work?

Gitane: My religion is Art, and it rules my life, everything I do.

8) You have a wide array of artistic interests, and modes of expression. How did they develop? At the moment, who inspires you most artistically? Why? What was the last book you read? Who are your favorite writers, artists?

Gitane: I developed by discovery and experiment. I discovered how to sing, I experimented with practicing and found I could develop. Writing, painting, sculpture...

I'm not afraid to try anything, even if I make a fool of myself; the point of failure is fear in trying something. I love challenges.

I'll sound incredibly conceited now, but at the moment the source of Art within myself is the inspiration directing me, things I see, conversations, dreams. I have enough for myself at the moment. When I need a kick in the ass with my song writing, i.e. if it's not up to par, I think of David Bowie. I'm reading a book now- "The Libertine" by Aragon, a French surrealist. Laure, Anais Nin, Violette Leduc are my favorite female writers, Bataille, Genet, Artaud-

oh, only to name a few, are at the top of my favorite male writers. Films: David Cronenburg, David Lynch, Dario Argento, Bunuel, Passsolini, Richard Kern, Jorg Buttgereitt...more...painting-Andy Warhol, Dali, Picasso, Magrit, & art: Man Ray is my favorite.

9) Tell me about Stars of Trash. How was it conceived? What was your intent with this particular album? How does it contrast with your past efforts?

Gitane: Stars of Trash is a collection of stories of my life in the underground/subculture. The themes therein range from life, death, introspection. The songs are laden with personal experience of the years '96 - '99. It's a continuation of my past expression, but this particular album is a paen to the art of my songwriting development; I feel here I've done my best to honour the 'craft ' of songwriting. The other difference with this LP is that it has the biggest production than any of my previous work, and it is a rock album.

10) What lies ahead for you? Will you make the US home or return to Europe? Do you have any strong anticipation for the new millennium? Is there anything in particular that you haven't tried your hand at, that you'd like to?

Gitane: Berlin has been my home for the past eight months and would continue to be so for an undetermined length of time, but I received the sad news last week that my mother is dying. My Dad is a very stubborn git who would never accept my help if he didn't need it, and he has, in fact, accepted it now. I know he is worried that in his old age there will be no- one there for him to depend on, although he has younger friends, I know it would be much better for him if I was around . So-I'm returning to the U.S., to San Jose, California, where he lives. I will be on tour in the U.S. in Feb.-March, and I''ll be touring intermittently in Europe. I'm writing my next album... I 'm independent, and so I will continue my work life wherever I am. My mother has a piano... that's necessary. I hope to put a collection of written dark prose for a book, someday. I'm working on this collection nearly every day. My hope is for the development of nuclear disarmament and more peace treaties betweencountries, for action against pollution, and more support and awareness for organizations for crimes against humanity.

Gitane, on behalf of StarVox.Net, I'd like to thank you for your time and thoughtful responses. I want to extend  my best wishes for the great success of Stars of Trash.

Gitane DeMone Website:* (official Rozz Willimams site and family links)
*Editor's note: Many thanks to Kevin at RozzNet for making this interview possible.

~interview by Jett Black*
Glitch is a dark electro experimental band that can be found in Birmingham, Alabama exploring both rudimentary techniques of experiemental electro-industrial composition and desgin as well as new progressive and obscure avenues of musical production. Glitch seeks to tour  the southern United states in the near future - enjoy the interview.

StarVox: Describe some of the creative techniques used to achieve specific aspects of Glitch recordings.

Bryan: Christian sings through a processor. There's a lot of post-production and wave manipulating to the music & vocals. Sometimes there's looping involved for the guitar, depending on what works best.

SV: Describe some of the processes involved in composing and evolving soundscapes.

Bryan: It starts out with programming, usually a drum beat, then bass, melodies, etc. After the programming is complete, vocals & guitar are usually added. It's then recorded, manipulated, and samples sometimes added.

SV: What images illustrate your visions of a "New Dark Age"?

Bryan: A hawk dropping a headless squirrel out of the sky and onto a tree limb.

Christian: Today around sundown a very large hawk flying around 10 feet off the ground, dropped a decapitated squirrel it had murdered in a small oak tree 15 feet in front of me, as I was pulling in my driveway after being gone for the day. It stayed hung in the tree, by its insides about 7 ft. off the ground, then it started snowing, for the 1st time in the last year. I left it.

SV: How do environmental and social stimuli of the times of Birmingham, Alabama infulence the developments of Glitch compositions?

Christian: They really, don't. We live in our own small world.

SV: What changes in the music industry have caught your attention most during the '90s?

Christian: The negative things are major record labels buying independent labels and promoting, along with mainstream radio & MTV, what they think will sell & put money in their pocket. When there are people out there that just want to hear something different; change is good.

Bryan: The positive thing is the internet giving independent artists the opportunity to distribute & promote to a wider array of listeners & music fans.

SV: When not completely focused upon Glitch, what do you do to support yourself?

Bryan: Anything I know how to do & can get paid for it.

Christian: Self-employed and will do just about anything that pays. Kind of job surfers, so we can keep our schedule short term, for Glitch purposes.

SV: In what ways will Glitch live performances differ from its recordings?

Bryan: The recordings are a lot more detailed with more sound effects and little nuances. The live performance is more improvisational. We play along with music that is sequenced, yet the performance changes from night to night, depending on the mood. If the crowd is really into us, naturally we'll give a more energetic performance.

SV: Who are current members of Glitch, and what roles does each perform?

Christian Wright: Vocals, grinder, fire and Guitars.

Bryan Sandlin: Guitars, sequences, trigger lights and fog, programming, recording, video production and programming.

SV: Please describe the themes employed on recordings by Glitch.

Christian: "Gabriel pt.2" is the story of a friend with a substance addiction. "Lacerate" is about a night in New Oreleans, La. "Mermaid" is self-explanatory. "Mealworm" is about soul serching. Something we all need sometimes is to think things through. "Pre-graduate Consumer" is about just getting out on your own and failing. Some lessons, like humans need food and water. Kind of a squatter, gutter punk story. "Waste within the 9th circle" is the story of a Master and slave girl affair. "Clinch" is adrenaline, pissed off mayhem, a killing machine. "Halo" is about a girl who was abused and murdered by her father, reincarnated as an angel she falls to earth to settle her score. "Optic sky" is about erosion of mother earth. "Solar Winds" is about Mother loosing child.

Bryan: "Astral Projection 659" is an interpretation of the journey one might have during an out of body experience, and we will keep the rest for us.

SV: How do you relate with the music created for Glitch?

Bryan: It appeals to us in a way that other music rarely achieves. We know what it is we want to hear in a song. Therefore, we create the aspects in music that appeals to us.

SV: What would you like to accomplish through Glitch into the dawning of the new millennium?

Bryan: Make a living through touring and creating music. Build a following & make a name for Glitch. Experiment with new forms of creating music.

Christian: Expand our following. Play every state in the continental U.S. 6 times. Find a good label, loyal to their artists. Make a living doing what we love. Expanding on our musical creativity and taking it on to the next dimension.

SV: What other recordings, outside of Glitch, have been released by its band members?

Bryan: Private Hell 66. It was Glitch with two extra members. We had a drummer another singer. It was more hardcore than electronic, yet there were a few songs where we played along with sequences. It was fun while it lasted.

SV: What other side projects are currently being developed?

Christian: None. It is getting to that point in our musical career where there is really not enough time to focus and give proper attention to more than this project.

SV: What will you entitle the next release by Glitch, and when will it be available?

Christian: We just finished Imitating Moves from Canvas screen and between playing the southeast regularly, east coast tour this summer, and our upcoming National Tour [from 4/20-5/28] we will probably not start the song writing process 'til June. If I had to speculate, I would say fall-winter of 2000 before our next release. We will listen to the finished product, and title it accordingly.

SV: Who will be distributing your next releases?

Christian: We have know idea at this time, probably us.

SV: Where else might readers find releases by Glitch available for purchase?

Christian: Select Record stores in Birmingham, Indienet in Nashville, At our shows, at our website We are soon to be featured on a Blacklight Disrict Compilation that will be in Tower Records Nationwide.

Bryan: We have a couple of songs on It's under a different name: Glitch IV, because the name was already taken by a different Glitch.

SV: What are you looking for now in terms of new musical influences?

Christian: We are open-minded and listen to many styles of music. We are always looking for new original stuff, artists taking it to the next level, or best of all: some shit that sounds nothing like anything we have heard before.

Bryan: Something besides your typical rock & roll band. Anything unique, or obscure. We are really into eerie sounds, electricity buzz, clanks, squeaky truck brakes echoing in a distance.

SV: Which shows have you seen during the past year that impressed you the most?

Christian: Crisis, Melt Banana, SMP, Earth Crisis, Melvins, U.S. Maple, I-45, Filter, Vaz, Choke, Soilent Green, Catharsis, Little Dan Sartain and the New Bourbon Kids, Reverend Horton Heat, 2120, Lunasect.

Bryan: SMP, Trash 9000, The Mystery Men.

SV: Backing up to now, what motivates you to continue performing and recording music as Glitch now?

Bryan: Personal satisfaction.The need to create & express myself. I would be unhappy if I weren't creating music.

Christian: I don't know what I would do if I wasn't. Glitch is our creative outlet, and expression of how we feel. I think we will always play and record as long as we are still making music we like. If only 1 person lets you know they enjoy what your doing at a show, it makes it worth playing. When the whole room is into it, the energy high is overwhelming. We love performing and travelling, so I suspect we will perform live until people quit responding and everyone hates us or Dan Nolen buys up all the venues in the U.S. [local joke].

SV: Looking back, what mile-stones have been most notable for Glitch?

Christian: We started this project with 2 guitars in the summer of 1997. I started singing, Bryan started programming. Now we are touring the country, getting radio air play and performance, supporting national acts, doing interviews, getting people, labels, zines, bands, club owners, booking agents and promoters interested in us. We just finished our 3rd release. We have played with some great bands and met some truly wonderful people along the way. Everyone one of them has been a milestone in themselves.

Bryan: Playing many shows, opening for national acts, radio airplay & performances, and we get an interview every now & then.

SV: Let's say it happens, you 'make it big' and retain complete control of your own music even, what then? How would you describe your music, and your motivation to continue as Glitch?

Bryan: The music would be from within. Even if the music were to be different from Glitch today, it would still be pure & from the heart. When music is written for the dollar sign then it's time to quit.

Christian: We will always write music that feels right to us. If the label does not like it, I guess we will get dropped. When music is written for the $ it is time to quit. We are always attempting to take our music further. Our motivation is all we have at the moment. We are totally self-sustained, enjoying what we create without financial backing. A major label deal would only push us harder.

SV: Could you illuminate any significant details that may have influenced the development of sadness in your music?

Christian: A lot of personal triumphs, tragedies, dayreams, depression, and consumption.

SV: When touring and dealing with a million-and-one decisions, how do you manage to work so well together without the instruments in hand?

Christian: We have known each other for 11 years, work, and play together. See each other more than anyone else in our lives probably. We know each others buttons, breaking points, pet peeves, and dislikes. We tend not to cross them. Just bite your lip and move forward without breaking ignorant.

SV: What particular interests might you explore along the route of this next tour, if opportunity permits?

Christian: Soul Searching. Meet new people. See new sites, and have fun. Meet with some labels, stop by radio stations and local magazines for interviews and simulcast performances. Try some of the local home & micro brews.

SV: What new opportunities would you seek and develop to advance the music of Glitch?

Bryan: More compilations, creating music for video games, live radio shows, interviews, zine reviews tours.

Christian: More Media attention, Radio shows, expand the stages how, music for video games, anything people throw at us.

SV: Any re-mixes from previous releases?

Bryan: Maybe. We are open to it. We haven't had much time lately for remixing. If anyone out there is interested in remixing our stuff we are all for it.

Christian: But you can't distribute it without our approval.

SV: What changes have been made in Glitch during the last year?

Bryan: New scars. Larger stage show. More elaborate programming.

Christian: Hooked up with West coast and Nashville booking agents to work with, doing bigger tours. Gained another valuable year of experience. Even learned some lessons.

SV: Considering other musicians with which you have performed in the past, what experiences seem most memorable for you and what have you been able to draw out of those experiences and into Glitch?

Bryan: We've learned it's very important to get along with the people you're playing with, especially when you're on the road. It can be alot different when there are 4 members & you're used to only having 2 members. Everyone can want a different musical direction, which can cause conflict. Compromising is the key to making it work, & not let your ego get in the way.

SV: Where will you be travelling during the course of your next tour?

Christian: Through Fl, La, Tx, Ok, NM, AZ, CA, NV, OR, WA, B.C., ID, WY, UT, CO, MO, IO, MN, WI, IL, OH, IN, KY, and TN

SV: When and at what location is your next tour set to begin?

Christian: Pensacola, Fl. 4/20, probably at Sluggos.

SV: What gear are you using to develop music for Glitch?

Bryan: 1975 Gibson SG, Roland JV-50 synthesizer, Alesis DM5, Alesis Nanobass, Yamaha FB-01, Peavey effects processor, Cakewalk Metro, Musicshop from Opcode.

Christian: Audix OM5, 1963 Fender Strat, 1997 Paul Reed Smith, 100W Mesa Boogie Dual Rectifier [w/EL34's], Fender 4x12 Cabinet, Black and Decker grinder, Boss Delay, 100W crate Excalibur, and Crate 4x12 cabinet.

SV: Which musicians have won your admiration in the music industry and why?

Bryan: Mark Spybey for his non-conventional ways of creating music, Sonic Youth for their improv-noise guitar work.

Christian: Perry Ferrell, Prince, Ogre, Rozz Williams, Foetus, Moby, Henry Rollins, Warren Haynes, Kim Gordon and sonic youth, Jon Spencer, Martin Atkins, Gibby Haynes, Pavement, and Mark Spybey because they have always had the balls to do what they wanted. All great songwriters who have tried multitudes of various styles each. They might all not be my musical cup of tea, but have gained my respect for originality and versatility.

SV: What more would you like to share with our readers?

Christian: Thanks for taking the time to see what we are about. If you have any questions, drop us an email or letter. Be open minded. Don't be part of a clique. Don't label or be judgemental about yourself or others. Everyone is different. Also, no matter what kind of music you like, get out and support your local scene, or it will disappear. If you like the artist you heard, then tell them. There is no greater reward for their painstaking efforts.
813 Gene Reed Rd.
Birmingham, Al 35235 USA
Bryan -
Christian -
2/05/00 *text formatting by M.Otley and Blu

Interview with Sarah Jezebel Deva
~by Matthew Heilman

ďLet me come to thee with eyes like Asphodel / Moon-glancing loose desires free to writhe under my spell.Ē

This poetic rhyme was breathed to life by Sarah Jezebel Deva for Cradle of Filth, on the title track of the 1996 Dusk & Her Embrace CD. This, as well as many other operatic verses, mischievous one liners, and lustful spoken dialogues immediately earned my full attention and an everlasting interest in the music of Cradle of Filth.

What makes Cradle Of Filth so impressionable is first and foremost Dani Filthís lyrical approach (which to me reads like a coupling of thoughts from the Marquis De Sade and Lord Byron) and the ability to be able to juggle and blend both uncompromising brutality and melodic Gothicism.

Though she is only a session vocalist, Sarah Jezebel Deva is very much responsible for that sensual and darkly romantic atmosphere. Her voice has not only aided Dani Filthís necro-erotic vision, but over the years, she has graced the music of Mortiis, Therion, and other successful dark metal bands. I caught up with her after the Mortiis/Christian Death show in Cleveland last fall, and recently had a chat with the witty English chanteuse and here is what she had to say in regards to singing with Cradle of Filth, the dark music scene, and a humourous run in with an ignorant Salt Lake City Kmart employee.

Starvox: First I would like to ask that you familiarize our readers with what bands you have worked with in the past.

Sarah Jezebel: Apart from doing session with Cradle Of Filth for about six years, I've also been with Therion (for two years), Covenant, and Mortiis. Also, I have done album work for Tulus (Norway), Graveworm (Italy), and Mystic Circle (Germany).

Starvox: How long have you been singing? Did you have vocal training or are you self-taught?

Sarah Jezebel: I have been singing since I can remember. I was eleven when I first sang to an audience. That was in a jazz band! I've had no singing lessons, no training. I'm self-taught, with the help of singing along to Madonna and Mariah Carey! I shouldn't admit that, should I?! Not very evil!!

Starvox: LOL! Well, we all have our skeletons. Madonna is one of my favourite artists actually, so donít feel bad. How exactly did you come to work with Cradle of Filth?

Sarah Jezebel: I was sixteen, co-vocalist in a punk band and fed up with it. I was also in college and working in a video shop! Feeling a bit pissed off with life, I asked my friend if she knew of any bands that wanted a female singer. Of course, it was Cradle! They were very small at this stage. They had just released The Principle Of Evil Made Flesh. I gave my friend a demo and well, they liked me!

Starvox: What is the average recording session with Cradle Of Filth like? Do you and Dani work together to come up with the parts or does he already have them arranged for you?

Sarah Jezebel: My recording sessions with C.O.F. are stressful! Having to sing the same part over and over again 'til its perfect really gets to me sometimes and I have to have a cigarette! Which doesn't help! Sometimes the recording sessions have really gotten to me, even reduced me to tears! But that is rare. Dani will go through the songs with me. He will tell me where he wants me to sing and I'm free to express my views and ideas. Sometimes I will ask him to write me more lyrics to sing, 'cause just in case you haven't noticed, I mainly perform vocal harmonies for the atmosphere, rather than sing words. I never write my lyric parts for Cradle, that's Dani's job! I'm just the session singer!

Starvox: Your vocals on the new EP, From The Cradle To Enslaved are much more operatic than in the past, and it seems you have a lot more room to breathe on this recording. Is the general direction you are heading with Cradle?

Sarah Jezebel: I wouldn't say it's a new direction. I feel that if I kept doing the 'ahh' thing, it would in the end, get boring. I have to move on, do different styles as a singer. I must progress otherwise people will get fed up hearing me and I don't want that! I hope you understand what I'm trying to say!

Starvox: One of my favourite tracks on the new EP is the darkwave remix, ďPerverts Church.Ē It is a nice and rather surprising departure from Cradleís signature style. Whose idea was that and what is your opinion of the song?

Sarah Jezebel: I think my boyfriend & I are the only people who really liked it! Its a great tune to play at an industrial/darkwave club. C.O.F don't like it! It was Stuart & Lecter's idea.

Starvox: Over the years, many dark metal bands have taken to adding classical instruments and female vocals into their repertoire. Do you feel at all that these new bands are in any way stealing ideas from Cradle and the other forerunners of this genre?

Sarah Jezebel: I donít think bands set out to sound like other bands. I just think itís so hard to be original these days. Think of how many bands are out there today! How many songs have been written in the last 10years: millions! Every one is influenced by some band or another and unfortunately for some bands, their influences really shine through which causes people to attack the band and label them a rip off.

Starvox: I have noticed that you keep a pretty low profile. You are always sort of hidden in the shadowy corner of the stage and you also didnít appear in the recent home video. Is there a reason you keep such a low profile?

Sarah Jezebel: It's not a case of me choosing to keep a low profile. What people have to remember is I'm a session singer. I'm not a member of any band and never have been in a way. That is good because I can stop working for a band at any time, my choice or their's. No contract, so there's no mess. That's the thing with Therion. Everyone is a session. People come and go out of that band, which for the fans in my opinion is not a good thing but in other ways it works. When it comes to Cradle, it's my life. There have been some very hard times in that band but isn't there in every band? For the time I have worked with Cradle, deep inside, I would love it if Dani asked me to be a permanent member but when you think about it, the only thing that would change is me signing a contract and a regular income.

I'm not in it for the money! I worked for Cradle for very little before and it doesn't bother me. I'm just happy to be a small part of Cradle and I'm proud that it's me that they want! As for the video, you do see me, but in small amounts! I'm not to bothered, besides, for the first two or three songs, I think I sound like a man! That's the trouble with live videos, you lose a lot of the vocal effects like the reverb. I feel naked without the reverb when I sing live. Oh! I've gone on a bit, haven't I? Just remember, even though I'm big part of their sound, at the end of the day, the decision is Cradle's. I may not be on the next tour, who knows?!

Starvox: Lately, a lot of black metal fans have charged Cradle as being sell-outs, since a lot of the bandís merchandise is readily available and they are featured in so many varying magazines. What do you have to say to these people? (other than they need to find something a little more constructive to do with their time)

Sarah Jezebel: I hope I donít offend but there really is no pleasing some people. People complain when a band doesnít get enough coverage, but the moment a band starts to get coverage, they complain again. I think also you must remember, itís the magazines that do the articles on bands and I think in some cases, they are responsible for the exploitation of these bands.

People are influenced by people. Unfortunately, people like to gossip and spread rumours. ĎHey I could tell you something about Cradle!í But how do you know itís the truth? Also, I think it's jealousy. Cradle have made it haven't they? But in my eyes its only 'cause of Dani and Rob. They have really dealt with some shit over the years. Cradle are not sellouts! They are musicians who have worked f**kin' hard over the years, they deserve credit for not givin' up!

Starvox: There have been a lot of line-up changes within the band over the past few years. What exactly caused the most recent line-up to fold?

Sarah Jezebel: I'm not gonna say much about that because itís not my job. It's funny but I was on the phone to Dani the other day and I said "Why don't you just tell people what really went on cause I would love to!Ē But Dani can't be bothered with what some people say. He would rather get on with his band and family. All I want to say is Cradle have the best line up they have ever had. It's a shame Damien isn't back but the new keyboard player is great. It's strange being around Cradle now. No arguments, no jealousy. If Cradle hadn't had this line-up change, they would have split up.

Starvox: I donít want to spend too much time focussing on Cradle, because you do have other projects and accomplishments. Will you be working with Therion at all in the near future?

Sarah Jezebel: I'm not with Therion anymore. I've done it for two years. I did Vovin and a few bits on The Crowning of Atlantis. It was fantastic on stage with them. A real buzz. I got with Therion because Kimberly Goss put in a good word for me and so did my Swedish friends, who were involved in the sect that Christopher's in. As I said before, everyone is session. Christopher is Therion and he knows where I am if he needs me.

Starvox: So how exactly did you come to work with Mortiis? Did you approach him or did he seek you out?

Sarah Jezebel: This is a long-ish story which I will try to shorten. A friend and I had written some music and we wanted to sign to Dark Dungeon, which is the label Mortiis has. So, one day I was in Sweden about to do some festivals with Therion and I was staying with my Swedish friend. (She knew everyone 'cause she and her boyfriend had a mag and record label.) She phoned Mortiis to tell him about me. Anyway, we ended up talking and we decided to meet in Elm Street, Oslo. In the end, I worked for him! Which I must say was an honour. He's so cool. We have a laugh but we also clash! We speak our minds!

Starvox: So you and Mortiis just recently finished up the tour with Christian Death. There was some controversies surrounding a few shows in New York and Florida. What exactly went on to cause such a stir?

Sarah Jezebel: What people read about those two shows was crap! When Mortiis saw that press statement about NY he went mad because three-fourths of what he was written was bollocks! And as for Florida, all I know was that they wouldn't let us play because they thought let us play because they thought we would be a bad influence on their children! And they didn't want the violence, that kind of crap, you know what I mean? The public are so judgmental. If you look different or where black, you are labeled a freak or a Satanist. Who want to look the same?! Go out and be wild! You only live once! Actually, be careful if you go to Kmart in Salt Lake City. We were stopped by the police on the highway and accused of being intoxicated with drugs! Some piece of shit who was helping us in Kmart called the police and said I stunk of weed! I had a showed that morning and my clothes were clean and I don't even smoke weed! And we had just spent over £250 in their store! How nice. In my eyes, you should live your life the way you see fit, but treat people the way you wish to be treated.

Starvox: Well other than the psychotic Kmart employees, how was the tour overall?

Sarah Jezebel: The tour was stressful but a laugh. godhead and crew were fantastic. We bonded very well and stuck by each other. As for Christian Death and Diet Of Worms, we didn't really hang out until the end and that was a shame because they are really great people. It was very sad to say goodbye to all of them.

Starvox: So how do you like the United States? How do the scenes here compare to the ones in Europe?

Sarah Jezebel: Being in the US is like being in another world, and I'm sure most Europeans would say that! I love America but it's scary 'cause you do have a high crime rate and when I'm on tour and someone says 'don't walk around here on your own,' you kind of shit yourself! As for the audience, I think they are great but compared to Europe, the clubs seem empty! The Metalfest was amazing. It felt so good. The people were great, but compared to Europe, if the Metalfest was in Germany, there would have been 40,000 not 4,000! Actually, I can't wait to come back 'cause I love meeting people and talking.

Starvox: So what other projects do you have lined up now for the future?

Sarah Jezebel: Well, as for my future, I intend to stay with Cradle and Mortiis until it comes to an end. Ah! That sounds sad! And well, I have my own band. It's moving slowly at the moment because two of the guys play in My Dying Bride and they are due to go on tour soon. Anyway, until we have written all the songs and got a deal, I don't want to take anything to for granted. But I will let you know!

* Only days after this interview, Sarah informed me that she is again working with Therion and tentatively, she will be embarking on a tour with them in the late winter/early spring.

Interview with In The Nursery   ~by Vassago
Almost 16 years after the first In The Nursery release, "When Cherished Dreams come true," the twin brothers Klive and Nigel Humberstone are releasing their newest album GROUNDLOOP which may be one of the most sophisticated and unique ITN albums ever. With this work, ITN proves to us that they are real professionals and that maybe, it is time for all to understand what the meaning of the word MUSIC is all about.

1) Tell me a few things about " GROUNDLOOP" that will be released in January 2000- and what can the ITN fans expect from it?

KH: Conceptually, the album started out as a 'Celebration of the Drum', incorporating the heavy percussive sounds that ITN have been associated with in the past. But over several months writing and refining the songs in the studio, we knew that the album was evolving into something much grander. During snatched studio sessions, Dolores contributed lyrics which perfectly underlined the musical themes. These vocals are arguably her best to date, they are at once subtle and yet powerful, and compliment the songs perfectly.

Anyone who has listened to the music of ITN before will hear a mixture of styles ranging between the brash power of an album like 'Koda' to the more 'romantic/mystical' to the more 'romantic/mystical' elements of Duality.

2) Speaking for Dolores she is doing a wonderful job in the new album. Are you satisfied with her performance and is she now a stable member of your band In The nursery?

NH. Well of course we're happy with her performance. Perhaps it should be noted that Dolores has always contributed towards the music of ITN as a close friend. Her contributions add a certain character that is part of ITN, both in recorded works and at live concerts. It's also important to know that she has a full-time career outside of work for the band, for which she travels extensively to Asia. As a result it is very difficult to schedule tour dates and studio sessions - but we manage and it works.

3) You said that the new album takes your music to the next level. How do you define "the next level" in your music?

KH: We find that difficult to define in words. That's why we choose to make music - to express those feelings. If I could describe myself as successfully and artistically in words, then I would have chosen to be an author of books instead.

4) Jill Crowther is doing a wonderful job in GROUNDLOOP. Are you thinking any further cooperation with other members from the philharmonic orchestra of London?

NH. No future collaborations are anticipated with other members of the LPO. Jill has worked with us since 1994 and we're happy that she can find the time to accommodate us. We're quite happy to work with the session musicians we currently use - but perhaps in the future we may try out other instrumentation like cello or some saxophone for the next Les Jumeaux project.

5) What are your expectations about "Groundloop"?

NH: Great expectations, keeping with the literary slant. We both feel very confident about the new album - it's come together well and epitomises what ITN's music is all about.

Hopefully it will be seen as a landmark album in our career - a least that's how strongly I feel about it. I also hope that more doors within the film industry will be opened by this album. There are some great cinematic moments and as we've come to term it - it's 'music to make movies to'.

6) Why is ITN so interested in composing music-soundtracks- to make movies to?

NH: There's no specific reason why we write cinematic music -but the music conjures up such vivid imagery, that it's difficult not to draw such a correlation. Music and visuals inspire us, both together and individually.

7)After the new release what are your tour plans.

KH: Tour plans for Europe are well under way. The tour will take place during the end of April and early May with other festival dates later in the year. We hope to return to Mexico in June for a series of performances and possibly some other South American countries. There are also plans to provide live musical accompaniment for 2 of our optical music films at the Wave Gothic Treffen in Leipzig, which will be something totally different to the normal ITN concert.

NH: With the live concerts we are going to be featuring at least four tracks from the new album. We've already 'road-tested' 2 of the tracks at concerts in 1999 and they fit very well with the ITN set.

8) Give me a short briefing about how ITN are accepted in England and if you are satisfied with your position in music industry.

NH: Well we're satisfied because we now make a living from our music, but of course there's always room for improvement and new markets to discover and infiltrate. The English music press is too fashion conscious and interested more in trend setting than appreciating and supporting good independent music. But that's their problem and something that we work around. Interestingly the recent Optical Music Tours of independent cinemas has really attracted a whole new audience for ITN.

9) You believe that your new album can make the English press give more attention to In The Nursery? It is something that you feel you deserve after all these years of working hard in the music industry?

NH: I believe the English press should at least give our music a chance - the occasional review is not too much to ask for from the national press. But we shall see with the new album - you can only do so much. I wouldn't say we deserve attention and no body should expect recognition.

10) What I might expect from ITN in the future, is to compose songs with only classic instruments and not with midi sounds. Is this likely to happen and if not give me some reasons.

NH: Well that's one option open to us and something that we have considered but never implemented in the past. There have been various projects in the pipeline to have a real orchestra perform our music, but unfortunately these have never got beyond a certain stage. It's also a bit unfair to say we use MIDI sounds, because the majority of our sounds are samples of real instruments - we only use MIDI to trigger them.

11) Tell me about the atmosphere that you create in live concerts, how people responds and if you are thinking of adding a live orchestra. Is it easy to create the same atmosphere in a concert like the one in your cd's?

NH: Our live concerts work quite differently to our recorded works. For a start we play a selection of material which works best in the live arena - songs which are the more energetic and physical, allowing us to showcase the live orchestral percussion and drums that we use and which have become a visual trademark. For us the main appeal is that we are presenting a unique mixture of technology and orchestral sounds in venues which would not normally host such an event. Of course there is great scope for utilising a live orchestra or small section, but even the latter is an expensive luxury which is difficult to justify. However we're looking at performing in Mexico sometime during 2000 and one of the possibilities is to work with a local orchestra for a special live concert.

12) Double question : If you had the opportunity to go back in time, in which century you would like to go, with whom to co-operate (not necessary musicians) and what kind of music you would like to compose. Then name which artists you would like to co-operate in future years and why.

NH: I wouldn't want to go back that far, but to the 1920's and to have been involved creatively with people like Man Ray, Cocteau, Corbusier and Eileen Gray

KH: Strange, because I was thinking of this period too. It would be great to have experienced life in a city like Paris in the 1920's. The artists of that time were experimenting with film, photography, design, painting, music - in fact all the arts.

13) Can you name me a song or release you are proud of and give me a top 10 of your favourite albums.

NH: Before 'Groundloop' it would have been the track 'Bombed' - but now it would be 'Displaced' from the new album, because it never ceases to raise the hairs on the back of my neck.

Top 10 - do you mean ITN favourites or just generally?


NH: 'Sinking' by the Aloof'The Mission' by Ennio Morricone, 'Unknown Pleasures' by Joy Division, 'The Space Between Us' by Craig Armstrong, 'Lamb' by Lamb, 'Play' by Moby , 'Strange Cargo III' by William Orbit, 'Spirit of Eden' by Talk Talk, 'Symphony No.3 organ' by Saint Saens, 'This Mortal Coil' by This Mortal Coil.

KH: We are proud of all our releases! On each album we usually have a favourite track

14) What about Les Jumeaux your project. Any plans?

NH: 2000 will be the year of a new silent film score and a new Les Jumeaux album, but we haven't decided which will come first! Ideally the next Les Jumeaux project will involve an intense period of studio and sound experimentation. We're looking at capturing the spontaneity and chance of music making by recording and mixing it within a short time frame.

15) Let's change subject and talk about the Stormhorse. You said that is a soundtrack for an imaginary film. Tell me about this "film".

NH: Quite simply the film is whatever you imagine - it's inside each individual listeners mind. We have provided the music and the rest is up to them.

16) What you had in mind then when composing this album and which were your inspirations?

NH: To be honest I can't remember what imagery was going through my mind when we wrote and recorded Stormhorse' back in 1987. And it's pretty irrelevant because the association is meant to be personal and particular to each and every listener, like the way that I get different thoughts and emotions when I listen to the same music at a later date.

17) Have you ever thought of producing your own movie instead of creating soundtracks for other movies? How is the idea of producing Stormhorse , and is there any possibility to choose other musicians beyond ITN for your movie's soundtrack?

NH: We're musicians and not film directors, so we haven't considered diluting the energy that we put into our music by diversifying into other artistic areas. Music is our chosen means of expression.

18) Ok then, tell me the differences between composing music for movies and for silent movies.

NH: We enjoy all forms of audio visual work, but silent film is a distinct medium which requires a great deal of attention - you're not only providing an atmosphere for the film but you must also reflect its tempo, movement and narrative.

19) So how difficult was it for you when you were performing music for a silent movie during a live concert?

NH: Performance of the optical music scores is quite different to an ITN concert. For a start there is different instrumentation, no percussion or vocals and only my brother and I. The idea is to remain in the shadows and let the audience concentrate on the film and the music. We utilise technology a great deal in these performances and we know exactly what we will be doing (there's no improvisation). But one of the main differences is that there is no immediate reaction from the audience - we have to wait until the end of the film, whereas during a concert you get constant feedback.

20) Last question : Your first album is called TWINS. Have you ever thought how are you going to call the last ITN album???

NH: For us our first album (a mini-LP) was 'When Cherished Dreams Come True' released in 1983, which expressed and documented our aspirations up to that point. It's not something that I think about much, or contemplate, but if we were to title a final release then it would be nice, and quite apt, to give it the same name.

Best Wishes Nigel & Klive
I thank you guys for your time and hope to see you soon in a live concert in England.
This interview is dedicated to Spyros Kapsaskis ( you know why). - John Gedeon (Vassago)
In The Nursery Website:

Savak   by::CyBeRiNa FluX::   (photo: savak: live @ das bunker, la ca 2/99)
Savak is the solo project of Holocaust Theory member Scott Beebe. From harsh and calculated power noise to dark ambient soundscapes, the compositions of Scott are a prime example of the true musician. Transferring his thoughts and ideas regarding a bellicose present intothe audible, Scott consistently pushes the boundaries of political ideology in American culture. StarVox recently had the opportunity to speak with him regarding his political philosophies, and to get the skinny on his upcoming tour with Imminent Starvation and Synapscape.

CF: You started your musical career as a guitarist in punk bands. What made you decide to switch over to electronic music?

SB: Well quite a number of things! First I was in Sacramento, CA where any scene is just stagnant and my band wasn't doing anything. Second was I met up with people in the Bay Area that were more into experimental stuff and I've always had a thing for electronics so by meeting them I started doing experimental music with guitar and then gradually went into more of an electronic realm. It was a natural progression I think and I am happy with it. But I still love the raw and aggressive emotion of a three-chord sludge guitar.

CF: What are the similarities you find between punk rock and Industrial electronica?

SB: That's a damn good question! There are some similarities but I think they are quite different. The whole DIY attitude exists in both styles and the underground feel is also there. But the mental attitudes are different I think. A punk band can have five members and a bunch of instruments when playing live but with an industrial act it can be a laptop and a synth. Much more simple!

CF: You are one half of the band Holocaust Theory, and Savak is your solo side-project. What instigated your desire to begin a solo project?

SB: I wanted to express my own feelings. I have had a fascination with international terrorism and cold war era Iran for a long time. Holocaust Theory is more of collaboration between James and I and the style is darker than Savak. So with that in mind...I had other interests that I wanted to do so I created Savak and James created Zymosiz.

CF: The savak was originally the Iranian secret police during the Shah's reign during the Carter establishment. Why did you decide to name your project after this organization?

SB: I decided to name the project Savak because of the affiliation of the organization to Iran in the 70's. The secrecy of this organization and the things they did really go to me so I wanted to express my interests therefore the name. Similar to the CIA, KGB, NKVD, etc. The whole secrecy element to these organizations fascinates me and makes my mind just think of what things they did.

CF: I have met a portion of the Shah's family, not knowing that was who they really were initially. I found them to be some of the warmest and friendliest people I have ever encountered. Needless to say, when I asked my friend about his father's death years later, I learned of his family history and that his father was a blood-relative of the Shah. I was incredibly shocked to say the least. Any comments upon hearing this?

SB: Well I must say that I envy for meeting a portion of the Shah's family. This would have been a great experience for me. Not much more of a comment though.....It's like any political family, you learn the secrets and such of what they are involved in and sometimes it's completely shocking.

CF: SavaK's music is quite eclectic in that your composition spans many genres and styles. Why have you encompassed this into one project instead of spanning it across many projects as many of your fellow electronic artists have done?

SB: I have done this solely by accident not on purpose. After recording the first full length, 444 Days, I realized the many different styles that are represented like dark ambient, rhythmic industrial, drill and bass, and ambient techno. I thought about splitting the songs up and assigning them to different projects but then I was like why? I thought it would be good to span all these styles into one project to show the diversity of Savak. I mean it's artists' choice to choose different projects for different styles but my opinion is why have a project concentrate on one style. I think that if a project can span different styles under the same concept then that is talent. All the styles represented on 444 Days show the different moods I was in when the music was created. It's that simple.

CF: In the 80s, it was much more common to find political statements in popular music. In the early 90s that activism was found to be mainly concentrated in more urban genres. Today, we can see these ideologies begin to surface in Industrial music. Why do you think it has taken so long for this to merge over to modern European-style music?

SB: I think artists of afraid to express political interests in music. Some feel that music is not an applicable forum for this. I feel differently.... It's artist expression in my opinion. With Holocaust Theory, people thought we were Nazi's because of the name and we dealt with it. A lot of people thought we were a political band which is wrong but that's how narrow-minded society can be. I don't care what people what think. I will express my thoughts how I want. I have already gotten messages from pissed off people saying that Savak is stupid and they will be at my concerts to spit on me. Whatever!

CF: Where do you see the future of electronic music to be?

SB: Honestly.... With all the sub-genres I think that it will continue to be split up and crossover is inevitable. The whole teknoise scene is slowly crossing over to the drum and bass scene right now which is cool. I think old scenes like EBM and dancy industrial is on a slow decline and nothing is original. That is key.... If it's original sounding and the concept is good then it will succeed.

CF: I understand that you will be touring soon with Imminent Starvation and Synapscape as part of the Ant Zen 2000 tour. How did this union come about, and what should your fans expect from your performance.

SB: Well first of all, it's not Ant Zen 2000 because all the bands are not Ant Zen. It's Ant Zen and Possessive Blindfold present Imminent Starvation, Synapscape, and Savak. This union came about back in 97 when we toured with Noisex. Since then I have worked very close with Ant Zen on everything from distribution to tours. It's like I do them a favor and then do the same. I am organizing this tour so I thought it would be cool to put Savak on there since the full length will be out around the time of the tour. Fans can expect a really different performance than anything we have ever done. Savak will have video backdrops and some interesting vocal set-ups. Hopefully fans will dig it.

CF: With Holocaust Theory you have toured all over Europe and other locations. What is the most significant differences and similarities you can find between European and American fans?

SB: Well actually Holocaust Theory has only done one Euro show and the rest in the US. We have toured Europe as James's project, Zymosiz. The are huge differences between the US and Euro fans. The Euro fans are more concentrated and are more into electronics than Americans. They go crazy over American bands! American fans are jaded to a point and are not than into the shows. Some crowds just look bored and not into it but then there are some that go completely crazy like LA!

CF: Interviews never give the interviewee the opportunity to say anything about any topic that you want. So here's your chance to speak your mind. What do you want to tell the world?

SB: Basically.... People quit believing that this world we live in is a nice place. It's not. We are on a decline and we are not coming up. You think by living in a middle class suburbia is living in peace and that you are immune to violence. Forget that idiotic thought. Since the demise of the Cold War we live in a more hostile world with third world countries having nuclear power and so may terrorist groups around it's crazy. No one is safe. Prepare yourself for this.

CF: Thank you so very much for speaking with us, Scott!
Possessive Blindfold Recordings
1624 Chapin St.
Alameda, CA 94501 USA
p: 510-748-0241 f: 508-256-8387

StarVox Interviews Still Patient?
The Rise and Inevitable End of a Legendary European Band by John Gedeon - Vassago*

There are many artists that remain known for many years because of what they have given to the music scene. After 12 years, STILL PATIENT? decided to end their activities and continue in different directions. This is more a friendly discussion than an ordinary interview between N.D Koa and me. The point is that I will miss STILL PATIENT?'s works. They could create much more. It seems that they are many things beyond composers of fine music. But let's see what happened after the last album's release.

StarVox: Demondive was released a few months ago. Give me a general review of the last SP? Album.

Still Patient?: After we recorded the Chameleon EP, we still had a lot of material but we had the feeling it was time for a change in musical way. So we released the collected songs on Nightmare Arrival, a compilation of some rare songs and of older material from this time and some before Chameleon. We wanted to concentrate in going in new ways for SP?. Now we had time to think and to work again.

The process of Demondive was very long and hard and it took over 2 years until it was finished - not only because of delays and technical problems - we wanted to do as much as possible by ourselves. So after nearly 3 years we finished Demondive and it shows a new face of SP? as we think - it is a more powerful and straight album than all the others and this time we had most control. We had some really great reviews in all-big German goth and metal-magazines. We don't think that our old fans will have problems with Demondive because you  still hear SP? in every song.

SV: This album sounds heavier than any other SP? release, and you use lot of guitars in almost every song. I believed that your new CD would sound more electro than metal, comparing with other CDís from the past except Salamand.

SP?: We always used a lot of guitars, and now we used a lot less than before, but now they sound more like guitars. We had a lot of discussions about the new style, and some of us could not accept it completely. I always wanted to play some harder material, but it was always a problem for some of us. Some people may think that just now we wanted to sound like other famous bands, but all these other famous bands are also just copies.

SV: Why did you decide to change the face of SP? since some of the band members did not really like the new face that is presented with Demondive. It seems that you were arguing about which direction would be the best for SP? in the future.

SP?: We decided to go new ways musically, because we all had the feeling that we had to. We just didn't know in what way because every member of SP? had other ideas about how SP? should sound. The difficult thing for us was, that mainly I wrote and arranged big parts of nearly all SP? songs, so the way I was influenced was directing how SP? sounds, and then we all came together completing the songs. More and more we had discussions about how, like I said, we all changed too much in the way to feel and listen to music, and so it was always harder to come together in a productive way.

SV: Can you explain exactly what "Demondive" means?

SP?: Demondive is the journey to your inner self through passion and pain, and there you will find the demon that was created by the Society of Demons, and this society gives enough inspirations.

SV: Do you believe that this Society of Demons could exist from ancient years until today? Do you find its existence useful and why? And how hard is it to control your demons since the world of your inner self is a world out of control.

SP?: I have to say that I have some problems in believing in mystery and occultism. For me it is another kind of religion, a searching for answers and roaming in a land of imagination. I am speaking about the Demons that we all are, there is no God and there is no Satan, its all in ourselves; we create and we destroy, everyone of us. The  problem seems to be that we find pleasure in the dark side of life and I  think it is understandable, everybody should think and believe in what he thinks is right as long as he doesn't force others to think the same.

SV: When did the problems first appear for the band and what was the main reason of their existence?

ST?: ST? existed for 12 years, 10 years with the same people. Just imagine you are married to 3 other people. I think for some, one person is already enough. During these years we all changed a lot in the ways we each express ourselves in creating music and in main interests. It seemed that playing together and making music was not what it had been, the understanding of being a "family"  got lost and nobody was willing to put more energy into SP?.

SV: It sounds like some of the members were playing in the band without enjoying it, doesn't it?

SP?: I think for some members of SP? playing in this band just got routine. Everybody orientated himself in other directions.

SV: Have you or the other members ever thought of the creation of a project(s) in order to use the name that Still Patient? had in the music industry in order to express their feelings through those?

SP?: For this reason I formed, with some other friends and musicians from Morbus Kitahara, the project Spine of God just to see what would be the result of working outside SP? without having the pressure of what the other three members of SP? would think.

SV: Two months ago you told me that SP? no longer exists. What reasons led you to such a decision, and were you ready to face a relevant situation at this season?

SP?: For myself I was thinking about to end SP? before recording Demondive because I felt that the most important thing was missing, energy. It seems like a big depression for SP? because some of us expected more in the last years than that what really happened. It was a hard decision but it had to be made to save the relation between the band members. Now everybody is much more relaxed and can concentrate on things he really wants to do.

SV: Why did you release Demondive if the energy was missing from the beginning? Was it a last hope to save your group or the end-album of SP?

SP?: Just before we started to record this album I was ready to give up, but then we all had the feeling we should do it and see how everybody felt about SP? after the release. First we had some really good and productive meetings but I felt that nothing had changed.

SV: What does N.D KOA see for the future? Any new projects, and will you collaborate with any ex-SP? members?

SP?: I will continue with our bass player. We already have some material, but I can't say if it will be gothic or not, I guess not really but it will be dark and massive.

SV: Any plans for when you'll go to the studio to start recording your new stuff? Do you have any other artists in mind with whom you would like to make your new project?

SP?: For now we plan to meet in a month to start to work together. Every one of us have just recorded and played some ideas for the others. We donít even know what this band will be called or what will be the definite result. My actual plans are now working on an online Adventure for the Internet. But this project will take at least another half year I guess.

SV: Tell me which moment you will remember as the best from Still Patient?

SP?: There have been a lot of good and remarkable moments as well as bad times or bad experiences. I am very happy to have had these experiences with these people and I would like to say thank you, also to all people who supported us and all of our fans.

SV: I already know the answer but is there any possibility for Still Patient? to exist again in the future?

SP?: We ended this band with the option that maybe in the future there will be a reunion but for this moment it doesn't look to me like that it will happen, but you never know.

SV: Okay, thank you for your time, any last words to us?

SP?: Keep the faith and remember us, thatís all I wish.
2/01/00 *text Editing by Micheal Otley and Blu

~interview by Jett Black*

Chilean female Industrial Rock band Venus would rock your socks off, if you ever get a chance to see them perform Live. Venus has become one of the most important bands of the Chilean rock scene. Debuting in 1996 with their first album, El ataque de zorrita, Venus caught the eye of BMG who published it via the BMG record label. This album was edited in Mexico and Peru. But it was with the second album, Dolor de fin de siglo published in 1998 by the independent record label, Toxic Record), where Venus really surprised the audience and the press.

This album is a very experimental work and introduces the music of the Venus through a new and more elaborate industrial sound. Dolor de fin de siglo will be edited in Argentina by DBN record label and in Mexico by Opción Sónica record label, in April this year. In 1999 Venus was nominated for "Best Rock Video of the year" by the press, for a video of the song "Tu dolor" made by computing animation. You can see the graphic stimulation of Venus and hear 3 songs off their new album Dolor de fin de siglo in Mp3 format, by visiting the official VENUS web site:

Venus vocalist, Sara Ugarte, joins us now from below the equator:

StarVox: Describe some of the creative techniques used to achieve specific aspects of Venus recordings.

Sara: We were interested in experiment with no limits. We record first the drum session, keyboards, noises and some guitars in Pro Tool (computing program for recording) then the voices, bass guitar and rest of the guitars in a studio. We record with drum machines and use lot of samples, especially the free samples from Pitchshifter album, We distorted some drum sound and saturated the keyboard and guitars sound.

SV: How do environmental and social stimuli of Santiago and Chile infulencethe developments of Venus compositions?

Sara: Santiago has become a very depressing city because of the economical problems that we are suffering at the moment. And also it's so boring. There are no good clubs to go out to and the music in clubs is always Tropical. We hate tropical music. The people are focused on their own problems and the tension is geting bigger so that you cannot trust in anyone. Santiago is a contrast between beautiful nature, rounded off by big mountains and the contamination of the city, which represents the sadness and depression of the people, even if they are beautiful.

SV: Please describe the themes employed on recordings by Venus.

Sara: We talk about strong experiences that have changed our lives and our points of view, like self destructive relationships or madness. We also talk about the anger we each have for people who suck or have been trying to destroy us.

SV: How do you relate with the music created for Venus?

Sara: The music created for Venus is a part of me, like a baby. There are some important things of me captured in there.

SV: Who are current members of Venus, and what roles does each perform?

Sara: Rose Mary Vargas: vocal and lead guitar Claudia Parra: bass guitar Sara Ugarte: vocal and guitar We have an invited drummer, Fito, a friend from another industrial band, Kanatran.

SV: Describe some of the processes involved in composing and evolving soundscrapes.

Sara: Some of our songs where composed on an acoustic guitar first, and then taken to the electric way. Other songs were created on the drum machine and then we added the keyboards and guitars. The most important thing for us is to transmit the feeling of the lyric with the sound.

SV: What images illustrate your visions of a "New Dark Age"?

Sara: I can see a very powerful and creative music using a lot of new tecnology and a great mix between different arts like photography, graphic design, music...

SV: What changes in the music industry have caught your attention most during the '90s?

Sara: At the beginning of the 90's we where very impressed with the upcoming female punk rock bands like Babes in Toyland and L7. Each influenced us to start a band and especially they influenced our attitudes.

SV: When not completely focused upon Venus, what do you do to support yourself?

Sara: I'm a graphic designer so I have been working in some agencies.

SV: In what ways will Venus live performances differ from its recordings?

Sara: Our live performances always sounds much heavier than the recordings. We play live with a drummer and very loud guitars. We also prepare a visual show with images projecting behind us, sometimes we invite dancers to the stage.

SV: What would you like to accomplish through Venus into the dawning of the new millennium?

Sara: I would like to create good rock music with a lot of sense of risk and freedom with no limits. A new step toward the unknown.

SV: What other recordings, outside of Venus been released by its band members?

Sara: We haven't recorded any other release than Venus. Before we meet each other, all of us where playing in others bands, but we didn't record.

SV: What other side projects are currently being developed?

Sara: Claudia and I wrote two rock songs for the second album of a very famous Chilean singer Nicole. We did the main song for the Chilean-North American movie Last Call. I have been invited from other bands to participate in vocals for their albums, Chilean bands like Kanatran and Los Miserables. In February I'm going to Argentina to do vocals arragements for the second album of the Argentinean rock band Santos Inocentes. I also have been working as a model for artistic photos, for photographer-friends.

SV: What will you entitle the next release by Venus, and when will it be available?

Sara: We are working in our third album but we don't know the title yet and we don't know when it is going to be available.

SV: Who will be distributing your next releases?

Sara: We are now looking for distributers in Chile and outside Chile.

SV: Where else might readers find releases by Venus available for purchase?

Sara: We hope that this record will be edited in America by Necropolis Record and in Europe by Hammer Head. In Argentina, it will be released by DBN record label.

SV: What are you looking for now in terms of new musical influences?

Sara: I like very much industrial music and I have been seduced by teckno music especially in rythmics, like drum & bass.

SV: Which shows have you seen during the past year that impressed you the most?

Sara: I was very impressed with the show that Prodigy did in Santiago last year.

SV: Backing up to now, what motivates you to continue performing and recording music as Venus now?

Sara: All this fascinating international communication that started with Nocturnal Movements and all the interest from people around the world in our music. All these discussions are very motivating for us to continue doing music.

SV: Looking back, what mile-stones have been most notable for Venus?

Sara: To have been recognized as a good rock band, and not what some people thought that we were just playing a game.

SV: Let's say it happens, you 'make it big' and retain complete control of your own music even, what then? How would you describe your music, and your motivation to continue as Venus?

Sara: If we get big, we will be doing music anyway and always better, because that's why we are on this planet for and if we will have more money we will use it for distribution all over the world.

SV: Could you illuminate any significant details that may have influenced the development of sadness in your music?

Sara: Yes, I lost my ex-boyfriend. He died in an air plane accident in 1997 and that was the most painfull experience that I've ever had to deal with. Then, I thought I was going crazy over my self destructive feelings.

SV: When touring and dealing with a million-and-one decisions, how do you manage to work so well together without the instruments in hand?

Sara: We are friends and we respect our opinions and personalities. We are women, so we understand the hormonal change of behaviour in us.

SV: What particular interests might you explore along the route of this next tour, if opportunity permits?

Sara: We always have an interest in having a good conection with the audience when touring. We love it when people get crazy and enjoy the shows.

SV: What new opportunities would you seek and develop to advance the music of Venus?

Sara: We would like to make contact with differents bands from other countries, to learn and comunicate.

SV: What changes have been made in Venus during the last year?

Sara: We changed our invited drummer for a new one, a friend "Fito", because he had performance committments in too many different bands  so he couldn't continue touring with us.

SV: Considering other musicians with which you have performed in the past, what experiences seem most memorable for you and what have you been able to draw out of those experiences and into Venus?

Sara: We love to invite musicians to record or perform. When we did a big show in Santiago to present this album, we invited a second drummer to play live and he plays also irons and jars in a very crazy way. It was great!

SV: Where will you be travelling during the course of your next tour?

Sara: We are preparing a tour to Argentina for April, where our record will be soon be distributed.

SV: When and at what location is your next tour set to begin?

Sara: Buenos Aires, but I don't know the date yet.

SV: What apparel are you using to accentuate music for Venus?

Sara: A mix between fetish and gothic gear, very sensual and beautiful.

SV: Which songs required more significant development in production?

Sara: Songs with more electronic details or lot of arrangements and textures.

SV: Which musicians have won your admiration in the music industry and why?

Sara: I love Trent Reznor for showing me a different way to transform rock music in a very special moment of my life where I was deeply involved in the punk music.

SV: What are you looking for in terms of musical styles and influences now?

Sara: Freedom. I want to feel free to explore whatever I like. In vocal terms, I want to explore mystery and sensuality.

SV: Besides performing live from one gig and tour to the next, what other forms of media will Venus explore in the future? And, if applicable, have you already begun to explore beyond the routines of 'record & perform'?

Sara: We have an interest in internet exposure and Mp3. We'd like to work for other artists, like music for movies and artistical performances.

SV: What new goals will you focus upon now?

Sara: We would like to have international expousure. We want to get out of this boring country.

SV: What invitations would you like to share with our readers?

Sara: I would love to know people who are doing music like ours or from any other interesting activities who have relation in dark music.

web site  write to Venus at or to me directly at
Sara Ugarte - Vocals and guitars from Venus.
Las Hualtatas 5375, Depto. 61-B
Vitacura, Santiago
Post Code: 6680054 Chile
phone: 56-2-218 48 20
fax: 56-2-220 16 10
Guillermo Ugarte

StarVox Interviews Michael Otley of Vehemence Realized
~by Matt Heilman

Vehemence Realized is the creative musical vision of Michael Otley. The band was formed in the mid-nineties by Michael and a few fellow college friends in Richmond, Virginia, where they began to perform live and recorded a few demos. The second of those demos was the 1996 cassette, Angel Frost-Light, which came into my hands after seeing the band perform in Pittsburgh with Bella Morte. At that time, the band consisted of Michael and Gabriel Shane Beverly, and their sound instantly won audiences over due to the musicís raw bleakness and intense emotion. Later, Gabriel left the band and T. Nathan Roane joined Michael to record VRís debut CD Severe, which was released to much underground acclaim last Spring. Roane contributed many ideas to the band, most notably the use of brass instrumentation and some lyrical input. Together, Nathan and Michael created one of the most unique, solemn, and intellectual darkwave releases to appear in the scene in quite sometime.

Now, as we begin the year 2000, Michael is again at the helm of VR after Roane split for his own pursuits and I caught up with him to see what is in store for the future of one of dark musicís most promising acts.

SV: A lot has changed over the past year for Vehemence Realized, most notably the departure of T. Nathan Roane. So what exactly caused the split and why?

Michael: The most diplomatic thing to say would be that we both wanted different things, and in a way that is true. Unfortunately we let our friendship kind of fall apart. I don't like fighting with people and found that Nathan and I were at odds quite a bit. It became unhealthy for us to continue our collaboration.

SV: You have recently relocated to Philadelphia. Why that particular city?

Michael: I chose Philadelphia because I always liked Philadelphia a lot; I had visited a few times before. I really wanted to try living in a bigger city, and it wasn't too far of a move.

SV: What opportunities have you found there as a musician?

Michael: Not much yet. There is a store, Digital Underground, that carries Severe, but other than that no one seems to be reacting. I've given a few promo copies of the CD out to promoters, but to no avail. I'd really like to play some shows up here, but the scene seems to be heavily industrial based with little to no attention to darkwave and related music.

SV: Yes, I have found the same thing as well in Pittsburgh. Where then, do you think your music, or darkwave music in general seems to have a more loyal following?

Michael: That's a good question, I really don't know. Someone told me that in Atlanta there's a goth club one night aweek that doesn't play any industrial at all, just darkwave and gothic I guess. I think that's really great and it makes a lot of sense. What worries me here is that now Digital Underground is closing down and Dancing Ferret is taking over. I don't know if they'll be carrying Severe or not, but I get the impression it will be industrial based. I say that because just last night Dancing Ferret had a "Dracula's Ball" with Bella Morte, Eye Kandy and a couple of DJs, and the only thing that was goth about it was Bella Morte. I suppose the "Dracula" part was the vampire teeth stand, which seems to be a local fascination.

Everything else was either industrial or electro with a heavy dance beat drowning out any possible musical integrity. It was great to see the guys again though; I felt like I was back in Virginia for a few minutes, at least until the overbearing dance beats gave me a headache.

SV: Are you planning on working with any other musicians for the next VR recording, or do you plan to compose and record it on your own?

Michael: I'm planning to work with Gabriel again on a lot of the CD, though it is hard to say how much. I'm planning to record some of it by myself as soon as I can get some recording equipment, and then I'm really open to anything happening.

SV: Are there any working concepts or plans for the next CD?

Michael: A lot of guitar, and maybe some reworked older material. The next CD is going to be a lot more laid back than Severe as far as I can tell based on the material I'm writing now.

SV: A reworking of "Lady Bast" perhaps, my personal favourite from the Angel Frost-Light demo?? I am always going to nag you about that! There is just something about that song, the isolation it inspires, yet the sheer dismal beauty created by the synths and the piano that seem to wrap around the listener, as well as the vocals, there is just so much feeling in them. I really would love to hear a more polished version of that song.

Michael: Thank you, I'll say that is a possibility. I'm almost sure we'll be recording a new version of "Capricorn", though it may come out almost unrecognizable. Gabriel has done some rearranging on that piece, and I've been fooling around with what he's showed me.

SV: When you say the next CD is going to contain more guitar arrangements, do you mean acoustic or electric, or a combination of both?

Michael: Both definitely. I'll be playing at least a couple of songs on an acoustic 12-string. I'm also excited about the almost endless possibilities of timbre available through an electric guitar.

SV: Severe is distributed by Palace of Worms, an Italian label. Will the next release be handled by them?

Michael: I'd like to continue our relationship with Palace of Worms Records, but nothing has been discussed yet. I told Guido that I would send him some of my new material as soon as I could record it.

SV: What exactly does the name Vehemence Realized signify? Is there some specific negativity that you have come to terms with that the name is referring to?

Michael: It once meant something to me, it's just the name now.

SV: You had said before that most of your lyrics stemmed from experiences in childhood. What were some of your fondest/not so fond memories, and how have they worked their way into the music of VR?

Michael: Actually I think a lot of the early material stems from things I went through in my childhood, the stuff we did before Angel Frost-light with Robert and Joshua. The music was so dreamy and fuzzy like the memory of my childhood. I really worked through a lot of frustrations left over from my childhood in that time. The most noteworthy is "First Death" in which I tell the story of when my father came to my mother's house to tell us that his oldest son had died the week before. I had a lot of resentment towards my mother for the way she reacted, and this really comes out in the song.

That's the angriest VR ever got though.

SV: What personal demons, per se, do you feel are exorcised by this project?

Michael: Stagnation now I guess.

SV: You seem to be very critical of yourself, or so it seems by your personal comments on the website. What is it exactly that disappoints you so much about yourself and others?

Michael: I guess I don't understand what everyone is so angry about. And I have really high expectations of everyone, including myself. What is it that keeps people from doing the right thing? Why can't I always do the right thing? I disappoint myself when I can't communicate with someone. I get disappointed with others when they give up on something, or even give up on me. Or maybe I'm more disappointed with myself when others give up on me, like there was something I could have done differently.

SV: If you had the opportunity to tour with any band, what band would it be and why? And on the other side of that coin, what would be the very last band that you would ever want to tour with and why?

Michael: Well, I've given that a lot of thought, and I'd have to say Kate Rears because I love her music, she's a really cool person, our music would be a really interesting compliment and contrast, the show would be very much a cross-genre show, and I've got this little puppy-crush on her. As far as a band I wouldn't want to tour with, well I wouldn't want to tour with any bands that had members I didn't get along with.

SV: If you could choose anyone to hear your music, who would it be? For example, is there someone in particular from your past who you would want to be aware of the music you have accomplished? Or is there a particular idol or artist that inspired you that you wish could be aware of what you do? Why?

Michael: Well, as far as I know Julia Sevier, the girl that took the cover photo, hasn't heard the CD. I don't know where she is now. I would want her to hear it because she contributed something very important.

SV: As an up and coming band in the dark music genre, with several worthy competitors, what do you think of the music business and the world around you?

Michael: I'd prefer not to think of myself as a competitor with anyone. I make this music, and I hope some people like it enough to buy the CD or copy it off their friend or come check out a show. Overall, other than the club scene, everyone I've met involved in dark music has been very supportive.

The club scene is quite different, some are supportive, some kind of ignore you, and others are just rude.

SV: What exactly do you mean by Ďrude?í

Michael: I guess that's a bit harsh. I'm more frustrated, but a lot of that can be traced to myself. The scene in Virginia was generally so supportive that I had regular gigs booked and I didn't even have to do anything. Rick Danger in Richmond would book us at Twisters every few months, and then there's Tokyo Rose in Charlottesville, a favorite venue.

SV: Well, when it comes to the gothic scene, what aesthetics do you find appealing or appalling? (I.e. fashion, mind sets, bands, artists, club scene, etc)

Michael: The thing I like about the goth scene is that almost everyone is really nice, except for the stuck-ups. I guess I don't much like the industrial scene, and I've never understood why it is so closely associated with goth.

SV: Well personally, I find something in both genres. I think it has a lot to do with the 'alienation' factor and the 'angst' factor they both share.

These days, strictly Gothic music and Industrial music are heading in very different directions, dividing into so many subcategories, etc. But we all have to keep in mind that they all sort of developed from the same source and very loosely defined that is punk rock music. But anyway, there is an unfortunate sense of elitism in small scenes such as Goth and punk, etc. The idea of a particular individual who dislikes something etching it in stone and trying to convince others that it is not good.

Michael: I've heard of that, but haven't really experienced it first hand. Most of the people I have associated with are trying to get more people into the scene to support it, getting excited for instance if there is any press coverage. My version of alienation and angst is a quiet one. I'm certainly not saying there should be no industrial music, in fact Skinny Puppy blows me away. My favorite of theirs is The Process which may be considered more industrial than the rest, though I consider it the most emotional.

There is a maturity reached on that album, the kind of musical and lyrical maturity that I think is missing from a lot of the music I hear in clubs now. It's not the genre that bothers me, but rather the music being produced within that genre.

SV: Several unfortunate incidents involving alienated kids have been covered by the media recently, and many of these incidents have been linked to the gothic scene, or the underground music scene in general. Why do you think that is, and representing your music, what would you say to some of these parents or groups that cite music as the source of these problems? What would you say to the kids who are responsible for these crimes?

Michael: I have no idea why they were linked to the goth scene, I haven't kept up with it. If I had to say something to the parents, I'd ask them to listen to the music and decide if it could really cause violence. I don't think anyone could listen to VR and then go hurt someone else. I don't think I would want to talk to the kids.

SV: Well, thank you Michael, as always it is a pleasure speaking with you. We will check back with you soon!

Email:  Web Address:
Snail Mail: Vehemence Realized
Michael Otley  708 S 15th ST  Philadelphia PA 19146
Released By: Palace of Worms Records  via Bronzetti 19  23900 Lecco Italia Email: Web Page: