AÑO: 7 | NÚMERO 62
THE 13th UN A REV I S TA I M A GI N A RI A
INTERVIEWS MARTIN BISI - I AM A ROCKETSHIP STELLARSCOPE - THE ACADEMY OF SUN
INDEX INTERVIEWS THE ACADEMY OF SUN
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STELLARSCOPE
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I AM A ROCKETSHIP
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MARTIN BISI
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[ Interview with Nick Hudson from The Academy of Sun by Diego Centuriรณn. Photographs: Liene Lisovska ]
BRIGHTON'S FINEST: THE ACADEMY OF SUN
Quarantine. We need to meet the Sun again. The world is at a crucial moment, strange and stopped in time... It seems that we live a great nightmare, Dante-esque and like a science fiction movie. We have the time, but very few people know what to do with it‌ we propose a trip that may be enjoyable for you with a band that has been making its way for several years. From England we bring a band that makes psychedelic post punk more than just an attractive sound; we invite you to enter a restless mind, like that of leader Nick Hudson. The Academy of Sun was born in Brighton nine years ago, is a quartet made up of Nick Hudson (voice, piano, synthesizers), Kianna Blue (bass, synthesizers), Guy Brice (guitars) and Ash Babb (drums). And in this talk with their vocalist Nick, we get to know his past, present and future of this band, as well as his solo project.
goyles askew and shattering stained Hello Nick! Thank you for agreeing to conduct glass hagiographies all over the altar. this interview. There are so many questions that ocHey! Thank you for having me. cur to me, it costs me a starting point, And to start this interview, we can- that's why I start with this quarantinot fail to mention this strange mo- ne. I have seen that you have been ment that we have to live, tell us very active releasing songs and alwhere you were surprised by this bums in this last period, as well as delaying the release of the band's quarantine? Well, I Iive in Brighton, on the south new album, The Quiet Earth. Tell us coast of England. What I've found most a little about these last months. surprising about quarantine is how long It was all going so well! We had a tonthe days are and yet how quickly they ne of shows lined up. The album releago. Time seems especially amorphous, se campaign was all timelined. I had and within that I'm having to enforce two tours set up. Then everything, as and be very conscious in performing for all of us, collapsed. We're deeply miniature rituals to give some shape to missing playing together, and we have the day. I'm sleeping terribly – because indeed postponed the album release with no in-person dialogue we're living until June. Meanwhile, I'm finding myin a perpetual dream state, any com- self vacillating between hyper-producmunication mediated by screens. It's tivity and sullen, apathetic paralysis. not real communication and so I'm fin- But yes, I've just finished a film score, ding my mind is bouncing all over the and will start another one soon. I have walls of the cathedral, knocking gar- a solo record recorded except for ONE
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violin line – when studios re-open I'll finish that. I'm working on a film and an electronica EP. Kianna Blue (The Academy Of Sun bassist) and I have been demo-ing new band material too. Now let's travel to the past. Tell us, how does the decision to compose songs manifest in your life? I had played piano since I was six. In parallel I had always written prose and poetry. It wasn't until I was around twenty-three that I felt impelled to conjoin the two disciplines, and when I did I quickly found myself haemorrhaging songs. I've written over a thousand at this point.
Very early influences would be film soundtracks and Lou Reed. Then in my adolescence, which was essentially spent self-isolating in preparation for this pandemic – haha – I discovered Mr Bungle, Faith No More, Ryuichi Sakamoto, Portishead, PJ Harvey, Bjork, and rarefied my soundtrack listening into a steady diet of Ennio Morricone, Wojciech Kilar etc. As for today: I'm listening to Ernst Reijseger as I write this – an incendiary Dutch avant-garde cellist and composer. Tanya Tagaq can do no wrong. Philippe Sarde's soundtrack to The Tenant bewitches me near-constantly. Cleric, from NYC, who I recently saw supporting Mr Bungle, are devastating. I love Arca. It's also worth noting that I draw influence colossally from artists working in other media – Tarkovsky, Pasolini, Marina Abramovic, Robert Wilson, Anselm Kiefer, Maya Deren,
I have read that the band has had exquisite reviews, such as the review by Julian Cope or Stuart Braithwaite from Mogwai, among others. Tell us about your first influences at that moment of starting to feel music as I understand that The Academy of part of your life. Who or what inspi- Sun has a good relationship with res you to continue doing it today? Mogwai, tell us about it...
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Ah, I've just known Stuart and his wonderful partner for many years. You should check out Elisabeth Elektra's album Mercurial, by the way. It just got released and it's brilliant. Talking about the new album. Tell us about the composition process. As is often the case, some of the songs fell out of the womb fully-formed, whereas some had to be embroidered together from various body parts, with a bolt of lightning passed through to give it cohesion. It was an epic process of overwriting, then subtraction. Once the essence had been hewn, we arranged it collectively in the studio. It took about two years to make the entire thing. The igniting impulse was that this record should be a 'jukebox for the end of the world' – and while I'm not saying that Covid-19 signals The End
Times, it does feel a little uncomfortably prescient. I have read that the video for the song "The Parts That Need Replacing" has been inspired by Elizabeth BĂĄthory, can you tell us how the video was made? It was made with a minimal but exceptionally talented and adventurous cast and crew, and the generosity of a very sympathetic butcher. Returning to the subject of this reality that we are living. How did this new way of life change the band? Do they rehearse remotely, do they broadcast through social media? There's no practical way we could rehearse remotely. We're a loud band and so much of the experiential richness of music and performance is go-
likely generate more video content – little short films, teasers, atmospheres etc. I'm about to start work on another short film score, and I've nearly finished this electronica EP. I'm working on an experimental travelogue film drawing upon footage accumulated during my various recent travels. I was in the arctic this time last year! I'm also writing a lot more. I have two prose fiction pieces ready to go. But I want to disappear somewhere genuinely remote in which to complete them. So we'll see how the It's hard to make plans right now, but next few months play out. tell us what are the upcoming plans, both yours and from The Academy To end this interview and thanking you for this possibility. of Sun? I think I speak for us all when I say that What would you say to readers who our primary plan at this point is to do don't know The Academy of Sun whatever it takes to remain vaguely yet? I would say “Heliogabalus implores you sane. Other than that, we're gonna release to genuflect at our altar of a thousand more single and videos, and the album suns.” and “What are you waiting for.” in June. In the absence of shows we'll Thanks Nick! verned by the present energy in the room. We just don't have adequate technology to rehearse remotely, and I'd hazard it would be profoundly unsatisfying even if we did. I've live-streamed a few solo piano improvisations. But in all honesty, I care too much about aesthetics and production values to engage too readily with this particular avenue of performance. We're chatting a lot, releasing videos, singles etc. And we're very excited to play live again – eventually.
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[ Interview with Tom Lugo from Stellarscope, MAYU, Panophonic by Diego Centuriรณn Photographs: Tom Lugo y Brian Mengini. ]
STELLARSCOPE: BE FOCUSED AND TAKE IT EASY
We have been following and waiting for the new Stellarscope album for a long time and it has finally arrived, “A glimpse of light in the darkness” and for this reason we contacted Tom Lugo to talk about this project, but he also has several projects, in the number Previous we had it with one of them Cielo Oceáno. In this talk we delve into several of his projects but we also try to talk about a more spiritual work that Tom carries out in his personal life and reflects, from his point of view, on the moment we have to live. With you, Tom Lugo…. Previous interviews: https://issuu.com/revistathe13th/docs/the13th_numero_16 https://issuu.com/revistathe13th/docs/n__mero_n_38 https://issuu.com/revistathe13th/docs/the13th_n_61
Hello Tom! Thank you for agreeing to conduct this interview and the truth is that you have so many musical news that we are going to try to cover what we can. To start I would like to know where did this pandemic surprise you? Thank you always for the support and friendship. Since the beginning of the pandemic, I have been in my house outside the city of Philadelphia. I never really believed that this would happen in our lifetime, it was just something that was talked about or seen in movies. I wonder (with your activity related to the spiritual and martial arts). What reflection does this situation that we are experiencing deserve you? Although I am not a Buddhist or a Taoist, I subscribe to the philosophical
nature of their practices. If one follows the four noble truths, one can find peace and harmony no matter the situation. Life is painful and frustrating. Suffering has its causes. The causes of suffering can end if we get rid of expectations and attachment. Meditation helps us create awareness and takes us on the path to ending suffering. Being focused and taking it easy has helped me deal with the current situation. And speaking of the other spiritual part, that of music, how do you see these quarantine moments in music? I say this thinking of this impossibility of getting together, of performing concerts, of feeling that particular sensation of rehearsing ... Like everything else, it's about reflection. Yes, we have maintained the guidelines implemented around
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the world, but we have other methods to communicate and share with our fans and friends. There are many tools that help facilitate this process. Sure, I really want to go see bands performing live as well as being able to do musical performances, I miss the energy of live performances, but I've taken this time to be even more creative than I was before. Go if you have taken the time to be creative ... And to start talking properly about music ... Let's start with a new project you have with Gardy ... MAYU. Tell us about this. Well, the project had its beginnings in 2016 when we released the single “Quiero despertarâ€?. Gardy PĂŠrez and I have been friends almost all our lives, we played together in an
influential band from the Puerto Rican alternative rock scene called Arnold Layne in the early 90s. When I started writing music in the mid90s, which later gave birth to the Stellarscope band, Gardy helped me record various demos. And I play guitars on those tracks. They have just released the single "Theia" (which can be found at the Patetico Recordings bandcamp). How is this project going? Yes, that single has just been released, which is taking off in different radio stations around the web. We have plans to complete an EP this year. It is what we wanted to do from the beginning but since Gardy and I are involved with various projects we had put Mayu on hold.
Gardy and I talked about creating various songs this year and he sent me an idea and within 3 hours I wrote the bass, guitars, drums, the lyrics and recorded them. Very recently we were talking about Cielo OceĂĄno, how is the album working? And do you have new plans with other projects? Everything is going well with the album sales and promotion. AndrĂŠs and I will be writing new songs in
the summer and fall. I started a new project called Heliocentric Overdrive with a Philadelphia drummer named Anthony Gatta. We already have 5 songs recorded and in the coming weeks we will be releasing our first song to the public. The sound is somewhat different from what I have previously created since Anthony is a breakbeat drummer and inspired me with a more modern sound. I've also finished the new Panophonic album, which will be released by the
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end of the summer. I've been working on that album for almost 2 years, it will contain the singles 'Never gonna let this go' and 'Nothing that we can do', both are available at www. souncloud.com/tomlugo I have another project called Dreams Turn Black with the English guitarist and vocalist Alex Keevill of the British band The Microdance. That project is much darker and in the metal / death metal vein.
in memories of the past dealing with loss. The new album is the feeling of new beginnings, light in the dark.
The new album has premonitory feelings ... designed as for these days. I think we are always ahead of what is going to happen. The albums before this time were 'The end is near, I'm not prepared' and 'Shades of sadness and sorrow' hahahaha. Seriously, the theme goes very Well, from what you tell, a lot of well with what is happening ... You music is coming in the rest of the have to have hope and see the light year ..... But they also just released in difficult times. a new album with Stellarscope, "A glimpse of light in the darkness". Yes, I think the main thing at the Tell us about this new album. moment is to be at peace with Stellarscope's new album titled “A oneself and with the environment. Glimpse of Light in the Darkness” is Tell me, how were the writing one of 3 albums we have recorded in and recording moments for this the past year. For “'A glimpse of light album? in the darkness” we try to capture a Our style of creation has always lighter and less obscure sound than been the same. We get together we have previously released. The to play together and let the spirit of concept is to see the light in the midst the moment take us where it takes of the darkness that surrounds us. us. Although the recordings sound Although darkness and depression structured, they have all been have always been the driving force composed by jamming together, behind our sound. letting the energy that moves us direct us. The process of writing the lyrics, "Standing in the shadow of your creating melodies and recording the ghost" (2017) is the previous voice is what has always taken me album, what differences do you time. We currently have over 50 songs find between this album and the recorded without lyrics or vocals for new Stellarscope album? upcoming albums. After recording Standing in the shadow of your the vocals it takes me a long time to ghost is more depressing, I was mix the songs and put the finishing going through some difficult personal touches on them. It is what happens situations and wrote the lyrics like a when you do everything yourself. diary. Everything I was thinking back then is written in print. That is why it is In other words, you will have titled "standing in the shadow of your songs for upcoming albums soon. ghost", not being able to accept that Yes, during these days I have some relationships come to an end recorded voices on 5 new songs for and die but one finds oneself living the next album. I have 5 more left.
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This is going to be very different from projects that I would like you to the others. mention them and tell us what sound each one has. Then soon we will have news. Stellarscope is more aggressive Regarding the different projects, and has classic rock elements and I have a question that arises. How post punk and grunge elements. do you compose for the different Panophonic is more shoegaze projects? First the song and then and romantic although there are which project will it be directed at also moments of aggressiveness. or do you think of the project first Cielo Oceรกno is more ethereal, and then write the songs? thoughtful, and introspective in the I create songs with the specific dreampop style. Mayu has similar project in mind. All projects have ethereal and introspection elements their own identity and usually contain but the execution is more layered a separate feeling. and complex with elements of dreampop and shoegaze. Under the Going back to "A Glimpse of light Wire incorporates elements of trapp, in the darkness", do you plan to witch house, and post punk; themes make a video anytime soon? tend to be very dark, self-critical and I have plans to make a video. That oppressive. Heliocentric Overdrive is process takes a little time since I film more indie pop with elements of rock and edit them myself. and electronics (although everything is done organically) and is the most If you had to choose a song from modernist project in terms of sound. the last album for someone who has never listened to Stellarscope And now the last ... to listen to, which one would you Tell us if there is anything we choose and why? left without asking and you want Sweet surrender, because it has to tell us and mention where you the energy and sound of what we do can find your music. musically encapsulated in a single I had forgotten to mention that we theme. will be releasing the video for Theia de Mayu on May 25th. I am very What if you had to tell him grateful for the time given, for the which record to start listening to questions, the interest in learning Stellarscope with? more about the individual projects, Good question, we've changed for the kindness and for the support. style and sound several times in I hope someday to visit Argentina, our existence as a band. I would to be able to meet him in person, say 'Standing in the shadow of your and who knows ... make some live ghost' is the most reflective of what presentations. I wish all readers we currently do. health, peace, joy, and light. Many successes to all of you And to end this interview and thanking you for this possibility, Thanks Tom! two more questions ... First, you have so many different
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[ Interview with I Am a Rocketship by Diego Centuriรณn. Photographs: Katja Bjorn, Alison Lindley. ]
COSMIC INDIEPOP WITH I AM A ROCKETSHIP
We’re meeting this Atlanta, Georgia duo for the second time: we first spoke in issue number 53 of April 2019 about their album, "Mind Graffiti". On April 30 of this year they released their third album, “Ghost Stories”, and we wanted to talk to them again during these strange times. Link to the previous interview: https://issuu.com/revistathe13th/docs/the13th_n_53
Hi guys, thanks for agreeing to do this interview. I would like to know how and where does this quarantine find you? ERIC: Hi, Diego. It’s great to hear from you again. We are in Atlanta and doing well: we are both healthy and are lucky enough to still have jobs. It’s been strange of course, and our hearts go out to those who are suffering. Every crisis ends, but this has been terrible for so many people. I think we are facing a great paradigm shift: today music is lived a lot through the networks, through the "lives" in the networks or reissue of unpublished material or videos ... How do you see this moment? LINDA: That’s interesting. It is an opportunity to think, and to create. And music is a way to process in some way what we are going through now. I believe that in ten years we will listen to music from this time and hear the worry, the hope, the emotions of this time. But music is about people sharing and connecting, and it’s not the same online. When people share a feeling, it’s physical, and we will be glad to
perform again. How are you doing as I Am a Rocketship while in quarantine? ERIC: We have a small rehearsal room in the city where we meet to rehearse and try new ideas. And I’m always writing songs in my head, while L E keeps notebooks with lyrics. The songs seem to come even faster now, honestly. Before we talk about the new album, there is a beautiful song that has come out and is not on the album and has a beautiful video. “Shooting Star”. Tell us about that track. ERIC: I was sitting outside drinking coffee and thinking how the coronavirus had left us in new worlds, often alone. Then I imagined a lone astronaut, orbiting the Earth. Below, there is a virus taking the human race away, and he dreams of being rescued by angels, but each angel is only a shooting star, and he finally is told to turn his spaceship into the sun. The song wrote itself, and we recorded it the same day. Why wasn't it included on the new
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album? L E: Sadly, the album had been finished, and we even had the CDs then. We decided to put it out anyway as soon as we had recorded it, as a sort of musical postcard to all the people we can’t see now. But the good news is, we have since written three more songs for a new collection, and it will include Shooting Star. Returning to last year's interview, you told me that the difference between "Mission Control" (2016) and "Mind Grafitti" (2019) was that you had more confidence. What would be the difference between "Mind Grafitti" and "Ghost Stories"? L E: I’m not sure. Mind Grafitti was hard work, and we spent a lot of time
thinking about how we wanted the album to sound. For Ghost Stories we kind of went the other way, and just let songs happen. They could be any style, any subject. If we liked it, we recorded it, even if the album would sound a little mixed up. A year passed from the previous album and from what I perceive, in this album you vary your sound a little, you expand it. What happened in a year for this change? ERIC: Maybe we are still learning who we are as a band. When we started, we wanted to be a pop band. Not pop like Rhianna, but simple songs that are melodic and not trying to change the world. With Mind Grafitti, we found a little more darkness, and new musical
muscles. Ghost Stories I think is us feeling free to be anything we wish. The melodies are still there, I hope, but now we are willing to try anything we want, and just be ourselves. I've read that the song "Ghost Stories" is one of the first songs you've written for the album and that they thought of an EP first. Tell us that story. LINDA: Eric got this old guitar, and immediately wrote that song and shared it with me. I really liked it, and suggested we add a few more unfinished ideas we had. But the recording went really fast, and we didn’t want to stop, it was fun. We actually recorded some songs that are not on the album. Maybe they can be on the next one.
experiencing. But for supporting the album, I don’t know. We had started booking a tour of the UK with a wonderful artist, Ekat Bork, who also has a new album coming. There were also some US dates, and maybe a European tour in the fall. That’s all gone, so we are just playing live on Facebook some, like everyone else. We did play a show for the neighbors once, and it was beautiful. People came out to listen, staying two meters apart, and it was a very special evening.
Today it is difficult to talk about plans ... but when everything returns to normal, what do you plan to do? LINDA: Everything may not return to normal. It’s difficult to imagine now how this will change us. It may be better, but very strange. I’m sure somehow we will Tell us, how is the support of the be performing again, and maybe the European dates will happen. People album from the quarantine? ERIC: Our little album means nothing will always need to share music, love, compared to the loss people are and ideas, to feel connected. We will
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be part of it. And to end this interview, thank you for your time. Where can you find the music for I Am A Rocketship? ERIC: We’re on Apple Music, Spotify, all the digital places. If you want to get our albums, we love Bandcamp, and you can get them on our website, iamarocketship.com Thank You!!!! LE: Thank you, Diego. Stay well and be good!
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[ Interview with Martin Bisi by Pepe Navarro. Photographs: Nicole Capobianco. ]
MARTIN BISI: FROM SONIC YOUTH, SWANS AND BRIAN ENO TO NEW 'SOLSTICE' LP
A renowned producer, sound engineer, and musician, Martin Bisi has been a central figure in New York music history for the past four decades. Founding BC Studio in Brooklyn in 1981 with the help of Brian Eno and Bill Laswell, Bisi recorded innovative music by these artists here, as well as Sonic Youth, Swans, John Zorn, Herbie Hancock, Helmet, Africa Bambaataa, Dresden Dolls, Unsane, Cop Shoot Cop, Human Impact, JG Thirlwell, US Maple, White Hills, Fab Five Freddy, and many others. Taking advantage of the release of a new single from his latest album "Solstice" (2019), we contacted him and we were able to ask him some questions ...
Hi Martin! Thanks for your time and for agreeing to do this interview. I would like to know how and where does this quarantine find you? Luckily, I planned anyway to take this time and do more songwriting, and overdubbing on some existing recordings. I luckily wasn’t on tour when the lockdowns hit. I also continue projects, remotely that are in the mixing phase, though mixing remotely is more time consuming
rarely heard in the house - i saw my father play tango only once, but it’s a strong memory. With contemporary music, my mother was more interested in emulating classical guitar on piano. She was good friends with Andre Segovia, and an Argentinian composer, Alberto Ginastera who wrote pieces for both of them. Her name was Marisa Regules. In your way of working, do you see something that your parents have taught you? Somehow all those years of going to the Philharmonic and opera with my parents, made me tuned into an orchestral quality, maybe also a certain drama there is after all opera singing on my last 2 records: Solstice and Ex Nihilo. I also think hearing hours of my mother’s piano playing, from my room as i fell asleep, tuned my ear to certain sonics.
I have read that your mother has been a classical music pianist and your father liked to play Tango on the piano as a hobby. Beyond who asks is an Argentine, which leads to love tango as a musical identity from birth. I am not going to ask anything about tango. The question is about the music that was heard at home as a child. That you remember? Tango was not really appreciated by my mother, Within a studio you have given that she was immersed worked with many artists, in the classical world, so was including Brian Eno, John
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Zorn, Afrika Bambaata, Sonic Youth,IggyPop,WhiteZombie, Cop Shot Cop, Swans, Angels of Light, Lydia Lunch, Jarboe, Helmet, Human Impact, among many. What anecdote can you tell us that you have lived in a studio? On the day that i brought Eno to see the studio for the 1st time, when we were waiting in the subway train station to go back to Manhattan, it was wet outside and Eno commented on the pattern our feet had left on the ground - that it was a record of our time there. There were a lot of these observations by Eno. He was very into related systems - comparing maybe weather to process in music. It seems like some of this went into the cards he made at that time -Oblique Strategies. I should also mention that when Iggy Pop came to the studio on St Patrick’s day, he was dressed head to toe in bright green, including a tall ‘top hat’.
few years. He also did a music video for the band Tidal Channel, who have a member Genevieve Fernworthy, who also plays on Solstice. Seeing that video made me think Scott would be good for “Let It Fall”, because he has a futurist vibe -which i wanted mixing with something more primal, but is also quite psychedelic.
As a witness of the famous New York scene. Can you tell us a bit about those years? Those years were kind of a chaos. It’s amazing that with far fewer people in New York, in those music and art scenes, how much was going on, almost daily, nightly. And the scenes had some dramatic differences, take the so-called Downtown experimental scene, and Hardcore, or the sexier No Wave, or Glam Punk, and of course dance music. And even Ball drag culture in Harlem. Maybe because New York was so empty, these things were Can you explain us how more visible, and you could was you start with this new see that they actually rubbed shoulders. project? The latest project, my Solstice album, was recorded in different Much of what we heard places, with different people. So on "Solstice" is based on it was a journey. And even the improvisation. How was overall concept was revealed the process to find the right to me only half way through - musicians? mainly that it seemed divided All the musicians in the improvisations, were people into 2 modes. i was already playing with for How was meeting Scott written songs. For instance, Kiernan and how this the improvisation that was the foundation of “Let It Fall” was collaboration starts? I’d seen several of Scott’s recorded at the same session installations and events over a as the songs “Ode To Freddie
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Gray” and “Waves On My Mind”. And the drummer who helped me build “You’re Sun” through improvisation, played songs on my old record Sirens Of The Apocalypse. You just released the single "Let It Fall", tell us about the video. As usual with the music videos i do, most of it has to come from the director. I just told Scott where i was coming from with the song, my general feelings about our current point in history, which was September last year,
and my thoughts on our distant past - our religions and perceived relationships to the earth and the unknown - all things on my mind when writing the lyrics, and let him take it from there. It was a challenge getting performance shots of all band members. For Diego and Oliver, we had to squeeze it in on tour, in the back of a venue in Italy with just general direction from Scott on background and color. Amanda in Boston, alone, just did a few lines in front of a green wall at her work place. Genevieve was easy because
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she’s in Brooklyn. Scott and i went to the Cloisters in Manhattan, a medieval monastery, partly original, brought from France. So that’s what all the walls and gates are To end this interview and thanking you for the time you gave us, I would like to know about the plans for the future, when this madness that we are experiencing ends. Maybe the next album will be the Equinoxes, ha, since I already did the solstices. So, i guess each side will be sort of equal, but going in different directions ? That’s probably a joke, but who knows Thank You Martin!
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The13th
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