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Burning Witch
par intheseblackdays Dim 9 Mai 2010 - 11:53
voici une interview d'Edgy traduit du russe en anglais. long et enrichissant.
The name of our companion for many years was in the shadow of mysteries and riddles. Find about it at any definite information was a matter almost impossible, and any attempt to lift the veil of darkness were doomed to failure. All this, however, did not prevent (if not vice versa) to get him cult status among fans of the most extreme forms of doom. Anyone who happened to hear legendary American formation Burning Witch, could not remember the unique voice of singer, who was hiding behind a pseudonym EDGY59. Imagine, what was my surprise and joy when he kindly agreed to answer the many accumulated problems and did it in exhaustive detail and great patience. We would also like to thank for their help and Oppovstvs Abysspreacher - without your participation, the interview would not have been completed.
Please introduce yourself and tell readers that sochtesh fit, on myself.
I called Edgemont. I am a singer, composer and actor. I believe in what I do, no apologies and offer no explanation of their work and actions. I consider myself a knight-errant, and I see my life as an opportunity to shake the foundations of world people on this Earth. I believe that to create new ways need to destroy the old, and it is this and do most of the time. I'm moving in this direction and not find it possible to stop it.
Do you remember the day when music came into your life? How did you decide to become a musician, which led to all this: a certain event or rather a kind of internal process?
It was in the third grade. Class Miss Wolf, to be exact. Suddenly, I decided to sing in the school talent contest and won. The teacher was a friend of my mother, and after that I was recorded in a local boys choir. That experience was sufficient to make me quit singing and start playing the piano. I started playing the piano and excelled. Play it to this day, among other instruments. Everything changed when in 1978 my mother took me to a concert KISS during their tour "Love Gun". These experiences have changed everything. In the same year I was listening to Black Sabbath and imagine what Ozzie says it to me (and only me). Of course, it was fine. I was ten years old. Sabbath since forever become a constant in my life. I think the next level of understanding came when I received "Stratosfear" Tangerine Dream as a gift. My mind always open to new ideas, and I embarked on a more experimental and research path in my musical self. My motives have changed forever. I am no longer worried about whether people will understand what I'm doing. I'm not worried, whether they like me.
And what was your first experience of creating your own music?
I always played the piano as a child. We stood one house, an old, configured for a normal game, and every day I played on it. In any case, I was solely interested in composing his own compositions. Every week I was working on a new one. Some of them became long in an hour or more. To this day I can play from memory almost everything ever written me. I learned guitar at 14. Drum kit - a 15. Then he acquired a synthesizer Oberheim OB8, when I was sixteen. Saved him two years. Then he began to write songs with frightening speed. Gone from school. Create group. And he left home to go on tour with her. It was 1985. My group was called MINDWORK. We performed a fully improvisational experimental electronic music (what today would be called DJ Bobo), and with considerable skills. We did not have drums, of course, and no recognizable sounds. It is abstract designs. We managed to tour in the states for almost a year, without any budget or resources worthy of mention. Of course, we, in turn, nobody liked. We went back to his native city poor and homeless. It became a model for relapse for many years.
MINDWORK recorded and released any material?
We recorded all the time. We then had his own studio and we did nothing, except the recording. At some point, we have found a record contract, but it did not work. In any case, this project was rather RESEARCH. We always gave unique concerts and bought some local support. We never released anything I have all the old master copies (lasting about 20 hours). I transferred them to the DAT format for preservation of many years ago.
You do not plan to release any of this material ever?
No. I need to find all members who participated in the creation of these records and then we could release them together. I'm not the only writer or owner of the records.
There are not many (if not to say anything) are aware of your activities in the early years. What did you do after the collapse Mindwork?
I moved to New York and began work on the creation of string quartets and symphonic music. I'm also constantly working on "noise / soundscape" material, but focused on the study of acoustic sound and its possibilities. I like what he has to interact with existing environments, in order to arise. Be that as it may, I am fed up and tired of this, because my skills composer had not yet been sufficiently developed. At this time I started playing the Chapman Stick. I focused on this for a couple of years, until tired, as long it does not linger. About the same time I decided to move to Seattle. It was 1994.
Did you participate in the activities of any local bands in the first time, or continued to work on their own material?
At first I worked on my things. He returned to his roots of creating an electronic sound and began to collect a lot of equipment. When buying guitars from a local dealer of used musical instruments, I met Dubhe David Blake. We decided to create an experimental DJ Bobo-rock project with his friend, the owner of the studio Private Radio, Pat Gray. Later, Dubhe and Pat will record the very first material Burning Witch to our demo in the studio. So we started doing gigs under the name Junkhalo, a term invented Dubhe invoking a halo of debris in orbit around the Earth. This was also a reference to drugs, that was quite true at the time. We had many concerts in many clubs in the Seattle area somewhere in the year. At this time we have EP, titled "Bugs Eating", and released it independently on the tape. For the first time since childhood, I began to sing. My mood and demeanor in general, quickly sank into depression and my addiction to heroin reached a critical point. Nobody could make my appearance, not to mention the presence, so there is no need to tell that I could not do their job, and the team was falling apart. It was at this time, I met with Stuart Dalkvistom.
How did this happen?
I was repairing his car in the driveway, and Stewart lived on in the end of the street. He liked the machine and we started to make friends. I had an old Studebaker, and he was the only one of the guys around, who could have him do something. We had a little chat about music, and I told him about the impending concert Junkhalo. He came to him and the next time brought with him O'Malley and Greg show you how I sing. We spoke with Boris and Kirihito, and they were impressed. This concert was the last in the history Junkhalo. A week later I jams with those who later became parties to Burning Witch.
Have you heard of Thorr's Hammer? I listened to it all doom?
I have heard Thorr's Hammer, but I never heard them. I was aware of a pair of concerts that they gave a year or so. In any case, I'm not a fan of low, guttural vocals as a whole, so these concerts are not attended. My environment that is now called Doom, in fact much more SLADZhevoe than any other. I grew up in Charlotte, North Carolina, and in that time there was a main stage early sludge groups. Sewer Puppet and later Buzzov * en. In both of these groups have played my friends, so I spent a lot of time next to this subculture. In 1988, everything was so new to all that we do not know how to call it. The words "Sludge" and "Doom" - new nickname of old ideas. Nowadays, there seems to be consistent with any category, but in those days everything was not so. I have many times seen as Buzzov * en tore audience. It changed my life! They - the main reason that I love the slow, heavy music. Well, apart from Black Sabbath. The vocal style of Kirk Fisher was an early influence on my own. They lived in a house in which lived and rehearsed Morbid Angel for a couple of years before leaving the city. There are many stories about events that took place there! They were very good years for me, and just then formed the ideas that were later implemented in such groups as Burning Witch, and The Poisoned Glass.
What was your first impression of the guys with whom you then created Burning Witch? Did you discuss in what direction are going to develop the band's sound or it happened naturally?
It's a strange question, but I think it is worthy of a right to exist. From the beginning I was completely overwhelmed by Burning Witch. The boys made an impression on me, and I wanted to be part of the project. This dynamic group of like Burning Witch, in the first place is filled with extreme characters. So it should be. This is a situation where even if you hate each other for one reason or another - you love each other, because only together can create this unstoppable force and motion. That is how I would describe the stay in Burning Witch. As soon undertook the task, we were tied honor and under penalty of death and eternal torment brought things to the end. It was a clear sense of what is important. The reason above our personal motives, desires or needs. Over the years we have all become brothers in a very deep level. Until today we are brothers, and no matter what might happen between us, although some may say otherwise. "Witch" was for all of us something special, besides, I'm sure, is more important than any other thing has been or will be. This is the perfect alignment. Looking back on the years spent in the "Witches", is enough to find a reason to live. I think am still in the Burning Witch, until his death. This is the only thing in my life that I am proud unconditionally. Regarding sound: I think it was one of the few occasions when I was in the group, which are really the totality of its constituents. We have provided its fair share of the whole and the result was just automatically perfect. Constantly. Every time. This is really happening is natural.
One of the most memorable things on Burning Witch, is your voice, a truly unique and inimitable. You mentioned Kirk of Buzzov * en, affected your singing style. Who has also inspired you?
With regard to direct effects on my vocals, it was Kirk Fischer (Buzzov * en), Ozzy Osbourne (Black Sabbath) and Jeff Clayton (Antiseen). There is also another kind of influences: people and groups that inspired me musically or in general as a whole. This is Black Sabbath, Buzzov * en, Tangerine Dream, Krzysztof Penderecki, John Cage, Karlheinz Stockhausen, Gordon Mumma, Klaus Schulze, Chrome, Throbbing Gristle, Phantom Tenants, The Damned, Darkthrone, Burzum, Bathory, Morbid Angel, KISS, Cirith Ungol , Venom, Sewer Puppet, Merzbow, Katatonia, and many more, they are really too many to list completely. ALSO - I believe that the influence does not necessarily dictate how will sound performer. Rather, this effect on self-identification cards and a key to what people believe. But anyone can sound so as soon as he wishes, regardless of whether what he believes.
In addition to singing, you by all the lyrical component, right? Can you describe what the song, and for what purpose they serve frightening and perverse images? Few texts are available for reading, whether you intend to ever publish in its entirety?
I have a rule never to sing words that I did not create. So yes, I wrote all the lyrics Burning Witch. Group wrote to all our songs together in the format of rehearsals, where we all tried their ideas alive, then stopped and talked as they worked, reworked them and try new things. I was there, writing lyrics and offhand as trying new ideas. Then I copied the text, take-home film rehearsals (recorded on a cassette player) and improve it. For the most part, every song is like a legend or history. With the central character, whether the protagonist or antagonist. Most have a deep meaning and moral of the story. Spooky and perverse imagery - it's just the way I think in the symbolism. For me it is not scary, everything has a perfect sense. Still, there are a couple of exceptions to this formula. "Tower Place", "Sacred Predictions" and "Stillborn" largely autobiographical. This is a very special song for me, and what I wrote them, helped me to cope with very complex problems that were with me at that time. I spent most of his life in the secret of deep depression, which has learned to cherish and keep you. But in times of "Witches" I had many problems with understanding his own nature. I kept most of the lyrics as something sacred and hindered its publication, which is why only two songs known to mankind. I have no plans to publish any of the texts in the future. I do not feel need to be accepted or understood. I think people should take the song as abstract forgive a concert. Steve Albini was his old friend and get him to record not represent any problem. I think Stewart also negotiated all of our performances. We had no manager, but I think that Stewart served the majority of its functions. Steve was his journal, "Descent", but he never used it to promote the group or some other assistance to us. Jamie and I just do not let all fall apart, were too busy to have good connections or to help a group as any in this regard. Listen, you must understand - we did not like anyone. There was no support of the group, what was the Burning Witch. Fabulosity came after a long time after we had ceased its activity as a team. You can thank for that Greg Anderson. He let all of our work as soon as his label is on full blast. I think it was 1997 or 98 th anniversary year. I'm not sure, because at that time doing other things and tried to raise Sinisstar feet. DUM and DRON scenes of America were constructed by Greg Anderson Southern Lord.
As usual, look to your statements? Do you remember the group with whom he shared the stage? Will I lose some vivid impressions of your concerts?
Our perfeams the last part of the twentieth century: Goatsnake. Greg - a strong personality and a pioneer of the genre.
Well, the sound was tight, and soon it was time to capture it on vinyl. How difficult is it to get a contract with the label? Who is involved in management, organizing concerts, etc.?
We have never had a contract. All releases of recordings made by us, were implemented after the collapse. We recorded everything on their own, paying the cost of production from their own pockets. In Stewart was darkness in the underground connections, and that helped when it came time to write something or give a concert. Steve Albini was his old friend and get him to record not represent any problem. I think Stewart also negotiated all of our performances. We had no manager, but I think that Stewart served the majority of its functions. Steve was his journal, "Descent", but he never used it to promote the group or some other assistance to us. Jamie and I just do not let all fall apart, were too busy to have good connections or to help a group as any in this regard. Listen, you must understand - we did not like anyone. There was no support of the group, what was the Burning Witch. Fabulosity came after a long time after we had ceased its activity as a team. You can thank for that Greg Anderson. He let all of our work as soon as his label is on full blast. I think it was 1997 or 98 th anniversary year. I'm not sure, because at that time doing other things and tried to raise Sinisstar feet. DUM and DRON scenes of America were constructed by Greg Anderson Southern Lord.
As usual, look to your statements? Do you remember the group with whom he shared the stage? Will I lose some vivid impressions of your concerts?
Our performances were held in smaller and smaller bars and clubs. At the beginning of the concert room was usually filled by half. By early second song left ten people from the audience. This generalization, of course, but fairly accurate. We played with Napalm Death, At The Gates, Overkill, Silkworm, Darkenwood, Swarming Hordes, Rorschach Test, and others, but me it never cared for real. I have always been totally focused on what I'm doing. I am in a state that leaves no room for things that can distract me for a speech. As the stories of our concerts, I can not think of anything interesting. Just endless garbage about the internal struggle, spitting at each other, failure to pay up as long as Stewart does not threaten the owner of the club massacre - the usual attitude.
Second June 1997 Burning Witch appeared in the broadcast channel 29 Live, to perform two songs live, which have been withdrawn and I think broadcast. This old-fashioned girl dressed, representing you, looks really quite funny! How to do this could happen, you remember details of what was happening?
Yes, we have appeared on cable public access channel "29 Live" in 1997. It was not long before the end of the existence of the team. Stewart knew the guy from that show, so he arranged everything. Women, which we worked on this TV channel. This is the only known shooting performances Burning Witch. We also performed the song "Siren Song", which was never released. I was in complete shit that night. I can see it on your face. It is painful to watch. Good performance, but not even close to standing with those on that we were able to live. Monitors on the stage were really horrible, so that we could hardly hear themselves. This live concert Burning Witch was like fuckin 'over the world for all present. Much better than what you see in this transfer.
I'm sure it was! But certainly someone had to stay at concerts, at least a quarter of the crowd, right? Have you been a Charlton Heston spirit, perhaps Blacker went to your speech? What were mostly people who took you?
You know, hard to pinpoint our audience. Partly because, as I said before, we did not like anyone. During performances, I looked into the eyes of anyone who does not look away and saw in them a lot of fear. Fear, disgust, embarrassment - all these emotions were prevalent among our audience. It was a situation where a group can not find an opportunity to speak at the desired site, in front of people who want to experience similar sensations. We played a lot in a place called "China Club". It was the type of our own club. His visitors are accustomed to us, this is where we played with Napalm Death and At The Gates. People still have not understood, even fans of those groups. The most successful can be considered as an address in Olympia, Wash., in the old firehouse. It was something like a Community Centre, and we played with Darkenwood and Swarming Hordes. The audience was full of Krusty des-punk kids. You know such - vegans, Dreadlocks, the stripes across the dress ... They PERLIT from us! It was a concert shortly before the end of the band's history, in any case. I think we are really able to play our full set! Then it was a rarity. As for your other statements: I do not think that we have all been black metallichsky spirit.
The second entry, entitled "Rift.Canyon.Dreams", introduced listeners to a new member, B.R.E.D.a. What was the reason for the change of the drummer?
Jamie Sykes left the band due to move back to England, and Stewart knew Brad for the Seattle scene. In Brad's many talents, and he damn cool guy. He immediately joined the team and really gave myself entirely to "Witches". With Brad on drums we have moved towards greater conceptual - and less sladzhevosti. Then these changes, I had not to his liking, but now I see that it was the prototype of the modern drone scene. On this occasion I am prepared to state publicly that I do not like penchant for pretentiousness in the drone genre. I call it a joke "hipster drone" and is regarded as highly pretentious and not doom. He became toothless and tedious. And this is NOT DUM until until it awesome. Even in this case, it leaves me wishing znaaachitelno more. DUM in its true form has taken its name from the fact that it makes the listener Dire own existence. This has nothing to do with tempo or the ranks, but depends entirely on the ideas and RELATIONS. Do not make me talk about all these wretched Group - you know who you are and you sucked!
In 1996, you and O'Malley worked together to harsh DJ Bobo project of Sarin. What's the idea behind this? Can you tell us more?
In fact, I asked O'Malley to join me for an experimental recording sessions, which yielded a good result, and therefore this was followed by many others. Once the material has been completed, he named the project Sarin and published it on Slaughter Productions in Italy and in fact, not interested in my opinion. It was a cassette release limited edition. None of us did not get him any money. In fact, it was not hard, by my standards, DJ Bobo. I made a large number of early digital manipulation, which were very advanced for its time. Currently I am working with my longtime friend David Dubhe Blake over a very similar project called DUBH59. We have no plans to release anything, just investigate the sound for the sake of the process.
On another name associated with Sarin - Sphelter, there is no information except what is your DJ Bobo / soundscape project (or was it). When did you start to engage them and what is its fate?
Sphelter - still an active project. I launched it in 2006. It consists of experiments designed to challenge specific biological responses in the listener. Each "song" - a separate experiment, following the scientific method and designed to produce different reactions in the human body. I believe that most of the music, called "experimental", actually has an "exploratory" nature. In case if it is indeed an "experimental", it should conform to the scientific method, be controlled and determined by the scope of research aimed at obtaining certain results. All this is irrelevant to the vast majority of "experimental" music. In general, most often it is only "study" of certain ideas of people who do not represent the final result. So Sphelter - this is my attempt to be really EXPERIMENTAL composer. So what happens in the end, almost impossible to listen. Very tough in some places and almost besslyshno in others. I have been working on this project for many years, but since I do not want to release anything until then, until brought to a successful conclusion of several experiments, production of release may require more time. I see this project as a place where vocation for science and the arts. I learned a lot while working on this study.
Well, what can you say about the publication of your old records today? Have you seen the last re-Burning Witch "Crippled Lucifer"? Are you satisfied with registration and the rest?
I am very warm attitude to the heritage of Burning Witch. I always had strong feelings for him, and it is encouraging to observe how it is gaining popularity, even posthumously. As for design - I like it. I think it is well suited to the concept and aesthetics of music. Steve O'Malley - a brilliant illustrator. I also liked the photo of original pages from my notebook with the lyrics. This is a great package.
We return to the "Witches" a couple of questions. What led to the disintegration of the group?
The beginning of the end began last months of 1996, when Jamie Sykes unexpectedly went back to England. I took his absence as if a gaping hole in the fabric of time and space. He is such a wonderful drummer. You may not believe me, but just because of him "Witch" sounded so dirty. After this, Stewart gave us Brad. He is a decent performer and an extremely deep and sincere personality. With him at the drums the group moved toward a more mod, artistic and minimalistic sound. That's nice, and perhaps this is a natural evolution, but it never became what could be. Then in 1997, O'Malley decided to move to Europe to attend to their duties in relation to fine art. We had a meeting after his departure, and we decided to discontinue the group. This was the beginning of my fall down, which lasted for decades and repeatedly brought me to the features of the full self-destruction. We have not had a single release until 1998. We have teamed up to give a couple of shows on the west coast at the time, but the magic has evaporated, we are focused on other projects. Now I dream that this never ends. This was what is called a perfect alignment.
The most surprising thing that no article about Burning Witch never mentions O'Malley decision about moving to Europe, explaining the fact that the collapse of the fact that you left the band to Sinisstar. Continue without Stephen was pointless?
Yes, it's amazing. Most articles that I've read about Burning Witch, was a lot of untrue. We have repeatedly discussed with Stewart is, finding disappointing. I am sure that this is due to those who provided information and so, in what light they tried to put himself and me. I see no other reason to lie about these momentous events, but an attempt to present themselves better than you, and make me a scapegoat to cover their tracks. I even read one or two biographies, a fabrication that my participation seemed insignificant! Or different methyl printing, composed O'Malley, in which there is no single mention of my current projects. Haha! Or interviews he gave, with statements that I'm hanging on stimulants and live on the street. It's hard to recognize, but in reality we are dealing with shameless self-promotion, not having any relation to the truth. I watched the scene for many years and quietly laughing to himself. I really do not care what people think about me, but, perhaps, may come a time to arrange things in their places. The name "Crippled Lucifer", as well as all names (except for "History Of Hell") and all the words / lyrics - created me. I assure you - I would never leave Burning Witch, for no reason, for no reason! The decision was made because without the participation of the original core group of people, it was no longer true "Burning Witch". We have already replaced the drummer, and I thought that we should take a break at a time. So we had three of the original four, and one left our ranks. Pristine remained half of the original composition. It is not enough. "Witch" In my opinion, this Dalkvist Stewart, Stephen O'Malley, Jamie Sykes and myself. Not some sort of grab-bag with constantly changing parties. Between us four was inviolable confidence. So it is time to stop the activity. Yes, it was pointless to continue under the name Burning Witch without Stephen O'Malley.
I heard Tom Warrior invited to join the group to perform at Roadburn under "Only Death Is Real", what about this? Is there a chance of resurrection Burning Witch?
The proposal was made by Tom Warrior Stephen O'Malley and he rejected it. Other participants were informed about this after the fact. Three of us (Stewart, Jamie and I) would be happy to meet again with the old memory and play on the same stage for the first time in a decade, but we were not even aware of what is happening up until the offer (great honor) was not rejected. In my opinion, there are too many differences and ulterior motives in order to have a good working relationship with Stephen at the moment. Perhaps this is the best. You see, the three of us wanted it not for the money, we just wanted to be together as a group. But the circumstances are such that we live in different states - a thousand miles apart. Reunion could make this possible. But, alas, this did not happen. As I said - probably for the better. I am sad to say this, but it is so. Time of Burning Witch gone.
Can be considered as the best epitaph for the legendary Burning Witch, but it was not the end of everything. Tell us about Sinisstar - many people who like the "witch" and thoughts on the whole, looks surprised, even shocked when I learned that you sang in this group and frequently expresses his discontent with something in the spirit: "and he could only Burning Witch leave for such a shitty pop band? "
In the middle of 1997, after nearly a month after the collapse of "Witches", I was going to create a new group. He began to play more on the guitar and decided to search only bass player and drummer, acting as a trio. On the creation of music originally was inspired KISS, and I decided that I wanted to do glam-metal band, but only slightly different from the others. I immediately found a drummer, Ryan delicious Tvidta (Tvidti) and we started rehearsals in the building of an old abandoned theater burlesque in Ballard, Washington (a suburb of Seattle). Not long in coming, and our meeting with the bass player, Shadow, we were destined to become the best of friends. So the three of us just wrote songs and played them constantly, eventually moving to live in the old theater. We had literally nothing. Living in a squat utorchannye glam metalhedy of the ditch. Haha. In late 1997, the first I came to Los Angeles for a meeting with John Anderson, publisher of the old Burning Witcher, counting on his help with what is now known as Sinisstar. He said that the producer - Bob Marlette - working with Black Sabbath and may be interested in us because of any reason. The meeting was set for a few days later.
I appeared at the studio in Cornerstore Berbenke, Calif., around noon to meet Rob Halford, chatting on the phone in the parking lot. I was surprised, but tried not to show it. It turned out that Bob was working on the recording of one of his solo albums. They invited me to sit down and wait a little while Bob's free. I watched how they worked, so that by the time I was in awe of meeting Bob. The meeting went well. He said he is looking for a new vocalist in Black Sabbath. Someone younger and with a new look at things. Meet and play / jam SEISHN were scheduled for the following week. I was going jammed with themselves, their mother, Black Sabbath!!!
SEISHN were good, and I get along well with Iommi, Butler and Appice. What a miracle! We pootryvalis couple of days and I went back to his miserable life in Seattle. Upon returning, I did not tell about what happened to anyone, except his fellow band members. Anyway, nobody would have believed! I still do not really discuss it. A very special moment in my life that I prefer to keep to himself. After a couple of weeks I rang Bob - he wanted to see me! Again, going to a meeting with him in LA, and this time my trip is fully paid. Again the meeting was going well. As it turned out, had begun talks about to resume work with Ozzy! Of course, I was happy just to know about it, but my ability with Bob not been exhausted. Everything was just beginning. He said he wanted to hear what I'm doing, and after I lost him, our titled demo, recorded on their own, wanted to produce our debut album and promised to find us a good deal! The following years, if flying, whereas we had a contract with Geffen / Interscope, tours throughout the country, an interview with Rolling Stone and stuff like that. Be that as it may, in general, all this was like a childhood dream that became a nightmare. When all was said and done, I was able to earn and lose millions of dollars, to sell half a million records and be thrown away or faithful in all possible ways. I am glad that I had this experience, but not less than pleased that it's over. Five years have passed, while over this situation cleared the smoke for me, and only in the last couple of years I have re-emerged urge to create music. It feels like I was given a second chance to do something worthwhile. Now I am afraid of many things that others only dream of.
In summary, I would say that I was proud of his work with Sinisstar. But, in my opinion, it lacks a certain artistic integrity and individuality. If I had to redo everything, I would take the same decision, but stood his ground, not listening to the views of so many people with their own interests on my work. I never want to find themselves in situations associated with a major label, but at least I was there, did it and no longer need to guess, I want it or not. Now I do what I needed help.
Damn, it's just amazing! What can you say about Fred Durst and your co-headlining tour with his band, Limp Bizkit?
Fred Durst - the biggest piece of shit that I ever met. It can not be trusted as a businessman, and he stole the riff from my demo, and used them in his records. He does not have absolutely nothing worthy to offer this world. Complete failure. I said all this in his face. He also hobnobbed with the lowest rung of the business hierarchy - thieves music industry, office plankton. Specifically, with Jordan Schur. This is also a complete idiot, sign contracts with groups, to steal, along with Fred their ideas and try to use them to revive his languishing career. And I also said Shura in the face. Fucking assholes! Ride in a tour with Limp Bizkit - sucks! Their fans - sucks! Signing a contract with Geffen / Interscope was one of my greatest mistakes. Contact Fred Durst was a monstrous blunder. If I again see it without a guard nearby, smash his face in a mess because he stole my riffs! Najera THESE GUYS!
As far as I know, Sinisstar was commercially successful, right? But what prevented the achievement of even greater success, comparable to great names, with whom you went to do?
Success - a relative concept. I wanted to Sinisstar was much more successful than it ultimately became. History is just a fucking series of problems, ranging from issues with the financing of the label and ulterior motives to the politics of intergroup relations. Almost a classic scenario. If you want to know the details, just to see the movie "Spinal Tap" and imagine if they removed Sinisstar. Literally. As I said: I'm glad it's over. I moved and was lucky enough to go through everything, but I'm much more happy and content without these people in my life.
Lyrics and attityud Sinisstar were still "associated with drugs," as the title of one of the songs, and generally more painful and desperate. You mentioned earlier in the interview about heroin addiction and fall down. Can you shed some light on this page to your life?
Most of the songs on the "Future Shock" conceived as self-releasing and supporting. The idea is to be who you are and take their dark side. In fact, the song "Drug Related" - anti-drug orientation. It tells of a price to pay for a false sense of completion, which can give you drugs. It was written at a time when I was tied to taking any substances. My whole life was a continuous spiral of drug abuse and loathing. Now I know myself from many sides. Currently, I do not use any substances that alter consciousness or mood. Sinisstar designed to show both sides of the coin. There is always another side. Typically, this is the price to be paid for speaking out against societal norms.
Why it was decided to discontinue the Sinisstar?
Three members left the band due to disappointment them when the label terminated the contract with us. Sid, China and Brack believed that they could continue and move forward, but they did not work. Once they are all gone from the group, we could not get any contract until until you collect something else. All over the fact that we (the Shadow and I) left Los Angeles in the middle of the night to avoid debt in thousands of dollars for litigation, in which found themselves. We stopped in Atlanta, we do not have anything except what has been in the van. We continued to write songs and recorded, but decided to stop in 2004. He now has his own project, Nomadic Lux Bum.
Rumours of a reunion for some time now circulating in the network, you can somehow comment on that?
This is not the question. I'm pretty confident that he burned all the bridges to Sinisstar. I'm flattered that people want our reunion, but it will never happen. I am very aware of these rumors. They blossomed in the aforementioned trio of participants, who were responsible for the decay of the group. I think they just want people to talk about them. They are opportunists. Ready to do anything to earn a dollar. This is another reason why I would never see on stage with them. Pooh ... Sinisstar leave alone. This will not happen.
What do you do after the dissolution of Sinisstar? Can you briefly describe their projects - ILLF8, SketchMovnt, SAR.DON.IK, Savant?
ILLF8 was a continuation Sinisstar with me, Shadow and Rob Vial, a guy whom we met when staged plays at SS. He was a devoted and moved us to Atlanta. We wrote about 20 songs, but never brought them to mind, to get the contract. SketchMovnt was my solo project, which managed to attract funding DefJam Records. I worked on it for about a year, and then label stopped its support. I lost all my notes in this transaction - in the end they were the property of the label. SAR.DON.IK conceived as industrial metal act with a rigid foundation, but over time I started vomiting from the industrial. Still, we had some good things. Savant was a continuation SketchMovnt after the break with DefJam.
Do you know how to do your former colleagues at "Witches", supported with any of these connections?
Yes, we regularly support each other relationship.
Tell us about your collaboration with George Dalkvistom first in Asva zamtem, and in the full side project The Poisoned Glass.
We wish once again with Stewart have worked together for many years. When Asva take their "What You Don't Know Is Frontier" in 2005, they asked me to write lyrics and sing some songs. I was in the midst of writing material SketchMovnt, so I have not been able to do so. It was a bummer. The proposal was postponed until 2007 the first, when I flew to Seattle to record vocals for the track "Termagent". The song is good, but it was decided that the best "What You Don't Know Is Frontier" will be instrumental record. I also felt that do not fit into Asva. My personality does not quite jibe with the frank mod and complex music. That is why we decided to start with Stewart something else that fits both of us. Thus was born The Poisoned Glass. This is the culmination of the ideas hatched over the years. This is true DUM in its purest form. He dronyaschy, but suffers from a hackneyed cliche in the drones. I really feel like drone has become so toothless and tragic fashion, that no longer has reason to believe a form of "extreme" music. I propose to listen to our records. We should something go in 2010.
What is the name of the group?
This is a reference to Socrates and his death.
Well, it is difficult to judge, relying on less than a two-minute excerpt songs on your myspace page, but it sounds great. I hope to hear from you new material as soon as possible. You are about to publish "Termagent" as the song The Poisoned Glass?
No, design and aesthetics of The Poisoned Glass differ significantly from Asva. Therefore, these projects are not interchangeable.
I know that you have at the moment there is another group called Moribosa (note: renamed as Bird's Eye), you can devote our part?
Now I mainly focus precisely on Moribosa. The group played by local musicians from Atlanta. It is painfully slow Sludge DUM in the traditional sense of the term. It is oppressive music. I love it. I feel myself almost as if in rehearsal "Witches". Like the end of the world. I think at this stage, we will stay clean and will not be anything to write and produce. The only way to hear us - to be there.
Honestly, would like to see you changed your opinion on this matter! Be that as it may, it's time to finish. If you say something at last readers interview?
Well, Cyril, I would like to express my gratitude for the very well-informed and thorough interview in which I have ever attended. Participate in it was a pleasure. As final words, I just wanted to say to all people interested in what I do: thank you for your interest. I hope that you check this something useful and it will have some impact on your life. Remember that when exposing the true value of all things, all this is not worth anything. We create the meaning of their lives themselves, and it is not so, as it looks.
Thank you for your time and patience. Let the new year bring you luck and success in all your endeavors, hope to hear more music from you in 2010!
The name of our companion for many years was in the shadow of mysteries and riddles. Find about it at any definite information was a matter almost impossible, and any attempt to lift the veil of darkness were doomed to failure. All this, however, did not prevent (if not vice versa) to get him cult status among fans of the most extreme forms of doom. Anyone who happened to hear legendary American formation Burning Witch, could not remember the unique voice of singer, who was hiding behind a pseudonym EDGY59. Imagine, what was my surprise and joy when he kindly agreed to answer the many accumulated problems and did it in exhaustive detail and great patience. We would also like to thank for their help and Oppovstvs Abysspreacher - without your participation, the interview would not have been completed.
Please introduce yourself and tell readers that sochtesh fit, on myself.
I called Edgemont. I am a singer, composer and actor. I believe in what I do, no apologies and offer no explanation of their work and actions. I consider myself a knight-errant, and I see my life as an opportunity to shake the foundations of world people on this Earth. I believe that to create new ways need to destroy the old, and it is this and do most of the time. I'm moving in this direction and not find it possible to stop it.
Do you remember the day when music came into your life? How did you decide to become a musician, which led to all this: a certain event or rather a kind of internal process?
It was in the third grade. Class Miss Wolf, to be exact. Suddenly, I decided to sing in the school talent contest and won. The teacher was a friend of my mother, and after that I was recorded in a local boys choir. That experience was sufficient to make me quit singing and start playing the piano. I started playing the piano and excelled. Play it to this day, among other instruments. Everything changed when in 1978 my mother took me to a concert KISS during their tour "Love Gun". These experiences have changed everything. In the same year I was listening to Black Sabbath and imagine what Ozzie says it to me (and only me). Of course, it was fine. I was ten years old. Sabbath since forever become a constant in my life. I think the next level of understanding came when I received "Stratosfear" Tangerine Dream as a gift. My mind always open to new ideas, and I embarked on a more experimental and research path in my musical self. My motives have changed forever. I am no longer worried about whether people will understand what I'm doing. I'm not worried, whether they like me.
And what was your first experience of creating your own music?
I always played the piano as a child. We stood one house, an old, configured for a normal game, and every day I played on it. In any case, I was solely interested in composing his own compositions. Every week I was working on a new one. Some of them became long in an hour or more. To this day I can play from memory almost everything ever written me. I learned guitar at 14. Drum kit - a 15. Then he acquired a synthesizer Oberheim OB8, when I was sixteen. Saved him two years. Then he began to write songs with frightening speed. Gone from school. Create group. And he left home to go on tour with her. It was 1985. My group was called MINDWORK. We performed a fully improvisational experimental electronic music (what today would be called DJ Bobo), and with considerable skills. We did not have drums, of course, and no recognizable sounds. It is abstract designs. We managed to tour in the states for almost a year, without any budget or resources worthy of mention. Of course, we, in turn, nobody liked. We went back to his native city poor and homeless. It became a model for relapse for many years.
MINDWORK recorded and released any material?
We recorded all the time. We then had his own studio and we did nothing, except the recording. At some point, we have found a record contract, but it did not work. In any case, this project was rather RESEARCH. We always gave unique concerts and bought some local support. We never released anything I have all the old master copies (lasting about 20 hours). I transferred them to the DAT format for preservation of many years ago.
You do not plan to release any of this material ever?
No. I need to find all members who participated in the creation of these records and then we could release them together. I'm not the only writer or owner of the records.
There are not many (if not to say anything) are aware of your activities in the early years. What did you do after the collapse Mindwork?
I moved to New York and began work on the creation of string quartets and symphonic music. I'm also constantly working on "noise / soundscape" material, but focused on the study of acoustic sound and its possibilities. I like what he has to interact with existing environments, in order to arise. Be that as it may, I am fed up and tired of this, because my skills composer had not yet been sufficiently developed. At this time I started playing the Chapman Stick. I focused on this for a couple of years, until tired, as long it does not linger. About the same time I decided to move to Seattle. It was 1994.
Did you participate in the activities of any local bands in the first time, or continued to work on their own material?
At first I worked on my things. He returned to his roots of creating an electronic sound and began to collect a lot of equipment. When buying guitars from a local dealer of used musical instruments, I met Dubhe David Blake. We decided to create an experimental DJ Bobo-rock project with his friend, the owner of the studio Private Radio, Pat Gray. Later, Dubhe and Pat will record the very first material Burning Witch to our demo in the studio. So we started doing gigs under the name Junkhalo, a term invented Dubhe invoking a halo of debris in orbit around the Earth. This was also a reference to drugs, that was quite true at the time. We had many concerts in many clubs in the Seattle area somewhere in the year. At this time we have EP, titled "Bugs Eating", and released it independently on the tape. For the first time since childhood, I began to sing. My mood and demeanor in general, quickly sank into depression and my addiction to heroin reached a critical point. Nobody could make my appearance, not to mention the presence, so there is no need to tell that I could not do their job, and the team was falling apart. It was at this time, I met with Stuart Dalkvistom.
How did this happen?
I was repairing his car in the driveway, and Stewart lived on in the end of the street. He liked the machine and we started to make friends. I had an old Studebaker, and he was the only one of the guys around, who could have him do something. We had a little chat about music, and I told him about the impending concert Junkhalo. He came to him and the next time brought with him O'Malley and Greg show you how I sing. We spoke with Boris and Kirihito, and they were impressed. This concert was the last in the history Junkhalo. A week later I jams with those who later became parties to Burning Witch.
Have you heard of Thorr's Hammer? I listened to it all doom?
I have heard Thorr's Hammer, but I never heard them. I was aware of a pair of concerts that they gave a year or so. In any case, I'm not a fan of low, guttural vocals as a whole, so these concerts are not attended. My environment that is now called Doom, in fact much more SLADZhevoe than any other. I grew up in Charlotte, North Carolina, and in that time there was a main stage early sludge groups. Sewer Puppet and later Buzzov * en. In both of these groups have played my friends, so I spent a lot of time next to this subculture. In 1988, everything was so new to all that we do not know how to call it. The words "Sludge" and "Doom" - new nickname of old ideas. Nowadays, there seems to be consistent with any category, but in those days everything was not so. I have many times seen as Buzzov * en tore audience. It changed my life! They - the main reason that I love the slow, heavy music. Well, apart from Black Sabbath. The vocal style of Kirk Fisher was an early influence on my own. They lived in a house in which lived and rehearsed Morbid Angel for a couple of years before leaving the city. There are many stories about events that took place there! They were very good years for me, and just then formed the ideas that were later implemented in such groups as Burning Witch, and The Poisoned Glass.
What was your first impression of the guys with whom you then created Burning Witch? Did you discuss in what direction are going to develop the band's sound or it happened naturally?
It's a strange question, but I think it is worthy of a right to exist. From the beginning I was completely overwhelmed by Burning Witch. The boys made an impression on me, and I wanted to be part of the project. This dynamic group of like Burning Witch, in the first place is filled with extreme characters. So it should be. This is a situation where even if you hate each other for one reason or another - you love each other, because only together can create this unstoppable force and motion. That is how I would describe the stay in Burning Witch. As soon undertook the task, we were tied honor and under penalty of death and eternal torment brought things to the end. It was a clear sense of what is important. The reason above our personal motives, desires or needs. Over the years we have all become brothers in a very deep level. Until today we are brothers, and no matter what might happen between us, although some may say otherwise. "Witch" was for all of us something special, besides, I'm sure, is more important than any other thing has been or will be. This is the perfect alignment. Looking back on the years spent in the "Witches", is enough to find a reason to live. I think am still in the Burning Witch, until his death. This is the only thing in my life that I am proud unconditionally. Regarding sound: I think it was one of the few occasions when I was in the group, which are really the totality of its constituents. We have provided its fair share of the whole and the result was just automatically perfect. Constantly. Every time. This is really happening is natural.
One of the most memorable things on Burning Witch, is your voice, a truly unique and inimitable. You mentioned Kirk of Buzzov * en, affected your singing style. Who has also inspired you?
With regard to direct effects on my vocals, it was Kirk Fischer (Buzzov * en), Ozzy Osbourne (Black Sabbath) and Jeff Clayton (Antiseen). There is also another kind of influences: people and groups that inspired me musically or in general as a whole. This is Black Sabbath, Buzzov * en, Tangerine Dream, Krzysztof Penderecki, John Cage, Karlheinz Stockhausen, Gordon Mumma, Klaus Schulze, Chrome, Throbbing Gristle, Phantom Tenants, The Damned, Darkthrone, Burzum, Bathory, Morbid Angel, KISS, Cirith Ungol , Venom, Sewer Puppet, Merzbow, Katatonia, and many more, they are really too many to list completely. ALSO - I believe that the influence does not necessarily dictate how will sound performer. Rather, this effect on self-identification cards and a key to what people believe. But anyone can sound so as soon as he wishes, regardless of whether what he believes.
In addition to singing, you by all the lyrical component, right? Can you describe what the song, and for what purpose they serve frightening and perverse images? Few texts are available for reading, whether you intend to ever publish in its entirety?
I have a rule never to sing words that I did not create. So yes, I wrote all the lyrics Burning Witch. Group wrote to all our songs together in the format of rehearsals, where we all tried their ideas alive, then stopped and talked as they worked, reworked them and try new things. I was there, writing lyrics and offhand as trying new ideas. Then I copied the text, take-home film rehearsals (recorded on a cassette player) and improve it. For the most part, every song is like a legend or history. With the central character, whether the protagonist or antagonist. Most have a deep meaning and moral of the story. Spooky and perverse imagery - it's just the way I think in the symbolism. For me it is not scary, everything has a perfect sense. Still, there are a couple of exceptions to this formula. "Tower Place", "Sacred Predictions" and "Stillborn" largely autobiographical. This is a very special song for me, and what I wrote them, helped me to cope with very complex problems that were with me at that time. I spent most of his life in the secret of deep depression, which has learned to cherish and keep you. But in times of "Witches" I had many problems with understanding his own nature. I kept most of the lyrics as something sacred and hindered its publication, which is why only two songs known to mankind. I have no plans to publish any of the texts in the future. I do not feel need to be accepted or understood. I think people should take the song as abstract forgive a concert. Steve Albini was his old friend and get him to record not represent any problem. I think Stewart also negotiated all of our performances. We had no manager, but I think that Stewart served the majority of its functions. Steve was his journal, "Descent", but he never used it to promote the group or some other assistance to us. Jamie and I just do not let all fall apart, were too busy to have good connections or to help a group as any in this regard. Listen, you must understand - we did not like anyone. There was no support of the group, what was the Burning Witch. Fabulosity came after a long time after we had ceased its activity as a team. You can thank for that Greg Anderson. He let all of our work as soon as his label is on full blast. I think it was 1997 or 98 th anniversary year. I'm not sure, because at that time doing other things and tried to raise Sinisstar feet. DUM and DRON scenes of America were constructed by Greg Anderson Southern Lord.
As usual, look to your statements? Do you remember the group with whom he shared the stage? Will I lose some vivid impressions of your concerts?
Our perfeams the last part of the twentieth century: Goatsnake. Greg - a strong personality and a pioneer of the genre.
Well, the sound was tight, and soon it was time to capture it on vinyl. How difficult is it to get a contract with the label? Who is involved in management, organizing concerts, etc.?
We have never had a contract. All releases of recordings made by us, were implemented after the collapse. We recorded everything on their own, paying the cost of production from their own pockets. In Stewart was darkness in the underground connections, and that helped when it came time to write something or give a concert. Steve Albini was his old friend and get him to record not represent any problem. I think Stewart also negotiated all of our performances. We had no manager, but I think that Stewart served the majority of its functions. Steve was his journal, "Descent", but he never used it to promote the group or some other assistance to us. Jamie and I just do not let all fall apart, were too busy to have good connections or to help a group as any in this regard. Listen, you must understand - we did not like anyone. There was no support of the group, what was the Burning Witch. Fabulosity came after a long time after we had ceased its activity as a team. You can thank for that Greg Anderson. He let all of our work as soon as his label is on full blast. I think it was 1997 or 98 th anniversary year. I'm not sure, because at that time doing other things and tried to raise Sinisstar feet. DUM and DRON scenes of America were constructed by Greg Anderson Southern Lord.
As usual, look to your statements? Do you remember the group with whom he shared the stage? Will I lose some vivid impressions of your concerts?
Our performances were held in smaller and smaller bars and clubs. At the beginning of the concert room was usually filled by half. By early second song left ten people from the audience. This generalization, of course, but fairly accurate. We played with Napalm Death, At The Gates, Overkill, Silkworm, Darkenwood, Swarming Hordes, Rorschach Test, and others, but me it never cared for real. I have always been totally focused on what I'm doing. I am in a state that leaves no room for things that can distract me for a speech. As the stories of our concerts, I can not think of anything interesting. Just endless garbage about the internal struggle, spitting at each other, failure to pay up as long as Stewart does not threaten the owner of the club massacre - the usual attitude.
Second June 1997 Burning Witch appeared in the broadcast channel 29 Live, to perform two songs live, which have been withdrawn and I think broadcast. This old-fashioned girl dressed, representing you, looks really quite funny! How to do this could happen, you remember details of what was happening?
Yes, we have appeared on cable public access channel "29 Live" in 1997. It was not long before the end of the existence of the team. Stewart knew the guy from that show, so he arranged everything. Women, which we worked on this TV channel. This is the only known shooting performances Burning Witch. We also performed the song "Siren Song", which was never released. I was in complete shit that night. I can see it on your face. It is painful to watch. Good performance, but not even close to standing with those on that we were able to live. Monitors on the stage were really horrible, so that we could hardly hear themselves. This live concert Burning Witch was like fuckin 'over the world for all present. Much better than what you see in this transfer.
I'm sure it was! But certainly someone had to stay at concerts, at least a quarter of the crowd, right? Have you been a Charlton Heston spirit, perhaps Blacker went to your speech? What were mostly people who took you?
You know, hard to pinpoint our audience. Partly because, as I said before, we did not like anyone. During performances, I looked into the eyes of anyone who does not look away and saw in them a lot of fear. Fear, disgust, embarrassment - all these emotions were prevalent among our audience. It was a situation where a group can not find an opportunity to speak at the desired site, in front of people who want to experience similar sensations. We played a lot in a place called "China Club". It was the type of our own club. His visitors are accustomed to us, this is where we played with Napalm Death and At The Gates. People still have not understood, even fans of those groups. The most successful can be considered as an address in Olympia, Wash., in the old firehouse. It was something like a Community Centre, and we played with Darkenwood and Swarming Hordes. The audience was full of Krusty des-punk kids. You know such - vegans, Dreadlocks, the stripes across the dress ... They PERLIT from us! It was a concert shortly before the end of the band's history, in any case. I think we are really able to play our full set! Then it was a rarity. As for your other statements: I do not think that we have all been black metallichsky spirit.
The second entry, entitled "Rift.Canyon.Dreams", introduced listeners to a new member, B.R.E.D.a. What was the reason for the change of the drummer?
Jamie Sykes left the band due to move back to England, and Stewart knew Brad for the Seattle scene. In Brad's many talents, and he damn cool guy. He immediately joined the team and really gave myself entirely to "Witches". With Brad on drums we have moved towards greater conceptual - and less sladzhevosti. Then these changes, I had not to his liking, but now I see that it was the prototype of the modern drone scene. On this occasion I am prepared to state publicly that I do not like penchant for pretentiousness in the drone genre. I call it a joke "hipster drone" and is regarded as highly pretentious and not doom. He became toothless and tedious. And this is NOT DUM until until it awesome. Even in this case, it leaves me wishing znaaachitelno more. DUM in its true form has taken its name from the fact that it makes the listener Dire own existence. This has nothing to do with tempo or the ranks, but depends entirely on the ideas and RELATIONS. Do not make me talk about all these wretched Group - you know who you are and you sucked!
In 1996, you and O'Malley worked together to harsh DJ Bobo project of Sarin. What's the idea behind this? Can you tell us more?
In fact, I asked O'Malley to join me for an experimental recording sessions, which yielded a good result, and therefore this was followed by many others. Once the material has been completed, he named the project Sarin and published it on Slaughter Productions in Italy and in fact, not interested in my opinion. It was a cassette release limited edition. None of us did not get him any money. In fact, it was not hard, by my standards, DJ Bobo. I made a large number of early digital manipulation, which were very advanced for its time. Currently I am working with my longtime friend David Dubhe Blake over a very similar project called DUBH59. We have no plans to release anything, just investigate the sound for the sake of the process.
On another name associated with Sarin - Sphelter, there is no information except what is your DJ Bobo / soundscape project (or was it). When did you start to engage them and what is its fate?
Sphelter - still an active project. I launched it in 2006. It consists of experiments designed to challenge specific biological responses in the listener. Each "song" - a separate experiment, following the scientific method and designed to produce different reactions in the human body. I believe that most of the music, called "experimental", actually has an "exploratory" nature. In case if it is indeed an "experimental", it should conform to the scientific method, be controlled and determined by the scope of research aimed at obtaining certain results. All this is irrelevant to the vast majority of "experimental" music. In general, most often it is only "study" of certain ideas of people who do not represent the final result. So Sphelter - this is my attempt to be really EXPERIMENTAL composer. So what happens in the end, almost impossible to listen. Very tough in some places and almost besslyshno in others. I have been working on this project for many years, but since I do not want to release anything until then, until brought to a successful conclusion of several experiments, production of release may require more time. I see this project as a place where vocation for science and the arts. I learned a lot while working on this study.
Well, what can you say about the publication of your old records today? Have you seen the last re-Burning Witch "Crippled Lucifer"? Are you satisfied with registration and the rest?
I am very warm attitude to the heritage of Burning Witch. I always had strong feelings for him, and it is encouraging to observe how it is gaining popularity, even posthumously. As for design - I like it. I think it is well suited to the concept and aesthetics of music. Steve O'Malley - a brilliant illustrator. I also liked the photo of original pages from my notebook with the lyrics. This is a great package.
We return to the "Witches" a couple of questions. What led to the disintegration of the group?
The beginning of the end began last months of 1996, when Jamie Sykes unexpectedly went back to England. I took his absence as if a gaping hole in the fabric of time and space. He is such a wonderful drummer. You may not believe me, but just because of him "Witch" sounded so dirty. After this, Stewart gave us Brad. He is a decent performer and an extremely deep and sincere personality. With him at the drums the group moved toward a more mod, artistic and minimalistic sound. That's nice, and perhaps this is a natural evolution, but it never became what could be. Then in 1997, O'Malley decided to move to Europe to attend to their duties in relation to fine art. We had a meeting after his departure, and we decided to discontinue the group. This was the beginning of my fall down, which lasted for decades and repeatedly brought me to the features of the full self-destruction. We have not had a single release until 1998. We have teamed up to give a couple of shows on the west coast at the time, but the magic has evaporated, we are focused on other projects. Now I dream that this never ends. This was what is called a perfect alignment.
The most surprising thing that no article about Burning Witch never mentions O'Malley decision about moving to Europe, explaining the fact that the collapse of the fact that you left the band to Sinisstar. Continue without Stephen was pointless?
Yes, it's amazing. Most articles that I've read about Burning Witch, was a lot of untrue. We have repeatedly discussed with Stewart is, finding disappointing. I am sure that this is due to those who provided information and so, in what light they tried to put himself and me. I see no other reason to lie about these momentous events, but an attempt to present themselves better than you, and make me a scapegoat to cover their tracks. I even read one or two biographies, a fabrication that my participation seemed insignificant! Or different methyl printing, composed O'Malley, in which there is no single mention of my current projects. Haha! Or interviews he gave, with statements that I'm hanging on stimulants and live on the street. It's hard to recognize, but in reality we are dealing with shameless self-promotion, not having any relation to the truth. I watched the scene for many years and quietly laughing to himself. I really do not care what people think about me, but, perhaps, may come a time to arrange things in their places. The name "Crippled Lucifer", as well as all names (except for "History Of Hell") and all the words / lyrics - created me. I assure you - I would never leave Burning Witch, for no reason, for no reason! The decision was made because without the participation of the original core group of people, it was no longer true "Burning Witch". We have already replaced the drummer, and I thought that we should take a break at a time. So we had three of the original four, and one left our ranks. Pristine remained half of the original composition. It is not enough. "Witch" In my opinion, this Dalkvist Stewart, Stephen O'Malley, Jamie Sykes and myself. Not some sort of grab-bag with constantly changing parties. Between us four was inviolable confidence. So it is time to stop the activity. Yes, it was pointless to continue under the name Burning Witch without Stephen O'Malley.
I heard Tom Warrior invited to join the group to perform at Roadburn under "Only Death Is Real", what about this? Is there a chance of resurrection Burning Witch?
The proposal was made by Tom Warrior Stephen O'Malley and he rejected it. Other participants were informed about this after the fact. Three of us (Stewart, Jamie and I) would be happy to meet again with the old memory and play on the same stage for the first time in a decade, but we were not even aware of what is happening up until the offer (great honor) was not rejected. In my opinion, there are too many differences and ulterior motives in order to have a good working relationship with Stephen at the moment. Perhaps this is the best. You see, the three of us wanted it not for the money, we just wanted to be together as a group. But the circumstances are such that we live in different states - a thousand miles apart. Reunion could make this possible. But, alas, this did not happen. As I said - probably for the better. I am sad to say this, but it is so. Time of Burning Witch gone.
Can be considered as the best epitaph for the legendary Burning Witch, but it was not the end of everything. Tell us about Sinisstar - many people who like the "witch" and thoughts on the whole, looks surprised, even shocked when I learned that you sang in this group and frequently expresses his discontent with something in the spirit: "and he could only Burning Witch leave for such a shitty pop band? "
In the middle of 1997, after nearly a month after the collapse of "Witches", I was going to create a new group. He began to play more on the guitar and decided to search only bass player and drummer, acting as a trio. On the creation of music originally was inspired KISS, and I decided that I wanted to do glam-metal band, but only slightly different from the others. I immediately found a drummer, Ryan delicious Tvidta (Tvidti) and we started rehearsals in the building of an old abandoned theater burlesque in Ballard, Washington (a suburb of Seattle). Not long in coming, and our meeting with the bass player, Shadow, we were destined to become the best of friends. So the three of us just wrote songs and played them constantly, eventually moving to live in the old theater. We had literally nothing. Living in a squat utorchannye glam metalhedy of the ditch. Haha. In late 1997, the first I came to Los Angeles for a meeting with John Anderson, publisher of the old Burning Witcher, counting on his help with what is now known as Sinisstar. He said that the producer - Bob Marlette - working with Black Sabbath and may be interested in us because of any reason. The meeting was set for a few days later.
I appeared at the studio in Cornerstore Berbenke, Calif., around noon to meet Rob Halford, chatting on the phone in the parking lot. I was surprised, but tried not to show it. It turned out that Bob was working on the recording of one of his solo albums. They invited me to sit down and wait a little while Bob's free. I watched how they worked, so that by the time I was in awe of meeting Bob. The meeting went well. He said he is looking for a new vocalist in Black Sabbath. Someone younger and with a new look at things. Meet and play / jam SEISHN were scheduled for the following week. I was going jammed with themselves, their mother, Black Sabbath!!!
SEISHN were good, and I get along well with Iommi, Butler and Appice. What a miracle! We pootryvalis couple of days and I went back to his miserable life in Seattle. Upon returning, I did not tell about what happened to anyone, except his fellow band members. Anyway, nobody would have believed! I still do not really discuss it. A very special moment in my life that I prefer to keep to himself. After a couple of weeks I rang Bob - he wanted to see me! Again, going to a meeting with him in LA, and this time my trip is fully paid. Again the meeting was going well. As it turned out, had begun talks about to resume work with Ozzy! Of course, I was happy just to know about it, but my ability with Bob not been exhausted. Everything was just beginning. He said he wanted to hear what I'm doing, and after I lost him, our titled demo, recorded on their own, wanted to produce our debut album and promised to find us a good deal! The following years, if flying, whereas we had a contract with Geffen / Interscope, tours throughout the country, an interview with Rolling Stone and stuff like that. Be that as it may, in general, all this was like a childhood dream that became a nightmare. When all was said and done, I was able to earn and lose millions of dollars, to sell half a million records and be thrown away or faithful in all possible ways. I am glad that I had this experience, but not less than pleased that it's over. Five years have passed, while over this situation cleared the smoke for me, and only in the last couple of years I have re-emerged urge to create music. It feels like I was given a second chance to do something worthwhile. Now I am afraid of many things that others only dream of.
In summary, I would say that I was proud of his work with Sinisstar. But, in my opinion, it lacks a certain artistic integrity and individuality. If I had to redo everything, I would take the same decision, but stood his ground, not listening to the views of so many people with their own interests on my work. I never want to find themselves in situations associated with a major label, but at least I was there, did it and no longer need to guess, I want it or not. Now I do what I needed help.
Damn, it's just amazing! What can you say about Fred Durst and your co-headlining tour with his band, Limp Bizkit?
Fred Durst - the biggest piece of shit that I ever met. It can not be trusted as a businessman, and he stole the riff from my demo, and used them in his records. He does not have absolutely nothing worthy to offer this world. Complete failure. I said all this in his face. He also hobnobbed with the lowest rung of the business hierarchy - thieves music industry, office plankton. Specifically, with Jordan Schur. This is also a complete idiot, sign contracts with groups, to steal, along with Fred their ideas and try to use them to revive his languishing career. And I also said Shura in the face. Fucking assholes! Ride in a tour with Limp Bizkit - sucks! Their fans - sucks! Signing a contract with Geffen / Interscope was one of my greatest mistakes. Contact Fred Durst was a monstrous blunder. If I again see it without a guard nearby, smash his face in a mess because he stole my riffs! Najera THESE GUYS!
As far as I know, Sinisstar was commercially successful, right? But what prevented the achievement of even greater success, comparable to great names, with whom you went to do?
Success - a relative concept. I wanted to Sinisstar was much more successful than it ultimately became. History is just a fucking series of problems, ranging from issues with the financing of the label and ulterior motives to the politics of intergroup relations. Almost a classic scenario. If you want to know the details, just to see the movie "Spinal Tap" and imagine if they removed Sinisstar. Literally. As I said: I'm glad it's over. I moved and was lucky enough to go through everything, but I'm much more happy and content without these people in my life.
Lyrics and attityud Sinisstar were still "associated with drugs," as the title of one of the songs, and generally more painful and desperate. You mentioned earlier in the interview about heroin addiction and fall down. Can you shed some light on this page to your life?
Most of the songs on the "Future Shock" conceived as self-releasing and supporting. The idea is to be who you are and take their dark side. In fact, the song "Drug Related" - anti-drug orientation. It tells of a price to pay for a false sense of completion, which can give you drugs. It was written at a time when I was tied to taking any substances. My whole life was a continuous spiral of drug abuse and loathing. Now I know myself from many sides. Currently, I do not use any substances that alter consciousness or mood. Sinisstar designed to show both sides of the coin. There is always another side. Typically, this is the price to be paid for speaking out against societal norms.
Why it was decided to discontinue the Sinisstar?
Three members left the band due to disappointment them when the label terminated the contract with us. Sid, China and Brack believed that they could continue and move forward, but they did not work. Once they are all gone from the group, we could not get any contract until until you collect something else. All over the fact that we (the Shadow and I) left Los Angeles in the middle of the night to avoid debt in thousands of dollars for litigation, in which found themselves. We stopped in Atlanta, we do not have anything except what has been in the van. We continued to write songs and recorded, but decided to stop in 2004. He now has his own project, Nomadic Lux Bum.
Rumours of a reunion for some time now circulating in the network, you can somehow comment on that?
This is not the question. I'm pretty confident that he burned all the bridges to Sinisstar. I'm flattered that people want our reunion, but it will never happen. I am very aware of these rumors. They blossomed in the aforementioned trio of participants, who were responsible for the decay of the group. I think they just want people to talk about them. They are opportunists. Ready to do anything to earn a dollar. This is another reason why I would never see on stage with them. Pooh ... Sinisstar leave alone. This will not happen.
What do you do after the dissolution of Sinisstar? Can you briefly describe their projects - ILLF8, SketchMovnt, SAR.DON.IK, Savant?
ILLF8 was a continuation Sinisstar with me, Shadow and Rob Vial, a guy whom we met when staged plays at SS. He was a devoted and moved us to Atlanta. We wrote about 20 songs, but never brought them to mind, to get the contract. SketchMovnt was my solo project, which managed to attract funding DefJam Records. I worked on it for about a year, and then label stopped its support. I lost all my notes in this transaction - in the end they were the property of the label. SAR.DON.IK conceived as industrial metal act with a rigid foundation, but over time I started vomiting from the industrial. Still, we had some good things. Savant was a continuation SketchMovnt after the break with DefJam.
Do you know how to do your former colleagues at "Witches", supported with any of these connections?
Yes, we regularly support each other relationship.
Tell us about your collaboration with George Dalkvistom first in Asva zamtem, and in the full side project The Poisoned Glass.
We wish once again with Stewart have worked together for many years. When Asva take their "What You Don't Know Is Frontier" in 2005, they asked me to write lyrics and sing some songs. I was in the midst of writing material SketchMovnt, so I have not been able to do so. It was a bummer. The proposal was postponed until 2007 the first, when I flew to Seattle to record vocals for the track "Termagent". The song is good, but it was decided that the best "What You Don't Know Is Frontier" will be instrumental record. I also felt that do not fit into Asva. My personality does not quite jibe with the frank mod and complex music. That is why we decided to start with Stewart something else that fits both of us. Thus was born The Poisoned Glass. This is the culmination of the ideas hatched over the years. This is true DUM in its purest form. He dronyaschy, but suffers from a hackneyed cliche in the drones. I really feel like drone has become so toothless and tragic fashion, that no longer has reason to believe a form of "extreme" music. I propose to listen to our records. We should something go in 2010.
What is the name of the group?
This is a reference to Socrates and his death.
Well, it is difficult to judge, relying on less than a two-minute excerpt songs on your myspace page, but it sounds great. I hope to hear from you new material as soon as possible. You are about to publish "Termagent" as the song The Poisoned Glass?
No, design and aesthetics of The Poisoned Glass differ significantly from Asva. Therefore, these projects are not interchangeable.
I know that you have at the moment there is another group called Moribosa (note: renamed as Bird's Eye), you can devote our part?
Now I mainly focus precisely on Moribosa. The group played by local musicians from Atlanta. It is painfully slow Sludge DUM in the traditional sense of the term. It is oppressive music. I love it. I feel myself almost as if in rehearsal "Witches". Like the end of the world. I think at this stage, we will stay clean and will not be anything to write and produce. The only way to hear us - to be there.
Honestly, would like to see you changed your opinion on this matter! Be that as it may, it's time to finish. If you say something at last readers interview?
Well, Cyril, I would like to express my gratitude for the very well-informed and thorough interview in which I have ever attended. Participate in it was a pleasure. As final words, I just wanted to say to all people interested in what I do: thank you for your interest. I hope that you check this something useful and it will have some impact on your life. Remember that when exposing the true value of all things, all this is not worth anything. We create the meaning of their lives themselves, and it is not so, as it looks.
Thank you for your time and patience. Let the new year bring you luck and success in all your endeavors, hope to hear more music from you in 2010!
intheseblackdays- Master of Alchemy
- Nombre de messages : 2228
Date d'inscription : 05/12/2007
Re: Burning Witch
par Hypo Grief Lun 10 Mai 2010 - 7:31
Faut un peu s'accrocher pour l'anglais!...
Sinon, très intéressante comme interview.
Sinon, très intéressante comme interview.
Hypo Grief- Doomster intergalactique
- Nombre de messages : 4917
Localisation : Strasbourg
Humeur : Noire
Date d'inscription : 10/12/2007
Re: Burning Witch
par Theozenith Lun 10 Mai 2010 - 9:38
Il y a une semaine ou deux, j'ai aussi vu cette interview la :
http://superheavysoundsradio.blogspot.com/2009/10/interview-w-edgy-59-of-burning-witch.html
C'est plus court, mais l'anglais est correct, c'est deja ca.
http://superheavysoundsradio.blogspot.com/2009/10/interview-w-edgy-59-of-burning-witch.html
C'est plus court, mais l'anglais est correct, c'est deja ca.
Theozenith- Proton
- Nombre de messages : 53
Date d'inscription : 26/04/2009
Re: Burning Witch
par intheseblackdays Lun 10 Mai 2010 - 17:06
franchement, c'est ptet parce que je suis moi même mauvais mais j'ai rien trouvé de dur à comprendre. 
intheseblackdays- Master of Alchemy
- Nombre de messages : 2228
Date d'inscription : 05/12/2007
Re: Burning Witch
par Wookie Mar 11 Mai 2010 - 0:08
c'est pas forcement que c'est dur a comprendre, mais plutot le fait que la traduction est tellement atroce que la lecture m'en donne mal au cerveau.
Wookie- Doomster intergalactique
- Nombre de messages : 1783
Localisation : San Francisco, CA
Humeur : Dick Whiskey
Date d'inscription : 06/12/2007
Re: Burning Witch
par Hypo Grief Mar 11 Mai 2010 - 7:58
T'aimes bien jouer sur les mots, hein, petit coquin!A Clarion Call a écrit:franchement, c'est ptet parce que je suis moi même mauvais mais j'ai rien trouvé de dur à comprendre.
Hypo Grief- Doomster intergalactique
- Nombre de messages : 4917
Localisation : Strasbourg
Humeur : Noire
Date d'inscription : 10/12/2007
Re: Burning Witch
par EyeLovya Mar 11 Mai 2010 - 8:32
Ouf, j'hésitais entre le "Putain mais c'est quoi ce traducteur de merde" ou le "......ananas mais j'suis une grosse bouse ou quoi ?"
EyeLovya- Doomster intergalactique
- Nombre de messages : 2840
Localisation : Dún Laoghaire
Humeur : Slowcore baby.
Date d'inscription : 11/05/2009
EyeLovya- Doomster intergalactique
- Nombre de messages : 2840
Localisation : Dún Laoghaire
Humeur : Slowcore baby.
Date d'inscription : 11/05/2009
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