eek edition July/August/September 2024 free ofcharge, not for sale quarterly publishedmusic magazine 47 LEÆTHERSTRIP NOWAFTERNOTHING DEDELVERS - LIVERNOIS THEREDMOONMACABRE AUSGANG-MALICEMACHINE XTRHUMAN- SCREAMINGDEAD
www.peek-a-boo-magazine.be - 2 -
peek aboo contents music &moviemagazine 01 LEÆTHER STRIP / CLAUS LARSEN ©Mandi MARTINI 04 Interview AUSGANG 08 InterviewTHE REDMOONMACABRE 10 Reviews 12 Interview NOWAFTER NOTHING 6. Interview XTR HUMAN 18 Interview LEÆTHER STRIP 22 InterviewMALICE MACHINE 24 Reviews 26 Interview DE DELVERS 26 Interview SCREAMING DEAD 28. 33. Interview LIVERNOIS Reviews 35 Calendar Want to support your sene & contribute to our magazine? English, Dutch, French, German … It’s all good! Come and join us and send an to e-mail [email protected] peek aboo music &moviemagazine ORGANISATION BODYBEATS PRODUCTIONS Marleen MASTBOOMS www.BodyBeats.be PORTA NIGRA Peter Verreycken www.PortaNigra.eu LE FANTASTIQUE Frédéric COTTON www.LeFantastique.net YOUR ORGANISATION HERE? Join us & support (y)our scene! WE NEEDYOU! Peek-a-Boo is always looking for new partners, distributors, writers, editors and translators. [email protected] LAYOUT Fred GADGET Veerle DE BLOCK EDITORS / TRANSLATORS Leanne AITKEN Kevin BURKE Michael BOGHE Tine SWAENEPOEL Gea STAPELVOORT PHOTOGRAPHERS Elke BREDENBRUCH Luc LUYTEN Yvo Moeys WRITERS Jurgen BRAECKEVELT Dimi BRANDS Jan DENO Peter DOLPHEN Fred GADGET Hamis HIREK Kurt INGELS Xavier KRUTH Lena DAUTEL Tom PLOVIE Dany QUETIN Britta TABRIT - 3 - colophon WRITERS (continued) Henk VEREECKEN Dan VOLOHOV Chris WHEATLEY William ZIMMERMAN François ZAPPA PARTNERS & DISTRIBUTION BODYBEATS PROD. (Antwerp) www.BodyBeats.be DARK BALLOON (Retie) www.darkballoon.be BUNKERLEUTE (Leuven) www.bunkerleute.be DARK ENTRIESMAGAZINE (B) www.darkentries.be GOTHVILLE (Hasselt) www.gothville.com INFRAROT (Germany) www.infrarot.de PORTA NIGRA (Aarschot) www.PortaNigra.eu WEBSITE Ward DE PRINS (RIP) Peek-A-Boo Magazine • Heilig Geesthoek 87A • BE-2070 • Zwijndrecht • Contact: [email protected] / Promo: [email protected] www.peek-a-boo-magazine.be
AUSGANG Photo © Mark Musolf "This crushing, slamming, heavy strife..." It is 1982. In and around Birmingham a band arises from the ashes of various Post-Punk acts. And the influence theywere going to have on today's Goth scene is, to put it lightly, huge... The band? Ausgang. We have the honor of talking with Max Freeth aka Max Body. Hello to you Max. Thank you so much for making time for us. What’s the weather like … No, no, forget that question. Tell us about the early days! What were they like? Hi! Well, the early 80's were very exciting, as - although we didn't fully realise it at the time - we were part of something very new and 'underground' that not many other people or bands seemed to be part of. Bear in mind this was pre-internet, so obviously other bands were experimenting in similar ways to us all over the world, but we had no way of knowing until we met likeminded people at a show, saw another band live, etc. But this scene didn't come out of nothing - it was definitely a natural progression from Punk Rock, New Wave, Post-Punk, 'Positive Punk', then what became known as 'Goth'. In fact, I'd say it went further back than that. The artists I was listening to just before Punk were Roxy Music,T-Rex, David Bowie, Dr. Feelgood - and all of those had an impact on Punk Rock. So, I'd already started my Punk band, The Solicitors, but www.peek-a-boo-magazine.be - 4 - it wasn't until that became Kabuki and then Ausgang that things started to get interesting.We were taking all the previously mentioned influences and throwing some Gun Club & Birthday Party inspiration in there and just writing and playing what came natural to us. We didn't have any kind of agenda or anything. But those early shows we played and the 1st 3 records with Criminal Damage are very special to me. It was only a short time, but I think it was some of our best work. It still stands up now, alongside our most recent new songs - which is whywe still include them in our current set. But overall, it was such a vibrant time, with everyone involved in counter-culture feeling like anything could happen. Of course that has happened before in the 50s, 60s and 70s, but since then, I haven't really noticed, or felt like I've been involved in, anything that has given me that notion of creating something that was brand new. At that time, did you feel recognition for what you were doing? As you guys have quite a unique sound. In Kabuki's and early Ausgang's life, we did actually feel we were being recognised as doing something different - there was no other band in our city (Birmingham) that sounded remotely like us, and I would say that we sounded nothing like any of the other bands in the rest
of the UK in the same scene either. So people - fans and press - noticed that we were trying something a little out of the ordinary. Also, things happened very quickly for us -Ausgang's 1st ever show on Sept 28, 1983 was in a medium range venue called The Powerhouse in Birmingham, which hosted 'alternative' nights, and it was packed and we went down a storm! Our 2nd show was supporting Hanoi Rocks at another large Birmingham venue, the Tower Ballroom, our 3rd was supporting Sex Gang Children at another big venue, Digbeth Civic Hall, and our 4th show was our debut in London. From these we received local and national reviews. And in 1984 we were signed to Criminal Damage Records, who put out our 1st 3 singles. We felt like we were kings of the world!!! Kings of the world, now that you mention that, makes me spontaneously think of the ‘Weight’ videoclip released by Cherry Red Records. Such a vibrant and lifely performance. Ausgang for sure owns the stage! Cherry Red Records by the way, or better yet, Anagram Records (which is a division of Cherry Red Records) released a ‘Best of’ album in 2001. How did that collaboration happen? So, Tim Madgwick from Cherry Red Records got in touch with me out of the blue and asked if I'd be interested in putting together a 'best of Ausgang' album for the label. Of course I said yes, but I wondered why after all this time? After all, we split in 1987. It became obvious that without us even knowing it, interest in Ausgang had continued in the underground 'Goth' and 'Deathrock' scenes - especially in the rest of Europe and America. So, I chose the track listing, wrote the sleeve notes and oversaw the artwork.'Last Exit' was born. When it was released, I received quite a few emails asking us to perform shows around the world from promoters who obviously thought we'd reformed. I said no - I don't do that anymore. But when I got in touch with the rest of the band to tell them about the album, I mentioned the offers to play live. They thought it was a great idea and convinced me we should do some shows. The first one was the Undercover of Darkness festival in Munster, Germany. It was amazing! A packed venue full of fans half our age, who knew all the words to the songs and who brought their slabs of vintage vinyl for us to sign! We had a blast! That was the start of the Ausgang Revival! - 5 - And then there's also the 2022 'This Was Our Downfall' early demos & rarities compilation released by Old Skull Records & Bat-Cave Productions. What is Ausgang up to these days? I came across a box of old Kabuki and early Ausgang demo cassette tapes in a box that I'd forgotten all about. I had no way of playing them as I no longer had a cassette player. I just happened to mention this to an old Ausgang fan, Paul Rabjohn, who said he could digitise the cassettes. When he sent me the memory stick with the songs on, I was amazed how good they sounded! Mick Mercer suggested I put them up on bandcamp, which I did,and lots of people started buying the downloads. Then Batcave Productions/Old Skull got in touch with me to ask if we'd like to release them as a vinyl album on their label. We knew those guys from when they promoted a few shows for us in Poland, so we were more than happy to collaborate with them. Now we have a new drummer, Victor, and bass player, Sarah and we're playing all over the world. We've got Germany coming up, London, San Antonio and Mexico City. We're writing new material all the time and we're currently deciding what our next release should be. www.peek-a-boo-magazine.be
AUSGANG Also - and I hope it's ok to plug this here - I'm writing a book about the history of Ausgang - right from my very early days of getting into music, all the way up to the present day. A biography? That's Awesome! Deciding what our next release will be, does that mean what I think it means? Will there be an album with all new songs? There are no plans for a new album yet - but possibly an EP of maybe 3 or 4 songs. But nothing is confirmed at this stage. A couple of new songs are out there already - on Bandcamp you can find 'Lone Bell' and 'Resurrection Man', and Matthew has remixed 'Weight' ('This Dub Pulls me to The Ground') and 'Hunt Ya Down' ('Hunt Ya Down Revisited'), but we've got a few more in the works - a cover of Ralph Stanley's 'O Death' and some original songs with titles like 'Death Mask', 'How Dare You' and 'Teen Prez'. The book has been really interesting to write. My memory is pretty good and I have a lot of old memorabilia - but there are some things I've forgotten. Luckily, we've got fans and friends all over the world who are providing their memories and memorabilia too! I'm not sure when it'll be finished. I'm about 65,000 words in. It'll probably end up being double that.And it'll www.peek-a-boo-magazine.be - 6 - be heavily illustrated. And I'm not sure at this stage whether it'll be self-published or if there's a publisher out there who'd be interested in it. Keep us updated, really look forward to read it! To come back to you are playing all over the world now, I didn’t hear Belgium being mentioned. No plans to perform in our little country? Because y'all should! I know, right?! There are still so many places we haven’t played - Belgium being one of them! Help us change that! Perhaps this interview will help, one never knows! What I'll suggest for now is that we are going to grab a drink. What do you say? Once again: on behalf of Peek-A-Boo and our readers, thank you very much for making time for us! Thank you! And yeah - let’s go grab that drink! Hayley CLX www.facebook.com/ausgangkabuki/ Pictures live at WGT 2024 © Who Cares / Luc Luyten
- 7 - www.peek-a-boo-magazine.be
Resurrected after 32 years in 2021, now very active again. Interview with Renzo Tellez, founder of the classic Goth Rock band ‘The Red Moon Macabre’. First there was Kathedral… As recording for The Red Moon Macabre was about to commence, I was asked to play guitar for the musical act The Empire Hideous in 1990.So, recording my music was put on hold. Shortly, the bass player and I left to form Kathedral and recorded some of my compositions. I was www.peek-a-boo-magazine.be - 8 - very active during the early Nineties Goth scene in New York City. Kathedral performed many great nightclubs during that time. The last Kathedral performance took place in 1992, opening for Shadow Project. A band fronted by Rozz Williams. That was a legendary show that is talked about to this day. That performance must have had a major impact on you as an artist. What made you quit Kathedral and continue again with The Red Moon Macabre?
That last performance closed a chapter in my life for a period of time. Experiencing the NYC Goth scene of the late eighties and early nineties, I wanted to travel and experience Europe to grow as a musician. I have always loved classical music, especially European early music of the 16th and 17th centuries. So I took a hiatus with live music and recording, traveled for quite a long time, but never stopped being a musician. Taking the time to absorb the experiences of life that would reflect back on my creative process. Decades later, I was asked by Goth fans of Kathedral if I had any more music to bring to the table. Music is always churning in my head, and I am always creating, so my answer was, "Yes, I do." I resurrected "The Red Moon Macabre" in 2021. Since then, I have recorded over a hundred songs in my humble home studio and are now available to Goth audiences worldwide. It is indeed quite a biography you have so far, especially taking into account that you are only back in business since 2021. Where do you get your inspiration? I have always been inspired by old works of art, history, and fantasy. A book I owned of Edgar Allan Poe's collected works illustrated by Harry Clarke was the catalyst for creating The Red Moon Macabre. One of my favorites of Poe's short stories is The Masque of the Red Death. I wanted to create Goth Rock resonating my inspirations. In these times of my life, the music ideas just show up in my mind in the mornings. A melody creeps up, and then I decide to record the song, then finish the track with mixing, mastering, and releasing it by the end of the evening. I work very quickly, and all I need is one full day to complete a song or two. Well, I hope many of those morning creep ups will continue to follow. Don’t think the fans would mind (including myself). Are there any goals you would like to accomplish? Maybe a performance in Belgium? That's very kind! I am very pleased to have returned back to Gothic Rock. As far as future goals, to be able to perform live in Europe would be fantastic. I would love to perform in Belgium! - 9 - www.peek-a-boo-magazine.be Hopefully one day. Thank you very much Renzo for making time for us and do this interview. To conclude, where can fans and people who want to get to know your music go? I would love to perform in Belgium! Hopefully one day. Thank you very much Renzo for making time for us and do this interview. To conclude, where can fans and people who want to get to know your music go? Thank you,! It has been a pleasure to be a part of this interview. Music of The Red Moon Macabre can be found at theredmoonmacabre.com, Bandcamp and various streaming platforms., Bandcamp and various streaming platforms. Hayley CLX
NEL& JP - Desinteresse (Digital Single) (Self-Released) Nel Mertens (lyrics, spoken words) and JP De Brabander (all instruments, mix, master, production) are back at it again. The still-nascent project is already in its second year. Borderless, without any embarrassment, without shame, and straight to the point. The raw poetry and the boundless virtuosity of the instruments unite in taboo electropunk. The lyrics are critical, romantic, poetic, sometimes raw, but always meant to touch.Their new single "Desinteresse" is a prelude to the album"En waarom niet"which is expected in the winter autumn of 2024. And what a single! A raw indictment of the inaction of many.A kick in the stomach for those who denounce many things but fail to react.Or yes: with meaningless “likes” on one or another social medium.Those who watch the misery with a sad look, and that's it. We hear no loud voices, see people standing up for each other very little, for greater social engagement, as if interest is mainly limited to within the walls of the living room. It's danceable,devastatingly raw,driven and passionate. [JB] CLAN OF XYMOX - Exodus (CD/Vinyl/Digital) (Trisol) An established name since 1985 when their self-titled debut album was released by the legendary 4AD label, although one year earlier in 1984, the EP "Subsequent Pleasures" had already been self-released (later reissued multiple times). The Dutch band Clan Of Xymox quickly gained fame as the Netherlands' most important goth/new wave export. It's now2024,40 years later,and founder RonnyMoorings still stands tall with his Clan of Xymox, and he's far from finished. “Exodus” is the 18th full-length album from this clan, which once again rises above the mediocrity where many others linger. Although the sound is not really comparable to the very old releases, which I am a big fan of, the atmosphere and the beauty of melancholy remain effortlessly and elegantly intact. Melancholy, passion, but also existential fear and a pulse on a world in pain. "Exodus" breathes Clan Of Xymox from every groove (yes, also available in various vinyl versions) and has no skip moments.Not even a single sign of weakness. [KI] AKALOTZ -ANGRY BODY MACHINE (Digital) (Scanner) Akalotz has been active since 2007, but the band truly gained momentum when Nico Klenner joined Thorsten Haury, and they released their debut album"Shift To Evil" (2014, Electro Arc). Their sound is clearly influenced by EBM, which continued on their 2017 follow-up"Confront,"released by ElectroAggression Records.Seven years later,Akalotz reemerges under Scanner (Dark Dimensions label group) with a new sound, self-described as dark body music, in their album"Angry Body Machine.""Angry Body Machine" retains an EBM backbone while incorporating structures, arrangements, and sounds reminiscent of the 90s German dark electro wave.This style blends gothic influences with robust electro, appealing more to dark electro than pure EBM enthusiasts. The label dark body music aptly describes this release, which also features elements reminiscent of the Canadian school, evident in tracks like "Savage" and the powerful "Mind Control.”"Akalotz delivers a coherent sound that will resonate with (dark) electro/EBM fans. [KI] THE RED MOON MACABRE - Magna Macabre (CD/Digital) (Self-Released) Renzo Tellez sure knows how to spoil his fans. Ever since his comeback in 2021 he has built up a rather impressive biography.‘Magna Macabre’ is his latest Vamp aka brainchild. Consider it a bit like a ‘2024 Collected So Far’. It features all his this year released tracks on one album, but then also remastered with a better sound quality.The in december of 2023 released single‘Frau Perchta’was supposed to be his last release for the time being but in the beginning of 2024 a surge of creativity led him to record the full album titled ‘Danse The Plague’.And the creativity even went on.What would follow were the album ‘Macabra Mourning’, the EP‘Magna Mortem’, and,after buying a newguitar,the album‘Thirteenth Funeral’.It’s these four albums that are now remastered and released into one collection.If you are familiar with his earlier work you will also notice the songs deal with human mortality instead of legends, history and fantasy. Call it Gothic Rockwith a more funerary theme.Summed up; This is ‘Straight from the Grave-Releasing your Inner Demon’Old-School Goth Rock. [HC] www.peek-a-boo-magazine.be - 10 - Read full reviews on http://www.peek-a-boo-magazine.be/en/reviews/
- 11 - www.peek-a-boo-magazine.be
NOWAFTER NOTHING very much felt like ‘now after nothing.’ Could you give us a bit of a background on the latest single, “Sick Fix” and the inspiration behind it? “Sick Fix" is about dealing with 'toxicity' and the very real struggle to stay away or detach from the things we know are harmful to us. So, the family member that treats everyone poorly or the narcissistic partner, etc. Beyond Atlanta Darkwave act Now After Nothing is bringing classic Post-Punk/Darkwave influences and modernized electronic instrumentals to the presentday crowd. Their latest release is The Sick Fix Remix EP. We're grateful to foundding member, Matt Spatial for the interview. Thanks so much for taking time out to answer our questions today. Usually we like to first give the readers an idea for the background of the artist. Could you give us a little introduction? Thank you for having me! I’m Matt Spatial with Now After Nothing.We’re a relatively new band from Atlanta having made our debut just last year. Musically, we are inspired by darkwave, post-punk, and goth with a healthy dose of noise and shoegaze. So, think Bauhaus, Sisters Of Mercy, Sonic Youth, My Bloody Valentine, etc. What is the significance of the band name? The funny thing is that, initially, there was no real significance to the band name (or so I thought) – I just liked how it rolled off the tongue. But as it turns out I found quite a bit of significance in the name the more I talked through it in early interviews. This project was a return to music for me after a long and painful hiatus during a particularly low point of my life. Launching this band was a way of reclaiming what was important to me and reclaiming my identity. It was like getting back on the road to toward home when I couldn’t even figure out how I got lost to begin with. Ever since my life has www.peek-a-boo-magazine.be - 12 - interpersonal relationships though, it's also about other types of relationships like an attachment to social media that leaves you feeling less than or commercial media spewing false narratives to instill fear. Deep down we might know that continuing to engage in these things/situations is unhealthy or counterproductive yet, like the proverbial 'car crash', we can't seem to turn away. Over time maybe it becomes so allconsuming that it might feel similar to addiction. A 'sick fix' that we begin to subconsciously crave. What’s the biggest technical challenge that you’ve had to overcome? That could be anything from a computer crash, “learning curve” or anything like that. How did you overcome it? The biggest challenge was transforming what had started as a complete studio project/solo album into a full blown live band that could recreate the recorded versions of the songs. I initially demoed up all of the songs myself with just layers and layers of different parts and sounds. As I began to fall more in love with the material though, I realized how much I wanted to bring it to a live setting but this meant I had to figure out how to make it all work with just a limited number of players. It was a really fun process though going back and reconfiguring certain guitar parts into my bass guitar part,working up the harmonies,working with our drummer Michael on live drum parts to record and later bring to the stage… As much as I really love working in my studio, nothing ever beats the feel of playing live with your friends.
- 13 - www.peek-a-boo-magazine.be
NOWAFTERNOTHING What do you think is the mark of a good remix from the perspective of both the artist and the remixer? I suppose the easy answer is whether or not everyone is happy at the end of the collaboration. For the “Sick Fix (Microwaved Mix)” by Gabe Wilkinson, I just told him to do whatever he wanted to it. I was just curious to hear how someone would approach the song. When he sent it back it was so drastically different from my own remix, but I thought that was great –it’s like, whywould I want two versions that sound the same? Anytime I have done remixes for others, I always ask the artist if they have a vision in mind or if they just want me to run with it. I personally feel much better going into a remix if I know that I have carte blanche. It allows me to have much more fun with it and I tend to take more risks and try more things. How much does literature or the visual artis (painting, sculpture etc) play into the inspiration for your song writing? On a conscious level, not a whole lot. I’ve always identified my “songs” more by the music itself and less by the lyrical content so for me a song always starts with some kind of emotion that I’m trying to relate. This is always inspired more so by my own personal experience than anything else. When I do get to lyrics, it’s similar in that I’m more inspired by my own personal experiences than I am by other types of art. I’m sure that I’ve been subconsciously influenced though by books or film though in some ways. Some artists have resorted to using AI for the likes of cover art and even videos. What’s your feeling on that? Do you think that it’s already gotten out of control and maybe is an excuse for lack of creativity? Or do you think people are still inserting a bit of human/organic quality into what’s being produced? I’m certain it’s both of those things though I hope it’s more of the latter. For me personally, I enjoy doing some video and graphic work for Now After Nothing but I also know my limits and when it’s time to collaborate with others who are maybe more skilled and/or tuned into conveying a story or emotion from a song into a visual medium. I choose not to work with AI for that very reason – I really like putting my own thoughts, ideas, and interpretations into the band’s visuals and working with other creative individuals. It’s much more interesting to me. www.peek-a-boo-magazine.be - 14 - I actually looked into doing just a quick AI visualizer video for one of my earliest singles but dropped that idea immediately when I saw what AI was actually producing. It all just looked terrible - very stock and paint-by-numbers feeling. It was that same anime style, zoom-in-while-the-image-morphs on a big loop. Very boring.When used in that sense, it does feel like an easy out for a lack of creativity. To be fair though, I’m cognizant that not everyone has good design software or can hire people to collaborate with or whatever the case may be. And not everyone is visually creative. I suppose I couldn’t really fault someone for using AI in their visuals if they are organically creating really interesting music but don’t have the means to visually support it without resorting to AI. If I could find the right way to use AI to produce something I can be happy with, I would consider it but only as a means for expressing my ideas and not just a crutch to produce something generic. Now, with all of that said, the idea of using AI for music/ songwriting though… an absolute travesty. Like so many cookie-cutter songs spewed out with the corporatization of the music industry, it’s just so wrong on every level. What plans do you have for the forthcoming months? The biggest thing coming up is the release of our first official EP scheduled for the Fall and some show announcements! Thanks for the questions and Thank You to everyone reading. I greatly appreciate all of the support! William ZIMMERMAN For More Information: https://www.instagram.com/nowafternothing https://www.facebook.com/nowafternothing https://open.spotify.com/artist/ 26KhwetisDzHdx22OLK6ZG
- 15 - www.peek-a-boo-magazine.be
XTR HUMAN XTR Human is the German electro-industrial project founded by Johannes Stabel. The new XTR album, Schrank is due out on May 17 via Negative Gain Productions. Thanks to Johannes for the interview! Hello and thanks for answering the interview for our blog today. We usually like to start off by asking for a brief background for the readers that might not be familiar with a particular band. Would you kindly do so? I'm Johannes from the Berlin-based band XTR HUMAN. I started the project back in 2012, and since then, we've released four albums and three EPs.Our music combines elements of brutal bass, emotional coldwave, and modernized hardbody EBM beats The new album is ‘Schrank’. Does it revolve around a central theme? Or are the tracks each their own idea? It's not a concept album, but many of my new tracks are www.peek-a-boo-magazine.be - 16 - inspired by current social and political issues. For example, in 'NEID,' I explore how frighteningly polarized our societies have become,where a normal,constructive discussion seems almost impossible. The title track, 'Schrank,' delves into the German petit bourgeois narrow-mindedness. While the world seems to be falling apart outside our borders, some people retreat into a new era of everyday Biedermeier conformity. Scenario: You are stranded on some island but you had the capability to put a flas drive with three of your most important songs into a sealed bottle and send it out to the world. These are songs that mean the most to you and best represent your legacy. What are they and why did you choose them? Dysfunction was my first single and video with XTR HUMAN, and I'm still very proud of that song. 'Leben Ohne Licht' was important because it marked © Karo Kratochwi - 2023
XTR HUMAN's reinvention with a fresh new sound, and for the first time, the lyrics were in German on the album GOLD. 'NEID,' fresh on the new album SCHRANK, I simply think it's the best song so far in terms of club compatibility. Are your songs created in pretty much the same way in every case? Do you have to be in particular locations or moods to be inspired? I write all my songs at home in my home studio, directly in the DAW. I've actually canceled my rehearsal space a few years ago. All I need is my coffee and enough time to create. Could you give us some insight into your studio, your “tools of the trade”so to speak? Howmuch is hardware/ physical instruments and how much is based on softsynths and the like? I work a lot with Ableton, and for drums, the workflow of Push is the most intuitive for me.Besides that, I also have some hardware at home. For 'SCHRANK,' I primarily used the Kawai K1, Roland SH-32, and Korg Polysix. However, plugins are equally integral as I aim for a modern sound with extensive processing. What do you think has changed for you over the years since your first release? What we mean is in terms of approach to song writing, themes addressed, technical/ software/hardware instruments…..things like that. In 12 years, a lot has changed, not just in my music but in my habits as well. One significant change is that I now drink less alcohol during songwriting and rehearsals. Ending the rehearsal space phase was definitely a good move. It allows me to focus more on the essentials, namely track production. As a result, I've shifted more towards an electronic direction, abandoning the band arrangement of the first album. Some artists often engage in certain rituals when composing in the certain studio or before performing. Ex: They may like to have certain items around, They may do certain pre-show preparation, They may do things like meditation. Are there any particular rituals you do before writing or performing? I'm not a very spiritual person. Of course, before a show, I try to calm down. I also try to be as sober as possible. Otherwise, routine helps a lot. When you know your set well and have rehearsed it, you go on stage much more relaxed. - 17 - Some artists have resorted to using AI for the likes of cover art and even videos. What’s your feeling on that? Do you think that it’s already gotten out of control and maybe is an excuse for lack of creativity? Or do you think people are still inserting a bit of human/organic quality into what’s being produced? I think it's like any new technology. You can use it for good things but also for rather questionable ones. AI, to me, is just a tool. You can use it to create even more exciting and creative things or to produce entertainment music even faster and more efficiently. That's already happening now (just look at mainstream chart music).But why shouldn't I, for example, use AI to quickly find a specific synth sound or to save time pulling out interference frequencies from the track with an equalizer? What’s next for XTR Human in the coming months? After the album release on May 17th, I have several concerts lined up in Europe and the USA. Additionally, I'll be on a small tour with and as part of the band INHALT. Thanks so much for your time today. William ZIMMERMAN https://www.facebook.com/xtrhuman https://xtrhuman.bandcamp.com/album/schrank www.peek-a-boo-magazine.be
LEÆTHER STRIP For those fewwhomight never have heard ofyou...Can you tell us about the origins of Leæther Strip and the influences that shaped your sound in the early days? Claus: I started Leæther Strip back in ‘88 after being in several bands from ‘82 to ‘88, becoming a better musician, producer and songwriter. I’m self-taught so I needed to try out different synth genres and grow up to find my sound. I couldn’t find any other serious synth musicians where I lived so I did it solo. Growing up I loved all kinds of genres. Everything fromglam rock,like Sweet and Slade,to J.M.Jasse and Tangerine Dream,to Punk bands like The Skids,Sham69, and New Wave like Ultravox, Gary Numan.. Fad Gadget’s debut single “Back to nature/ The Box” sparked my interest in buying a synth. Depeche Mode, Twice A Man were also among my favourites in those days. I’ve always been very open to different genres, as long as it’s got heart, I can listen to anything. What is your creative process like when producing new music? Do you have a specific routine or environment that inspires you? It varies. Sometimes I got a full song idea in my head where it’s just about getting into the studio before I forget. Other times I just sit down and program sounds and that can easily trigger an idea.My head is full of ideas 24/7 So I’ve never experienced “writers block”. www.peek-a-boo-magazine.be - 18 - Over the years, howhas your sound evolved? Are there any particular albums or tracks that mark significant changes or milestones in your musical journey? Hard for myself to see it, but I just try to become a better composer really.The never ending hunt for the perfect song. As for albums, “Solitary Confinement” is the biggest “milestone” for most of my listeners, and that’s fine. That album is still opening doors for me and it changed my life to where I could live from my music. I was in a very dark place writing it so the fact that it flipped my situation upside down was amazing. For myself,my latest work is what I focus on. I am far from done writing new songs, It’s not just a living, it’s a need and my therapy. Your music often explores dark and intense themes. What inspires the lyrical content of your songs, and how do you approach writing lyrics? Yes,my songs are like a darkness vacuum cleaner for my soul. Makes the dark clouds go away. I don’t really think “Now I’m writing a dark lyric”, it just happens, and then I won’t boil over. How do you prepare for live performances? Are there any memorable live shows or tours that stand out in your career? I rehearse the lyrics inmy car when driving,I sometimes hate
- 19 - www.peek-a-boo-magazine.be
LEÆTHERSTRIP When Zoth Ommog went belly up,and I found out I was stolen from bigtime by people I considered family. The most rewarding was when it was announced that I would release new music, back in 2005. Most people thought I was dead and gone. They didn’t forget me, and I’m forever grateful for that. The fans/promoters/supporters are why I’m still touring, they are the reason that I still get to do this. How has the advancement of music technology influenced your work, both in terms of production and distribution? I kinda do things as I always did, so it’s myself for writing these long lyrics, takes a long time to learn. The key parts just come very natural, as I play by ear. I just play and try not to think. The ‘92 Solitary confinement tour was mind-blowing, sold out everywhere, but because of very bad routing and no sleep, it damn near killed me. I would do it again though. Another special one was my comeback show in 2009 at Amphi Festival. Also because that was Kurt’s first time watching me play live. I’ve kinda been on a non-stop tour since that gig.And I thought it was over for me. You've worked with various artists in the electronic and EBM scene. How do these collaborations come about, and what do you enjoy most about working with other musicians? I love working with other artists. They usually ask me if I wanna play. It’s also very inspiring for me. And making new musical friends is always fun. Getting the creativity flowing is good for us all, and we just might learn something. You are considered to be one of themost productive artists in this scene, and still you find the time to release complete coveralbums Yes I’ve always been very productive, back in the Zoth Ommog days the label had to put restrictions on my outlet, which I hated.Music in a drawer makes it powerless. These days being indie, I can do what I want when I want.As an old Punk, thats just what the doctor ordered. What are some of the biggest challenges you've faced in your career, and what have been the most rewarding moments? www.peek-a-boo-magazine.be - 20 - not really had a huge impact. But, one can never have too many toys. The soft-synths are now better than ever, and make it easier for kids to get into making music.Nothing bad in that. I still program all my sounds and sample my ass off as I always did. How do you engage with your fans, and what role do they play in your music and performances? I always answer anyone when contacted. People can be extremely private and if they want my advice, who am I to ignore them.My email and profiles are open for everyone, as long as they don’t want to blowmy head off as some do. On stage I always have a blast,cause they are friends inmy eyes. What can your Belgian fans expect from your shows in Antwerp on 26th & 27th of October? If I understood correctly you will play two different shows? Yes, I am already full of ideas for those two dates. Both will be sweaty and fun. I will play some tracks I’ve never played live or not very often. I love the club and Antwerp has always been good to me. I can’t wait Thanks for your time busyman! LEAETHER STRIP will perform TWO different and EXCLUSIVE sets in Antwerp on 26 & 27 October 2024! More info & tickets: www.bodybeats.be <Available tickets for both shows are VERY limited!> Fred Gadget Photo p.18 © Luc LUYTEN / p .20 ©Mandi Martini
- 21 - www.peek-a-boo-magazine.be
MALICEMACHINE Pennsylvania's MALICE MACHINE have just unleashed their long - awaited album, Act Of Self Destruction - the follow-up to their previous effort, Chemical Voilence.. A significant stylastic shift, the new album leans toward more of a cyber punk/electro arena. We're pleased that the duo took some time to chat with us today to talk about the album and alot more. Hello and thanks for answering the interview for our blog today. We usually like to start off by asking for a brief background for the readers that might not be familiar with a particular band. Would you kindly do so? We started off in a number of industrial and goth bands as a drummer and bass player in Long Island NY, www.peek-a-boo-magazine.be - 22 - eventually we both moved to NYC and formed the first incantation of Malice Machine, under a different name. After trying out quite a number of other potential band mates, we came to the conclusion that we were best as a duo, with Syn taking on the role of singer/front man. From there we self-released 3 albums under our current name. Scenario: You are stranded on some island but you had the capability to put a flash drive with three of your most important songs into a sealed bottle and send it out to the world. These are songs that mean the most to you and best represent your legacy. What are they and why did you choose them? It's hard to pick since every album has evolved so
differently but from our first album “Digital Scars” it would be “My Virus” as this song was one of the first we ever wrote and it set the standard so to speak.“Restrict” from “Chemical Violence” represented a lot about our music at that stage and is a perfect bridge between our styles. “Hyena” from our latest album “Act of Self Destruction”, encompasses the full spectrum and attitude of the music we really wanted to express. They all have a similarity in their aggressive dance sense, hooks, and angst and are generally songs that we enjoy. Talk about the genesis of this new album, ‘Act of Self Destruction’ if you don’t mind. It’s vastly different from the last album. What kind of changes did the tracks go through before you were happy with the final product? We actually wrote and completed a full album a number of months ago but after listening to those songs we felt they were just a continuation of the previous album's style. We really sensed the need to do something different. It's very hard to come up with a new style of music that isn't so avant-garde or experimental that it would still attract a wider audience. After all, everything has been done. We decided we wanted to do shorter songs in a punk realm combined with heavy electronics and heavy bass and drums.So we scratched what we did and wrote 9 new songs in this new style. Before we released the album we played it out a few times and people mentioned they heard some aggro-tech influences hence the style we coined as Aggro-Punk. Could you give us some insight into your studio, your “tools of the trade” so to speak? How much is hardware/physical instruments and how much is based on softsynths and the like? Our studio consists of both hardware and software. Of course ultimately the DAWs are the most important factor. Ableton Live is the main tool but we also use Presonus Studio One, Bitwig Studio, and FL Studio and sometimes Reaper. As far as mixing goes, it's all in the box. There's a number of softsynths we use and there are far too many to list here.As far as hard synths go,we use a Moog Subsequent 37, Nord Lead 1 and 2X, Access Virus TI, Dave Smith Pro 2, and a Roland System 8. We also use a number of drum machines. As monitors we have Adam A7s and Yamaha HS8s and the audio interface is a Focusrite Scarlett i8120. Some artists often engage in certain rituals when composing in the certain studio or before performing. Ex: They may like to have certain items around, They may do certain pre-show preparation, They may do things like meditation. Are there any particular rituals you do before writing or performing? For a long studio session, Syn always brews a big cup of coffee and wields a vape. For live Syn will sit and think - 23 - of all the first words of the songs. Julie-X does have a couple of charms on her drums, a Companion Cube from Portal and a skeletal kitten doll. Some artists have resorted to using AI for the likes of cover art and even videos. What’s your feeling on that? Do you think that it’s already gotten out of control and maybe is an excuse for lack of creativity? Or do you think people are still inserting a bit of human/organic quality into what’s being produced? In our case everything we do is organic or done in a hand-crafted way. For instance, with our song writing, all our music is written from scratch. We don't just rely on loops grouped together and call it a song. For us that would be a bit cheesy. To address the question directly, our artwork and videos are put together by hand and nothing is generated artificially. We think there's still a number of artists in the electronic field that rely on creativity to express their art, but it would be disturbing to think very soon an AI can write a song or create a video. If that could be done, then everybody would do it and it would no longer be a talent. The latest album is ‘Act Of Self Destruction’. It’s vastly different than the last release. What kind of genesis did the songs have to go through before you were happy with the final product? We actually wrote and recorded a whole other album that was basically a continuation of the previous album. But then we felt it was time to do something a little different and scrapped it. It took some thought but we decided a stripped down,straight-to-the-point style was the way to go. The new songs just sort of fell together once we started writing this album. Do you think that you’ll adopt a release plan that is perhaps less full-length albums and more singles, remixes and Eps? It seems like you read our minds because that is exactly what we plan on doing. We have some remixes coming up by some notable artists and looking to publish more videos and release singles very soon. What do you anticipate for the coming months? Side projects, shows, more releases? We have shows shows coming up and will also be working on building our online presence. We plan on doing several side projects as well which include a second more traditional Cyber-Industrial project, an Industrial Metal project, and a Goth project. Syn has been working on a stop motion project for over two years that will showcase our music and a number of other Industrial artists. William ZIMMERMAN www.peek-a-boo-magazine.be
TERMINAL SERIOUS - Fear And Cufre (CD/ Vinyl / Digital) (SwissDarkNights) Terminal Serious, the solo project of Luigi Buonaiuto,knocks us out with the album Fear and Cure.He makes sturdy post-punkwith a touch of darkwave. I was already a fan,and on the first listen Terminal Serious confirmed across the board. Invited to a next (and next...) listening session, it becomes even more catchy. The album is full of good postpunk songs.Highlights? For me Necklace is so cheesy-catchy that you are pulled along in it, despite the charged atmosphere, happily swaying your hips .Add To The List has a bassline that dances around so sublimely that the guitars make a sensual dance around it. Ditto in Anyway, which goes towards darkwave. The synths that could come straight from a cathedral are subtly present. Secret Garden is a more shoegaze-like excursion in terms of sound. A slightly different rhythm section and a drumbeat that colors outside the lines. Another song that appealed to me more than the others is Walk On A Roof. Vocally dark as hell and a bass that hits even harder than in the other songs. This is absolutely another bull's eye.Do not hesitate: buy that stuff! [JB] KALTE NACHT -The Last Breath (Single (Digital)) (Cold Transmission Music) Nacht combines darkwave with a minimalist touch. Atmospheric, dark, carried by analogue synths and ditto drum machines. Myrto's voice absolutely completes the sound. The song has a rather philosophical approach about breathing and being oneself. We breathe automatically. It keeps us alive, we don't have to think about breathing.We trust it.But every breath is different.With exertion,we automatically start breathing faster and deeper; At rest, every breath of air is more subtle. Breathing helps to let go of things.And when we discard the old, a next breath brings us a new piece of being...As beautiful as the story behind it sounds, the song itself is even more beautiful. You feel and experience the automatism of the breathing that keeps us alive and shapes our being. In a solid synth-driven banger of a song.The voice that blows air into your ears so that you can feel how urgent that air is for us. Kalte Nacht's second album Urge announces itself so promisingly. [JB] THE HYBRIDS - In The Wake Of The Witch (Digital) Their latest release, “In The Wake Of The Witch,” blends traditional instruments and modern electronics to create a modern, tribal, and somewhat otherworldly atmosphere. The title track opens the album with a hypnotic and enchanting vibe. The album features diverse tracks like the industrial-tinged “Ritual For Pazuzu” and the rhythmic (3rioart) “Drum Wars,” designed to captivate listeners and transport them away from earthly realities into a trance-like state surrounded by mythical beings and perverse gods. Tracks like “Warriors Code”and “Grande Est La Morte”offer a blend of rhythmic intensity and ethereal vocals, emphasizing themes of struggle and mortality. The music is rich and evocative, with many tracks around ten minutes long. The album "In The Wake Of The Witch" demonstrates Hybryds at their best,merging ancient and modern elements, masculine and feminine energies,and exploring themes of sin and pleasure,beauty and decay, fear and hope, all within a transcendent musical journey incorporating industrial, ritual, tribal, and ambient influences. [KI] LOVATARAXX - Tilda Vaast (Single (Digital)) LOVATARAXX is back with a new album called 'Sophomore'. As a taster, we get the first single "Tilda Vaast". LOVATARAXX about the single: "How can we maintain our intimacy when we are stuck in a public space? When confronted with loneliness or sadness, we wish we could make the whole world around us disappear. Tilda Vaast doesn't feel at home during her stay in the city of Marseille. She wants to blur all boundaries, she harbors a deep resentment and would like to teleport or dissolve herself, away from space and time." We'll have to wait until April 5th for the release of 'Sophomore'. The single already makes lovers of darkwave/synthwave/coldwave stoked. On the announced album they go back in time to the 80s-90s, where cold synths and SF-like sounds form a perfect cocktail.'Tilda Vaast' definitely sounds like that. [JB] www.peek-a-boo-magazine.be - 24 - Read full reviews on http://www.peek-a-boo-magazine.be/en/reviews/ (Cold Transmission Music)
- 25 - www.peek-a-boo-magazine.be
DE DELVERS On Saturday, March 23, the Dutch-speaking night orchestra performed in Ghent, and in the run-up we thought it would be a good idea to question bassist and lyricist Tom Kets. Hi Tom. Tell us how De Delvers came about? The Delvers were founded in 2017.We know each other from previous musical projects and/or from teaching at the Boom Academy for Music and Word. I had some rough song sketches ready and we started working from there. You call yourself a ‘Dutch-speaking night orchestra’. That is a term that really resonates with me. Was it a conscious choice to sing in Dutch, and why? It is a very conscious choice. We try to be very careful with words and language. I write the texts and would not be able to do this in English, for example. I think that working in Dutch also increases the power and directness of the words. Singing in your native language does not have to be a limitation. It's about emotion. For me, Einstürzende Neubauten are a good example. The fact that we are being played on the radio with De Delvers in Germany, England and even Japan is the best proof of this for me. You are – rightly – compared to Noordkaap, Aroma Di Amore and Arbeid Adelt! How does it feel to be compared to these greats of the Dutch-speaking wave? www.peek-a-boo-magazine.be - 26 - It is of course nice to be compared to these bands. The biggest common ground is of course the language: Dutch. I think that the comparison they make mainly serves to situate us and give the listener something to hold on to. This is not always obvious because we actuallymix all dark genres: from coldwave to more dark electro, from dreamwave to post-punk and punk. This was even more the case on our second album than on our debut. What also differs greatly from other bands is the singing style. Dries doesn’t actually sing in the typical eighties way. The fact that we cannot be lumped together is also noticeable in the airplay and reviews we receive. This ranges from underground and specific genre music programs to Radio 1 and the most diverse music magazines. Your lyrics are considered a form of social criticism. There is always a great interest in the people who are ‘forgotten’. Tell me, what are the themes you want to address with De Delvers? With the lyrics, I try to name things that I see happening around me and to pay attention to what we sometimes prefer to turn our heads away from. I try to do this with a big heart and without judgement. Housing problems, oppression, mental problems, control mechanisms... These are some of the themes that you can find on our albums. I found Danny Quetin's description in his review of our second album for your magazine very apt: ‘Poetry written in black ink’. Doesn’t it sound like fun to you? (Laughs)
Does the social criticism in your lyrics also have to do with the fact that you come from Boom, a municipality that, despite all its Tomorrowland glamour, is not exactly one of the most prosperous cities in Belgium? Menno is actually the only purebred guy coming from Boom in the band. Boom is our base. We rehearse in an old machine hall between the remains of brickworks and ring kilns. That is why we consider De Delvers to be a Boom band.That place... it fits perfectly with who we are and what we stand for. The atmosphere of hard work from a bygone era certainly provides a certain dynamic and color to our songs. That cannot be denied. Our musical father Tom Claes also has his record store Music Media Corner in Boom.What you indicate about Boom in your question is of course correct, but I think that applies to several places in Belgium. Often we don’t see it or don’t want to see it. The idea that we make something visible through our lyrics, supported by a good melody, is something I consider it ‘meaningful work’. Your first self-titled album was released in 2018. Our reviewer HenkVereecken praised it, and I believe there was a general enthusiastic response. Did you have the feeling that a number of people were waiting for a group like De Delvers? Both our albums were very well received. It actually exceeded all our expectations. We really didn’t know what to expect. It was a leap in the dark on every level. Henk Vereecken put it very succinctly in his review: There are very few ‘wave/post-punk’ bands that have a completely Dutch repertoire, definitely with new bands. So we had little or no reference. We just did it. I don't know if people were really waiting for us. We did feel a certain enthusiasm around ‘De Delvers’. But we try to concern ourselves as little as possible with the expectations of others. The follow-up album‘Hart in neonlicht’was released in November 2022when the corona pandemicwas finally over. Did the pandemic affect you during the recording of the album, and did you consciously wait until the lockdowns were over to release the album? Absolutely, that was not an obvious period. On the one hand, there were a lot of possibilities that the first record gave us. The record was also released on vinyl in collaboration with Music Media Corner from Boom and Variaworld Netherlands. This gave us a lot of concert opportunities, including a lot in the Netherlands. That disappeared during the lockdown, just like everything else.We tried to channel this feeling in recording ‘Hart in neonlicht’. The recordings took place for each of us separately, because people were not allowed to come together. Music files were forwarded, supplemented, changed... This was a lot of work, especially for Laurens Primusz (guitarist, keyboardist) who took over the - 27 - production. Because of this we worked on the record for a very long time.We indeed waited for the right moment to release the album. We will not be rushed. We also started looking for a label that matched De Delvers. We found a good partner in Wagonmaniac. On ‘Hart in neonlicht’ from 2022 we hear the same sound as on the untitled debut, but many songs now reach three to four minutes of playing time. I also hear more melody and attention to elaborate arrangements. Was that a conscious evolution? I think a record has to dictate itself a bit. The songs spontaneously went in that direction. You have to let that happen a bit, I think. In addition, Laurens Primusz took more control over the production and the contribution of each member was greater than with the debut album. This pushed the end result more in that direction. The next album could go in a completely different direction. The single ‘Hart in neonlicht’ seems to be an ode to the new wave scene and to the old new wave discos from the eighties. Was that the idea behind the song? It is a song with a double meaning: on the one hand it is an ode to the new wave scene, on the other hand there is the underlying idea that describes the feeling that arises when things that we consider acquired disappear, in this case due to the impact of corona. It's a song that was written during that period. Or as the lyrics go: ‘All those bodies, all that sweat, new waves, I forget’. New waves refers to new wave, but also to yet another new corona wave that came our way. You asked René Hulsbosch from Struggler to participate on the single ‘Onder de vloer’. How did that collaboration come about? We met René and the Struggler crew at the Siglo XX Tribute Night where we played together.That was a very nice meeting. Struggler is also a very cool band.They are a real steamroller live, with a unique sound. We were looking for a second voice for ‘Onder de vloer’. René seemed like the ideal choice to us. We asked him, sent the song and he liked it. The fact that we were also able to perform the song live with him during our joint performance in B52 was the dark icing on the cake. Xavier KRUTH https://www.dedelvers.be/ https://dedelvers.bandcamp.com/ https://www.facebook.com/dedelvers www.peek-a-boo-magazine.be
SCREAMING DEAD “In a dream of yesterday, off the forest and the glade, I remember yesterday” They are the Creatures of the Night.The Legion of the Dead. Peek-A-Boo presents … Screaming Dead! To step away from the music for a moment, what are your all-time favorite Hammer films? Which ones would you definitely recommend watching? All of Christopher Lee as Dracula! …Too many others to mention! Doesn't really surprise me that you mention Christopher Lee. Superb actor! Was he in any way an inspiration for writing songs? Not really consciously but I guess he epitomised the look and coolness of the Vampire so there could have been an undercurrent subconscious process going on especially in 20th Century Vampire! Tony McCormack wrote the song originally but I certainly felt a connection to Christopher Lees interpretation of a Vampire when singing it. A blood red moon fills the sky. The perfect setting to have a conversation with one of those Night Creatures. Sitting in front ofme; singer Mr. SamMissile. Hello Sam! First of all, let me give you a big thank you for making time for us. Cheltenham, UK. It's somewhere around 1980. If I’m correct that's when and where it all started? Pretty much 1980. I had previously been in a Punk band in 1978 called The Waste. All the disaffected youth in the UK wanted to be in a band after the Sex Pistols exploded on the scene in 1976. But with Screaming Dead a new direction was taken from regular Punk so to speak. Especially by adding horror elements. Both in lyrics and in how you guys presented yourselves. Which made you rebellious on a totally different level. How did that all begin? Well we were and still are into horror. In the UK we had Hammer films which was a passage of rite for us all. Punk had become boringly political and predictable by 1980.The songs were just a natural progression of each band member’s interest into occult and horror based themes. The look was born out of a visit to Hughs parents house where we raided the wardrobe and found dinner jackets and cloaks! We preferred a glam look as opposed to a uniformed punk look. www.peek-a-boo-magazine.be - 28 - These days you have social media, YouTube and so on, but back then, was it easy to get your music out there? I’m thinking for example of the 1982 'Western Front' single which was released on the 'Catch 22' label, and a little later 'Valley Of The Dead' released on 'Skull Records'. Your own label by the way. It was all done by fanzines and word and mouth. If you were any good you got noticed. Gigs were always pretty rammed so if you played well the word spread quickly. Our first good break came when we appeared in a very prestigious fanzine called Rising Free and it showed us all in black leather with winkle pickers hanging around a graveyard. No one was doing that then and people went mad for it. It gave a link to the Western Front cassette and we were inundated with requests for it.We knew that a single would sell well so we borrowed money off Mals mum and a 1000 copies sold in a week. No Future then signed us and pressed a load more. It just took off from there but our image was a major factor. And with ‘No Future Records’ came ‘Night Creatures’, probably your most well-known and popular song? It is literally impossible for me to count how many times I have listened to 'Night Creatures'. Such a bloody awesome song. Never get tired of it! It's seen as our signature tune but I don't think it's our best by a long way. The EP was very groundbreaking in
! so that it was totally different to anything about at the time. We'd been playing the songs on the EP live for a long time so we just recorded them as a natural progression from Valley of the Dead Single. It's possibly the most popular song as it carries the title of the EP but personally I prefer 20th Century Vampire and Necroaria. It's also featured on loads of compilation records so I guess that's why people associate that as our most popular song. With the EP in mind, do you have any fun anecdotes from live performances during that time that you'd like to share with us? Our live performances were sometimes hit and miss depending on how we refuelled ourselves! We were young and fell into the trappings of a rock-n-roll lifestyle is all I'm prepared to say! I will ask no more! Now to make a jump in time; it’s the end of the nineties and on ‘Resurrection Records’ the album ‘Death Rides Out’ is released. But what is striking on that album is the difference in sound. How did this come about? We'd not been together for many years and Tony had got used to playing to a drum machine and as we didn't have any contact with either Hugh or Mark we decided to do the album with this format to save time and effort. Tony had been experimenting with this format with his band Inkubus Sukkubus so we stuck with that formula. It was a decent album and a shift towards a more traditional Gothicy sound which seemed to work. That brings me to our present day. There is the new ‘Ride With The Dead’album, released last year (2023) by 'Bat-Cave Productions'. Several tours over the world. Back alive and kicking for sure! Well, we got back together to do a one off show but when it was announced we were doing a show it seemed like so many people wanted to see us again! We were finally geting the recognition as being a pioneer of Post-Punk, Goth rock, Horror Punk and Deathrock all rolled into one! We've played all over the world now and the following is absolutely fantastic both here and abroad. We've kind of mixed our sound up with the old and new but it's very much in the Horror Punk mode as in our roots. Were certainly a very tight, energetic live act as people will testify and our songs have definitely stood the test of time! Maz and Bazwork brilliantly together and we've created a whole range of new songs which are going - 29 - down fabulously at the live shows! We're back in Mexico and the US in October but would love to play more shows in Europe.Any interested parties please hit us up! Keeping my fingers crossed that there are going to be interested parties. Here in Belgium as well because I definitelywould love to see you guys perform live! Can I also say I think it's awesome your merchandise is available through German 'Bomb-All-Records'! Especially for the fans living in Europe. Yes, they're a top quality company with awesome products! All right you Night Creature. On behalf of Peek-A-Boo and our readers, let me thank you again for doing this interview. Here's to a fang-tastic future Sam. Cheers! Thank you so much Hayley and best wishes to all at Peek-A-Boo! Hayley CLX https://screamingdeadofficial.bandcamp.com/ album/ride-with-the-dead-2 https://www.facebook.com/officialscreamingdead https://www.instagram.com/screamingdeadband/ www.peek-a-boo-magazine.be
LIVERNOIS © Tomas Raul Livernois is the harsh electro-industrial band based in New Orleans, Louisiana. Their latest release is the EP :ablation:. We're very grateful for their time in doing this interview. Hello and thanks for answering the questions of the interview for our blog today. We usually like to start off by asking for a brief background for the readers that might not be familiar with a particular band. Would you kindly do so? Jaysen: We’re Livernois. An industrial band based in the ninth ward of New Orleans, birthed in Southwest Detroit.We are Jaysen Craves, Velvet Spade, and Scythe. :ablation: is the latest EP with a curious name and spelling. Could you talk a little bit about that? Jaysen: Well as it stands, the central theme of the album is closure. Essentially figuring out which emotional baggage is worth carrying with you, and which you www.peek-a-boo-magazine.be - 30 - should just leave at the door. The term ablation describes a surgical removal of flesh, and ironically enough a removal of ice in some instances, which as a metaphor resonated with me. You have a couple of tracks on the EP, “Tearcatcher” parts I and II. What’s the theme behind these and why is it in two different parts out of sequence? Jaysen: If you listen to the sample in the opening of Beyond The Gate, which is track one on the album, it references a flat circle of time. That things will repeat again, and again, and again, forever. So for me, that isn’t actually the “beginning” track. The listener is jumping directly into the middle of a conflict that has been in motion for a long long time. I view Tearcatcher Pt. I as the true opening track, and if a listener were ever inclined to put the album on a loop, they would get the full experience. As for the theme, both songs are about confinement.
- 31 - www.peek-a-boo-magazine.be
LIVERNOIS Scenario: You are stranded on some island, but you had the capability to put a flash drive with three of your most important songs into a sealed bottle and send it out to the world. These are songs that mean the most to you and best represent your legacy. What are they and why did you choose them? Jaysen: Heal It Up by Concrete Blonde Velvet: Something by I Can Never Have bu Nine Inch Nails Keegan: The Drowning by Christian Death Are your songs created in pretty much the same way in every case? Do you have to be in particular locations or moods to be inspired? Jaysen: Most of these songs have been bobbing around in Limbo for longer than I’m proud of. I feel like we write them as a way of compartmentalizing a specific emotion or experience for easier filing purposes later on. I will however say that the first demos of each of these songs were written back on my old block back in Southwest Detroit, before “The Great Renaissance”...or whatever. The landscape both political, social, and literal, had an insurmountable influence on both the lyrical content as well as the textures of the album. I wanted the listener to smell the smoke, taste the chemicals, and feel like at any moment they might get one of their limbs ripped off in the machinery. We’re now based in the 9th Ward of New Orleans, which creatively feels like a reasonable alternative. Could you give us some insight into your studio, your “tools of the trade” so to speak? How much is hardware/physical instruments and how much is based on softsynths and the like? Jaysen: We've evolved pretty heavily from where we first started. In the beginning I would create almost exclusively using soft synth and then as we all came together, we began incorporating other elements such as heavily effected guitar filling the role of a synthesizer. We switched over to exclusively analogue in a live scenario. The backbone of our sound has always been the texture and the rhythm which comes mainly from sampling which we do organically working with the sounds that surround us constantly. It seems fewer and further between are the bands these days that possess the sense of purity held by such bands as SKREW or Ministry – bands that used a lot of analogue equipment. Is this something that www.peek-a-boo-magazine.be - 32 - Livernois tries to return to? How do you think bands can, given the predominance of software synths? Jaysen: Yes, we tried to do away with any softsynth aspects, because in a live scenario, it tended to be more of a pain in the ass, and more prone to error. Things can and will go wrong, but it’s easier to troubleshoot in the moment when your entire livelihood isn’t shackled to a single DAW [Digital Audio Workstation – editor’s note]. Some artists often engage in certain rituals when composing in the certain studio or before performing. Ex: They may like to have certain items around, they may do certain pre-show preparation, they may do things like meditation. Are there any particular rituals you do before writing or performing? Jaysen: I think for everyone in the band that's kinda just the norm. I don’t know if I would actually notice a change in ritual for a show, or our day to day…. now that you mention it, however, I’m sure I probably will now. Scythe: I prefer to smoke, but on tour,2 drinks maximum before the gig.Also, if I have to piss, I wait until after the set. It keeps me attentive. So, what’s next for Livernois? What do you foresee for the coming months? Jaysen: Well, we’re hitting the road for a while with a hellacious smorgasbord of different talent, including Sex Blood, Lydia Lunch, Vision Video, Protokol 19, Human Factors Lab, and Pain Generator to name a few. When we settle back in, it’s back to work on Dark City Fest, which we put on here in New Orleans, which happens the weekend before Halloween. From there it's back to the lab again. William ZIMMERMAN
BENE GESSERIT - Insanely Live (CD / Digital) (Je M’en Fish) This live CD gathers no less than 21 tracks that had so far remained in the archives of Alain Neffe. The album opens with the ticking of the sound improvisation “Each And Every Day,” where the alarm clock prepares us daily for a new day and thus for this “Insanely Live,” the washing water washes our sleep away... To discuss each track individuallywould be tempting,but in a fit ofmegalomania,I tried to categorize the live versions presented here, which often overlap and blend into each other, for BeNe GeSSeRiT, with multi-instrumentalist Alain Neffe, was above all an exercise in experimentation. There is indeed a significant portion of what I conveniently want to describe as minimal wave: “Tonight” (which practically turns into a tirade), “Rock Yoko” (where I think, Karen Finley must have listened closely to this), the more experimental and Eastern-sounding “Snake Un Jour, Snake Toujours,” or “Step By Step” (with a Suicide echo),“Orchestral Story” or the “Nobody Can Know” that carries synthwave in its genes long before this term even existed… [KI] LUSIFER'S AID -Take It From Here (Digital) (Progress Productions) Lucifer's Aid's new single, "Take It From Here," delivers a powerful punch that is both electrifying and haunting.The track blends industrial and electronic elements, creating a dark, atmospheric soundscape that is characteristic of the band's unique style. The pounding beats and aggressive synths drive the song forward, while the raw, distorted vocals add an edge of intensity and emotion. The production is crisp and polished, highlighting the intricate layers and textures within the music."Take It From Here" is a testament to Lucifer's Aid's ability to craft compelling and immersive tracks that captivate the listener from start to finish. It's a bold and daring release that pushes the boundaries of industrial music, making it a must-listen for fans of the genre. Overall, "Take It From Here" stands out as a striking and memorable addition to Lucifer's Aid's discography. [HH] THE JESUS & MARY CHAIN - Glasgow Eyes (CD/ Digital/Vinyl) The Scottish brothers Reid already managed to amuse and move me in my teens with albums like “Psycho Candy” (Blanco Y Negro, 1985) and “Darklands” (Blanco Y Negro, 1987) and now I finally found the time to listen to their most recent album “Glasgow Eyes”. Now I realize I should have done this sooner because some 40 years later, I am once again impressed by these brothers, who, averse to all trends, continue to do their sincere thing as stubbornly as old, gray donkeys.Their noise pop shoegaze of the early days may be a bit worn out,but inmy opinion this “GlasgowEyes”fits in effortlesslywith [...] “Darklands”. There is still a certain sense of error and a mischievous atmosphere throughout this “Glasgow Eyes” that manages to capture reality in a completely personal and yet universal way.An old fox may lose his hair, although William Reid has still plenty, but this pranks are there forever. I'll be stuck with their repertoire again for the next few days, maybe even weeks. I already have “Darklands” ready at my record player. Can I feel 16 again? Yes, I can! This is the best The Jesus And Mary Chain managed to release in their second life. Simply delicious! (Fuzz Club) [KI] THE DREAMSIDE - Dreams Beyond The Veil (Vinyl) Do you remember this one? Dutch The Dreamside scored some attention in the 1994 gothic scene with their debut “Pale Blue Lights” and the sequel “Apaika” (1996). The beautiful voice of singer Kemi Vita also struck a chord in the HeavenlyVoices movement and the band was picked up by the gothic metal scene, which gained popularity a few years later.Well, the band is now active again and the fine Belgian Je M'en Fish label is now releasing the exclusive vinyl collection "Dreams Beyond The Veil" to put these Rotterdammers in the 'goth light'. The oldest song dates from 1996 and goes by the name “Apaika” from the album of the same name, which wound its way between heavenly voices, darkwave and a textbook example of gothic metal. Dutch people who come up with a particularly atmospheric sound somewhere between gothic, darkwave, gothic metal and ethereal (rock).No digital release, only'splattered vinyl'! (Je M’en Fish) [KI] Read full the reviews on http://www.peek-a-boo-magazine.be/en/reviews/ - 33 - www.peek-a-boo-magazine.be
www.peek-a-boo-magazine.be - 34 -
peek aboo calendar music &moviemagazine 027.07 AMPHI FESTIVAL XVIII - DAY 1 @Amphi Eventpark / Tanzbrunnen, Köln [DE] Agent Side Grinder * Alienare * Projection * Blackbook * Bloody Dead And Sexy * Diary Of Dreams Die Selektion * Eisbrecher * Front Line Assembly Hocico * KÆlan Mikla * Manntra * Minuit Machine * Neuroticfish Ost+front Principe Valiente * Project Pitchfork Schattenmann Then Comes Silence * T.o.y. 28.07 AMPHI FESTIVAL XVIII - DAY 2 @Amphi Eventpark / Tanzbrunnen, Köln [DE] And One Project Pitchfork * Blutengel * Front Line Assembly * Solar Fake * Hocico * Kirlian Camera * Neuroticfish * Heldmaschine * Ost+front * Schattenmann * The Beauty Of Gemina * Then Comes Silence * Agent Side Grinder * Minuit Machine * Girls Under Glass * Merciful Nuns * Principe Valiente * A Projection * Henric De La Cour * T.o.y. * Ultra Sunn * Dark * Manntra * 04.08 THE SISTERS OF MERCY + FRONT 242 + LAMUERTE + VIVE LA FETE @ LOKERSE FEESTEN, Lokeren [BE] 08.08 CRASH COURSE IN SCIENCE + ULTRA SUNN + FRAGMENT + NEWWAVE CLASSIX PARTY @ Fonnefeesten, 9160 Lokeren [BE] 09.08 CRASH COURSE IN SCIENCE + THE JUGGERNAUTS @ La Ruche Verrière, Charleroi [BE] 10.08 CRASH COURSE IN SCIENCE + THE JUGGERNAUTS + PORNO KARAOKE @ Blue Shell, Köln [DE] 30.08 BRüGGEN OPEN AIR AN DER BURG @ Burgwiese Burg Brüggen, Brüggen [DE] New Model Army, Eight Feet Fine 31.08 DUTCH ELECTRONIC MASTERS MUSIC FESTIVAL @ 't Tejarteke, Best [NL] La Lune Noire Tectonia René Van Der Wouden Skoulaman 31.08 XXX PARTY @ The Social Club (upstairs Barvista), Leuven [BE] Darkwave, Dark Electro, Industrial, Dark Techno.. Party. Dresscode: Black / Fetish Dj’s: The Black Widow, Marco Bonafini, Pope Black (us) 31.08 BRüGGEN OPEN AIR AN DER BURG @ Burgwiese Burg Brüggen, Brüggen [DE] Fischer-z, Udo Klopke Band 31.08 ULTIMATE TRIBUTE 6 @ Plaine Communale, Gaurain-ramecroix [BE] Mind2mode (simple Minds/u2/depeche Mode) Salvation (the Cranberries) Be 80's (rock & New Wave) Porno Karaoke (industrial Wave, Electro Filth & Roll) Ultimate Dreamers (cold Wave) Curse Of The Vampire (goth Wave) 06.09 TRAITRS @ Canal 10, Hautrage [BE] Toronto-based Band Made Up Of Sean-patrick Nolan And Shawn Tucker. 14.09 LIEGE NEWWAVE FESTIVAL 2024 @ Le Garage, Liège [BE] Dead High Wire, The Doctors, Namid'a & Casual Sanity 27.09 BUNKER RITUALS FESTIVAL 2 @ Desi Nürnberg, Nürnberg [DE] Bestial Mouths, Le Prince Harry, Aus Tears, Cosey Mueller, Oliver Decrow, Onyon... 19.10 D:ZINE & LAVI EBBEL @ Harmonie, 9700 Oudenaarde [BE] Afterparty Met Dj Fapnoir (Black Planet ) 26.10 LEAETHER STRIP (DIRTY SLEAZY SET) @ BODIES & BEATS XVI, Fetish Cafe, Antwerp [BE] This first Night Leaether Strip Will Play A Very Special Dirty, Kinky & Sleazy Set With Tracks Taken From His Entire Back-catalogue. Bdsm Performances Will Take Place During The Event! Warning! This Is An 18+ Club And Event! Dj Borg @ the Decks Dresscode = Black, Leather, Rubber, Latex, Gothic, Kinky ... Dress To Impress = Free Cocktail! 27.10 LEAETHER STRIP ( VINTAGE ZOTH OMMOG SET) + PORNO KARAOKE @ BODIES & BEATS XVII, Fetish Cafe, Antwerp [BE] On This Night Leaether Strip Will Play A Very Special & Vintage Set With Tracks Taken From His Iconic Releases During The Legendary Zoth Ommog Years. Also PORNO KARAOKE will play a ZOTH OMMOG tribute set! Dj Borg Will Abuse The Decks - Dress (Black) To Impress = Free Cocktail! 31.10 PORTA NIGRAWITH MIDGE URE, LENE LOVICH, ,BLAINE L. REINIGER @ Stadsfeestzaal, Aarschot [BE] Afterparty With Dj The Black Widow & Guest Dj Maxalto (w-fest/batcave) 01.11 ALTERFEST @ La Ruche Verrière, Lodelinsart [BE] Clan Of Xymox Kas Product Reload The Breath Of Life Ductape Suir Dear Deer Kezdown Dresscode Awid Enid 08.11 A SLICE OF LIFE + SUPPORT TBA@ Djingel Djangel, Antwerpen [BE] 09.11 XXX PARTY @ The Social Club, Leuven [BE] Dark Beats And Waves. Dresscode: Black Or Fetish. Dj’s: The Black Widow, The Survivor (beatnation), Vanonoise (batcave Boys Collective) 16.11 BELGIAN ELECTROWAVE IS NOT DEAD III - 30 YEARS OF IC 434 @Wommel, Wommelgem [BE] + Deleritas, Herrnia, Ic 434 And Aftershow By Euforic Existence And Dj Peter Melis & Dj Pk. 22.11 PORTA NIGRAWITH KIRLIAN KAMERA, GRENDEL, ORDO ROSARIO'S EQUILIBRIO, ART OF EMPATHY + Afterparty By Dj The Black Widow 23.11 PORTA NIGRAWITH SONAR, POTOCHKINE, SYNAPSCAPE, XOTOX, MONYA, LIQUID TRAUMA + Dj Black Widow 05.12 OMBRA FESTIVAL - DAY 1 @ Barcelone [ES] 06.12 OMBRA FESTIVAL - DAY 2 @ Barcelone [ES] 07.12 OMBRA FESTIVAL - DAY 3 @ Barcelone [ES] with A SPLIT-SECONDS + THE JUGGERNAUTS & MORE 08.12 OMBRA FESTIVAL - DAY 4 @ , Barcelone [ES] 15.12 WE LOVE DARKER MUSIC @ Bibelot Dordrecht, Dordrecht [NL] Auger (uk) Darker Palais Ideal La Lune Noire 20.12 BIMFEST XXI - DAY 1 @ De Casino, St-niklaas [BE] Line-up To Be Announced 21.12 BIMFEST XXI - DAY 2 @ De Casino, St-niklaas [BE] Line-up To Be Announced 11.01 MIXED VISIONS' 21TH ELECTRO & INDUSTRIAL TOP 100 @Aalmoezenier, Antwerpen [BE] 11.01 THE OBSCURE (THE CURE TRIBUTE BAND) @ Djingel Djangel, Antwerpen [BE] 22.02 INTERNATIONAL EBM DAY @ De Casino, St-Niklaas, B - Line-up To Be Announced! 22.03 E-TROPOLIS FESTIVAL @ Turbinenhalle, Oberhausen [DE] Solar Fake Hocico Rotersand Empathy Test Chrom Orange Sector Rue Oberkampf Alienare and more! >>>> IF YOUR EVENT IS NOT LISTED HERE YOU FAILED TO ADD IT (FOR FREE) TOO OUR ONLINE CALENDAR!<<<< www.peek-a-boo-magazine.be - 35 -
1 Publizr