Issue 2. 2009 AU$0.0000
dark and delicious treats
Midnight-Digital Studio-X All Invaders Must Die – The Prodigy Twelfth Replica Tales of a Voodoo Queen God is Live!
eclectomatic ezine
Contents
Editorial
Contents/editorial
pg 1
D'Com-Prose Tale of a Voodoo Queen
pg 2
Aurora M. Lewis
God is Live!
Pg 2
Joel Fildes
God is Live! God is Game!
pg 3
I know, it's late, very late! Apparently life sometimes throws us “curve balls”. I don't know what a curve ball is but it sounds like it's meant to be a tight spot. Since Issue 1 of Eclectomatic Ezine I have been hurled the mother of all curve balls but it is ok, I'm still here doing what I know how to do best, writing and ezineing.
Joel Fildes
Sweet Motorised Cleaner of Carpets
pg 17
JimZombie
We Were Like Rats
pg 18
Ben Nardolilli
The Curse
pg 19
Joseph Taffra
Art Midnight-Digital Sadowmassokitten [NON]
pg 6 pg 15 pg 20
Interviews Joel Fildes Midnight-Digital Studio-X Twelfth Replica Warchild
pg 3 pg 6 pg 11 pg 11 pg 23
Reviews All Invaders Must Die – The Prodigy
pg 5
Zombies Live (iPhone) God Module @ Chrome
pg 24 pg 24
When I first got to work on this issue I was a little concerned that this was going to be a weak issue... Right now as I am writing this up I believe I couldn't have been more wrong. There is a lot of good stuff, from the bizare and surreal writings of Joel Fildes, to the dark and ominuous work of MidnightDigital and our informative interviews. There is something for everyone. Again I would like to thank everyone who has contributed content and time to Eclectomatic Ezine, it wouldn't happen without you. I would especially like to thank my fiance who has spent a considerable amount of time as writers widow but still supported me thoughout the whole process (I'll make it up to you somehow). Of course, a big thanks to you the readers, there wouldn't be much point to Eclectomatic Ezine without you. Since we “opened our doors” back in December of 2009 we have had over 2700 unique visitors, with more than 500 of those being within the last month. Keep spreading the word, there are big plans brewing for 2010. JimZombie
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Tale of a Voodoo Queen
God is Live!
By Aurora M. Lewis
By Joel Fildes
In her shack at the river’s edge, she called on the devil to make a pledge to give her soul at the gates of hell. In return the crack of a whip she would never feel. From that day, she became the Voodoo Queen spreading her evil as she deemed. A wench whose face with beauty was graced, but evil hide behind her eyes and words of kindness were only lies. Her Master tried to burn her at the stake, but she turned the flaming wood into a giant snake that slithered along the ground into the river, dragging the master, both hell bound. Soon word of her evil spread far and wide, no slave master would cross her path for fear of feeling the power of her wrath. A baby born dead, a crop destroyed, a fortune lost, it was her choice. The slave owners left her be, to cast her spells commanding those she called from hell. Shaking and sweating, foam on her lips, from a goblet of blood she wantonly sipped. Dancing around the fire to demonic chants her followers twitched and moaned to her rants. She raised the dead, with their vacant stare who did her bidding from a bit of cloth or a lock of hair. They hid themselves from the light of day and prowled the night stalking her prey. A tale is told of a man who did not heed the warnings of her evil deeds. He heard of her dark beauty, her luscious lips that none would taste. He came to her door and kicked it in, shouting and hollering from too much gin. She bid him come and take a seat or lie in her bed and find some sleep. He looked at her breasts, her strong calves, her plum colored lips, the roundness of her ass. He felt his nature rise with lust and take the Queen he felt he must. She smiled as he yanked her hair, and tore her dress, leaving her body bare. When he had taken her there on the floor, she quietly whispered, you’ll do this no more. He laughed and said she was no witch, nothing but a scheming bitch. She begged his pardon then covered herself, walking over to her conjuring shelf. She asked him if he’d like some wine, she made it herself, grapes grown on her own vine. Smiling and watching her move about the room he said to himself, he’d have his way with her again real soon. As she poured his drink from a jug, bodies arose from the stinking mud. They trudged across her field past her gate, and through her door. They ripped the drunkard, tore him apart, then each devour pieces of his heart. The Voodoo Queen threw back her head and laughed, another one dead who had crossed her path In time she withered growing old, gasping for her life, but her soul was sold. The hoofed one greeted her at the gates of hell. To burn in perpetuity, was the devil’s spell.
In vain days, the Lord made Heaven and guiltless. Taketh his name on the seventh day, and keep it holy six days.
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“The starting line sir.” A servant boy led his master to the line. “Sir, my ass. You will refer to me as Savior! Got it?” “Yes, si…Savior.” “Good boy.” Thirty runners lined up on the starting line. Some stretching, some doing calisthenics. Some bowing in name of the Lord. Seventh Day is the Sabbath of the jealous God visiting, and on the Sabbath we shall run! “Smoke with me Gods of the people!” “Remember us and we will!” The Visitor God lumbered onto the track in front of the pack and slowly raised the starting pistol above his head. Savior squatted down on the line in a perfect three-pointstance, looking through the shriveled genitals of the Visiting God with fierce determination. It was a cold day indeed. “On your marks, gentlemen…” “Savior, you prick!” “Get set…” He lowered his arm, aimed the pistol at the pack, and drew back the hammer... “Go!” A blast rang out and a cloud of smoke rose from the Visitor God’s gun. The beasts and the runners sprinted for the cliffs, Savior didn’t move. His body was limp. His face and shoulders and knees pressed into the dirt, propping his bare ass up into the air. His corpse frozen in a still-perfect three-point-stance. “Thou shall not kill Gods before Me. THOU SHALT NOT, THOU SHALT NOT, THOU SHALT NOT...” The visitor God fixed the race, and delivered Savior unto martyrdom.
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What the hell is going on here? An interview with Joel Fildes JimZombie: Joel, could you briefly explain the "cut-up" approach to writing? Joel Fildes: […] a cut up is to take a piece of writing, your own or otherwise, and cut it up. The easiest way is to take the paper the text is written on and fold it over itself and cut along the crease and rearrange the pieces as desired. The result is new sentences and even new words that were not in the original text. I believe that there are internet sites that have a Cut-up generator but I never have used them. JZ: Is cut-ups something you are serious about or is it more for fun? What exactly is this approach to you? JF: I got the idea from one of my favourite writers, William S. Burroughs of Naked Lunch fame. His theory was that the universe is pre-recorded, and by using the Cut-up technique he could rearrange these prerecordings. How much he believed in this theory I'm not sure, and I certainly don't believe it. So, to me it is more fun than serious, but it is a great tool for composition and getting ideas. The character I've been using in my surrealist stories, the Visitor God- the Holy Thug as I call him, actually came from a cut-up I did with Exodus chapter 20 from the Old Testament Bible: "Seventh day is the Sabbath day of the jealous God visiting." Mostly I use the technique for ideas. JZ: How much of your stories like God is Live is cut-up and how much is you own styling? JF: God is live! is about half and half. With a cut-up I think it better to pick and choose the lines that are generated that seem interesting and use them as you would any other kind of compositional tool. Like I said, I created the character the Visitor God from one of the chosen lines of the Biblical Cut-up JZ: Cut-ups is lazy writing! What would your response be? JF: My response would be it depends on how you use it. To just take the finished cut up and publish it as is, without any compositional tinkering would indeed be lazy. I have done this before, only to realize that it is absolutely useless when it comes to the reader. A cut-up is merely a tool. JZ: You use a lot of Biblical and religious references, are you making a point, or is it simply more fun and 3|Eclectomatic Ezine|#1
dramatic to use the Christian Bible? JF: When I first thought to use the Bible, I was thinking along the lines of Burroughs' theory of pre-recordings, and actually wanted to cut-up the Book of Revelations. I thought tinkering with written prophecy would be, well, kind of funny. Like a Holy Vandal or something. But the Book of Revelations is so vague it can hardly be called prophecy anyway. So I just took the most important chapter in the Old Testament (Exodus chapter 20-the Ten Commandments) and tried to see what I could get out of it. I wasn't trying to make any kind of point, just used similar themes to create my own mythology. JZ: To change direction as a young writer, how do you feel about the writers market place? JF: I would love to get involved in it, and I do take writing pretty seriously: I write and work everyday. I've fished a few of my short stories around to local literary magazines here in Portland Oregon, but have not gotten any response. It seems to me that a lot of good writers get drawn to television and movies and these kind of things. Which is fine, but I'm more interested in the written word, which, I think, is a lot more entertaining.
God is Live! God is Game! By Joel Fildes
Clad only in his jockstrap, the Visitor God presented his self to the teams. A stunningly beautiful garment with leather straps and a silk laden codpiece embroidered with finely woven gold and purple thread. His Holy Insignia. He knew how to get the boys pumped for a game. “You shall make no other Gods before the lightning flashes the sound of a trumpet.” A stern warning. The captains pleaded with Him. “How are we to earn points, Dear Lord?” “... not until you hear the trumpet.” The Visitor God led the players out onto the field. The crowd of thousands welcomed them with a deafening cheer. When they heard it, they trembled and stood afar then. The Visitor God instructed the players to form a circle, a huge circle, taking up most of the field, stood in the center and addressed them through his microphone. www.eclectomatic.net
“The Fathers, upon God visiting, have come to test you. And their fear may be but showing mercy to sons of those who hate me. You don’t hate me, do you?” “Ugh…mmm…no sir, we mean… no. NO FUCKING WAY!!! My lord.”
The captains flexed their muscles. Pecks, bi and triceps, thick necks glistening in the humid air. Their wings, with their snow-white, blinding down fully extended and presented to the Visitor God. Their greatest athletic attributes exposed to be sacrificed and burnt. “On with the show!!!”
Their voices were audible over the loud speakers. The Visitor God glared over his shoulder at the box seats of the Fathers. Their warm drinks trembled in their cold hands.
The captains picked up their respective saws and approached one another, both with their let arms raised, and left wing unfolded. They reached around with their right hands holding the saw, and satisfied the Visitor Gods demands.
The Visitor God gestured toward the captains and then toward the end zone: “You shall sacrifice on it burnt offerings.”
The crowd fell silent. Stunned.
The captains looked confused. The teams took their positions as a young woman rushed out onto the field and helped the Visitor God into a black and white striped robe. That of the referee. The crowd responded with a chorus of boos. The Visitor God laid hands upon the girl and whispered into his microphone: “To thy maidservant, showing mercy to the thousands that are within thy gates, honor the generation of those that hate me.” The crowd fell silent. The Visitor God smiled. The maidservant strutted off the field. “On with the show!” The two captains, following orders, removed their shoulder pads as they approached the goal line. They would need total freedom of movement to satisfy the Visitor God’s demands. The maid servant returned with a velvet cushion holding two shimmering bone-saws. The crowd of thousands, this time, responded with a deafening cheer. A message flashed across the scoreboard: “You shall make no other Gods before the lightning flashes the sound of a trumpet.” The captains trembled with fear. The visitor God appeared out of nowhere brandishing a coin.
“On with the showwwww!!!” The Visitor God wailed, laughing and twirling to the middle of the field and placed the ball on the tee for the opening kick-off. The crowd cheered. The game was slow. Every player, botching every play. All desperate for the flash of the trumpet. The game was long an arduous. The final whistle was drawing near and the captains were growing weary. A slow rhythmic chant of ‘touchdown, touchdown, touchdown’ came in the form of a crescendo from the bored and impatient crowd. One captain made a move. He ran the ball his self, spins, stiff arms, jukes and hurdles. He moved like a God. Blood poured from the stub on his left: a zigzagged trail of warm, pitch dark and holy sacrifice. Fifty yard line. A full on sprint toward the goal. Only one more to beat: the other captain. The pursuer, lurching forward, his own speed and momentum dragging every forward motion to the ground with them, begged his comrade: “You shall make no other gods before the lightning flashes the sound of the trumpet!!! Surely you will die!!!” He didn’t care. He knew where his loyalty should lie. The captain’s dedicated amongst the crowd trampled their way onto the field before he’d crossed the goal line. He was in their arms before the official signal was given.
“Call it in the air,” he said.
The Visitor God raised both arms straight up in the air, palms and fingers fully extended.
“Who of us shall call it?”
“Touchdown!!!” The points were official.
“Does it matter?” The visitor God tossed the coin high in the air and yelled out: “Left!”
The crowd began to chant: “Our captain, our savior! Our captain our hero!” Fans on the side lines knelt down to
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bow. A blinding light flashed over the field and the sound of a trumpet screeched over the loud speakers. There was no more time on the clock. “Our captain, our savior! Our captain, or hero!” Chanting with their heads tucked between their knees. The visitor God screamed his initial warning into his microphone: “Thou shall make no other Gods before the lightning flashes the sound of a trumpet! THOU SHALT NOT!!! THOU SHALT NOT!!! THOU SHALT NOT!!!” The crowd of thousands cowered in horror. The game winning captain stood fearless. Addressing the crowd he spoke confidently: “Let not God speak with us, lest we die.” The crowd did not respond. The Visitor God smiled. Another flash from the sky and a screech from the loud speakers. All in the crowd covered their heads. The defiant captain was no more.
All Invaders Must Die - The Prodigy A cutting edge review By JimZombie
secular, explorative and adventurous. My families version of the Berlin Wall had just come down and the blanket ban on spooky newage crap, M-rated movies and music videos had just been lifted. So, taking advantage of new freedoms I was watching Rage - remember the last glory days of Rage back in the mid 90s? Well, it was back then. Voodoo people came on and I can remember thinking, this is the coolest fucking thing I have ever heard - except I didn't say fuck because I was a good little boy. So there I was watching this clip that both compelled and freaked me out all at the same time. As I like to say, I was an insta-fan-in-a-can. Forward 15 years, All Invaders Must Die appeared startling me greatly after the inexorable gap of 7 year between The Fat of the Land (1997) and Always Outnumbered, Never Outgunned (2004). Unfortunately economic factors kept me from enjoying the whole album for months after its initial release.
I have been a [The] Prodigy fan since before I was "old enough" to be one. I remember my first Prodigy encounter at the age of 11. It was a disturbing and exhilarating event for a boy grappling with two conflicting worlds, one of confused Christian fundamentalism (which has an innate fear of all things dark, including its holy book), the other,
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Now that I have set the scene with my life story, let me skip to the end. Invaders is a great album, a spectacular return to form after the mediocre Always Outnumbered, Never Outgunned (was it all the delays that killed it?) It is hard to find anything bad to say about the album, so I won't hurt my brain by trying. In many ways, this album is what its predecessor should have been, a solid return to the bands roots blended with all manner of contemporary shine. With a varnish to appeal to a mainstream ordinance, it is still full of crunchy rhythms and beats, guts if you preffer. All Invaders Must Die is energetic hard bitting electro-dance-rock at its best. So, if like me, economic factors and a bad hangover from the last album have been holding you back from making the purchase, wait no longer. Miss a meal or two and go out and buy it. www.eclectomatic.net
The Art of Midnight-Digital Interviewed by JimZombie
Nuns have fun 03 6|Eclectomatic Ezine|#1
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I think this is the main reason for me to pursue photography. JZ: Your photos are usually quite dark in nature, what sort of things inspire you to create these images?
CD: Many things. I love dystopian universes. I'm also a huge fan of cinema (my favourite movie is Blade Runner) and music. My work is divided in two parts: photography and digital art. When I create an image I need to work with music. Dark ambient artists like Lustmord, Robert Rich, Steve Roach or original movie soundtracks help me to get into the creation. Industrial and progressive rock music too. I love bands like Godflesh or Pink Floyd (no relations between those two bands). Bad Fortuneteller JimZombie: On your website you say you began taking photos in 2007, tell us about what it was that made you pursue photography?
Chris Des: Well mainly the will to create cinematic sights and transform reality. Basically I'm a drawer. A bad drawer. When I came into photography, I discovered an artistic tool which opened doors to new creative horizons, the possibility to create pieces that mix reality and something else. Plus there is an immediate impact with photography (even manipulated). I don't like to be around people in general but when I take my camera and go outside into nature to capture images, it makes me feel good. 7|Eclectomatic Ezine|#1
The Tower Of The Mighty God Ubbo-Sathla www.eclectomatic.net
JZ: Your images often include corridors, apocalyptic themes, lone figures and monolithic structures, could you explain the significance of these objects and themes?
CD: It's very difficult for me to explain this. Because I really don't know. Those things appears to me quite naturally. These objects and scenes come to me and have a special resonance with me. I will be very curious to know what will be the psychologist analysis of this. When I was kid, a scene from the movie Planet of the Apes (the good old one, not the crappy Tim Burton remake) impressed me a lot.
Noir City [It’s] when Charleston Heston walks alone the beach at the end of the movie and see the Liberty statue collapsed in the sand... This is one of the most powerful dystopian scenes I have ever seen. All my creations try to reach this magnificence... This strange feeling of emptiness and grandeur. JZ: Is there a consistent narrative running through these images or are they each their own idea? CD: Nope. Creating images for me is a pleasure and I want to keep it like this. So I do things as they come. Some of my works might be linked as a series but it wasn't my first intension. I just want to exorcise the big cold inside of me. I don't care about the photographic rules like series or not. Each of my images is intended to be a whole story, dark or not but often eerie and strange. Nightmare 8|Eclectomatic Ezine|#1
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After the Bomb
JZ: Earlier this year you did some work for the heavy/progressive metal band, Guilt Machine, was this your first commissioned "gig" (if not describe some of your other projects)? Is this something you want to do more of in the future? CD: Arjen Lucassen from Ayreon and Guilt Machine found me on Flickr and asked me to complete artworks for the CD booklet.
I was very surprised because I'm a big fan of his music. It wasn't my first commissioned work, but it was my first big international work. Sometimes I do book covers for Random House Publishing in Barcelona. I'd like very much to do more artworks for the music business, but only for the music i like. I can't work for rap music or shit R'n'B. This stuff sucks too much. I need to be into the music first. Metal bands, progressive, industrial music or dark eerie ambient is my stuff. A book of my works will be out early 2010 on Nextfolio editions (USA)...
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Dystopia - Infinite Domain
JZ: Is there anything you would like to add before we wrap up? The work of Midnight-Digital can be found at: www.flickr.com/photos/midnight-digital.
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CD: Raise up the black flag! Thanks a lot for the interview and the interest in my work.
Check out the official website at: www.midnight-artwork.com
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certainly in existence. One thing we didn’t see happening despite this, and the emerging “Industrial-Rave” & “Heavier” tags, was a strong and clearly defined connection between capturing the essence and attitude of today’s ‘vocal fronted Industrial bands’ (such as those we have remixed) and the DJ culture that exists in most of the dance scene. Piecing the 2 together has been our thing.
Studio-X: Origins and Future
JZ: On the contrary to releasing an original LP, you’ve opted for releasing ‘Chapter I’ of your remix compilation series. Which hosts your own remixes that you did for the likes of Straftanz, XP8 and Angelspit when you started out. What made you decide on this?
JimZombie: So tell us how “Studio-X” came to be? Studio-X: It started in December of last year when I caught up with my long time friend Lawrie B, for the first time in ages. We began sharing our DJ-ing, production and promoting ventures since the last time we were together, and found we were both on very similar ground with where we wanted to go. It took 10 years of growing up and drifting in and out of each others lives, but we finally came together on something musically. JZ: How did the name “Studio-X” originate? S-X: From nowhere really. The name just rolled off the tongue before I could even process “what are we going to call this project?”. It was great being able to summarize the name for this project without being hung up on it. JZ: So far you seem to have created a name for yourself through remixing. Can you give us a bit of insight into the “Studio-X” remix process? S-X: Throughout the remix processes we understand, and strive to find a balance between the standalone accessibility that is required for listeners and DJ’s who prefer a straight up track, and the requirements of DJ’s in the hard dance scene who mix and match their tracks with others. Beyond the ‘science’ of course, we also strive to give each mix a “mutual identity” which means finding the best compromise between the original feel of the track and it’s reshaping into a Hard Dance feature.
S-X: We didn’t have a pre-conceived ‘compilation idea’ at the time of starting out. We began by approaching artists with our ideas of what we were wanting to do, and leaving them an offer to remix one of their tracks. Not for release on their behalf, but just for something for us to do. Once we were at the halfway point of our workload, we discovered that a concept was slowly piecing itself together. So we just went with that. There are the added incentives and satisfaction that come with releasing your own LP of course, but for us, we were very happy that we could introduce our ideas first up in a more proactive and demonstrative context with the existing music in the Industrial scene. As opposed to releasing our own music and hoping it is accepted for ‘what we want it to be’. Releasing the compilation first up, has also served us in being able to better interpret what we do now and in the future. JZ: Opting for “cleaner” sound in the context of Industrial music, and also to date, working primarily with vocals in the Hard Dance scene has surely presented varying feedback? Care to divulge? S-X: We’ve received quite a lot of feedback on this since starting out. The more supportive of those from those ‘in the middle’, the ‘already fans’ of the artists we’ve had the pleasure of working with, and the DJ’s in the Industrial scene who incorporate outside influences into their sets. Being that the compilation series, we’ll certainly have a more collective summary once we present the other side of Studio-X, as an original act with an LP.
JZ: What are the underlying ideas for “Studio-X”? S-X: There’s really not all much behind our approach. Before we started out we knew there were already some great artists in the Industrial scene drawing influences from harder dance styles and pulling out some great sounds, and we knew that dance and club mixes were 11|Eclectomatic Ezine|#1
JZ: Many listeners and artists have expressed their feelings on “the Industrial scene being stagnant and unoriginal”. How do you feel “Studio-X” differs from other “Heavier/Hard Dance Influence” artists and bands in the scene?
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S-X: We’re still in the stage of experimenting with new sounds, ideas and directions as a band for the LP. However, the theme and work for Studio-X thus far has remained intact: exploring the ‘real life’ crossover between the Industrial and Hard Dance scenes, behind the decks, on, and off the dance floor, and creating a connection between 3-4 minute “Club Tracks” and 5-6 minute “Club Mixes”. We don’t just want to publish our own material, and place an “Industrial-Rave/This Is Heavier” sticker on it. We want to collaborate and build this WITH the artists in this scene, as well as those in the Hard Dance scene.
Twelfth Replica: The Darker Side of Canadian Indie Rock
JZ: DJ Proteus was mentioned earlier? What can you tell us about that? S-X: We sent him an email containing a site link and our tracks/mixes just after the compilation was completed. His response back was that he really enjoyed it and that he’s including some of our work into his sets. We were really stoked when we heard that. Not only because we’re fans of his work, but because it’s been one of the personal milestones for us, in having our work in the Industrial scene branch out into the Hard Dance or “DJ scene”. (which is what were wanting to achieve for this compilation series). Coincidently he’ll be stopping by in our hometown of Adelaide for the “Hard Dance Icons” tour very soon, so hopefully we’ll all be able to catch up and do some inebriating together whilst he’s here ;) JZ: Will the remixes on your compilation be appearing on any other releases? S-X: The remixes for Straftanz and Blind With Rain have been confirmed from them for release this year. A few of the others have been proposed, but are still unconfirmed. JZ: Will there be any notable album appearances for “Studio-X” as remixers for the remainder of this year? S-X: We have 2 confirmed at the moment, one of which is already complete. We won’t divulge as yet, but you’ll definitely know once they’re released ;)
Barbara Degenstein interviews Shawn Langille, Kent Beattie and Steve Boudreau of Canadian indie-rock band, Twelfth Replica. Join her as she uncovers the bands sordid secrets with her unconventional interview methods. Barbara: [Twelfth Replica is an] interesting band name, care to tell us where it came from? Kent Beattie: It came from some darkened recess of Steve's mind, maybe Shawn had a big hand in it. Steve Boudreau: It was with the help of a website that randomly scrambled words together, hoping a "usable" band name would come out of it. I googled it after, and it wasn't taken by anyone else… I thought it was catchy. After a while, the name grew on me and I think it developed a deeper meaning for us. Barbara: Creation of the band… how’d you get together, and is this the original line up? (Any shout-outs to previous members?)
JZ: What are the plans for Studio-X now? S-X: Once the LP is finished, we’ll certainly look at touring, more remixes, and another chapter of the compilation series. More integration with the Hard Dance scene is certainly on the agenda. Official Studio-X website: www.officialstudiox.com
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Steve Boudreau: Ba, Shawn and I got together and jammed with 3 other people in 2004. Our sound and ideas were a bit too different and twisted for the others. We stuck with the original bassist for a while until he moved away across the country. Shawn and I kept Twelfth Replica alive for over 5 years and it was rough at times. 5 or 6 bassists later... we found Troy, who is an amazing bassist . We also have a new kick-ass singer, Kent, who has been with us for about a year. We are now finally www.eclectomatic.net
complete!
B: What is the weirdest thing that’s ever happened to you while onstage?
Barbara: When did you decide you were a musician? Shawn Langille: Around the time I got out of the army. I played since I was 16 but it was off and on through the years. Kent Beattie: Honestly my mother was a huge influence on me at a young age, like when I was a toddler. She took piano and voice lessons and passed on to me what I learned. Then I became a teen started listening to heavier music, added some growl and bite to my voice and screwed up years of professional training... Steve Boudreau: I was 8 years old...when I learned to play guitar on a type of classical guitar. Music has always been in my blood. My father taught me how to play guitar at an early age and my uncle played in a country band who once opened for Waylon Jennings. I learned how to play drums at 17 and played in a couple of punk/metal bands. I had a lot of fun and had some pretty wild times as a drummer… B: Who, not in the musical field, has been your biggest influence? SL: When I was in the army (I was only seventeen when I joined) it was my Sergeant-Major in my first rifle company [that] I was in. Also of course my Parents. Some teachers and anyone that always has a positive mood about everything. That influences me the most. KB: Ex-girlfriends, failed relationships, good times with friends, news media, anywhere I can pull lyrics from and spit them out. My family have been a huge help. SB: My father, he is not a musician but is a lover of classic rock. He taught me the basics on guitar and was the spark that ignited my interest. He exposed me to bands like Black Sabbath, Jethro Tull, Led Zeplin, and many others. B: Since your first CD, have you noticed a change in your creative side? SL: Since Kent joined, I find we [have become] a little heavier and the music flows much smoother. We now have more lyrics in the songs we're working on now because Steve is now able to put more guitar into the songs more than think of what to sing or where to sing it. Kent fills that in perfectly. We have a new bass player, Troy which makes a big difference when it comes to bass fills and with him and me playing the rhythm section it will be more dynamic. We've grown quite a bit.
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SL: I was playing at a party once and a fight broke out. the two ran over my cymbals so I hit then with my drum sticks a few times. I'm always protected behind the biggest instrument. KB: I had an older lady, had to be about 65, come up and grind the mic stand while I was singing. I've been stripped of my shirt, tripped on a cord and hit the floor without missing a beat. I love a good stage show. SB: played at a party and some girl had balloons under her shirt and tried dancing with me while I sang and played my guitar. B: When was the moment when you looked around and realized that people were cheering for you, and you thought it was pretty cool? SL: When I was around 17. When I used to play at parties and the girls would come up and wanted to learn how to play right there and [then]. Of course I had to show them. B: Do groupies creep you out at times? Like, the ones that seem to be madly in love with you, and use your name in their internet persona? Or, are they all good, and you appreciate that they think enough about you to work the band into their lives? KB: So far no stalkers, or any crazy backstage shit yet, hmm I have work to do. SL: They're all good. Like Kent, said we have to work on that. That's his job being the front man, I hide behind the kit. B: Lyrics, do you write your own, or is there a creative partnership with others? SL: Steve wrote the first CDs lyrics with a couple of words here and there from me. Now it's mostly Kent. If he needs ideas I'll throw a few out but that's it. SB: … seems I come up with the concept or riff and Kent writes the lyrics. Sometimes we work together. Which ever way works best at the time. He has a lot of great www.eclectomatic.net
ideas.
indie labels than mainstream labels?
KB: I would say it's a creative partnership, the first album was out when I got here. The next set of lyrics will have a shit load of me in them. Steve and I have sat down and bounced lyrics off each other for rough drafts and come out with some solid tunes.
SL: I find it both [ways] but a lot of what I hear from the indie side is great.
B: A lot of bands seem to have a look that defines them. Does Twelfth Replica have a look that defines them? Do want a look that defines you? KB: I think about what I look like every time before I hit the stage, but I'm not into makeup or anything, unless it's Halloween. I'm a huge fan of Halloween shows.
SB: I am actually. There are so many unsigned bands, especially in the East Coast (of Canada) who are amazing. I listen to some mainstream artist and shake my head sometimes. I think that money and connections kick-start a lot of bands who sometimes may not deserve it. Record labels should travel around here more often. They would find a lot of gems. B: What’s your ‘baby’? (as in… instrument you play that if anyone touches, they best be doing so with your explicit permission and blessings… or else)
SB: The band's look is a work in progress. B: If I were to ask you what your ‘sound’ was, how would you describe it? SB: sound is heavy, melodic and mysterious. B: The image on the front of your first CD is… interesting… who did your art work? KB: Can't comment on that one, I don't really know.... maybe tree elves, with their troll brothers get together and come up with what would work and then..... SB: stepson and myself. He took the picture of my hands, when he was 10. I worked with the image and came up with the cover. B: Was it an easy or hard decision to create an indie CD rather than try for an established label? SB: It all begins with an idea… KB: Isn't that always the natural progression? SL: Indie was easier because you can do what you want right from the start. B: You’ve had some radio play. How did it feel to hear your music coming from the speakers that first time? SL: It was fantastic to hear what you have played and know that other people are hearing it to for the first time. Our friends hear it all the time, especially where we jam so to hear it without someone you know saying "play that song" but on the radio instead is tremendous.
SL: I'm the drummer. And also the shy one. But I do have a big instrument to hide behind. SB: It is [his baby - ed] a handcrafted acoustic guitar especially made for me in 1990 by uncle. B: Are your practices all about practice, and hard work, or is there an equal amount of goofing off and playing around to keep things from being intense? KB: They are generally structured because we have to do as much as we can with the time we've got. Everyone is still working and has families so it's busy, but we drink beer and laugh a bit, and quite often just jam for a while. B: Parting words? Parting shots? Now’s the time to promote the band… don’t be shy! SL: We all feel that this is the best line up of the band since we started. Each time we practice, something wonderful happens so soon we will have our second CD… I would like to say hi to Andrew Allen our first bass player who lives in Calgary now. Thanks. KB: This band will be one to watch, as I know it is in it's infancy now. There is great potential for the next "big thing". There is a feeling and a flow to the music, great beats, and awesome guitar work. The lyrics have message, and meaning while being vividly descriptive and some don't need to mean anything at all. I wouldn't have joined if it didn't have huge potential written all over it. Keep your eyes and ears open for our next album. Check out our MySpace page and Facebook site. Thank you for the interview!
B: In the world of music today, and in your personal experience and tastes, are you finding better music on 14|Eclectomatic Ezine|#1
www.eclectomatic.net
The Art of Sadowmassokitten
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www.eclectomatic.net
Sadowmasokitten can be contacted by eamil at: pr4ct1c3ch1Ld@aol.com 16|Eclectomatic Ezine|#1
www.eclectomatic.net
Sweet Motorised Cleaner of Carpets By JimZombie
“Ye lazy bastards, awaken and cleaneth this foul pit.” Craig's booming call penetrated every corner of the flat. Jason's door cracked open, the pasty paper thin male slipped through, dazed and rubbing his eyes from sleep. “Good man, why doth thou bellow so at such an ungraceful hour?” Craig's massive arms reach out to Jason, his sausage roll fingers grasping the smaller man's shoulders. “We must clean this stinking den of filth and debauchery!”
“Aye, be that as it may but tempt a mad man not ye libertine. Tempteth thee not lest this gentle giant forget his friends.” “It is good gentle goon, peace. Give this man a moment to change lest his nakedness cause thee to blush for want of such endowment.” Craig laughed with good humour and exited the room. To Katrina, “The man knows not what it is to be well endowed.” Saucily, raising an eyebrow, “Thou, fairest of wenches would do well to find thou delight in these mighty arms.” Katrina affects revulsion, feigning a dry retch. “Doth thou need be so vulgar.”
“Calm my friend. Can't this wait till a civil hour?” Craig's wild eyes narrowed to a piercing beam. Jason tried to step back but was held fast.
“Aye, aye, indeed thou must,” he said sadly. “Now, fair wench, away thee to thine place in the kitchen and clean the weeks dirty dishes.”
“Gods man! it is already past midday.” He unclasped Jason's shoulders absentmindedly and continued down the corridor bashing upon each door as he passes.
Katrina through him a dirty look. “Would that I say chauvinism doth not become thee, but I could hardly imagine thee another way.”
“Clean your filth, slovenous animals lest a horde of ravenous cockroaches devour ye all in sleep.”
Craig laughed and parted ways with Katrina. Mincing across the common room he through open the cupboard. “Treachery!” he whisped. “Undone by some foul agent of the collective the next suburb over no doubt.”
Another door opened revealing Katrina fastening the belt of her blue satin gown. “Need thee be so dramatic ye dough-headed bull?” Craig gasped, feigning a wounded expression. A mocking voice issues from Katrina's room. “Is thou mighty lord of booze and pills still high?” Incredulous, Craig brushed by Katrina, pushed the door to her room wide. Scott half naked, sitting up in bed. “Get thee from thine wenches bed and help thou comrades clean.” Scott turned a smug smile and reclined against the wall resting his head in the palms of his hands. “Or what would thou do?” “Hoho lazy rake. Move thine well toned arse lest blood be spilled where ye lay.” Scott laughed heartily, effecting an air of nonchalance. “Nay, thine heart is as soft as thine own head (and belly). Thee would lay no hand on any friend under this roof.”
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“I will away by means of chariot to fetch our motorised contraption of dust collection,” Craig called to his housemates. Josh mumbled something about Craig ditching his duties as he carried a carton of empty beer bottles out the back door. Craig scooped up his keys and exited the busy flat to be tended by his less than enthusiastic comrades. Opening the front door, he leaped back shielding his eyes. “Ah, the sun burns mine eyes, wretched ball of burning gas. Slink thine way down and remain hidden behind distant horizons.” Craig climbed the stairs with an uncanny speed for a man of his girth, the door slamming closed behind him. When he came to the motorised conveyance lot the location of his chariot eluded him. “Mine chariot, come forth from this warren of slumbering monstrosities.” Craig eventually found his chariot in the next park over... **** www.eclectomatic.net
Craig arrives at the collective after a burger diversion. He pulls up screeching the tires, polluting the mid afternoon breeze with the scent of burnt rubber. In one swift move his seat belt is off and he is standing on the gutter slamming the chariot door behind him.
We Were Like Rats By Ben Nardolilli
We were like rats We when came into this world,
A man, Jonas, appears at the veranda. “I know only one man that parketh with such haste,” he calls and proceeds down the stairs, tripping along the way. “How now comrade Craig?” He greeted warmly.
Carried along on backs,
“Well comrade, well enough indeed. And doth this fine day find thee well?”
Under urban canopies
Kept out of the sun,
Of maternal protective tissue “The rebound from the last nights festivities has been as devils torment.” “Aye, wild indeed was the night.” A moment Craig is lost in reminiscence, his gaze distant. “Ah, the cleaner of dust it is for which I came hither.”
Extensions of umbilical chords, Disguised as tails wagging And sagging along the cement.
Jonas looks uncomfortable at the mention of the vacuum cleaner. We were like rats, “By the look in thine eye and the uncomfortable stir, I see something is amiss.”
We grew up in this world,
“Aye, but it is better by far to show than to tell.”
Grew like weeds, feared,
Jonas leads Craig through the collective home, down a short flight of stairs and to small dark room that smells of moist decay. Jonas indicates the shattered remains of the vacuum cleaner. Craig falls to his knees.
Scattered and together, drifting In the wind and rain, Huddled trying to catch warmth,
“Oh sweet motorised cleaner of carpets, what foul end has come to thee in this dank cellar?”
When our little bodies shivered,
“We were carrying our busted refrigerator off to be recycled and we dropped the bastard on your vacuum cleaner. Sorry comrade.”
Running around in corners,
“Jonas, these words with which you seek to console me fall on ears deaf with mourning.”
That could do nothing but lament
Under the watchful eye
How many there were of us and how dirty. There is a his as Jonas twists the top of a beer off. “Perhaps a drink will soften thine grief, my troubled lord.” Craig accepts the beer, wiping away tears. “We must perform burial rights for this honourable servant.”
We were like rats, The screech of the train,
“Best it would be to honour the deceased with X-Box and vodka shots.”
The power of the wheel,
“Thou is a wiser man than I Jonas?” Exit Jonas and Craig.
Sent us fleeing,
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www.eclectomatic.net
Scurrying along the stone overhangs
We were like rats,
Which protected us from the bright lights
We lived crawling down
And kept them from exposing
Empty fire escapes into places
Our souls and the oil on our backs.
Where we could dance and sing Along the black iron edge.
We were like rats, At night, we couldn’t see,
We were like rats,
Ahead or behind
When all had passed And the storms faded,
All was a mystery,
We were still here,
But unlike before, blindness
Together and united,
Was no longer a joy,
The light, the train, the buildings
Ignorance was not bliss, rather
And the darkness were ours
A canyon waiting out ahead of us
We held them in trust,
Ready to consume and spit us out,
And used them against the others
Everywhere was a trap,
Who had looked down on us
We stepped with care,
Who had set traps for us
More care than those on top warning us,
And then we were like men.
But still some of us fell.
The Curse By Joseph Taffra
We were like rats, When we gave into temptation,
The curse is that we are trapped Inside our own minds.
Bit the bait and saw fate Close its steel jaws tight
A fortress terrible, both inside and out.
Around us and sever The curse is that I am stuck here: an epiphenomenon, The mind from the body, Forever.
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a dream, within a dream, within a nightmare.
www.eclectomatic.net
The Art of [NON]
Join us on a tour of urban and industrial decay as shown to us by the polymorphous [NON].
At once shocking (perhaps disturbing) and grotesque, the decay of man made objects reminds us of the transience of life, societies, species – maybe even even humankind.
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www.eclectomatic.net
At once shocking (perhaps disturbing) and grotesque, the decay of man made objects reminds us of the transience of life, societies and species – maybe even humankind.
The art of decay isn't for everyone but maybe you will discover a strange world of wonder.
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www.eclectomatic.net
photography Š by [NON] www.flickr.com/photos/_non/sets/
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creative partnership with others?
Barbara interviews Warchild WC: Always on my own A man of few words, straight to the point and accurate, those that uttered. Warchild is a fighter who dreams of being a powerful sports car. Barbara: Interesting name… care to tell where it came from?
BD: I’ve noticed a change in styles from your debut CD and your soon to be released second CD (basing this on the song release ‘No Way Home”(which is a kick-ass song, by the way), and that wonderful demo you’ve been teasing us with since last year). Is the newest CD a departure from your usual style, or was the first CD a departure, and you’re just returning?
Warchild: I'm a fighter BD: Creation of the band… how’d you get together? WC: Borrowed the guitar player from [another] band for one show. He decided to play with me full time and the bass player came with him and the drummer came with me from L.A.
WC: I think the new stuff is more me, thank you for the compliment. BD: A lot of bands seem to have a look that defines them. Does Warchild have a look that defines them/you? WC: I think I do have a look that defines me. BD: If I were to ask you what your ‘sound’ was, how would you describe it?
BD: When did you decide you were a musician? WC: The first concert I went to.
WC: Real rock! BD: Who, in the musical field, has been your biggest influence? WC: Myself.
BD: In the world of music today, and in your personal experience and tastes, are you finding better music on Indie labels than on mainstream labels?
BD: Who, not in the musical field, has been your biggest influence?
WC: I'd have to say I personally have found better music on major labels.
WC: Frank Morris. If he can escape from Alcatraz I can be a rock star [fair enough].
BD: What’s your ‘baby’? (as in… instrument you play that if anyone touches, they best be doing so with your explicit permission and blessings… or else)
BD: What is the weirdest thing that’s ever happened to you while on-stage?
WC: My 63 Fender Strat that my father gave me.
WC: God where do I start. The weirdest isn't G-rated! [Eclectomatic Ezine isn’t worried about a G-rating!]
BD: Do you have any hobbies, or is it all about the music? WC: Cars
BD: When was the moment when you looked around and realized that people were cheering for you, and you thought it was pretty cool?
BD: It’s Saturday night, 11 pm, and you are…..? WC: Well It's Monday now, I honestly don't remember.
WC: Well the first time was an open mic BD: If you were a car, what car would you be?
BD: Parting words? Parting shots? Nows the time to promote the band… don’t be shy!
WC: Lambo
WC: Love me or you suck! Joking. Love everyone!
BD: [Do] you write your own [Lyrics], or is there a 23|Eclectomatic Ezine|#1
www.eclectomatic.net
God Module live at Chrome Canberra 3/10/2009
Zombies Live (iPhone)
By JimZombie
By JimZombie
Hurray for more derivative Storm8 "MMO" crap. Ok, ok, I know, bit of a harsh statement right off the bat there but seriously there is one of these games made for every conceivable niches (everything from girl stuff to medieval wars, street racing, zombies, and interstellar conflict) either by Storm8 or some other similar producer of sweet nothings.
Even for an industrial band touring Australia 45 is a bad turn out (number-wise at least). Poor effort Sydney, be ashamed that you have let down dark culture. 30 bucks at the door isn't too bad for a few hours of live bootstomping aggro-industrial, better yet at $25 and $20 for pre-sale and early bird tickets. Really, quite sad. We should be trying to encourage more tours like this but maybe, just maybe everything is going to be ok; after all, Canberra may have saved the day. God Module played live at Chrome, Canberra's premier monthly industrial club event, to a crowd of 220, dwarfing those seen at Sydney and even our "goth capital" Melbourne. Maybe this is the point I should reveal that Chromers got to see the band for a $15 door charge ($6 being the normal entry charge) but then again, maybe I won't mention it... So, what was the show like... I really can't say much about it I was a little... inebriated after the preChrome dinner drinks and an additional half bottle of wine. Why must I be such a booze monster, WHY?! Anyway, what I remember best is having a lot of fun dancing with my lovely partner among the crowd of pretty (both in a masculine and/or female manner) comrades all infused with the spirit of good old darkgloomy-black (but exuberant and bright-happy!) fun. The entire gig, composed of obliterating beats, tasty synths and an attack of spine severing vocals, whirled by as we all danced and as I tried my best to catch a few decent snaps of the show on my phone. Remember boys and girls, Canberra is Australia's goth capital.
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Essentially all these games run on a similar formula of acquiring a base resource and buying skills or equipment to battle other players, not that battling other players is all that interesting. There is actually little to gain through conflict with other players as the resources gained through conflict dwindle in comparison to the amounts quickly brought in by purchasing properties, traps, slaves etc. In Zombies Live, as with many of these games, purchasing skills for more effective battling, over purchasing 'traps', is actually a major disadvantage to players because as they level-up more powerful skills cost substantially more to acquire and have hefty "upkeep" costs attached. Thus it is the moguls that thrive in these games. What point than does combat serve? It could easily have been an interesting way to mercilessly thwart rivals, perhaps "bombing them all the way back to the stone age" but no, that wouldn't be nice. The most you can accomplish by attacking "rivals" is gaining a small portion of their unbanked resource. In essence everybody is a winner, whopeee! Sounds nice but it doesn't make for a very interesting gaming experience. A feature expounded by the developers is the ability to communicate with enemies and friends a like. Again, sounds nice but there is no real need to communicate other than inviting other players to join your "horde". There is nothing to strategise with your undead buddies and there is nothing to gloat about when you rumble an opposing clan/horde, "woot, I rumbled u bad n taked 9000 of ur foodz!!!" The most fun I had with the game was the when other players complained because I attacked them too often (stealing their precious flesh/blood). One guy told me to get off his balls. I told him that I was simply taking from a smaller fish; he replied with a smart comment about my sexuality... but no, I'm not actually looking for a gay lover, sorry dude. The most one can expect from a Storm8 or similar team is a mild diversion and insecure gnashing of teeth.
www.eclectomatic.net
photograph Š by [NON] www.flickr.com/photos/_non/sets/
www.eclectomatic.net