Nov 152018

A Place Both Wonderful And Strange is the Brooklyn-based duo whose name, while a reference to the cult TV series Twin Peaks, also exemplifies the dynamic of their personality and sound.  Call it “occult electronica” or “doom gaze.”  Whatever. Call it what you will; they mix electronica, goth, shoegaze, and dream-pop among other genres to create something truly unique.

The new EP is titled The City Smells Like Cat Spit and features the ultra-hypnotic and intoxicating “Kristae” as well as 3 remixed cuts. We’d like to thank them for taking a few moments out to answer a few of our questions.


Chain D.L.K.: The new EP, The City Smells like Cat Spit, is due out later this month…how did you come up with the title, and can you talk a bit about the album art?

Russ: The title is a lyric from the song Every Stone A Seance, off our 2017 album What I Speak I Create, presented in a refashioned form akin to how we do it live on this EP. It’s such a weird twist of phrase but it was the first thing I wrote for that song, which is the first and only love song I’ve ever written, so it seemed fitting. It’s something that, I think particularly in New York, registers as a kind of ongoing condition that you deal with, but not in a negative way.

Laura: On tour, we saw this weird little guy on top of a car in the parking lot of the Best Western in Virginia or someplace, and at first I couldn’t believe my luck! I asked Daniel (our tm) to be sure he saw it too! Who is this little guy?? We just had to get a picture, and that’s how the cover artwork came about.


Chain D.L.K.: There are 3 remixes on the new EP and 1 new track, Kristae. Can you talk a bit about the mixes and who Kristae is?

Russ: Kristae is a girl with a past, a little bit of history, what all of us can/could be on the proper night out. To some extent, she’s a correction of “American Psycho”.

Laura: We played a show upstate for this great party our friend throws, and it was the middle of winter. Russ and one of our friends who used to be funny started riffing on this idea of post-punk songs. Ultimately, Kristae is every lost girl who our poisonous society of terrible men pushes aside and renders meaningless and helpless within their own lives.


Chain D.L.K.: For the new readers, can you talk a bit about the meaning behind the band name and provide a bit of a brief history?

Russ: A place both wonderful and strange started as a solo noise project of mine and has gone through a couple of iterations–essentially processing how to make the leap from noise to a darker leaning of pop. Laura and I met at a Prince memorial party I was throwing, and we immediately decided we needed to work together, and now a couple years later, we’re here. The name is a quote from Twin Peaks, a line spoken by Special Agent Dale Cooper, that I’ve actually had as a tattoo since longer than the band’s been in existence. The love and appreciation for an intersection of beautiful and weird–or wonderful and strange–is really at the heart of this project.

Laura: Which one of us do you think is wonderful, and which one of us do you think is strange? I keep changing my mind about it.


Chain D.L.K.: You have some upcoming shows, including the EP release later this month and a special Halloween performance of your David Lynch commission, “Laura Palmer Deviations,” right?  What’s the difference musically and visually with this piece as opposed to your normal show?  What can people expect to be different?

Russ: Yes! The Laura Palmer Deviations performance is one that’s special, and we haven’t done this one in quite some time. It’s a massive audio/visual/movement piece that incorporates Palmer Family home movies, hidden parts of Twin Peaks, and found footage to tell the story of the tragic final hours of Laura Palmer’s life, soundtracked by Laura and I.

Laura: This party is going to be nuts. We have some surprises and some great art lined up at one of the most interesting venues in Brooklyn.

Chain D.L.K.: You recently made an appearance in pop star Robyn’s new video, “Missing U – Message to My Fans” which has now been seen over 200,000 times. How did this whole thing come about?

Russ: This is a long and crazy story that’s kinda captured really well by the film’s director, Danilo Parra, but to try to get the entirety of it: two of my other friends and I have a DJ trio called ADVENTURE[s], and we’ve been doing a Robyn tribute party for about 8 years now. Laura started helping us out with them a couple years back, because she’s a jack of all trades, and lo and behold, in May we got word that Robyn was aware of these parties and wanted to come…the rest is history.


Chain D.L.K.: You and your bandmate, Laura, also have other endeavors; DJing, films etc.  Talk a little bit about that.  Where might you be found elsewhere outside of the band?

Russ: Well, I’m a DJ with ADVENTURE[s]–we do parties monthly at Brooklyn Bowl (in, of course, Brooklyn)–and I work in fitness. Then, with my wife Vanessa (who has her own band, knifsex, and under that name she’s worked on music with APBWAS for quite some time here and there) I co-run the New Jack Witch site (, that’s essentially magical workings for the oncoming apocalypse. I started working on a non-fiction book, so we’ll see how this goes.

Laura: Oh, I’m always knocking around the tabloids in one way or another.


Chain D.L.K.: Other than the EP release show this month and the Halloween shows, what other plans do you have for live shows?  I heard a rumor about a mini-tour in November.

Russ: Hometown shows–we’re performing at one of our fave local spots, The Footlight, Sept 6, with a bunch of really great bands: . On the whole, though, we’re working on new music–it’s a change of pace for us to be in a situation where we start writing, try a song out live, then take it back to the studio to tinker, and then take it back out.


Chain D.L.K.: How do you think that the new material differs from your previous work?

Russ: See above–it’s all cohering together in a really cool way. If you’re looking towards our way forward, Kristae was definitely a song that as we hammered on it was like, “more like this”.

Laura: I get to go hog wild on a guitar!


Chain D.L.K.: This summer you did your first real mini-tour of the US. How was that experience? Any noteworthy shows or spinal tap events?

Russ: Actually, our second–the first was in 2017, for the What I Speak I Create tour–this time was with the covers EP under our belts and the desire to try new things live, where it feels more electric. Let’s see, we stole a tambourine…I don’t think I can talk about that…


Chain D.L.K.: What other plans do you have for the rest of the year and next year? A full-length release, perhaps?

Russ: The rest of this year is writing, performing, writing, performing, rinse and repeat. Ultimately I think we’d like to get something that’s cohesive together for next year, then tour en force behind it.


Chain D.L.K.: Many many years down the road, a very distant relative locates a box in the attic of an old home.  In that box, they locate some of your recordings and something to play them on. What would you like this person to know about your legacy simply from listening to your music?

Russ: That this band was more than the sum of its parts. We scoop a lot of genres into our bands, then smear them on the wall, and what comes out is uniquely this sound.

Laura: That this is best friend music and that idea is massive.


visit A Place Both Wonderful And Strange on the web at:

Nov 152018


Tapes - cover artwork

It seems that CACs, MCs or simply tapes are living a (more or less welcomed) new golden age in the independent music market and there are even many sound artists who re-release stuff on this magnetic support, but the operation that Disasters By Choice made with a bunch of some old tapes by Sicilian producer Salvo Pinzone aka Skrima followed the opposite direction. His wonderful native Italian region left traces on his memories, his moniker (check the explanation below), his interest in volcanoes and as well as on the sleeves of this collection, titled “Tapes”, (printed on 200 white vinyls), handmade by @Kolatadesign – moniker of Salvo’s partner Daniela Cavasin -, which also used epoxy resin and volcanic lapilli. Have a check!


Chain D.L.K.: Hi Salvo! How are you?

Skrima: Very well!!!


Chain D.L.K.: First of all, what’s the meaning or the origin of the meaning of the name Skrima? Something related to hairstyle or volcanoes?

Skrima: Scrima in Sicilian is the hair line, for me Skrima is a thin line of demarcation ….


interview picture 1Chain D.L.K.: As you maybe guessed the reference of the previous question came after the bizarre idea for the material you used for the cover artwork… can you describe how such an idea came up to your mind?

Skrima: My partner Daniela is a designer @Kolatadesign and works the epoxy resin, together we had the idea to insert the volcanic lapilli after the resin casting on the cardboard of the cover, I thought about the lapillo to feel near to Stromboli and then the idea of excrescences on cover made me think of something that scratches that leaves a mark for better or for worse.


Chain D.L.K.: Is there any connection between the way you forged the cover artwork and what our readers could expect by listening to Tapes?

Skrima: More than a connection is the application of the handmade method, which is inherent both in the treatment of the tapes and the manual use of the effects, and in the processing of the resin that my partner Daniela applies in its creation.


Chain D.L.K.: A title like Tapes is less misunderstandable… it’s pretty amazing the way the sound of those tapes got preserved…or did you use some tricks during the mastering?

Skrima yes, the title Tapes was natural … yes, I was lucky, the tapes were well-preserved along with my old four tracks, everything was done in an analogical way, the post-production work in 2017 was done to reduce the tapes noise and bring the sound of each track to the same level


interview picture 2Chain D.L.K.: The medium isn’t the only “vintage” element of this release, as I read the sound source of a part of those tapes were old synths like the well-known Casio, weren’t they?

Skrima: Yes I used old Casio keyboards, which had faulty keys that released a beautiful delay…


Chain D.L.K.: Besides the medium and the source, is there any listening that acted as a source for inspiration?

Skrima: I grew up in Sicily with many friends who were very technical musicians, they were the years of the seventies prog, I had chosen a different kind of music, I loved Brian Eno, punk, reggae, post-punk, the wave, the electronic. When I was young, at night I locked myself in the basement of my friends and freed my desire to torture the sounds with the effects, I recorded everything and then manipulated them again to make the initial sound unrecognizable, I love my bass semi acoustic Hofner.


Chain D.L.K.: How did you begin to forge, record and deform sounds?

Skrima: I begin recording this material in the early eighties with poor equipment, recorders and microphones of low quality but with a nice set of effects and a four tracks, later I treated some parts recorded on tape with a cotton swab covered in light sandpaper that helped me to transfigure the original sounds,


Chain D.L.K.: Is there any sonic elements in Tapes belonging to your roots?

Skrima: Surely nature in Sicily is an essential element that somehow always resurfaces. From the musical point of view the street where I lived was an industrial street full of mechanical workshops of various kinds, from home, at certain hours you could hear so many different noises that fascinated me to the point of recording them.


Chain D.L.K.: Besides the reference in the title “Eetnaa”, what’s the relation between that track and the notorious Sicilian volcano?

Skrima: It is a track dedicated to Etna.


interview picture 3Chain D.L.K.: I remember a release by Geir Jenssen (better known as Biosphere), related to Stromboli, based on field recordings grabbed nearby the crater’s edge… I know you also dedicated a track to Stromboli… did you include any field recordings?

Skrima: Yes there are field recordings but sinus drones have been treated and transformed.


Chain D.L.K.: Why did you focus on volcanoes?

Skrima: In Sicily there are two active volcanoes Etna and Stromboli, which is my favorite, the islanders with devotion call Iddu, when I can go to find it, I love the natural sounds that emanates and its slow castings of fire that fry when they touch the water of the sea, I think that the men pass, The volcanoes in this land have always lived ….


Chain D.L.K.: Can you tell us something about your imprint Disasters By Choice and its upcoming and past outputs?

Skrima: I always chose the music that emotionally sent me something, in the catalog you find many expressions but all lead to my mood, an unforgettable moment was with the compilation 13 Elements, in the post-rock period with many names become important, sold out in two days. I state that I love all my releases, but I want to mention three small jewels, which did not have much luck, certainly due to the bad distribution and the moment of the CD decline, Echoes of The Whales and Me: mo (Beijing musician) and then the 10 “Hiss, post-punk duo loosened after a short European tour. For the future I’m looking for a young band that wants to play really, maybe with conceptual hints close to the Broadcast that I love.


visit Skrima on bandcamp at:

Nov 152018


Following the review of “Tropical Gothic” (out on Discrepant and featuring a great collage cover artwork by Evan Crankshaw), his new awesome record, we had an interesting conversation with the British influential guitarist, polyhedral artist and authentic musical globetrotter Mike Cooper, who – unlike many musicians who get banal and predictable after two or three releases – keeps on surprising listeners with witty and brilliant stylistic freaks. Long life to Mike!


Tropical Gothic - cover artwork

Chain D.L.K.: Hi, Mike! I’m very happy you accepted to reply to some questions… considering your impressive flair and the supposedly unquenchable fire of your creativity, I guess you’re OK, but I have to ask…how are you? 🙂

Mike Cooper: I’m very well, thank you…


Chain D.L.K.: You’re English, but you’ve lived in Rome for ages…how do you explain such a decision? After so many years, even if your music (full of many kinds of exotic influences) lets your listeners know you’re more a citizen of the whole world, do you feel more Italian or English?

Mike Cooper: I can’t say that I feel either English or Italian, really. I have lived in many places since I was 10 years old, and I travel a lot. I feel comfortable, more or less, in most places. Or maybe I should say I usually find a way to feel comfortable in most places. I’m not addicted to either English or Italian food, for example. I like warm places and I like beaches, and so England doesn’t come into that equation at that point.


Chain D.L.K.: I keep on following your amazing sonic path, as it’s never predictable and banal…and that’s a truth that no fan of your musical career and sound can refute yet…it might take a lot of space to trace it back, but I’d like to ask you how this long-lasting exploration into sound started.

Mike Cooper: I grew up listening to the radio, where there was a lot of different music, obviously. It never occurred to me that you were expected to dedicate yourself to one genre of music, because I heard it all as one thing. In terms of experimenting within music, I came at it through listening to jazz and trying to play it. I know nothing about western classical music or harmony (I don’t read or write music), and I realized after a while that it takes a lifetime and dedication to become a ‘jazz musician’ – whatever that is – and I was, and still am, drawn towards folk music of all kinds, especially when I realized that improvisation is the basis of both those musics and improvisation was what I wanted to investigate. There was the political element involved as well; folk music is the music of ‘the folk,’ not the ruling classes.

I started by playing an imitation of Afro-American acoustic blues. It spoke to me. I followed its sonic path through jazz and onto the more experimental free jazz – it was, and still is, all one music to my ears. At a certain point, I wanted to know what the European equivalent of the sonic experiments of free jazz was, and I discovered ‘contemporary classical’ music and then European ‘free improvisation’. Free improvisation seemed to go further down the same sonic path that contemporary music headed but with less restriction imposed by the score or the director. It seemed more democratic to me and, eventually, more interesting, in fact. I have sat beside a few contemporary music composers and watched them become disappointed as performers try and interpret their pieces. I involved myself with the free improvisation scene in Europe for 25 years, mostly playing in a trio called The Recedents with saxophonist Lol Coxhill and drummer Roger Turner.


Mike CooperChain D.L.K.: Related to the word ‘exotica’ by which most of your releases are labeled, would you consider yourself as a sort of Les Baxter of experimental music?

Mike Cooper: I am quite happy to be called the Les Baxter of experimental music, but it is only quite recently that people have started to listen to the ‘ambient/electronic/exotica’ elements of my music. It’s not true to say that most of my records are labeled exotica. I have made over 50 solo records and about 25 with other people. I began to make ‘exotica’ in 1999 when I started my Hipshot CDr label; the first release was Kiribati, and then Globe Notes in 2001, which was the fourth record on Hipshot, but no one took much notice of my exotica until I made Rayon Hula in 2004. David Toop gave it a half-page review in Wire magazine, which drew attention to it, and it was re-released as a double ten-inch vinyl record by Cabin Records in the same year. Kiribati was re-released on vinyl by Discrepant and Globe Notes on NO=FI records in Italy. Lawrence English commissioned three more exotica releases for Room40 records in Australia, starting with White Shadows In The South Seas as a CD in2013, followed by Fratello Mare in 2015 and Raft in 2017. So, there are only six records of mine which I would call Ambient/Electronic/Exotica. There are several recent releases of other kinds of music. Blue Guitar on vinyl from Idea Records, for instance, is solo guitar with vocals. Part of my ’Spirit Songs’ project, using cut-up lyrics from Thomas Pynchon novels to make songs, and Reluctant Swimmer/Virtual Surfer, also on Discrepant, is a live performance recorded in Rome some years ago which seems to cover a lot of different musical territory, viewed in retrospect. It’s a favorite record of mine, again initially released as a CDr on Hipshot and re-released by Discrepant.


Chain D.L.K.: According to The Wire, you were “forging connections between folk and experimental musics long before America got New or Weird…” …Do you agree or disagree with such feedback?

Mike Cooper: Well, that’s true. My 1970s records for the Dawn label (Trout Steel and Places I Know) were all about connecting the dots between folk and experimental musics.

I wanted to use jazz musicians on my sessions so that I didn’t go down the path of ‘experimental rock’. The Machine Gun Company record on the same label was trying to bring some elements of free improvised music into a rock music song format without it dropping into extended guitar solos or long instrumental passages as well. Machine Gun Company was a band, not session musicians, and so I had a working relationship with them where we rehearsed and played live. Recently, I have been thinking about a new genre – Brit-Folk-Futurism – which I might pursue soon. Some people have touched on it before, but they always get beaten back by the ‘folk mafia’ that exists, and they always seem to hold back and not explore the sonic possibilities for fear of alienating the audience for folk music, if one exists still? Martyn Bates and Max Eastley explored this area some years ago.


Chain D.L.K.: Are there any missing connections to be forged?

Mike Cooper: The live performance element these days, which is always different. I don’t play the exotica records live because that would be too easy – just to become a live d.j. In fact, other people do that with my records, I am happy to say. My live performances include elements of the exotica. From time to time in performance, I use my field recordings as another instrument in the overall pallet of sound-making devices that I use. I also sing for practically all my concerts. I have been singing my ’Spirit Songs’ for a long time now.

I started my musical life as a singer, not a guitarist, and it is my first instrument. Even the blues period was a vocal one. Blues is first and foremost a vocal genre. When I was playing free improvised music, for instance in The Recedents trio with Lol Coxhill and Roger Turner, I never sang. I was too aware of performers like Phil Minton and Maggie Nichols and their contribution to the genre. It was so huge and amazing that I felt I had nothing to contribute, and so I didn’t go anywhere near it. The Recedents lasted for 23 years and stopped with the death Lol Coxhill. There is a five-CD box set of live recordings which sums up our musical journey through those 23 years. When that period finished, I wanted to start singing, but I wanted to have a repertoire of lyrics that could be sung over a backing that would be different and freely improvised in every performance. That is what I do, mostly, live these days. There are other events when I do something completely different, of course. I think I have reached the point where an audience comes expecting me to do something completely unexpected, which is great.


Mike CooperChain D.L.K.: ‘Tropical Gothic’ is a sort of self-explanatory title of the impressive style you explored in your last (awesome) output… What’s your own definition of the two adjectives before and after their union in this title and in the style you unrolled? Just a meeting of something Northern and something Southern?

Mike Cooper: Tropical Gothic is a musical exploration of the darker side of paradise. I am also making some video to go with the music. The history of the physical colonization by Europeans with European ideas of the rest of the world is still an ongoing thing. It hasn’t stopped. The ‘north’ versus the ‘south’ both in action and thought. Europe is experiencing some results of this at the moment with the arrival of people from far away places wanting a share in this ’treasure island’ called Europe, which has been mostly funded by the stolen wealth and labor and even ideas and inventions from these places.

I realized when I came to do a live performance in London at Cafe Oto of Tropical Gothic recently with Clive Bell and Sylvia Hallet, that – as an idea – Tropical Gothic is a ‘work in progress’ for me. Much more has been discovered since beginning and will no doubt continue into the future.


Chain D.L.K.: I enjoyed the almost ‘ethnographic’ quote of something ‘Tropical Gothic’ you did on the B side, where you quote the Gamelan driven dance Legong. Can you tell us something about this suite? Anything you want to teach about this traditional dance?

Mike Cooper: My Tropical Gothic record revolves around a couple of films and directors, but the live performance also includes references to books and writers that I like, and they all involve tragedy. History is full of tragedy and tragic events, of course, and I chose to focus on the ‘bad ending’ as an antidote to the often false idea that ‘everything is ok’. It’s not and never has been unless you were the power in control, and even then, it’s still not ok because it’s a lie they are telling themselves.

Onibaba is a film by the Japanese director Kaneto Shindo. He was a very committed socialist. His film Onibaba was shot in a field of very tall Susuki grass (Bull Rushes), and these tall swaying reeds Kaneto said symbolized the world in which common people try (or should try) to live hiding away from the eyes of rulers or authority. Onibaba is a film about class struggle told through a Buddhist story that Kaneto Shindo heard from his mother. The story is called The Mask of Flesh.

Legong and Gods Of Bali are both shot in Indonesia. Gods of Bali is a documentary film about everyday life and ritual in Balinese society, while Legong is a fictional story about male and social manipulation in the same society. It was the last color silent film ever made.

My ‘gamelan’ is in fact not gamelan at all. I found a website which sold metal wind chimes and there were short samples of several of them. They were mostly pentatonic scales in different keys, and I managed to download them from the site and make loops which I superimposed on top of each other and treated them digitally to make the Legong ‘gamelan’ composition. Onibaba is mostly played by using a self-made instrument I call a La’ap. It is a short piece of wood about 40cms long with five strings and a pick up. I use various delay and pitch-shifting devices to sample the La’ap and build up these very slow unfolding soundscapes.


Chain D.L.K.: Let’s switch to the A side… I can’t hide that you made me laugh with “Running Naked”…. a parenthesis of joy and levity after you explored very different moods…

Mike Cooper: Maybe you don’t know, but I perform live music/screenings with both of these films? That piece was made to illustrate a scene in the film where two of the actors are running naked through the reeds after having sex. It’s played on one of my electric lap steel guitars over a sampled drum piece from an Indonesian Sunda record.


Mike CooperChain D.L.K.: The sequence of the tracks Samurai and Shindo’s Blues doesn’t seem accidental, as I guess you referred to Korean Shamanism in the title of the latter for that viscerally muffled blues… Or, is it a reference to Katani Shindo, the maker of the movie Onibaba, you quoted in the title of the last track?

Mike Cooper: Yes, well, Onibaba was made by Kaneto Shindo, as I explained above. Nothing to do with Korean Shamanism at all.


Chain D.L.K.: Why did you focus on references to that geographical area for Tropical Gothic?

Mike Cooper: As I explained before ,only this LP focuses on those two particular films and two places – Japan and Bali and the project performed live has a much wider field of reference across all of South East Asia, including Thailand, Hong Kong, Singapore, Tahiti, Pitcairn Island, Australia as well as Japan, Indonesia and other Pacific Islands. The tropical parts of the world. The darker side of paradise was the point.


Chain D.L.K.: What’s the connection between Tropical Gothic and your recent outputs (if there are any)?

Mike Cooper: As well as being part of my Ambient /Electronic/Exotica series of works, this LP connects to other past work in my video output, as well as some more recent video which I use in the live performance of Tropical Gothic. Some links to those are below.


Chain D.L.K.: Are you going to perform live this year?

Mike Cooper: I hope so.


Chain D.L.K.: Any other work in progress?

Mike Cooper: Always.


Some relevant links

Discography –

Silent Films –

White Shadows –

Mike Cooper – Ko Lanta –

Mike Cooper – Walking In Ubin –

Mike Cooper – Walking In Lamma –

Nov 152018

When I first came across the video for “Hive” by Seattle’s Murder Weapons, a couple of things stood out: the brilliance in simplicity for what really is a memorable song and the undeniably powerful vocals.  Murder Weapons blends industrial/rock/goth elements and then some for some pretty moving, powerful tracks. We went to the band in an effort to dig deeper, so we’d like to thank Jesse and Dawn from Murder Weapons for their time.


Chain DLK: It has been three years since your last release. Why that long, and have you been working on new material?

MW: If it isn’t one thing, it’s another. We had a few personnel changes and have been focusing on a number of behind-the-scenes endeavors as well as dealing with the adversity life throws out. We’re always working on new material but it’s not always up to par and needs fine-tuning before we present it live or record it. We have also been refining our methods, and the next release should be out much faster.


Chain DLK: For the readers and for people who might not have heard your work before, can you give us a brief history of Murder Weapons?

MW: I started composing music on my own and slowly accumulating musicians. Dawn was recommended to me by mutual colleagues, and after, she wrote lyrics to all the songs in the month before our first show opening for My Life with the Thrill Kill Kult. After that, we did a number of shows to tighten our sound and performances. Billy Mace started playing drums for us in 2016 and Shon Shiv joined in early 2017, and they’ve both brought some interesting new sounds to the fold that we’re looking forward to showcasing on our upcoming release.


Chain DLK: You recently released a video for the song, “Hive.” Why the decision to do a video now, and what can  you tell us about where it was filmed and such?

MW: Basically, we got tired of not having a video, so we made one. Tetraknot is a professional cinematography firm that has a lot of experience and we know them very well, so when they suggested filming at the Georgetown Steam Plant by Boeing Field, we were all for it. The building is amazing and we’d love to go back.


Chain DLK: Dawn: You have an extremely powerful voice and it’s fairly unique for this music. Who inspired you to take up singing?

MW: I started singing gospel in church at a very young age. KISS was the first band as a little girl that inspired me to want to be in a theatrical band. From there, soulful voices like Alison Moyet, Stevie Nicks, Bjork and Eric Martin. My first band was in high school.


Chain DLK: I’ve heard that your live shows can often be fairly intense, and it would certainly seem so after having seen some clips on YouTube. What can fans expect who go see you?

MW: Blood, confetti, nail bats and splash zones are common elements. We’ve had cage dancers, murders and body parts on the stage with us, and you can always count on Dawn to be in the crowd singing on her wireless mic.


Chain DLK: On YouTube, there is a clip of you doing a very dark, creepy track called “Come Little Children.” Talk a little bit about that track if you don’t mind, especially since it does not appear on the “Guilty” album.

MW: That was one of the earliest tracks I composed; it used to open every show. It’s our version of the song Sarah Jessica Parker sings in the movie Hocus Pocus, only ours is about Albert Fish. It will probably end up on some release at some point. I do like that song.


Chain DLK: What’s more important for you? To leave a visceral or emotional reaction for your fans?

MW: For me, the two are linked. I want people to be excited and want more.


Chain DLK: Are you involved in any musical side projects or endeavors in other forms of art?

MW: I’ve been doing some remixes lately for various bands, I write horror stories for a few publications and I like to make landscape videos with my drone.


Chain DLK: If not already mentioned, what plans do you have for the rest of 2018 and into 2019?

MW: We’re playing at the Hard Rock Cafe Seattle’s first industrial music night on September 14th; we are also headlining Fright Fest at Louie G’s on October 26th in Fife. We’re preparing for our next video, which we hope to shoot before the end of the year as well as release our new music. We’re going to be playing the Mechanismus industrial music festival in Seattle in mid-2019. Our music video has been selected for Wasteland Film Festival and the Oregon Short Film Festival. I don’t want to make any promises yet, but look for us at Crypticon 2019 as well.


Chain DLK: Many, many years from now, a very distant relative locates a box in the attic of an old home.  In the box they find a Murder Weapons album and something to play it on. What would you like this person to know about your legacy simply from listening to your music?

MW: We did our best to make songs that would make people think and that they could identify with, one way or another, or just listen to and enjoy. There’s something there for everybody, and I hope this person will find something there for them as well.


visit the artist on the web at:

Nov 152018
Melinda & Maciek is a project started in February 2018 thanks to an

accidental Instagram connection between 2 musicians. Melinda Ligeti is

a composer/singer/multiinstrumentalist/arranger/producer from Serbia,

living in Italy, while Maciek Cieslak is a drummer from Poland, living

in France. It all started with Melinda's old wish to write music based

on a bare drum track. Maciek happened to have some ready, recorded

drumparts that he sent to her, and she used them to build music upon

it, using piano, synth and bass. It was an experimental approach to

composition Melinda always wanted to try, and it finally happened. The

result is 4 songs, mixing jazz, prog, fusion, chillout,

contemporary… imagined as a mini album, giving the taste of what

this project might become if developed further. 3 of them are

instrumental, and one is also involving Maciek's vocals that got

caught on microphones while recording the drumpart, a selfironic song

that makes fun of the hardship of singing and playing at the same

time, in his native Polish language. Jazz Frit is a symbolic title for

this album, for the fact that musicians involved are living in

(Fr)ance and (It)aly, but also, and so much more, for the meaning of

frit word, which by Oxford dictionary definition is the mixture of

silica and fluxes which is fused at high temperature to make glass,

plus – according to urban dictionary means intoxicating/exciting, as

well as ligthly fried.


Melinda Ligeti – piano, synth, bass

Maciek Cieslak – drums, vocal

Mixed and produced by Melinda Ligeti, 2018

Cover photo and layout by Melinda Ligeti.

BANDCAMP: Download & stream:

YOUTUBE: “The Chase” (Video)

ARCHIVE.ORG (Other download options)