Eclectomatic Ezine Issue1

Issue 1.

Q1. 2009 AU$0.0000

The ezine for just about anything at all

INDUSTRIAL STRENGTH NIGHTMARES NECROTEK TARLA TRENT JON ZOMBIE MUSHROOMS HYPERION EDICT WENDY WARREN

HELLISH CYBER ZOMBIES FOR THE INTERSTELLER VOID IN MUSHROOMS

NEW OLDSKOOL INDUSTRIAL MAYHEM MENSCHENFIEND

1|Eclectomatic Ezine|#1 Brisbane, QLD, Australia

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Contents

Editorial

Contents/editorial

pg 2

D'Com-Prose (witty tittle by A. McKenzie) Hyperion Edict - A. McKenzie Mushrooms - Bayne MacGregor Trimortus - Jodie Hattersley

pg 5 pg 6 pg 14

Poetry Death Hovers Close all the Time, Slowly Biting through the Width of her Spine - Joseph Tafra pg 14 The Curse - Joseph Tafra pg 14 Art DrakenARTZ Wendy Warren Demelza Alassandra Krotolina

pg 10 pg 11 pg 19 pg 19

Interviews Industrial Strength Nigthmares Necrotek Tarla Trent Jon Zombie

pg 3 pg 15 pg 17 pg 20

Articles A Bad Idea? Regrettable Tattoos!

pg 13

Reviews Menschenfiend (album) - Necroteck

pg 16

So, here it is. The much delayed first issue of Eclectomatic Ezine (finally!). I knew put an ezine together was going to be long, hard work, still, I wasn't prepared for the all night coffee-fuelled sessions. I can gladly say it was worth every moment (of which there were a great many!) I spent researching, editing, promoting, procrastinating and scouring for willing contributors. To that end I would like to thank all the guys who contributed content, time and effort. In particular I would like to thank Mistress, Taylor, Rex, Adrian and many other guys at storywrite.com and vampirefreaks.com, you guys rock.

From the time I have spent puting this project together my knowledge of underground music increased by about 10billion percent. I have met lots of interesting and amazing artists, and among many other things I have learnt a lot about making the most of my limited software (perhaps limited only by my limited knowledge).

So, what is on the menu? We have two killer stories, Hyperion Edict and Mushrooms, the latter appealing to my zombie fascination (read on, thee shall see). There is one other amusing piece of fiction, Trimortus and a smattering of deliciously acidic poetry by Joseph Tafra. We have many exciting visual artists, and interviews with some awesome, asskicking, underground musicians. Also on selection is an article on what you absolutely should take into consideration when irrevocably modifying your body. Yep, lots of good eats, of a non literal variety, right here in this fancy, highbrow publication.

Enjoy, and I'll see all two of you (readers) in issue two.

JimZombie

(warning: Eclectomatic Ezine is not fit for oral consumption, may contain nuts and bolts)

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Interview With Edwin Somnambulist (ISN) JimZombie

Bassed out of Toronto, Canada, ISN has risen to become the nation’s most popular independent industrial podcast, and continues to increase its popularity the world over. Hosted by Edwin Somnambulist, a grizzled veteran of the ever-shifting trenches of underground club and radio DJing, the show is a weekly hour-long sonic feast.

JimZombie: When first contacting you about an interview, you said it was great someone was stepping up to put an ezine together. Do you think the Scene has lost some of its DIY edge in recent time? If yes, what do you think are the primary causes and how do they affect the greater scene?

Edwin: No, I don't think it's the case that the scene has lost any of its DIY edge. But I think that the underground movement has in the last 5 years experienced a loss of patronage. Back around 2000, there were a number of underground-flavoured bands who made it big in mainstream media, and with that, there was a massive explosion of people in the clubs, buying clothing, listening to the music, and immersed in the culture in general.

With a larger audience, there was more call for magazines, radio shows, websites, clothing stores, and everything else related to the culture. When that wave of underground crossing into the mainstream died down, these different establishments saw a loss of interest, and many of them couldn't make a go of it anymore, or just couldn't be bothered to cater to a smaller audience, and so they closed up shop.

take to get me to turn it on, and that week I went over to the campus radio station and applied for a show. I wanted to make the sort of radio show that I'd want to hear.

That was really when I started learning about what was going on globally. Through networking with labels, other DJ's, websites, and magazines, I was piecing together a bigger picture of what was going on. And things were really starting to move.

It was the beginning of a new era in industrial. That was around the time that the Terror EBM sound was really starting to break in North America. At the same time you had bands like Covenant, VNV Nation, and Apoptygma Berzerk pushing the Futurepop style, and pulling tons of new people into the scene with that.

Goth had just seen a massive resurgence a few years earlier, and it was still riding high with all the new Darkwave and electro-Goth bands of the time alongside the re- popularized classic bands from the late 70's and early 80's. There was a huge scene centered around the Etherial styles as well. It was one of those periods where everything just seemed to come together all at once.

Though I'm also biased in the respect that I feel there's no such thing as having too many people supporting the scene.

The more people there are working together, the more things get built up, and everyone wins.

J: You started DJ'ing in 1998 for a university radio station, what can you tell us of the scene at the time? How has the scene changed since?

E: At the time I didn't really know very much about what was going on globally. I was just a guy who loved a certain type of music, and lived in a city where there wasn't much going on pertaining to that type of music. The radio was flooded with the same commercial radio stations that permeate every city, so I never turned it on. I started wondering one day what it would

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How it's changed since is a little harder to describe.

Things have certainly cooled off a lot, as I mentioned previously.The Futurepop movement really ran out of steam.

Some of the bands in that genre either crossed over into more commercially acceptable mainstream pop music, and some others just lost their edge and started releasing terrible albums.

I don't really know what happened to the Goth scene. All those bands from the 90's just vanished, seemingly overnight, and

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the scene lost a lot of the cohesion, strength, and unity that it had seen at the end of the millennium. I have no doubt that it's going to come back stronger in the next few years, especially with the economic crisis: nothing like a good depression to get everyone back in mascara.

It seems to go in cycles of about 10 years off, 5 years on anyway.

With less people in the scene, it's like a web with nodes missing. It's harder to get information around, harder to promote things, harder to get a sense of what's going on globally. On the flipside of that, communicating has become easier because of changing and advancing technology. Having a web presence is cheaper now than ever before. And, from my own perspective, podcasts and specialized internet radio have made it much easier for listeners to get exactly what they want to hear.

new wave which is getting ready to crest, and it's all because of the fact that people see things are bad, and are banding together to make sure they don't get any worse.

J: You paint a bright picture, adversity feeding growth. I look forward to the prophesised revitalisation of the scene.

How has the current downturn of the scene affected ISN and your appearances at events like Revolution VS Machine?

E: Well, it's not so much prophecy as hope. Though anytime there's a downturn, things have to get better eventually. Everything goes in cycles. So maybe it is prophecy, of a garden variety. ISN is pretty bullet-proof, thankfully. While the cost of running the show isn't insignificant, it's certainly nowhere near crippling. I would expect you'll be able to hear my voice for many more episodes to come.

With all the options available, it's much easier for them to get the radio show that suits them perfectly, regardless of where they live. The focus is much more global now than it ever has been. Social networking sites have made it very easy for bands to have an online presence, and keep their fans up to date with their movements, providing a whole wealth of information on demand. Independent labels have taken their music sales online, and customers are in many cases able to buy just the tracks they want to listen to, often times directly from the bands themselves. So every dark cloud has a silver lining.

J: You raise many good points, lets go back to where you said you expected the scene to rebound due to economic depression. I know your statement was light hearted, is there something that you know that we don't (laughs)?

E: Well, it's been my observation that the times you see the most people in clubs is when the economy is either at a high or low point; when it's at a median point, there's just not as much interest. When it's up, everyone has a lot of free spending money and are looking for a good time. When it's down, no one has much cash, and they're looking for a cheap source of entertainment. People might not be buying as many drinks at the club in an economic downturn, but they're certainly there hanging out.

I think it goes deeper than that even. What we have in our scene is a community. In most places it's very much like a small town: everyone knows everyone else, people are on their honour, and how they're treated is often dictated by how they treat other people. If you consistently act like a jerk, word of that gets around, and eventually you have a very bad name for yourself. It doesn't matter if you live in a huge city, the scene is still relatively very small. Even the biggest cities only have a few hundred people actively engaging in the scene, the smallest maybe only a few dozen. The great thing about this community mentality though is that it brings people together, and in times of hardship, people will work together to ensure that the scene continues some momentum.

At the moment in Toronto, there are clubs shutting down, events drying up, promoters giving up, and yet in the last couple of months the remaining people working in the scene have all banded together, and I hear a lot of talk from club goers who are excited about starting their own new things. So as bleak as things seem at the moment, there's a

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With events, it really depends on what's going on with the clubs and promoters. The club where RvM is held, Savage Garden, is closing its doors forever after 15 years of some very fine industrial nights. RvM will likely continue on, but it'll have to find a new location. But doors open and close all the time, and I love working with anyone doing new and interesting stuff, so I have some stuff booked over the next couple of months, and there'll be more opportunities in the future.

J: The reassurance of many more episodes to come is comforting indeed. Let’s talk about your show more specifically. ISN has recently been syndicated on Real Industrial Radio, how did this come to be and what does this mean for the program? Should we be expecting to see any changes?

E: How it came to be is a pretty simple story. I contacted the station, they liked my show, and we started working together.

What it meant for the show was we got more exposure to an audience that hadn't heard ISN before. There's also the privilege of helping to round out the tapestry of awesome shows and streaming music that was already on Real Industrial Radio.

I wouldn't expect to see any changes. They have a great attitude over at RIR, and let everyone do their own thing. They're no into micromanagement or trying to limit creative freedoms,

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which is the general philosophy of our scene anyway. I've been in situations in the past where the people I work with have tried to limit ISN or change it, and I usually end up getting frustrated and have to walk away. The crew of RIR are a very supportive group, and they have an amazing following of dedicated and knowledgeable listeners. it's really a great experience working with them.

J: I shall sleep easy knowing the patent dry wit of ISN and the amusingly sinister banter between you and Echo is assured for the foreseeable future. Obviously, there is method in the madness, what sort of planning goes into producing an episode?

E: That really depends from episode to episode. Every week I spend an enormous amount of time listening to music. I have a lot of music sent to me from bands and labels, and I spend tons of time tracking down material from new bands that I've never heard before, but not everything I end up with is appropriate for the show. Sometimes the style of music just doesn't mesh with what I play, sometimes a band might need a bit more polishing.

And with any album, there's good tracks and bad, and I like to make sure I showcase the good. Pre-filtering for my listeners, let's call it. Because let's face it, no one wants to listen to bad music. And there's also a difference between "bad" and "stuff I don't like". I've frequently played songs that might not suit my particular taste on the show before, just because they're so well made, and I know that a portion of my audience will enjoy it.

other tasks that are all necessary to keep the show going.

J: What are your plans and hopes for the future of ISN? E: I'm putting a lot of effort into expansion. I've always said that the main focus of the show is to bring good music to good people.

And there's a lot of good people out there, and a very exciting future for new music. There are so many brilliant artists just breaking now that people would really enjoy. They're going to be the next great wave of the scene, but only if they can find an audience. I have the privilege of being a go-between, hooking people onto bands, and bringing bands to audiences. it's a really good feeling when someone tells me that they found their new favourite band because of something I played on the show, or some band thanks me for tapping them into a whole new audience. And ultimately, that's the only reason to do it: for the love of it. No one's getting rich in our scene. Lots of people are losing money hand over fist. But we all do what we do because we feel there are things out there that more people should experience.

I'd also love to find a way to get more people excited about doing things and working together with ISN and each other. It doesn't matter if you're doing something yourself, helping someone else do something, or just spreading the word about something someone else is doing. It doesn't matter if you're in a band, DJ'ing, doing fashion design, or putting up posters. Every act is a brick in this establishment we're building, and the more people we can get hooked in, the stronger we all are. If two people work together, when one grows, so does the other. There is so much strength in unity.

J: Is there anything you would like to add before, as they say, we wrap things up?

E: I'd just like to say thank you for the opportunity to talk with your magazine. I really appreciate having the chance to speak about a number of issues that I really don't get to delve into on ISN very much. All the best to both you and your readers in the future.

ISN can be found at: isnradio.com myspace.com/isnradio

Alongside that, there's a lot of research that needs to be done about the bands I'm playing. Who are they, where are they from, how many releases have they had, where can listeners find out more about them - these are just a few of the questions that I like to delve into in order to bring not only myself closer to the music, but my audience as well.

Often times there's some degree of production involved in segments of the show as well. Like, if I do a special intro, then I may have to write a script for it, or find sound effects.

Those are always a blast to do, but they take an extra amount of work. Special event episodes, like holiday specials or my annual "best of the year's music" episode, take an extra amount of planning. I might have to find tracks that suit a particular holiday, or else pick the ten best albums of the year. And whittling a list of tracks down to the ten best takes many, many weeks.

Outside of that sort of work, there's also things like promotion, interacting with bands, labels, listeners, and other DJ's, maintaining and improving my website, and any number of myspace.com/officialstudiox

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The Hyperion Edict A. McKenzie

He glanced over at her, his life partner, her breath misting the biosphere that contained her, the sheen of precipitation dissipating from the crystalline structure as she inhaled again.

He watched her breathe for several long moments, awed by her continued existence, before glancing out the portal to his left, the view slightly distorted by the curve of his own biosphere.

The planet hung against the scintillating carpet of space, its verdant blues swirled with the beige of landmasses and the pallid hues of precipitous cloud. Half the planet remained in gloom, the light of the Class E solar body not quite reaching around the arc of the world. In the darkness, however, he could see strings of iridescence – glimmering artificial lights used by the inhabiting species of the planet.

As he waited for his partner’s biorhythm to change as prompted by the same chemistry that his had done earlier, he reflected on their mission – what they had travelled many star years to accomplish. Discovered a light era ago, the planet that their craft hovered around represented the shared dreams of their people.

The planet proved a perfect choice to terraform into its original state again, and to purge the planet of the parasitic species that continued their unrelenting destruction of the planet’s resources.

This dominant species enforced their unbending will on the planet, unbalancing the natural order and threatening to spiral the associated systems into irresolvable chaos.

He stared at the sick planet, his essence attuned to the dying spirit of that world. He and his life partner represented the first of his people, ambassadors with the role to cleanse the planet of its parasitic species and install new stewards to heal the world and return it to its prior glory.

Gas hissed as his biosphere made the final adjustments to allow him to exit and assume control of the craft. The crystalline structure melted back from his body, the nanoparticles shifting and reforming, dropping back to form a smooth border by his sides. As he eased his form sinuously from its previous entrapment, his noticed his life partner’s eyes flicker and open.

approximation of a sample in the space in front of them.

Species Theta Omega?

Yes. A variation of the ones our People have needed to eradicate from similar planet classes. These have a greater intelligence, but their genetic structure is unstable. They haven’t yet learned selective breeding. They share the common fault we’ve seen in this species before – a strong belief of a higher being. They slaughter each other and continue to pillage of this planet in the pursuit of this.

Full extermination?

Our mission brief allows some deviation. I recommend the implementation of the Delta deviation.

Beside him, she integrated with the craft’s intelligence core to run a simulation of the deviation. After considering the data, the images dissolved.

I concur. Genetic manipulation and reprogramming of select individuals is a favourable option for this planet. Commence implementation of the Delta deviation?

She eased her own form from her biosphere, and together they drifted to the portal.

It’s a beautiful planet.

Yes. Our People should integrate well with the individuals that we allow to remain.

Will we stay?

Not this time.

And so they stood guard for many revolutions, observing as the planet below them was cleansed. They silently watched the extermination of the genetically weak; the ones that ruined the planet to further their own greedy goals, the ones to would have killed the planet had they not ceased their mindless actions.

He reached out to her, his essence melding with hers to allow the Finally, as the planet passed its third revolution of its solar body, communication their people enjoyed above all things. they watched as terraforming slowly reversed the destruction.

Their essence swirled with exhilaration as the planet’s ills We’ve arrived? disappeared and it now shone with fresh life.

Yes. The planet awaits. Her beauty dies still.

As do I. She groans with the rape they have visited on Her, She needs relief.

They left the portal to re-enter their biospheres in the sixth revolution, their craft preparing their forms for further travel into the depths of the galaxy, to yet another planet light years away that needed their help.

As the craft disappeared into the cosmos, a small group of Species Theta Omega – genetically pure and their intelligence retuned – stood on the dawn of a new era.

The interchange took place in relative silence, but his and her essences thrummed with a singular beat of pain originating from the planet.

The ground they stood on used to be known as Earth. They now knew it only as Gaia, and eagerly awaited the arrival of those that would lead them.

She looked beyond him and at the same view he himself took in before. I feel Her pain.

Do we have more data about the species?

Yes. In much the same manner as the communication, he recalled the details of the species. Attuned to him, the craft projected an

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Mushrooms Bayne MacGregor

Transcript of first recorded Interview: As I said before, Captain wanted the squaddie most experienced with supe-suits to test the new ZX model, he said he’d rather watch the thing in action for his report which is why I was kited up in the new machine instead of him. It’s all in the on-board logs. If, of course, you can get anything out of them. I don’t care what the statistics say about torso hit dynamics, the arm is a stupid place to put the memory core. Anyway, it all started pretty straightforward. Admin picks up a brief high alert distress code from one of the listening posts on the Dact’s border and they send a small bunch of us to go see if it’s a full-scale invasion.

Makes sense doesn’t it?

as fast as the suits will let us fire. Much of the enemy is blown apart now, legs-gone, left arm-gone, visplate so many transparent crescent shards. A well placed shot from Methodist puts a hole in the juice tank sending the bastard spinning off and away, firing futilely as the uncontrolled bursting turns us out of the fire arc. I think the trajectory would have carried it off to smash amongst one of the smaller natural satellites, but I don’t have time to pay attention as the second enemy suit is having it’s own fun and games.

I can’t sing the praises of the ZX more strongly, the new plates held up a treat, three hits and barely an escape of fume, that from the same sort of thing that left Cap a pair of orbiting icechunks. Not that it would have made a difference if it were Dact commandos or anyone with the big guns I would be as dead as the next guy.

We close in on the second < expletive > with quick bursts, fire rate at maximum, the flesh of my right fingers stinging with the heat flash. We pepper it full of holes till it gently falls to ground. Only Penwick and I are left, suspended metres over the dark rock. I look behind to see the spinning pieces of everyone else, frosted armour portions orbited by dancing spirals of red crystal blood. Penwick’s left calf is fuming badly; the manoeuvring pods softly pulsing to keep him from being Anyways, the ship ejects us real late at on odd angle, propelled by the fleeing oxygen. I try not to imagine the look on cause we don’t want to give away the post to the Dacts if they don’t know about it already, and we go in real slow on minimum his face behind the gold-coated visor as his suit explosively amputates and jettisons his left foot in a spray of crystallising burst. We don’t dust down, but skim the crater line of the big blood and sparks before sealing the suit with solid-foam. rock so we’d leave little trace on the Dact’s screens, if they are still using the same screens that is. The first glimpse of the I pulse over to the remnants of our attacker, moving in station we get and it’s clear there is something wrong. There is close with my gun arm held forward in case it isn’t completely scoring all along the hab dome, and a lot of the pseudo-rock has dormant.

The suit sure looked like the old defence models, most been shorn off showing a lot of diamond, plastic and metal. The of the paint had been boiled away by our beams. What remained, death-knell for any survivors was the huge mushrooms of frozen though filled with large holes, still displayed all the correct atmosphere which had billowed from the perforated shell. Now markings.

I reasoned the Dacts were testing something of their maybe they’d been able to shelter in one of the other own, that soon enough I too would be violently bisected and left substructures but they wouldn’t have lasted the months it took to drift amidst gravity’s gentle tides. With the boat pickup some for us to get here. Still, they could have sealed the breach and time on and nothing left me but my duty, I resolved to see what melted rations of air and water from the frozen leakage, was in this suit that had undone thrice it’s number of my excavating and hollowing it out like they did at Ceres. But they comrades. still died at Ceres so by this point I’m not expecting anything alive up ahead, well anything but Dact ambushes anyway. So Not wanting to risk the cutter near the pods and juice we’re moving in, in a wedge formation, Cap in front as always tank, especially on an old model, and notwithstanding my and me, I’m carrying the right. ignorance of what might be in there, I simply balled my gauntlet As we get close, we see a couple of suits burst up from and pounded the gold-sheathed bubble plate till it shattered. I had behind a crag of rock near the gauss feed. Now they sure looked expected a violation of the autonomy convention, a thing of plastic bones and quantum neurones, silicon eyes and woven like our suits, the older style models we’d lent to the service to muscles. protect their assets. Still no one is going to take any chances on the border so we keep our arms trained on them. Snipe saw what Amidst the tumbling splinters lay a gaunt and desiccated was wrong first, at least I think he did, he might have just got the face.

Swollen spheres of green tinged white protruded from jitters and started blasting anyway. As soon as a couple of his sunken sockets.

Fine filaments extended from the temples in shots made contact with the first one we all saw plain enough. bunches, flowed in branches and joined to… well to something The suit had no pressure; nothing fumed from the holes he beside that sickly head, pushing it to the left inside the otherwise punched through it. Now even when you hit a Dact suit you’ll spacious canopy. A bulbous mass, translucent and fluid-filled, see gases, blood, what have you, blossoming out into vacuum swirling with luminescent gangliotic bronchioles waving in but this time there was nothing. We all start opening up on the hypnotic patterns. It looked like disease, like sickness, like cancer, first suit and it starts to look a little cheesy. Now anyone or like all the things that go wrong within flesh, had blossomed into anything should be long dead but still it blasts back with this huge sweep that incises Cap and Snipe in one go. Now if anyone an obscene flower. Or maybe like a nightmare so terrible, can explain that one to me I’ll die a happy man. Not only would wretched and monstrous that it had filled up someone’s head until the heat flare have cooked off it’s hand but a burn of that length it burst out under pressure. The suit was filled with holes, the visplate a nebulous tumbling of razors, no atmosphere filled the should be stopped by the inhibitors. suit, no warmth fled from any part of it but the weaponry which We spread out even, the six of us left, start kicking back shed far too much warmth. Logic demanded that this thing be No, it doesn’t. Because some fool jackanape decides it’s a good idea to test the new suit under full combat conditions.

What were you guys thinking! If that had been a full scale Dact invasion they’d have grabbed our latest suit and have there own version on the front lines before we had finished manufacturing the test models.

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frozen, yet it’s insides swirled visibly all the same. I thought it must be this thing that controlled the suit, that shot us up. This foreign thing which had crawled inside the suit of a dead man and filled it’s cramped spaces with it’s tendrils to actuate the pods and the weaponry. Then the dead face turned and sneered at me.

Back through the hab I go, a little too much burst in my pulse I should add, that is where most of the scratches on the suit came from. Hey, sure it was reckless but I was spooked, and once you bounce off a wall or two you just kind of pick up speed no matter how well your trained not to. I followed the gauss line to the food dome. Why build two domes anyway? What’s the point In panic I burst straight upwards, blasting the wretched in that? This place is much more intact; if it weren’t for all the CO2 the crew could have survived in there till we got there, face and it’s unwholesome companion into a cloud of pulp. maybe. There were no shell breeches, a nice warm signature; Penwick caught up with me, I don’t know how much of the hatch lights a nice faint mauve. I got paranoid, popped the hatch thing he would have seen but he knew enough not to break from a distance, pulsing to present a difficult target, keeping a silence. bead on the doorway. All things looking fine, even comforting, I slide my way in. It felt warmer inside. I know, there was no way Trying to get that sneering face out of my mind, I floated over to the dome. The three bloated clouds of ice loomed any heat from out there could get into my suit. But the soft yellow light, the lack of the pervading clear-blue ice and white frost of eerily above. Giant mushrooms of death dwarfing the structure from which they’d sprouted, an explosion halted in time. Air and the hab dome. It may be psychosomatic but it still feels warmer.

It’s only when I get into the inner layer that I notice something water, the stuff of life, sadistically displayed in futile artistry. I not on spec. Re-routed power cables and lots of them. Panels torn locate the primary lock, check to see the manual release isn’t stuck with ice and glance back to see what Penwick is doing. He from walls, feeds twisted like the roots of an old tree. is heading down the canyon at a snails pace, weapon ready. I You really need to put some external sound pickups on guess he must have been worried that the pickup would be the ZX suit. Sure we normally fight in vacuum now, but there was ambushed, or maybe he just wanted to be sure we didn’t leave anything else alive, if that’s the right word. Suffice to say, that’s atmosphere in the dome, I could have heard him come up behind me. I would have known he had the Big Gun trained on me before the last time I saw Penwick again. Well, something like that, the transmission sounded that mass of tortured dying pig anyway. squealing right in my ear. All this time we’d been on total silence So I pop the lock, pulsing slowly back in case someone so you can imagine how that sound made me jump. I crashed into the roof, bounced to the floor and off against the wall before the has a surprise birthday party behind the door. There must have pods kicked in and steadied me. I looked. Inside, with no threat been a bubble of atmosphere behind the door, as it sprays out, from sunlight our visors had turned clear. It wasn’t Penwick as I frosting and coagulating to fall forlornly like a fading memory.

Turns out there was some power still coming from the pile after said, I never saw him again. But it had been Penwick, once. all, struggling to keep the doors and vitals from freezing, seizing Oh the suit was a little scorched and scratched; the up. The corridor within had a fine coating of frost everywhere; it missing foot seemed all the more obscene now. There was a nice looked like very little atmosphere escaped feeding those mushroom shaped masses of ice. I gently pulse inside, spinning little bore hole under the left armpit too, something not made by a weapon. Behind that curved V of visplate was Penwick's on my axes, checking every corner, every shadow. The things emaciated head, gaunt like a mummified Dact, eyes ballooned outside hadn’t been worried about a lack of warmth or and colourless. Beside the face that bore only a passing atmosphere so anything in here wouldn’t either, right? I start resemblance to the Penwick I’d trained with was the same exploring, checking the storage bay and workstations first, then luminous ovoid membrane. Filled with branches bearing moving up to see the other side of those Ice plumes. I cut the roof of the elevator into pieces and pulse my way up the tube, as unnatural fruit, dancing to grotesque rhythms in it’s sac of glowing fluids. Threads of this thing wrapped around, now I near the 5th level it starts to ice up. It takes a while to chew invaded Penwick’s head. I can see it in my minds eye even now; through the ice jamming the tube doors, the air filling with sifting through his mind with it’s quivering tendrils. ricocheting chips. I reef the doors open and play a light about.

This is where the better part of the listening post crew died. I started to get an ugly feeling that they holed the shell themselves, of all those frozen within that glassy mass, none that I could see were carrying repair equipment. Of course anyone trying to repair a breech may have been sucked out into the ice mass outside, and if it began as a slow leak everyone would have rushed to help. That, however, does not explain what else I saw captured in that crystal ice. Two men, pistols in hand, taking their own lives even as the ice claimed them. The closest one’s blood and brains trailing up and spiralling away into the breech and the mushroom beyond. It seemed a sick kind of fertilisation.

I got a little worried, yeah, just a little worried – right! I got a little worried; my head was full of all those rumours about experiments before the war and such. You know, all that stuff about mind control weapons and suicide gases. So I cleared out of there. I went to look at the Food production sub-dome. I figured, far as you can get from what happened here in the hab dome, right?

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One good shot from that weapon and even the ZX would be nothing more than a bulky expensive body bag, so I was herded into the main growth room of the dome. I would have given anything for eyes in the back of my head or a rear vision camera in my headset then. If you get the logs from the core working you’ll hear just how much I wanted that as I pulsed into that chamber with that cannon in my back!

Here it gets really curious, for all the trees and hydro banks were torn up and hoiked to the side. The yeast vats too. All the organic growth was off to the side spoiled and rotten. A big chunk of the floor was sliced open like a festering wound, rock and metal shards pilled up at one end. It seemed pretty clear thatwhich-once-was-Penwick wanted me to go down there. Keeping an eye out for an opportunity to blast not-Penwick, and keeping the other out for what was down this unlit excavation I slowly pulsed down into the darkness. As I went in ex-Penwick grabbed my left arm with his right gauntlet, pressing the Big Gun square between the twin eggs of the pods at my shoulders, right at the top

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of my spine. Something about our presence sets up this luminescent pulsing through the abomination that filled the hemispherical cavity carved beneath the food dome. A mass of rainbow colour flickering rhythmically through a mass of fungous tissues, rootlike structures and massive ovoid sacs of thrashing sphere tipped branches. Some of these were as large as a suit. I hope I am mistaken but it looked like there were a couple of skulls floating in one of the sacs and in the largest...

I’ll see that in my nightmares for the rest of my life. It makes me nauseous to even think about. It looked, it seemed, it seemed like there was something growing, no more like building in it.

Something starting to approximate a man forming like a diseased foetus within a womb of vomit and puss!

The thing in Penwick’s corpse forced me down till I was surrounded by this mess, all quivering and straining, undulating and pulsating. Something rose up out of it. Twitching back and forth, raised up on straining iridescent branches, flopping about like a speared fish, it moved it’s flayed and withered limbs like a poorly handled puppet. Within it’s hands it held a large drill, and upon it’s swollen, bloated slightly translucent cranium’s gaunt face [rephrase? awkward] it carried a sickening approximation of a smile. As it began to drill into the jointing of my right arm a second rainbow-hued transparent tendril raised up swaying impatiently like an angry cobra.

Quicker than I anticipated the drill cut through, carving into the flesh of my elbow in a symphony of pain. As I struggled and squirmed Un-Penwick was forced to move the barrel of the heavy weapon from the nape of my neck so that he could catch hold of me with his right gauntlet and hold me steady. That was my chance, I shook him, it, whatever, I shook it loose, activated the cutter in my left arm and jammed it straight through the visplate and fair neatly into that bulbous ghastliness inside! As I did so, the cobra-impersonating tendril wrapped itself around my right arm and through the spray of solid foam, started to go into my arm!

I can’t describe to you what that felt like, it stung like a chemical burn but the writhing under the skin, the crawling into the wound left by the drill. Nothing should feel like that.

Nothing! I bust out of there on full, till I crashed and skidded

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across the curved roof 4 levels up. The tendril had snapped, but it was still trying to work its way inside me. Thankfully I could feel it moving down my arm more than up or I might be one of them by now. The suit should have detected the foreign flesh and amputated my arm right then. I’ll let you lot work that one out. I wasn’t going to wait so I activated the cutter and did the job myself. I had to cut as close to the shoulder as I could to be sure I got everything, which is why the core got so damaged.

With my right arm floating away across the chamber I boosted and pulsed my way to the outer hatch, wrecking each bulkhead on the way with the cutter. I knew the things outside didn’t mind the cold but I sure hope that thing in the pit wanted the nice warmth as I vented the dome. Thrust outside by the escaping atmosphere, I tumbled before the billowing cloud until the pods could stabilise me. I looked back to admire the glorious mushroom of my own making then boosted away to meet the ship.

So there you go, that’s everything. Right from the beginning in full detail. Just like the last time I told you, and the time before that. Why would you want to do more tests? I’ve told you everything. You can tell I’m not like that. I’m still ME! Look, those yellow marks on the stump are just blisters from the heat of the cutter; there’s nothing odd about them. I cut off my own arm to stop it! I did stop it! It’s frozen back there on the Dact border with all the rest and I brought not a damn thing back here with me!

The tests would have shown something by now anyway.

No, I don’t know why the suit didn’t reject the foreign tissue.

Hey, why can’t I leave? The normal quarantine is up already.

You know! I am not infected and you know it. Why are you still keeping me here? I’m not infected. I’m NOT infected!

I’M NOT INFECTED! I’M NOT! I’M NOT INFECTED! I’m not infected? Am I? More of Bayne MacGregor's work and assorted madness can be found at: geocities.com/supreme_martian_overlord/

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© DrakenARTZ

© drakenARTZ

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E: Do you have favourite artist? Why? Has this artist impacted your style?

The Art of Wendy Warren JimZombie and Mistress

Eclectomatic Ezine: What's the first thing you do in the morning!?!

W: Hard question I have a lot of favourites, and I constantly come across new artists that inspire me so it's hard to list them all. I have always been a fan of Titian and Christian Ward, I've tried to include their styles in some of my work from time to time.

Wendy Warren: Hit the snooze button.

E: What colour is your hair at the moment?

W: A very dull and conservative Brown.

E: Now to the serious questions! Your style is very diverse. What has lead to this creative diversity?

W: I like to keep myself open to new things all of the time, without that variance I will be constrained and will become lazy and unable to Those Girls experiment at will.

Without this experimentation the things that appear in my mind will most likely stay there.

"Style is the product of restriction"- A quote by some designer who's name I cannot remember.

E: Some see university as little more than an institute for further social programming? How do you feel about your experience at university?

W: Some have great misconceptions to what further study can achieve. I am in my 2nd year of TAFE and I've learnt so much more than I ever have. I've felt that I have excelled since high school and I have a bit more direction in my life. Extra study isn't for everybody, but it's certainly helped me.

E: What is your favourite piece or collection that you have produced?

W: I built a cement statue with my dad not long ago, it was hard but when you realize you've just made something 8 times the size of you in 3 days it is the best feeling in the world.

E: Many artists shrug their shoulders when it comes to being asked about inspiration, can you enlighten us on the subject?

W: I think I'm up for the challenge.

Everyone is different and find inspiration from all kinds of unexpected places. It is best to keep a pen and paper with you so you can jot an idea down when they come to you. I get a lot of my inspiration from Child's Play travelling and seeing things from different perspectives. However, if you're not the type to sit on a bus every morning shoulder-to-shoulder with strangers dreams can be an endless source of inspiration.

E: Where did your love of visual arts begin?

Breath Remake E: You recently won an art competition with your piece "Splendor Commission". What was your inspiration for this piece?

W: It was a commissioned piece for a girl I met online. As soon as I was shown the character design I knew where I wanted to go

W: I used to draw cute pictures of my pets and my mum was very supportive of that. I think it just grew from there.

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with it. Inspiration doesn't usually hit that fast for me.

E: Have you or do you plan to sell any of your artwork? Do you see art as your chosen Career path?

W: Yes, I do sell art for those who are willing.

I would like to do something in illustration and advertising, but that's not set in stone just yet.

I've been tossing around the idea of studying some more biology, or going into zoology. I would love to travel around the world producing documentaries.

Wendy's work can be found at: deviantART.com: ninykinin.deviantart.com

Do You..

Splendor Commission

She

Hocus Pocus www.eclectomatic.net

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A Bad Idea? Regrettable Tattoos!

Mistress

Ten Things you should look at and consider before getting a tattoo

Simple advice on things you should think about and consider before getting inked.

1. Is their studio more hygienic than a hospital?

I'm sure we've all seen people with stupid tattoos or heard people say they regret getting this or that done. So here's a few things you probably shouldn't get done...or at least should seriously [I mean seriously! - ed] think about first.

2. Am I sober and un-influenced by any narcotics or people?

3. Am I absolutely positive about what I want to get and is the design exactly the way I want?

Portraits of loved ones

4. Do I REALLY want this on my skin forever?

One of the most horrible things your tattoo artist can fuck up.

There have been a fair few cases of people getting portraits of their loved ones and the tattoo going terribly wrong and looking nothing like the person it's meant to look like...and just think...it's permanent!

Bands/logos you've only been a fan of for the past 6 months or less People go through phases. I used to like Evanescence, if I had got a tattoo of Amy Lee I'd be crying right now.

Name of your current lover or love interest One of the most common horrible mistakes an individual can decide to get inked. You may be in "love" with them now, but you may not be in 5 years. I've seen people split and hate each other after 7 years +. Be married for 50 years and then consider getting it done.

Name of your current best friend Notice "current". People drift in and out of friendships. You're best friend could do something really horrific and scar you for life...or just generally annoy the holy hell out of you until you want them to just fall off the face of the planet...would you still want them tattooed on you permanently then?

5. Does my tattooist have a good reputation?

6. Can the tattooist handle the detail (if it has detail)?

7. Look through the tattooists portfolio and designs folder/wall.

8. Is the tattooist proficient in the style of tattoo I want?

9. Am I sure about where on my body I want the tattoo?

10. Am I willing to travel to a tattooist that is more proficient with the style I want or am I just going to settle for a less than perfect tattoo?

These are all important things to look into and are often overlooked especially by the younger people getting their first tattoo. I hope that this will help you to avoid getting something you regret. ALSO don't get home job tattoo's. That's a big no no!

Cartoon characters or just generally stupid shit I've heard lots of people complain about cartoon characters they've had tattooed. It isn't always a great idea...but probably the least bad out of all of the bad things you could get done. last minute or drunk decisions Seriously...think about it...

Jesus or other religeous icons Not everyone stays in the same religion their whole life. I went from Catholic to Buddhist to... lots of others. A lot of people completely reject it or jump from one to another. Imagine getting Jesus tattooed to your chest and then loosing your faith...he'd be staring you in the face all the time...and that'd be kindâ&#x20AC;&#x2122;a creepy.

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Top Left: Bec (40) got her 'last minute' butterfly tattoo when she was 17 and has hated is since she got it. Bottom Left: Demelza (17) got this tattoo when she was 14 'Valerie' was her best friend at the time, they no longer talk. Top Right: Danny (20) A home job tattoo his friends pressured into that he hates.

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Trimortus Jodie Hattersley

Welcome to Trimortus!

Detailed below are your choices. Management advises that though satisfaction is guaranteed, no refunds or exchanges may be made after purchase. Payment by cash or credit card only.

Thank you.

Option 1: The Stupid Death For this you will be required to consume copious amounts of alcohol and greasy kebabs. Around 4 a.m. you will feel the urgent need to visit the bathroom. In a blurry haze you will do the biggest bog of your life, effectively ripping yourself a new arsehole. Once you have finished, you will flush the toilet, only to find that the thing - which you have now named after your ugly aunt Selma - won't go down. After muttering a few curses, the smell will remind you that at least three schooners of beer are now roiling around in your gut, bursting to come out. As you kneel and ride the porcelain bus, you will pass out and drown in the contents of the toilet bowl.

Option 2: The Excruciating Death For this you will be given a cocktail of drain cleaner blended with magic mushrooms. Just as the agonizing stomach cramps begin and everything takes on a strange purple hue, you will be taken out to the bed of nails. As you make yourself comfortable, we will begin the process of replacing your blood with an exquisite blend of embalming fluid and acid. When you begin to experience the unique tingling of your body dissolving from the inside out, we will commence dissecting your arms from the fingers up. (Please indicate on the form the size of the slivers you wish for us to take.) Just when you think that the agony will not get any worse, we will begin to steamroller you from the toes up, while simultaneously flaying the skin from your head down.

PLEASE NOTE: Due to budget cuts, Management wishes to advise clients that they are to provide their own body bag for this death. We like to reuse our bags, and currently this is not possible.

Option 3: The Impossible Death This option is to be exercised by those who desire to leave this world in an interesting manner. Today's deathday special: You will be sent to Antarctica to help study something inanely boring. While there, the power will fail. While running around the research station in an attempt to keep warm, you will die of heat stroke and dehydration.

Thank you for choosing Trimortus for your morbid needs. We'd ask you to come again, but the powers-that-be have advised us that reincarnation is no longer an option.

Death Hovers Close all the Time, Slowly Biting through the Width of her Spine Joseph Tafra

Her face is black her tongue is red and she is mad: We sat at the edge of a precipice surrounded by exploding suns and crawling darkness.

Her skin was coated in a thin sheen of green slime: I licked it tenderly, tasting nothing.

We'd run for so long, long ago we left the fields behind, and the flowers, left behind the villages and cities, long ago we left the grass behind, and the mountains, left behind the works of man and G-d.

We have passed the oceans with their frothing edges and their hallucinating depths; we have passed the skies of blue of red of green of purple and of every hue and shade of colour.

Long ago we left the stars behind and the spheres of Heaven, left behind the depths of space.

We sit at the edge of a precipice, comprehending nothing staring wildly into crawling darkness.

Above us a thousand suns explode, devouring galaxies and streams and children's dreams in vicious fire.

Her face is black her tongue is red and she is mad: her skin is coated in green slime and I lick her three divinities tasting nothing When the fire hit us my lungs exploded her eyes boiled inwards and her fingers were twigs that buried their tips in my chest: and stopped my heart.

As we dissolved the flames licked our thousand divinities, tasting everything.

And this is it, only a second's pain, a slipping apart and then I was not, and there was only flame.

The Curse Joseph Tafra

The curse is that we are trapped Inside our own minds.

A fortress terrible, both inside and out.

The curse is that I am stuck here: an epiphenomenon, a dream, within a dream, within a nightmare.

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Eclectomatic Ezine|#1|14

Ultimately, you need to find that one person that really hears and

An interview with James Geist of Necrotek JimZombie

Necrotek is one of those industrial bands, new on the scene and underground even in the underground, but showing a lot of promise. With several albums already behind him on his own DIY label, Tantric Terror, James Geist is now signed to independent recording label, Vendetta, with a debute album due for release.

understands what you're trying to do and is willing to support it. For me that was Dave at Vendetta. He's built an impressive array of artists for the label - all doing different styles of electronic industrial, but all

JimZombie: You have an album, Menschenfeind, coming out on the Vendetta label in January of 2009, tell us, what is Necrotek, what should we expect to hear?

J Geist: Necrotek is dark electronic industrial, influenced by artists such as Skinny Puppy, Putrefy Factor 7, yelworC, Front Line Assembly, Synapscape, Dive, Portion Control, early Thrill Kill Kult, and others. There is also some influence from dark techno and progressive psy-trance. It is a blend of old-school industrial elements and cyber- tek electronics.

JZ: Necrotek isn't your first project, could you briefly describe your previous project, Nitrous Flesh?

JG: Nitrous Flesh is death industrial, dark ambient, and ritual ambient. The approach of the project is much more improvisational and experimental than Necrotek. It is also much darker, noisier and abrasive. The themes are more oriented towards horror and the occult.

JZ: What, if any, are the elements that are carried over form Nitrous Flesh to Necrotek?

JG: I still like to use samples of incidental music and sound effects from movies to add noise and atmospheric elements in Necrotek. And of course I still like to use horror and occult imagery.

JZ: Nitrous Flesh was produced on your own self funded label, Tantric Terror. Can you describe some of your experiences working in this way? What have you learned?

JG: Distribution is everything. I was very lucky that I was able to get into a couple genre distributors, especially with the CDR releases. It's the only reason I was able to break almost even with the whole thing. Online self-promotion helps, but ultimately internet orders don't matter as much as having your material accessible through other mailorders and shops especially overseas. In the end it is far too much effort to be worth it. The more obscure the genre your music is in, the more difficult it is for it to find the right audience.

very interesting and unique.

JZ: Has signing to a third-party independent label impacted on how you make your music?

JG: Not really. I just do what I think sounds good, based on my influences, and what sounds right for the themes I'm trying to express.

JZ: What are some of the perks of having the backing of a label?

JG: Not having to spend time doing anything but making music and some self-promotion. All the stuff like mastering, promo art, marketing, distribution, etc. is all taken care of. That is an enormous amount of expensive and time-consuming work - it leaves the artist free to be creative and not get bogged down in other tasks.

JZ: What are some of the cons of being a signed artist?

JG: For me, none!

JZ: Do you have any advice for those thinking of starting up their own label?

JG: Ha ha - considering today's global economic climate and with the current state of the music industry, don't!!

JZ: Advice for those searching for an independent label?

JG: Just keep getting your music out there - you're the only one who will do it. Tireless self-promotion may lead absolutely nowhere, and that is often the case, but you'll never know until you try.

JZ: The future, what plans if any? Necrotek to the horizon, or is there something else looming? Another Nitrous Flesh album JZ: What can you tell us about the process that got you to where perhaps? you are now? Did your experience with Tantric Terror and JG: I'm focusing on the next Necrotek CD for the near future, but Nitrous Flesh play a role? after that I want to take a break and improve my production skills - in that time I hope to do another Nitrous Flesh release.

JG: Not really. Necrotek getting signed is simply good luck!

There was someone locally with a label who had the right JZ: Again, thanks for your time. Best of luck with your album aesthetic sense to get what I was doing. You send out tons of demos to try to create awareness of your music, but unless your and future projects. production is perfect and your music is marketable to the JG: Thanks!! popular trends in the genre (club music, the same old tiredsounding shit, etc.) you're going to get nothing but ignored.

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In Review: Menschenfiend – Necrtek JimZombie

I remember first stumbling upon Necrotek while browsing the extensive listing of industrial artists on Vampirefreaks.com. The name and the striking black and white skull logo immediately monopolised my attention, I clicked. Perhaps this had some resonance with my zombie fascination. Upon listening to Back to the Grave I became an insta-fan-in-a-can. I was very excited to discover there was an album in the works, Menschenfiend, Necrotek’s debut album.

Definitly, there are bands I can always get excited about when catching wind of a new album, but to find myself so enthusiastic about an album from an unknown project was a new experience. My enthusiasm for this album not only means you get to read this review, it also means you get our fancy-smancy, exclusive interview. Anyway, onto the meat! This is a dark album, really dark, like awakening in a coffin buried the whole six feet under. You may say, “so what”, this is dark culture stuff, why would it be otherwise? The point is, there has been little recent industrial that has gone this far. It is not one particular aspect of the album that gives it this incredible quality of darkness, but rather, all. The harsh, sharp drum arrangements; droning melodies; thick blunted vocals; lyrics, and the deft implementation of atmospheric samples all combine to create an intrinsically dark and brooding experience with a strong resonance with the genre’s old-skool.

Obviously, this isn’t to say the album is without flaw, in

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point of fact this albums is far from surgically atoned to perfection. The first and most obvious shortcoming, as with so many industrial releases, is the lyrical content. Perhaps it is that lyrics aren’t given much place of pride within the industrial music, obscured by filters and distortion as they are, or perhaps it is a lack of interest in more subtle poetic form and metaphor.

Perhaps one may argue poetic form has no place within the industrial genre, a sentiment with which I would strongly disagree. Whatever the reason, industrial is writhe with blatant and blunt, often clichéd self expression. While Geist’s lyrics aren't anything to get excited about and, at times, detracted from the overall impact of the composition, diminish in prominence as the vocals usually gel well with the rest of the musical brew.

The only other criticism I have of Menschenfiend was the occasionally generic drum arrangements, most notably in the tracks Satanic (which was otherwise a dark, atmospheric track) and Beat Your Self Dead. Perhaps these tracks were crafted to appeal to a more mainstream crowed, thus garner more exposure and club play. At worst (which really isn't that bad at all), Menchenenfiend is an awkward blending of harsh industrial (of an old-skool variety) with the current, more 'digestible' club industrial. At its best, any shortcomings are frequently obscured by an otherwise great offering of bitter-tasty-industrial-goodness with sharp edges and brooding-gloomy-darkness.

Necrotek can be found at: necrotek.com myspace.com/necrotek vampirefreaks.com/u/necrotek

Eclectomatic Ezine|#1|16

An interview with Tarla Trent Mistress

To Quote from Tarla Trents Vampirefreaks profile: ...Formed in 2007 Born and raised In Sydney, Australia. They are more than just an original heavy rock band. In this world of twisted love, false saints and media induced comas they are here to wake you up from your Zombi-fyed state in an illusion of your own delusion.

Mistress: How did "Tarla Trent" come to be?

Tarla: Tarla Trent came about from a love of music and a contempt for most of what was out there, being idolised as 'music' especially rock. There is so much missing in music today, we decided to take it upon ourselves to bring back some of the things we loved from artists of the past and bring them

T: Initial interest was good; we played a couple of short gigs at the Gaelic Club in ‘06. But after that, we have had many problems with band members leaving etc. which has prevented us from gigging much at all. We are currently auditioning for drums and guitar for the fourth time since officially becoming Tarla Trent in the hopes we can get back to gigging up a storm in 2009. So keep your ears and eyes open and ready for musical violation!

M: So what kind of drummers and guitarists are you currently looking for?

T: We want guys who are dedicated to the music and the message.

Guys who have the drive and vision to go all the way with us, we wanna make it big and we want guys that are ready and willing for that ride no matter what. We are definitely looking for individuals that can or wish to write, guys with ideas and who think big. We don’t care if they're not the best Guitarist/Drummer in the world, that’s not what we're about. We want guys with personality who we can hopefully get along with, because a band is really just like being married to a number of people. We want them to play our existing songs and some of their own invention.

We aren't looking for carbon copies of our previous members.

Overall, we are looking for dedication and just a real desire to make it in this often-rough business.

M: So have you managed to find anyone that may have a chance of becoming your new family member (little laugh)?

T: Unfortunately, replies to the ad so far, have been quite few but we have five hopefuls at the moment (yet to be auditioned) four guitarists and one drummer. We will be auditioning them very soon.

M: That must be pretty exciting. So let’s hear a little about you personally. What kind of music are you into?

into the future with a new sound, a new look and an all-new hatred for the world.

But you know, isn’t that the cliché thing?! Music for us isn't about the complexity of the instruments involved; it’s about the message behind it and within the lyrics. I think the opinions expressed in our music, photos, videos etc. are just hopefully provocative enough to make people think for themselves.

M: So how does the local Sydney scene take to your awesomeness? Do you play many gigs?

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T: I as Tarla from Tarla Trent? I don’t have a specific genre I listen to, although I guess a lot of my favourite artists/bands could probably all fall under the category of ‘rock’ (such as Marilyn Manson, Jack off Jill and My chemical Romance). I fall in love with any music and/or lyrics that speak to me, if you know what I mean? I do like a lot of dominant female music 'cause I can vocally relate, especially in the alternative genres. I do prefer the 'heavier' side of music, I relate to it more musically than some other genres but that doesn’t mean I don’t listen to some 'lighter' music, such as Michael Jackson, Elton John and Pink. I don't believe a persons musical taste should be discriminated against. If you like an artist or band it should be nobody else’s business or right to say you can’t like it, or that you are 'un-cool' for liking it.

You should like music because you honestly enjoy it, not because it fits a social stereotype.

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M: I absolutely agree. You have a really powerful voice. Did you have singing lessons or anything like that when you were younger?

T: Thank you and yes, I started singing lessons from when I was about 5 years old right up until 2008, after I'd just turned 22.

M: I read somewhere that you were also interested in modelling.

What inspired that?

T: Actually, my only interest in modelling has really been to collect more different photos of myself for promotion of the band.

I probably wouldn’t mind doing some modelling on the side, but as my image is the band image, I have to hold full copyright to the images at least at this point in time. That and I don’t really have the time at the moment and probably won’t any time soon.

I do lend my image to a few select sites and people, which may be seen as ‘modelling‘, but they inturn promote the band, which is my main priority, and the licensing for them to use my image is rather limited.

M: You have a very striking appearance. Is your look inspired by anything in particular or do you just wear what you like?

T: Generally my look is just what I feel like wearing. A lot of it is of my own making, creativity and imagination but of course, I always keep my eyes open for anything I like and can twist my way. I am actually quite insulted by people suggesting I should change my image ‘cause its "been done before" or people thinking my image is a gimmick put on to get more fans or some thing, yeah I put effort into how I look 'cause I’m a girl! I love make up and clothes but just 'cause I put it on doesn’t mean it's out on display. I do also like to shock, to try something you haven’t seen before kind of thing, or at least try to. I think you should look how you feel that’s why I look different each day.

M: Yes there's a great deal of people that think that an artist's image is nothing than a gimmick, which is ridiculous (laughs).

I'd think an artist would be expected to be original. Do you think

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people should make their own stuff as far as clothing is concerned? Do you feel that alternative fashion has suffered a decline in DIY clothing since the emergence of big alternative labels such as Tripp?

T: I think it's always good to at least try to be original, but it’s not for everyone. Most people are quite happy to buy something and wear it as it comes off the shelf, I think society needs those people to function, but it's not for me. If some people have stopped creating their own clothing because of more stuff they like coming into stores, half of me thinks that it's sad they are giving up on their individuality, and the other half of me thinks they where never really original or creative to begin with. Of course the creation of major alternative labels of clothing and accessories has hurt alternative culture, its cheapened our individuality for one, making it marketable for a profit, but such a thing happens to everything.

If people think they can make money out of something, in no time it will be marketed in the mainstream, which is good and bad. Good only in the way that it pushes us to come up with new looks and ideas all the time but at the price of our individuality becoming something you can buy from a store. At the same time, this shouldn’t push you not to buy something from one of those stores, if you like some thing why not buy it? Just alter it somehow, perhaps, to make it more you.

M: It's been great talking to you Tarla, so to wrap this up... When you get a drummer and guitarist you're happy with are there any major plans in the future for Tarla Trent?

T: Well, we may have found our new guitarist! But nothing’s set in stone yet. Major plans include gigs, gigs and more gigs! Full EP for sale and you know, general world domination!

Tarla Trent can be found at: vampirefreaks.com/tarlatrent

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The Art of Demelza Hambrook

The Art of Alessandra Krtolina

Demelza is a HSC student living in Adelaide, NSW, Australia.

Her work can found at: demelzafantasyarts.ning.com

Allesandera, also a student, lives near Zurich, Switzerland.

Her work can be found at: amyinw0nderland.deviantart.com

Clock

Hopefully, Finally

Frustration

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Shoes

Christmas Ball

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don't plan for a song to be fast or slow, or intense. It's all based on a flow or groove in my head. It's a little early to be precise about JimZombie it, but like I mentioned before, currently I've been composing much more harsh hellektro/ebm sounding stuff (much like the The nickname, bestowed upon him by brother and friends, Jon Zombie is “a one-zombie-army-assault” - composer, director and song "City Villain" that is posted on the myspace page) compared to my previous material. So, either I will start a side project, or musician. Based in San Francisco, his zombified reach spans across the web infiltrating the homes of the unweary. Read on as just blend it all up into one big massive audio assault. I'm still I, your fearless interviewer pries into the past, present and future undecided; it's too early to say. of Jon Zombie's projects.

JZ: There is more to your project than music isn’t there, tell us a bit about Jon Zombie Productions?

JimZombie: Can you describe for us, what it is you are striving

An Interview with Jon Zombie

towards with your self-described industrial fusion?

Jon Zombie: I want to create a sound that mixes both industrial club music with ethnic/tribal elements. Very much like my song "Iraq Bleedz", which was like the very first track that I made under the name Jon Zombie. Not all my songs will consist of this style, it's 50/50 and it depends on what mood I'm in. Lately I've been writing more Hellektro & EBM (similar to acts such as Suicide Commando, The Retrosic, Modulate and Combichrist).

From the beginning my objective was to create music for the club scene (shit that sounds hypnotic when intoxicated, haha).

JZ: What was it that initially inspired you to head down this path?

Jon Z: I've always been a music junky. There was a time in my life when all I was doing was listening to music and it payed off.

I lived in the Caribbean for about 5 years, [the] Dominican Republic to be exact. I lived in "la Zona Colonial", a 500 year old city where Christopher Columbus chose to live for most of his life. It's a city of youth, bohemians (and pirates) haha, it's paradise. It was during my time out there that I was introduced to various styles of music, art and culture. I was involved in massive drum circles, large festivals, and several of the all-night raves on the beach. It was great to live abroad; it really opened my mind up to new things. When I moved back to the US and immersed myself in the San Francisco industrial scene, you could say the music just... came out of me.

JZ: Currently you are working on your debut album, is there a timeframe to release, or are you improvising as you go along?

Jon Z: The plan is to release a ten to twelve track album this year (2009). Although, I’m still not sure if this will be a "The Jon Zombie Project" album. It will likely be under a new name.

JZ: What should the audience of a Jon Zombie live performance expect?

Jon Z: Later on when I start performing live there will definitely be an addition of live band members. I don't want my live show to fall under the typical cliché of two laptops on stage and jumping jacks. I want it to be an experience for all who are present. In my head I see something similar to a Juno Reactor show. There will be a variety of live instruments from synthesizers to tribal percussion drums.

Jon Z: Yes, I am also involved in independent film & video production. I shoot, edit, and direct short films, music videos, etc.

It's what I was into before I started creating music. To view some of my work check out: http://vimeo.com/jonzombie/videos JZ: You have produced films and recorded live performances, including Combichrist performances. What can you tell us about these experiences?

Jon Z: Film-making is my passion, I've been doing it for about 6 years now, It's definitely the career I've chosen follow. You can capture some amazing things with a camera, and meet some truly awesome individuals in the process. Short films are my favourite to do because I like to be able to control every aspect of the piece.

The fact that I shoot and edit all myself is a pain, but I choose to take it head on; it’s worth it in the end. Filming Combichrist was definitely a milestone for me and Jzombie productions. Andy and Joe were kind enough to contact us and asked us to fly down to L.A. and film them... how can you say no to something like that! I went with two of my crewmembers, TonyM, and Jet who recorded surround sound. Combichrist are very professional people, and they really put on a great show. I'm very happy we were able to work with them. The footage will be seen on a DVD that Combi will be releasing sometime in the future.

JZ: Does your interest lie in one particular place? Film or music?

Will this be reflected in the future of Jon Zombie?

Jon Z: Both, I believe film and music were made to go together.

It's amazing the emotion one can produce when adding the right piece of music to an image, or an action. I can guarantee there will be some interesting video work to come from the project in the future, whether it be films or plot driven music videos. I've also been discussing making a film with a completely original score and release it as an album. Sort of like Pink Floyd's The Wall, a film and an album.

JZ: What are your plans for the future?

Jon Z: Right now I'm fully dedicated to completing more tracks. I plan on releasing a heavy dose of new material this year and spreading it around to various DJs, Clubs and Labels. You can expect to hear more great vibes, more violent scenarios, some booming club tracks that are sure to make their way to a club near you. Stay tuned on the myspace account, all music and info will be posted there first.

JZ: Recently you have mentioned the possible creation of additional side projects, what can you tell us about these projects Once again thanks to everyone all over the globe for your support.

Much more to come! and the ideas that lead you to them?

Jon Z: Here's the million-dollar question. I have a cocktail of different vibes going on in my head right now. When I'm writing/composing I never really know what's gonna come out. I

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JonZombie's work can be found at: myspace.com/jonzombieonline vimeo.com/channels/jonzombie

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www.myspace.com/jonzombieonline www.vimeo.com/channels/jonzombie

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