Cristy Zuazua

Nov 292012
 


Chain D.L.K. sits down with lead singer Chibi of The Birthday Massacre to hear about Hide and Seek, their most recent North American tour, and where they are headed from here.

Chain D.L.K.: Can you tell us a little about your upcoming album? What inspired the name Hide and Seek?

ChibiHide and Seek of course is a game that kids play, so there’s a light-heartedness to the title. But there are also darker implications – the idea of hiding. Whether you are hiding from something, or hiding something from people, everyone is hiding in their lives in some way. And we’re all looking for something too. I think everyone has encountered at least one person in their lives whom they care about very much, and then you find something out, and you realize you didn’t know that person at all. Maybe that sounds sort of nihilist but we really don’t know anything about anyone, truly, except ourselves.

Chain D.L.K.: Many of the themes in your music deal with childhood, isolation, and conformity – how do you see these themes affecting adults in today’s society?

Chibi:   I think in today’s society, people don’t have to grow up as quickly as in past generations. People continue their education nowadays, travel, make different choices than past generations were able to. In our society anyway. People talk a lot about “first world problems” – we’re very spoiled in a lot of ways, which gives us the time allowance to sort of explore creative interests if we want to, or reflect on our lives, or focus on relatively superficial things. And with the internet – I feel like we don’t know how to communicate with people as intimately as we’re meant to. We’re all wired in and writing emails and text messages. People would prefer to text message instead of make phone calls. We’re all very cut off from one another despite the “global community” of electronic communication.

Chain D.L.K.: What was the most intense part of putting this album together?

Chibi: For me personally, my voice. I found out just as we went into the recording process that I had polyps on my vocal cords. There was no time for surgery and the necessary healing period, so I went in to record with a raspy and hoarse voice. Which isn’t ideal. We got some amazing takes, we got what we wanted, but it required a lot of patience, time, and stress. And through that there’s some great emotion on the record. Listening to certain parts of this record still stresses me out because I remember how upset I was trying to record them. So frustrating, because it’s stuff that I’d easily be able to do if I hadn’t had the polyps. I’ve had the surgery now and am recovering, so I’ll be fine for performing, but it was a very intense experience.

Chain D.L.K.: You’ve said that the tracks on Hide and Seek were very emotional for you in a lot of ways – can you explain what heightened this for you on this particular album?

Chibi: Well, for one, like I said above – the vocal cord situation. It’s very difficult to literally have your voice taken away from you. Even my speaking voice – I didn’t sound like me, which was very jarring. But it wasn’t just that. Thematically, we incorporated some ideas that I’m very interested in. I’ve always been fascinated by true crime, unsolved mysteries, disappearances. Some of the lyrics on this record are inspired by true cases from nearby. The stuff that’s sort of haunted me over the years. I like to visit places where horrible things have happened and just absorb the contrasts – a field where someone was found, for example, and it’s full of people playing ball or having picnics. Oblivious to this thing, this horrible thing that happened right there. Time passes and these things are forgotten. That’s so tragic to me.

Chain D.L.K.: You all have toured all around the world – how have different audiences reacted to your shows? Do you have a favorite location/venue that you enjoy?

Chibi: I’d say for the most part, people dance and sing along and have fun at our shows. I definitely can’t remember a show where everyone hated us and booed or threw tomatoes or something. So I guess that’s a good thing! And in terms of a favourite venue or location, I mean, I’m just happy to be wherever fun people are. It’s the people who come out who make the shows fun. Not the venues. Of course, if a venue has laundry and a shower and a place backstage to sit down that hasn’t been soaked in beer and/or urine, you know – you remember that forever. [laughs]

Chain D.L.K.: Starting with Napster, you all have used the internet to get your music out there – how do you think this has affected your ability to get your music distributed on a wider scale? Has your view of this type of distribution changed over time?

Chibi: Nobody pays for music anymore. And, sad to say, that limits what bands are going to be able to do. You hear about different ways to make the necessary money – touring, selling VIP packages, selling old drum sticks – I’ve even seen small bands saying they will never charge for their music, they give it away. That’s great, I hope that works out. But I mean, I don’t see how. If you want the band you like to come play in your city, to make merchandise you think is cool, and to keep putting out records without years-long gaps in between – well, that takes money. It’s the sad truth.

Chain D.L.K.: Should audiences expect any changes in the performance art of your shows on the coming tour?

Chibi: We’ll keep things going at the energy level we always have, it’s fun for us that way and everyone enjoys themselves. I’m not really sure how to mix it up. I might cut my hair – that always seems to cause a bit of a scandal.

Chain D.L.K.: What’s next for The Birthday Massacre?

Chibi: Mexico and United States/Canada tour.

 

Visit the artist on the web at thebirthdaymassacre.com.

Jun 272012
 

Chain D.L.K. talks with “Godfather of Goth” Peter Murphy about his most recent tour, his new album Ninth, and artistic influences.

Chain D.L.K.: You’ve gone through many transformations during your musical career – though most sources still describe your style as gothic rock, post-punk, or experimental. Do you think these classifications are still accurate?

Peter Murphy: I express my creativity independently of genre. The seminal artist is seminal not because they conform. Genres, labels, monikers cannot hold meaning and are projections of first, nonartists like journalists/observers – the chitter chatter of a listener’s need to know ‘who’ the artist is. Ultimately, after all those tendrils of guesswork are spread about, they become fixed. It is ever so boring to tell the truth which can rarely live up to the myth, but in my case I am certain the truth is definitely better.

Then still, it is up to you lot out there to busy yourself with the impossible task of describing the feeling of the wind on your cheek – just be careful not to miss out (on me) as you do.

 

Chain D.L.K.: You have said previously that all art was an act. Do you still believe this to be the case?

Peter Murphy: Life is but a shadow play – the puppeteer is the real.

 

Chain D.L.K.: You’ve had some good experience with the film as well as the music industry; do you ever write with the big screen in mind?

Peter Murphy: I’m not sure – not necessarily with it in mind, but a lot of what comes out is ideal for soundtrack and scapes.

 

Chain D.L.K.: What do you think is the most important technological advance in the music industry in the past few decades? Has it affected the way you produce any of your own music?

Peter Murphy: Every new invention points me even more to the basics of human playing instruments, singing song, and performing. No program can do more than virtualize at best.  We must all remember to remember that we are in our own virtual construct. Don’t forget reality by becoming a gear junky.

 

Chain D.L.K.: During the Resurrection tour in 1998, you cited religious reasons for not performing “Stigmata Martyr” and “St. Vitus’ Dance”, yet you played “Stigmata Martyr” during your tour in 2011. Can you tell us what changed your view on the appropriateness of the track between then and now?

Peter Murphy: This is a myth…

 

Chain D.L.K.: How is Nettwerk Music Group working out as your new label?

Peter Murphy: Very nice, thank you. We have more work to do as partners to conquer the world, though. My favourite friends at Nettwerk and Liz, Danielle, Marcos, and Kerri (now moved on)

 

Chain D.L.K.: Has living in Turkey influenced how you think of your past work?

Peter Murphy: Lyrically, the deep Sufi eduction that I embarked on many years ago complemented what was already there.

 

Chain D.L.K.: What’s next?

Peter Murphy: More marvellations. More marking my old territory and paving the way for even more younglings to new ways.

 

Visit the artist on the web at: petermurphy.info

Apr 202012
 

Jill Tracy

Chain D.L.K.: You just announced at the Mütter Ball in Philadelphia that you received the Wood Institute Grant – something unprecedented for a musician. Can you tell us a little bit about how you got involved with the grant and the project you’re currently working on at the museum?

pictureJill Tracy: Yes, I’m honored to make history as the first musician to be awarded this grant, which is enabling me to compose music inside the Mütter Museum, a series of compositions directly inspired by pieces in the collection. It was vital for me to be in the presence of these long-lost souls, as I composed and recorded. I needed to immerse myself in their world. There is so much lurking here. This glorious synergy– the collection of souls together from various time periods and walks of life, most who endured extreme and rare medical conditions. I needed to be with them as I composed and make them a real part of the creation. This is my gift to them.

Chain D.L.K.: What inspired you to want to compose with the museum as a backdrop?

Jill Tracy: The Mütter Museum has always been one of my favorite places on earth. When I first visited, I remember vividly standing on the red-carpeted steps leading down to the lower level and hearing the buzz. It was overwhelming. All these people, all these stories, together—yet apart, remembered—yet forgotten. I was swept in a whirlwind of feelings: admiration, pity, fright, shock, respect, repulsion, sadness. I just wanted to sit and listen, to hear their tales, to know them.

As you explore the Hyrtl Skull Collection, for example:  Each has a brief story written in meticulous cursive on the side of the skull: Suicide by gunshot wound of the heart because of “weariness of life.” Lovesick teenager, a soldier, a shoemaker, well-known murderer, a tightrope walker who died of a broken neck, a hanged man, and a famous Viennese prostitute. All this life and death shared together in one glass case. It’s phenomenal.

There is such a brave beauty in these souls who had to endure these afflictions. I want to bring them to life through my music—peel away the clinical guise, dwell deeper, find the voices hiding within these walls.

All of my work will be factual. I’m in the throes of extensive research at the museum, even utilizing excerpts from letters and doctors’ records. My goal is to evoke the spirit, set a mood that transports you inside just by listening.

Chain D.L.K.: You’ve worked in several different mediums – film, music, voiceovers, performance art – what is your favorite method of expression?

pictureJill Tracy: Music has always been magic to me. I’m evoking emotion solely out of sound– and transporting myself and others instantaneously. It’s a true slice of Time archived, never to be heard the same way again– especially with my “spontaneous” pieces. Both the fragility and immediacy are my greatest pleasure and challenge– as I’m not really a composer as much as a portal, conjuring this dark and elegant place with just my thoughts and fingertips. It’s both empowering and humbling to become the gatekeeper to emotions, and inviting the audience to join me there.

Chain D.L.K.: Is there any type of performance art that you’d like to try and haven’t yet?

Jill Tracy: I would like to do more theatrical live performances that incorporate various elements, storytelling, memoir, film projection, music, lecture, revolving around one particular theme. I also have had some TV projects in development, trying to find the right home for them. They deal with my penchant for the dark corners of history and science.

Chain D.L.K.: I love the way you had this very dark, bluesy, 1920s lounge singer look for your performance at the Mutter – if you could live in any other time or place to make music and art, what would it be?

Jill Tracy: The theme to the Mutter Ball this year was “Medicine and Electricity in the Roaring Twenties,” so the crowd was resplendent in their costumes, and the Ball featured odd electrical devices from the time period like violet ray generators. There was even bathtub gin amidst pipes in an old ornate claw foot.

Ideally, I’d build the ultimate time machine, and experience many periods and places. That would be fantastic. Although the 1920s was such a vibrant era of art, fashion, decadence—and the Victorian era abundant with aesthetic and ingenuity—I really feel like I’m in the perfect period now, as I am fortunate to employ technology, modern conveniences, communication. Plus being a woman was terribly tough during those times– especially as a fiercely independent artist who has no interest in marriage or having children. It’s hard enough as it is now. I would have been locked up in an asylum for sure.

Chain D.L.K.: How did you come up with the idea of “spontaneous musical combustion,” your improvised performances that are all unique? Did the way you involved the audience (like asking for a valued object) ever vary?

pictureJill Tracy: My music and live performances have always been so emotionally driven to begin with– I would see people sometimes crying in the front row, or they’d come up to me after a set relating how a particular song got them through a rough time, or helped them find their true path, etc. I’ve realized I’ve become a beacon for so many kindred souls. And that’s very important to me. That genuine direct connection with an audience is such a rarity these days—in a world where entertainment has become vacuous and superficial. Most live shows are anything but—you’re watching a lip-sync to a prerecorded track. On the other hand, I am about as real as it gets!

I wanted the audience to become even more a part of my process, and actually compose pieces in front of them, culled from their energy. It’s a perfect circle. The audience gives to me, and I channel it musically and give it right back, creating a piece that will exist solely for us in those few minutes. It’s the most powerful thing I’ve ever experienced. A musical umbilical cord.

That led me to immersing myself in unusual locations laden with mysterious history, and manifesting music from my reaction to the environment. The intense purity and immediacy is so exciting. You are hearing my raw response at the piano. I call it “spontaneous musical combustion” (as homage to “spontaneous human combustion,” and my affinity for peculiar history and science tales.) I’ve found myself conjuring the hidden score inside haunted castles, abandoned asylums, decrepit mansions, gardens, and theaters. It’s definitely one of my greatest pleasures right now.

The “Musical Séance” (which I most often perform alongside violinist Paul Mercer) is a collective summoning inspired by beloved objects. Audience members are asked to bring tokens of special significance, such as a photo, talisman, jewelry, toy. This is a very crucial part of manifesting the music. Every object holds its story, its spirit. Energy, resonance, impressions from anyone who has ever held the object, to the experiences and emotions passed through it.

Often, these curiosities themselves are just as compelling as the music they inspire. We’ve encountered everything from cremated cats, dentures, haunted paintings, 16th century swords, antlers, and x-rays.
The lovely and difficult thing about this work is that I can’t prepare for it, as I never know what to expect. I must allow myself to be completely vulnerable; simply feel, and react. It’s not about me anymore; it’s about the music, the story. It becomes so much bigger than any of us. That’s the beauty of it.

pictureChain D.L.K.: You’ve said in the past that the current focus on instant gratification has damaged people’s desire to use their imaginations – do you think your music would be different if you’d had the internet and a similar environment growing up?

Jill Tracy: That’s a brilliant question. Yes, absolutely I would be a different person. The Internet is both a blessing and a curse. The ease and ability to obtain information is indeed wondrous. But, at the same time, it creates a laziness factor. The great “connection” we think we have achieved is actually destroying our distinct awareness because everyone is getting their information/views from the same sources, not looking outside or challenging themselves to think further.

Online marketing and social media creates a troubling herd mentality. When you purchase something, you are told, “Well, you will like THIS artist or product or friend.” Not giving you a chance to discover what you like on your own terms. Listening to radio like Pandora, etc is only playing things for you that it thinks you like, culled by very narrow factors. We think these tools are making our world bigger, but in essence it’s stifling us, making it much smaller. Only giving us a glimpse.

There has never been a greater need to venture outside the cage, to seize our true passions and shape ourselves authentically. Where’s the triumph of discovery, or empowering sense of identity when the same crap is being pushed down everyone’s throat? To be an individual now takes a great deal of effort, and sadly most people are apathetic, too buried in it all to even try or care anymore.

It’s the stepping away from the virtual Petri dish that’s vital to self-discovery. Great art was never created on a consensus.

Chain D.L.K.: One theme going through your work is the concept of “the legend” and maintaining a sense of the unknown as we grow, yet the Mutter Museum and its research is geared toward dispelling much of that mystery as it relates to our bodies; how do you see your music combining these concepts?

Jill Tracy: Well, for many, the study of science and disease is viewed as quite dry and clinical. There exists a strong disconnect with the examination of the disease itself and the dear souls who had to endure these afflictions. The personal saga of these brave patients is not often well documented, nor discussed. I remember as a child being obsessed with old medical textbooks and tomes, and upset that I could never find out more about the people in these books, but merely the disease.

But the Mütter is a different experience. It is indeed a medical teaching museum. But, Dr. Mütter’s entire point for starting the museum was to teach empathy and compassion. There lies in that a tremendous sense of marvel for me.

I want to honor the emotional side, the human experience from the Mütter’s collection. You may read about Harry Eastlack, the ossified man, whose rare disease (FOP) caused his entire body to slowly transform into bone. Young, handsome, vibrant– painstakingly trapped beneath a second skeletal cage. In the end, he could only move his lips. What was he like? How did he cope? What was his day-to-day experience? It’s unfathomable to me. I was thrilled to be able to read through Harry’s private files in the Mutter collection, letters, photos, extensive doctors’ records.

I composed and recorded the work “Bone by Bone” as I sat next to Harry’s famed skeleton. I needed him with me, to truly be part of the song, and not just the subject matter.

Personally, one of the most moving pieces I’m creating is entitled “My First and Last Time Alone,” about conjoined brothers Chang and Eng Bunker. Most of us know them as the original Siamese Twins, gloriously renowned performers who toured the world (even appeared before presidents and Queen Victoria)—married sisters, fathered 21 children, and employed the use of a “privacy sheet.” But after doing extensive research, I was completely devastated when I read how they died. The song is about that heartbreaking 3-hour period on a cold January night. (I won’t give the rest away!)

I was with Chang and Eng’s actual death cast, and their conjoined liver as I composed the piece. This was one of the most compelling experiences I’ve ever had. Their autopsy was performed in the museum gallery of the College’s previous building, which was located at 13th and Locust St. Abiding by the twins’ wishes, the liver was never separated, even after death.

Chain D.L.K.: I’ve read you love the Bay area and have had a great reception there – could you see yourself living anywhere else?

Jill Tracy: I adore San Francisco and the Bay Area; it will always feel like home. But I’m certainly open to adventure. I would love residing in other places if there was an intriguing project or circumstance beckoning me. The allure of new possibilities. Change is an integral part of feeling fully alive.

Visit artist on the web at: jilltracy.com

(All photos courtesy College of Physicians of Philadelphia.)

Apr 062012
 

Chain D.L.K. spends a few minutes with Renaissance woman Emilie Autumn in the midst of her latest tour. After years of composing her own music and lyrics and doing her own costume and set design, she has recently also added writing her autobiography to list.

Chain D.L.K.: You’ve been recording for a solid number of years now and gained a global fan base – can you tell us a little about how you got started, and how the Plague Rats evolved?

Emilie Autumn: I’ll be honest and say that the success of this, my music and writings, as well as the way in which the ‘Plague Rats’ (the global audience we are so grateful for and utterly in love with) came into being is still very mysterious to me. It’s seems to me as though on one day I was invisible and on the next I wasn’t. I went from having no family to have a very, very large one within a short time. I think we were all searching for each other without really knowing it.

Chain D.L.K.: When you first started playing the violin at age four, what drew you to that instrument, specifically?

Emilie Autumn: I simply thought it was pretty.

Chain D.L.K.: The tour schedule this year looks pretty intense – from North America to Europe – I know it’s early in, but do you have a favorite part of it so far?

Emilie Autumn: I do. It was during sound check for our show in Nottingham, UK. All of the VIP Plague Rats were watching as I obliviously danced directly over to the area of the stage where the Crumpets were performing a fight scene incorporating antique Victorian medical tools (I have a massive collection, and we use them in the show as prop weapons). I got myself smashed in the face by one of the heavy steel bone separators, and now have a serious scar near my left ear to show for it. The best part was when, because I hadn’t had time to go to the hospital for stitches before the show, I performed with blood streaming down my face. That was my most badass, punk rock moment on stage, and, thus, my favorite.

Chain D.L.K.: If you had to describe your typical audience/group of fans, how would you classify them?

Emilie Autumn: I see our audience as being the most unique and varied group of individuals I have, personally, ever witnessed at a rock show or musical production, and I am exceptionally proud of them for this. They represent all ages, genders, genres, and fashions – it’s almost unbelievable. I firmly believe that it is how impossible they are to classify that characterizes them. They are united by what makes them different, and that is our bond with them as well.

Chain D.L.K.: You’ve said in past that the statement that classical musicians are constantly told to keep their individuality out of classic pieces because “it’s not about you.” Do you think that if classical training were done differently, it would be more popular with musicians and audiences? If you were teaching a student, what advice would you give them about playing?

Emilie Autumn: To begin with, I would encourage individuality from the first day. I would instill work ethic and demand perfect technique without encouraging each student to sound exactly the same. Any manner of art you create absolutely should be about you, first and foremost. In classical music, you are not allowed to have a point of view, and, thus, it’s largely boring. You’re also not allowed to look good, but that’s another story.

Chain D.L.K.: There have been a great deal of obstacles in your life where you’ve given voice to subjects that are still unfortunately not as talked-about as they should be, like mental illness and the treatment of women institutions – is this mainly for cathartic purposes, or is the main goal education of others?

Emilie Autumn: The reason I am open about these things is indeed to encourage awareness and understanding for the good of all. If it were just about myself, and my own personal catharsis, I would be off baking bread in the mountains or working the tea plantations in China. That would be far more therapeutic to me than anything I’m doing now.

Chain D.L.K.: What was the main influencing factor for your title track “Fight Like a Girl”? Does the feminist movement – either in the US or abroad – still have work to do?

Emilie Autumn: Does the feminist movement still have work to do? That can’t possibly be a serious question.

Chain D.L.K.: Have reactions to The Asylum for Wayward Victorian Girls surprised you in any way, and did you intend to share it with anyone when you were initially writing it?

Emilie Autumn: The book consists largely of my personal diary entries, and so, naturally, the majority of the writings were not originally meant to be read by anyone. The only reaction that surprises me about the book is at just how much of one there is.

Chain D.L.K.: What’s next?

Emilie Autumn: ‘The Asylum For Wayward Victorian Girls’ musical, London’s West End, 2014.

 

Visit Emilie Autumn on the web at:

www.emilieautumn.com

 

Oct 032010
 

An Interview with Clint Carney of System Syn
Sunday, September 5, 2010
By: Cristy Zuazua and Claire Mixson

Created in 1997 by Renaissance man Clint Carney, the eletro-industrial System Syn has been a force unto itself in the industrial scene for years. Chatting post-show with Carney at the Triton Festival in Brooklyn, New York, the band’s creator shares his favorite touring memories, upcoming projects, and his view of the apocalypse.

Chain D.L.K.: You’ve been working on music since 1997. What inspired you to start making music as opposed to listening to it?

Clint Carney: I’ve been serious about it for a long time. I was with a few smaller bands when I was younger, and when I started System Syn in 1997, I decided, okay, I’m just going to focus on this band. So I took it seriously from there, but it still took a number of years to get going, to the point where anyone else would take it seriously.

Chain D.L.K.: What’s your most vivid tour memory?

Clint Carney: We got kind of lucky – we’ve played shows for some high-profile bands. Los Angeles [is] an area that all the bands go through, so we got lucky opening up for some bigger bands. Our first actual tour was when I’d joined Imperative Reaction as a keyboard player, so we went out and did a System Syn/Imperative Reaction tour where I kind of did double duty. By that point, Imperative Reaction was big enough to where we lucked out with the first tour […] We’ve done plenty of shows throughout the United States where we’re playing to five or ten people before, but most of our touring has been opening for bigger bands, so I have the good fortune of stealing other people’s crowns.

Chain D.L.K.: You just joined God Module and are currently working with Imperative Reaction – where does System Syn factor into the creative process?

Clint Carney: System Syn is my main project – that’s the one I write all the music and do all the recording work for. Imperative Reaction is just a live band for me; I do some work on the albums, but not a whole lot. And with God Module, I’ve just joined it now, so I am going to work on the new album, but I don’t know to what extent, because I haven’t done fuckall yet. But I will be working on it in some capacity.

Chain D.L.K.: You have a lot of projects going on – you don’t really sleep much, do you?

Clint Carney: I slept two hours last night, no joke […] I don’t really have much spare time – I paint, and I make music, and I tattoo. I guess if I had to say any one thing that’s a time waster is that I’m on Facebook all the time, but usually I’m only on there when I’d doing something else. I just have it on in the background, waiting for my delinquent friends to hit me up and chat. I read a lot – more than anything else.

Chain D.L.K.: What do you read?

Clint Carney: Anything and everything. I usually read somewhere between one to two hundred books a year […] I like horror, fiction… I read some true crime stuff. I actually read textbooks sometimes, too, because I’m a dork.

Chain D.L.K.: Do you have a favorite venue that you’ve played?

Clint Carney: I really liked the House of Blues in Chicago – that’s probably my favorite place. It’s got this crazy, three-story balcony in there… it’s got cool art… that’s the main thing I like.

Chain D.L.K.: Your artwork is on the cover of the new System Syn album. Does your inspiration for art and music come from the same source?

Clint Carney: I just paint… when it occurs to me to paint. A lot of times I work from photos. I’ll set up photo shoots with models and have a general concept of what I want to paint in advance, but sometimes I just go off the top of my head. The artwork that I did for the last Sym album was definitely inspired by the music, but outside of that, they’re kind of separate entities. I have weird shit floating around in my head, so sometimes it comes out on canvas and sometimes it comes out on albums.

[Adam Vex walks by; Clint Carney stops him.]

Clint Carney: This is Adam Vex, of System Syn and Imperative Reaction – man, you’re on tape! [To Adam] Adam, if you could turn into any one animal and fuck another animal, what would you turn into and why?

Adam Vex: Let’s just say it’s a crow with a giant cock… I would probably have to screw a gazelle or something. ‘Cause they’re fast as fuck, so you know you have to be awesome to catch one.

Clint Carney: That is an excellent answer.

Adam Vex: Now you have to answer your question.

Clint Carney: I would turn into an emu, and have sexual intercourse with an amoeba.

Chain D.L.K.: Soooo…. what’s next for System Syn?

Clint Carney: I’m going to release a single for the song, “Chemical” which will come out later this year, hopefully. Got some good remixes lined up 16 Volt  and [Sounds of Mass Production] have already turned in some mixes – I can’t announce all of the bands because not everyone has turned in their remixes yet.

Chain D.L.K.: If you could start over in any genre that isn’t goth/industrial, what would it be and why?

Clint Carney: I would probably just do punk, because I’m not a real musician – it’s like industrial and punk are the two genres for fake musicians. [laughs] Those are the two genres I love the best.

Chain D.L.K.: Is there any specific song or lyric you wrote that you constantly remember? Is there a story behind it?

Clint Carney: Well, I have lyrics I’m definitely embarrassed by.

Chain D.L.K.: Such as?

Clint Carney: Everything I wrote before we got signed […] but I’m pretty fond of a lot of the lyrics I’ve written for stuff that’s still out there, but I don’t really have a favorite. I just write what I’m feeling at the time, and at the time, it seems very important to me, and sometimes it’s not later and sometimes it still is.

Chain D.L.K.: To fuel our morbid curiosity, let’s say it’s the end of the world. How do you hope it happens?

Clint Carney: I would probably say, giant tuna fish coming from space. Giant tuna fish destroy the world, and then I am happy. That’s all.

Visit artist on the web at: http://www.systemsyn.com