Interview with Alia O'Brien (Blood Ceremony)

October, the wind, the falling leaves... And there are also some heavy riffs, evil organ and flute coming to my ears... Yes, it's time! Stars are aligned, the ancient ones shall rise again "and with strange aeons even death may die". Alia O'Brien, bewitching queen of doom and prog rock accepted to answer our questions about a successful European tour, an exciting single, haunted Toronto and collecting records... Blood Ceremony will also share the stage with doom legends Pentagram and 70's hard rockers Bang for Halloween's night in Burlington, VT and NYC on the 1st of November! Get ready!

Occult Rock Magazine: First of all, thank you Alia for taking the time to answer my questions for Occult Rock Magazine, it's a real pleasure! So first let's talk about your last European tour, what are your impressions/feelings about it?

Alia O'Brien: Every time we've gone out on the road, we've been introduced to amazing bands and inspiring fans, but I would say that this was probably our best tour to date. The live shows were a lot of fun, and the crowds were really receptive, and we had the opportunity to perform in a few places that were completely new to all of us--most notably Moscow. The festivals on this tour were incredible--Temples and Freak Valley were both imbued with such distinct atmospheres, and FortaRock was a magnificent metal spectacle that also boasted a delicious spread provided by Iron Maiden's go-to catering company.

Occult Rock Magazine: The Eldritch Dark Tour was also an opportunity for people to discover and buy your brand new single "Let It Come Down" back with "Loving You", could you tell us some more about it? How did you discover Iron Claw?

I know that Sean has been in possession of a CD reissue of Iron Claw's S/T for a few years now, but I can safely say that our obsession with the song Lovin' You grew out of repeated, beer-addled listening sessions at our friend Katie's bar. When it came time to think about a B-side for our single, it was pretty much a no-brainer.

We worked with Ian Blurton on the single, who also produced and recorded The Eldritch Dark, and were, once again, really happy with his work. We were also joined once more by violinist Laura Bates, who laid down a crunchy fiddle solo of epic proportions on the Iron Claw cover.

Occult Rock Magazine: Is that new release a sort of prequel to a new album? What could we expect from it?

In a songwriting sense, the forthcoming album will probably pick up where The Eldritch Dark and Let it Come Down left off, if that makes sense, although we're considering dirtying things up a bit. We're currently in the depths of songwriting, so we'll see what transpires!

Occult Rock Magazine: What's the story behind Blood Ceremony, how did you guys met?

Sean and I have been friends for a long time now--over ten years--and have spent a lot of time bonding over tunes; in the beginning, he introduced me to Witchcraft, I got him into Tull. Blood Ceremony was Sean's brainchild, and he initially brought me on board to lay down some Italo-prog inspired flute, but I ended up quickly taking on vocal and organ duties, as well. The band has since become a more collaborative endeavor, one that is still largely guided by Sean's vision. We've been through several lineup changes, but our bassist Lucas Gadke joined the band right before we recorded Living With the Ancients, and blew us away his masterful musicianship. Our drummer, Mike Carrillo, joined us for our North American tour with Ghost in 2012, and killed it. Mike and Lucas are an unstoppable rhythm section, and I feel like the band, in its current form, has congealed into an entity unto itself.

Occult Rock Magazine: Blood Ceremony is definitely exploring the paths of 70's rock and occult themes, a dark imagery very reminiscent - in my opinion - of bands like Jacula, Antonius Rex and some other 70's Italian prog acts like Osanna and more obviously UK's legends Jethro Tull. Was that musical direction an evidence when you all met? Could you tell us a bit more about your personal, musical, cultural influences?

Oh yes--these influences were certainly in the mix. I mean, we listen to all sorts of different sounds, and are constantly finding new/old pockets of music to get excited (or obsessed) about. I could write a book about the various recordings, films, and literary works that inspire us, but, for me, it's more enjoyable to listen to a song and imagine what the artist might have been immersed it the time that they wrote it. I was listening to T2's "No More White Horses" the other day, and became convinced that it was an tripartite homage to Ennio Morricone, CSNY, and Sabbath. It might have been the band's intention to invoke these artists, but perhaps I'm projecting my own tastes onto their song--either way, it's a bit more fun to revel in the uncertainty of it all.

Occult Rock Magazine: Have you ever experienced any kind of supernatural event? Do you know any haunted places in Toronto?

I used to work at a theatre down by Toronto's Lakeshore that was supposedly haunted by the ghost of a child, but I never crossed paths with her. I have had a few startling moments that some might label precognition, and others might attribute to coincidence or selection bias. Consciousness is a mysterious thing!

Occult Rock Magazine: Do you prefer Live performances or Studio recording?

I love them both equally! For me, live performance is all about achieving that perfect un-self-conscious state of flow, about the careful cultivation of a relationship with a crowd over a period of time, and about creating a compelling character/persona. The studio more as venue for collaborative negotiation, rumination, and precision. In my mind, however, the studio-performance dichotomy is a bit precarious, as good recordings, in some musical worlds, should convey some sort of "liveness," just as live performances benefit considerably from the playing and listening that take place in the studio.

Occult Rock Magazine: Are you into old records from the 60's/70's? What's your opinion on the quite recent vinyl revival? What are your views on the also quite refreshing 60's/70's rock revival scene, any other bands from nowadays that you also like?

The whole band has a weakness for vinyl--or, rather, we derive STRENGTH from our record collections! There's a definite abundance in heavy psych, prog, freakbeat, etc. from the 60s and 70s in there, but a lot of other stuff, too. I've been on a soul binge for the past few years, and you should see the "B" section of Lucas' collection: he's got Ludwig Van sitting right next to Belzebong.

There are a ton of great bands that are currently active--we've been privileged enough to play with some of our favourites: Spiders, Electric Wizard, Witchcraft, Ghost, Uncle Acid--and basically all of our labelmates, for that matter. It's very cool to be a part of such a vibrant rock scene that stretches across time zones and oceans.

Occult Rock Magazine: Desert Island question time! Could you give us one album, one movie, one book that you would take with you there?

These sorts of questions never get easier! I can only speak for myself (and this is subject to change at any given moment):

Album: Arthur Brown's Kingdom Come - Galactic Zoo Dossier
Film: Hardy's The Wicker Man
Book: Borges' Ficciones (well, actually a collection of short stories, but...)

Occult Rock Magazine: Last lines... Would you like to share anything else, any thoughts with us?

We've said it before, and we'll keep on saying it: do what your love tells you to do!

Louis Hauguel for Occult Rock Magazine (2014) : http://www.occultrock.com/2014/10/interview-blood-ceremonys-alia-obrien.html

Interview with Michelle Nocon (Death Penalty, Bathsheba)

OccultRock.com: First of all, thank you Michelle for accepting this interview, we're delighted to have you here! So lot of exciting things are going on with the release of Death Penalty's debut album on Rise Above Records and your other band Bathsheba had a four songs demo streamed and an official video!

Let's talk about Death Penalty first, what's the story behind the name, how did you come up working with Gaz Jennings (ex-Cathedral)?

Michelle Nocon: Thank you for having me. Basically loads of material we recorded was already written way before there was any plan of really starting a band. When Cathedral ended Gaz found the time to rework all those riffs into songs and make new riffs. Previous year Lee contacted me asking if I would be interested in singing on Gaz record. Gaz didn’t have facebook so he contacted me through Lee. I passed on my mail address but didn’t really expect to hear anything from it. You can understand I was surprised when I got an email from him asking me if I wanted to sing on his album. In this mail he included 14 tracks. And he soon send another one in which he included another 8 more. I was chuffed! But I told him that I wanted to listen to the tracks first before sending him an answer. If someone like Gaz wants you to jump in, of course you want to do it. But I wanted to do it because I loved the music. So I listened to the first track, which is now the opening song from the album and I remember I was thinking  that it sounds cool but I wanted to do sludge black. I was already in Bathsheba and you only have so much energy that you can’t be in 5 bands so I didn’t want to make a wrong decision. If I do something I want to give my all. So meaning if I would agree to do this, there wouldn’t be much time for the sludge black project I wanted. But when I listened to the first track, there was this melodic piece in the middle. Jezus, the feeling I got when I heard it was just so intense… I mailed him immediately to tell him I’m in. Luckily after listening I also liked the other songs or I would’ve had a problem haha.

It’s no secret that Gaz is a Witchfinder General fan and well… there you go for the band name!

OccultRock.com: What are the current plans for Death Penalty, can we expect the band going on tour soon?

Michelle Nocon: I really hope so, we all do. It’s now a matter of trying to put the pieces together. It’s not easy living in different countries, having a teacher in the band and almost everyone is in other bands. We have some cool gigs coming up and they will soon be announced. But I think we will be able to announce a tour as well next year.

OccultRock.com: What kind of themes are you exploring with Death Penalty, how's the writing process working for you?

Michelle Nocon: The lyrics are very personal. They are about life, love, hate, fear, sex, death, revenge… Some lyrics are about energies and others are about experiences in life, surrendering to something bigger than yourself, darkness and light, wanting to sacrifice yourself to someone, inner struggles…

Writing with Death Penalty is a pretty easy process. Gaz writes the music. He sends me the songs. I write melodies on all the wrong parts haha, he adjusts the songs and then I rerecord them with decent lyrics. When I have the feel of the song and the feel of the vocal line I just go with it. Before I start writing the lyrics I just try to feel what this song brings to me; a dream, a memory, something I read that struck me, a vision… When I’m not in the mood I can sit for hours without anything decent. So I leave the room and only return when I feel the time is right, even if it’s weeks later. This method of working is just right for us I guess.

OccultRock.com: Bathsheba is exploring some different paths, more in a pure doom tradition with a ritualistic feeling, could you tell us some more about it and also about the band's name?

Michelle Nocon: I’d be happy to tell you more. Bathsheba started with guitarist Dwight Goosens (Desinterred) and drummer Jelle Stevens (Sardonis). I joined on vocals and later Raf meukens (Death Penalty) on bass. After some gigs we got an offer from someone who wanted to do second guitar. We were actually fine the four of us but we were curious what an extra guitar could mean. So Filip Dupont (Hemelbestormer and ex-Gorath) joined in recently.

Well I guess a week before we did our first gig I realized that for me I needed an atmosphere on stage. I started experimenting with paint/candles/objects/ herbs (I’m a herbologist)…  that fit my energy. It were all things I use at home but I never did anything outside of the house with it. The band agreed on the energy and now we are what we are. I often play blindfolded. I think and hope we do more than making music, we bring an atmosphere. The vocal lines and lyrics are just a very good representation of that particular side of me. It was so natural that this happened although it was never the plan in the first place. I am very happy with it though because it’s a part of me I need to keep satisfied. Occultism is a very big word. Loads of bands want to be occult because they think Satan’s a cool bloke and hell is full with hot chicks and barbequed chicken wings. But occultism can be extremely light as well. Loads of occult symbols are actually just pagan symbols. One of the symbols we use is now used as a satanic symbol while in fact its a nordic symbol for protection. Occultism is something you need to be considerate about. Whenever you say words you project an energy. It’s the same with symbols. So if more people hear your words and see your symbols the energy becomes stronger. The manifestation is bigger when you perform in front of a crowd.

Bathsheba is an interesting biblical character. But depending on what you read and believe you give meaning to her character. She can be a holy woman, she is also described as the woman who made king David a sinner. In the hebrew Bible she is referred to as Daughter of the Oath. She became the wife of King David.  She was the mother of Solomon. Many speak of her as being Satan’s child because she seduced King David and so became Queen Mother. She is also referred to as a witch. So apart from the interesting name we loved the many faces she wears. She is never mentioned often but a very interesting character.

OccultRock.com: Was it a strong desire for you to be able to express yourself in two different bands?

Michelle Nocon: Seems I’m a very complex person haha. Most people are balanced somewhat in the middle where I am afraid my balance is in extremities. Death Penalty is the loud Michelle. More the party girl who kicks your ass. In Bathsheba I’m more of a introvert character. Most people probably know me as loud but I am a very lonely person if I can be honest. I live alone, I very often go out alone, whenever I go out I go walking in the woods for hours on my own… I love to be alone… I am very social and anti social at the same time, I’m very light but equally as dark, very humble but I guess I have an arrogance about me as well.... It’s very freeing to be able to express all that on stage. It’s I guess a bigger version of yourself. So it allows me to throw out a lot of shit. I have so much freedom in both bands that all those characters can speak on stage. I always thought I couldn’t do just one musical style because I am attracted to so many things but having 2 very different bands helps a lot. As does the freedom within each band so I can express myself in many forms.

OccultRock.com: How would you describe your musical, cultural influences to our readers?

Michelle Nocon: I’m very open minded. I listen from classical to black metal. Mainly underground stuff though. I try not to be influenced too much. For me it’s more important to do my own thing than to sound like anyone else. I like to keep it as pure as possible (not that I invented electricity or something big). Some of the singers I love are Tom Waits, Kate Bush, Mark Lanegan… Some bands I love are Woven Hand, Om, Ved Buens Ende, Blut aus Nord…

Also cultural I like to explore. I love stuff like paganism and tribes… so definitely some influences there. One of the trips I did was to go to Carnac in France to visit what they call’ les alignements de Carnac’ or megaliths. I went to visit Newgrange in Ireland, Dowth, Knowth, Uisneach… Those things interest me and affect me very much.

OccultRock.com: Do you have any interests in the occult, paranormal, mysteries of this world and have you ever experienced anything weird, out of the mainstream?

Michelle Nocon: Yes very much. I have always been drawn to those things even as a kid. It was very clear I was good with energies from a very young age. Everyone can do something with energy but most people don’t know that. They pay loads of money to go to this fortune teller or whatever. Even I go when I really need it, because my sight too becomes unclear sometimes. But if you allow you can see many things.

I am also very much interested in history, philosophy, occult matters, unexplainable phenomena, religion, conspiracy theories… Everything is connected really. You can never really look at them and separate them. I have seen some very weird stuff. And it wasn’t always pleasant unfortunately so I try to pay attention. When my mother died when I was 7, I had contact with her through her death. That contact became stronger with the years. But of course there is no light without darkness and I do confess I am drawn to it. I was drawn to it a bit too much at times. I guess I have to please both sides ha! But energy is very important. Whenever I sing something or use symbols it’s very important to know what you are doing. Loads of artist end up in the wrong alley because they have no idea what they are doing. There are some who know what they are doing and they sometimes choose to make a sacrifice.

OccultRock.com: If you have to pick up one place in the world to visit, which one would it be and why?

Michelle Nocon: Iceland. Without any doubt. There is something about Iceland. I mean the scenery is magnificent. I can almost not even comprehend it. It’s so beautiful. It has something very lonely and cosy at the same time. Also, some of my favourite bands come from Iceland. I’m telling you, there is something with Iceland. Listen to Svartidaudi, Sigur Ros, Asgeir, Olafur Arnalds… all Icelandic brilliance.

OccultRock.com: What are your thoughts on vinyls, do you have a turntable and listen to some records?

Michelle Nocon: Unfortunately my turntable has turned its last vinyl some time ago! I’m looking on second hand markets for an old skool one. I love vinyl, sounds more real and warmer. Gives more character to the music. Definitely a big fan!

I used to look for records all the time but it got a bit crazy. I got a great collection until something happened and I lost as good as all my records. I still have Danzig, The Misfits, Metallica (first pressing of Ride the Lightening), Woven Hand, Bohren und der Club of Gore… I just don’t start collecting again because it’s silly really. Now I only buy what I really want. Before I would buy all the special version and bootlegs… But after losing everything…

OccultRock.com: What are the last bands you've listened to and what did you think of them?

Michelle Nocon: One of the last bands I discovered was The Austrasian Goat with the song Pyre without Flames. Jezus. Sounds brilliant. Very heavy and pure. Another one is the band Fear of God; with the female singer. The song ‘Drift’ is mental. She sings like she is fucking crazy and I love it. Many technical singers couldn’t do this because she sings from the heart. You can learn many things, to sing technical. But how can you learn to feel and express your feelings and in such an extreme way… I truly respect that. She means it. Well she ment it, she died unfortunately.

OccultRock.com: Last words are for you... Anything you'd like to share with us, any thoughts, any rants, any comments?

Michelle Nocon: Thanks so much for having me and for the interesting questions. It was a pleasure answering. Thanks to all of you for your support. Keep this great magazine going! We are Legion.

Louis Hauguel for Occult Rock Magazine (2014) : http://www.occultrock.com/2014/09/interview-michelle-nocon-death.html?utm_source=dlvr.it&utm_medium=facebook

Interview with Ben Ward (Orange Goblin) on "Back from the Abyss"

OccultRock.com: Hi Ben! First, thank you for accepting this interview! So one month from now, your new album "Back from the Abyss" will be released and you'll be going on tour with doom legends Saint Vitus, could you tell us a bit more on how all that happened, pretty exciting I guess?!

Ben Ward: Hi Louis, thanks for the interview! Yeah, we are all very excited to be heading out on tour with Saint Vitus. They have been heroes and friends of ours for a long time and touring together is something that we've always wanted to do. It's as if the planets have aligned and just as they are about to do their 35th anniversary tour, we have a brand new album to promote so the timing is perfect. I think it's a great package and has something for every fan of doom/stoner/metal or whatever you want to call it. Obviously for us it's an important tour as it's the first of the new album and we can't wait to get out there and start playing this new material live.

OR: Couple weeks ago, you unleashed a new number "The Devil's Whip" that sounds like a killer Motorhead track. Is Lemmy and his crew, a big influence on you and the rest of the band?

BW: Of course. I think Motorhead are a big influence on EVERY metal band and that is why they have stood the test of time. But this is nothing new for us. We have always worn our influences on our sleeves and we've always had a strong Motorhead connection in the past, stretching back to the first album with songs like Magic Carpet and so on. We're lucky enough to have met Lemmy a few times in the past and he's a really awesome, down to Earth guy that is exactly how you see him on screen or stage. There is no bullshit with Lemmy. There is no bullshit with Motorhead. I just hope Lemmy is happy with what he's doing right now as the last time I saw them, he seems to be slowing down and his health is obviously in decline. Us fans want him to know that he doesn't owe us anything these days, he has given us a lifetime of great music and entertainment!

OR: "Back from the Abyss", what's the story behind the title? What can we expect from the new Orange Goblin album in terms of sounds and themes?

BW: Sound wise, I'd say that it's a continuation of the last album. I think by now people know what they are going to get from an Orange Goblin album so you won't be surprised to hear that it's a mixing pot of classic rock, metal, stoner and doom. If anything I'd say it's a little harder than 'A Eulogy For The Damned' and more straight up rocking. The themes are all pretty familiar too, nothing serious or political. Just me having fun with the lyrics as a form of escaping the mundane existence of real life, bikes, space, demons, you know the deal! The album title is a kind of reference to the past couple of years for us. Since the last album came out we have been able to take the band on as a living and that meant spending a long time on the road and kind of heading into the unknown, the abyss. This album is just letting people know that we are back and ready to do it all over again!

OR: How went the writing/recording process of the album?

BW: It was very last minute, in typical Orange Goblin fashion. We always tend to work better under pressure so we started writing in January and set a date to start recording in April. I was away working as a tour manager for a great deal of that time so the band wrote all the much with me gone and then I added lyrics at the end, just as we started recording. In fact some of the lyrics were written in the studio as we recorded! I have to give a lot of credit to Joe on this album as he really put a lot of hard work into it and I think that comes across on the album, his guitar playing and the riffs are amazing. Chris and Martyn also contributed and I think everyone really raised their game again!

OR: What are your thoughts on the Occult rock scene revival these days? Any other bands that you enjoy to listen to?

BW: Well, occult rock is a term that I'm not very familiar with and initially I'd think of older bands like Coven, Black Widow or Black Sabbath as occult rock but I know that there has been a resurgence in bands influenced by that kind of stuff and i like bands like Blood Ceremony, The Devils Blood, Bloody Hammers (there is a strong 'blood' theme here!). I'm not so sure that they are 'occult' but I also dig bands like Orchid, Blues Pills, Graveyard and a lot of the new 'retro' sounding bands that are keeping it exciting.

OR: You've been on the road for a long time, do you have any striking memories that comes to your mind now and that you'd like to share with our readers?

BW: We get asked this question a lot and the problem is that all the best experiences on the road mainly happen after a few too many drinks so it's hard to recall them! Obviously there have been a lot of career highs like touring with Alice Cooper, Dio, Clutch, Down etc as well as a lot of great festival appearances along the way. We are very lucky to have toured all over the world and had a great time doing it. It's been a real journey but something none of us take for granted and we appreciate how lucky we are.

OR: Looking back at Orange Goblin's discography, what are your favourite efforts so far?

BW: I'm very proud of everything we've done as it's been a marker for what has been going on in my life at that time. Each album is like your own baby so it's hard to pick a favourite but looking back you can always hear parts that you know could've been done better. we are band that has evolved over the course of a 20 year career so the first album sounds a lot different to the latest one but we see that as a good thing. It has afforded us the chance to keep trying new stuff and going on the road with new and varied bands. Every record has a special memory attached so I really couldn't pick a favourite.

OR: Are you more of a stage or studio person?

BW: Stage definitely. I like being on tour and I think as a band Orange Goblin are far better in a live environment. We like to interact with the audience and feed off their enthusiasm and energy. We tend to get a bit bored in the studio so it's nice when that side of things is all done and we can get back to touring.

OR: For someone trying to get to know you, how would you describe your musical, cultural influences?

BW: I'm pretty straight forward I like to think. I'm a big fan of horror films and literature. I grew up watching horror movies from an early age and then discovered the works of writers like Lovecraft, Poe, Blackwood, Howard, Wheatley, M.R. James etc which really opened up my mind. Now I like to collect films and books from every period of the horror genre. As well as collecting those I obviously keep a close eye on what's going on in the music scene. I'm pretty open minded about music and  like everything from classical, to rock, metal, soul, funk, blues right through to black and death metal. I seem to find something in any music that is played with heart and soul, not like corporate pop music or TV created crap that seems to dominate the charts these days. My influences musically are probably pretty obvious. Black Sabbath is the band that changed my life and as a frontman and vocalist I admire people like Ozzy, Lemmy, Dio, John Fogerty, Noddy Holder, Ronnie Van Zant, Steve Marriott and many more.

OR: What is your favourite H.P Lovecraft's novel/book and why?

BW: That's a tough one as there are so many but I's probably go with the first one I ever read which was 'At The Mountains of Madness'. I read that not really knowing what to expect and the insane pictures that the details created in my head just blew me away. The beauty of Lovecraft is not the outright terror that a lot of horror writers rely on but the slow building sense of madness, doom and other-worldliness that he can create. You can find yourself lost in unfathomable lands within your own head as the descriptions are so vivid yet open to your own interpretation at the same time.

OR: Records, gatefold covers, colourful vinyls, fantastic artworks... How important vinyls are for you and do you collect them?

BW: I love them but  wouldn't say I'm a massive collector. I have a few gems that take pride of place (like my first print of the Captain Beyond debut album and an original Quartz 'Stand Up & Fight') I don't even know if these rare particularly rare but I love to have them anyway. There is still a lot to be said for listening to music on vinyl, that warm crackle when the needle hits the record and the hours you can spend studying the artwork and the lyrics as you listen. Unfortunately it's an experience that seems to have bypassed a few generations as they now want everything via downloads or CD.

OR: The world is doomed and you have to flee to a desert island, what would you take with you there?

BW: Music and a means to play it on, my close family, some books, toilet roll and a decent supply of food of beer. If I was to start choosing particular music and books we could be here all day!

OR: Any last words you'd like to share with us and your loyal fan base?

BW: Thanks for the continued support and interest in our band. We appreciate it as much as ever and hope to get to a town near you in the next year or so. Cheers!

Louis Hauguel for Occult Rock Magazine (2014) : http://www.occultrock.com/2014/09/orange-goblin-interview-with-ben-ward.html#more

English version of my interview with Peter Daltrey from 2010

1/ We find in your songs a certain innocence with childhood nostalgia. " The Sky Children " is still one of the most charming song of English rock and while listening to this song, we think about adolescent dreams ... So here we are, what were your secrets to make such beautiful songs?

**The band were on holiday together in summer 1964. We were staying at Swanage, a traditional seaside holiday town in Dorset on the south coast of England. Just outside the town was a small Victorian castle perched high on a rocky bluff over-looking the sea. Late one morning we decided to walk up to the castle. It was a fine summer`s day with an almost clear blue sky, with just a few light clouds high above, moving slowly in a light breeze. We searched around the castle for awhile -- and then found a steep path leading down to the sea. We decided to climb down. At the bottom we found ourselves on a rocky shore, huge boulders having tumbled down from the cliffs probably hundreds of years ago. The sea was crashing on the shore, the waves breaking against the rocks, the spray rising, causing rainbows to form in the sunlight. The noise was deafening, but wonderful. Nature in the raw. Looking ahead we could see Swanage in the distance, two or three miles away, shimmering in the heat haze. We decided to return to the town along the beach. It wasn`t easy as some of the boulders were as big as cars. But we carefully picked our way over them and through them. Gradually it became easier to walk as the boulders gave way to smaller rocks. It was now midday and the sun was burning down. To our right the ocean roared on.

The four of us became separated and I found myself at the back of the group. For some unknown reason a line came to me: A million white flowers in a field in the sky... Ed and I always wrote using the same formula. I wrote the words, he wrote the music. Writing a song is often no more than simply grabbing inspiration out of the air and turning it into a lyric. And inspiration, by definition, can`t be produced on demand. That ain`t how it works. Inspiration`s favourite trick is to insinuate itself into your thoughts just as you are about to fall asleep in bed. A word or a line or two will form in your mind, drifting in and out of your consciousness as you are about to take that wonderful step into sleep. But, aware of these lines, you know that if ignored they will simply disappear; in the morning they will be gone. So you struggle back from Nodland, scrabble around for a pen and paper, scratch the words out -- and crash back to bed. Sun up, bleary eyes, full bladder, sandpaper mouth, roaring tinnitus, you squint at the words; usually crap, sometimes inspired. In this case I was walking along a beach without pen and paper. Another line came to me -- and another. Now I was in real trouble! I had two options: refuse to allow my mind to conjure up new lines, knowing how difficult it would be to remember them -- or grab the horn by the bull and accept the lines as they emerged from my spongy grey matter and attempt to remember them. After all, most songs comprise of only a verse or three and a chorus. How difficult would that be, for goodness sake? Little did I know at that point that I was in the process of writing one of the longest songs we would ever record.

I stumbled on over the rocks, glancing to my right at the shifting watery rainbows as they hung in the shimmering phosphorous spray of the crashing waves. There were beautiful shells on the beach and dark slippery seaweed, glinting in the sun. More lines. I strung them together. Rhymes formed. A story began to emerge. More damn lines. I had to keep going back to the start -- assembling the verse in my head, trying desperately to remember the lines in the correct order each time. Dan was just ahead of me. He stopped and called back, "You OK, Pete...?" I told him I was writing a song. He nodded, wisely deciding to leave me to it. Now so many lines and I was losing the battle, the verses melting into each-other, the lines changing each time I put them together in my head. Damn. It was hot. I was sweating. I shook my head, trying to jumble the lines back into some cohesive order.

When we eventually arrived back in the town I raced ahead to the campsite, grabbed a pen and began frantically scribbling down what I could recall of the lines. Once back home in London the lyric was polished and honed into its final draft. Ed came up with a simple repetitive melody that perfectly captured the mood of the song: the fairytale story of a group of children on a magical quest.

It is easy for today`s listeners to scoff at such lyrics. Yes, with our modern, sophisticated -- some would say jaded -- ears it all sounds, well, rather silly. But they are listening out of context. Take yourself back to 1967. I was influenced by Donovan on songs such as this. His beautiful album, `Fairytale` was high on my list of favourites with its stories and tales that would not have looked out of place in a child`s book. People say I was heavily influenced by Tolkien. In fact, in my literary ignorance, I had never heard of Tolkien. But I absorbed everything I heard around me, the clothes we wore, the mood of gentleness that permeated our lives back then -- so long ago. I don`t recall the recording session for `The Sky Children.` But I suspect it was recorded late at night in Philips` Marble Arch studio, probably with the lights out, just a candle or two burning on a speaker case. Truly magical times.

2/ " Faintly Blowing " seemed to be more diversified, putting some folk rock touches here and there but also plunged us into violent themes and ... calm ones. What have been your approach during the production of this gem of acid rock?

**Ed and I never stopped writing songs. We always had more songs available than we could record. Some bands are contracted to make an album and they go in to the studio and start writing there. We always had a stock of songs ready before we ever went into the studio. We knew exactly which songs we would record, having already played them to our producer, Dick Leahy, and received his enthusiastic approval.

The songs that appeared on `Tangerine Dream` were mostly written in '65 and `66. Although we had, at that time, already been writing for two or three years, we were still novices. We were learning our craft. By '67 and '68 we were more confident as writers and knew that we had an outlet for our work as we had a recording contract and a record company that were convinced we were the next Beatles. (This is not an exaggeration; we were told this by Philips executives.)

The psychedelic period was very short-lived: a multi-coloured rocket that shot into the sky in '66 dazzling us all with its brilliance, slowly falling to earth in `68, its dying embers glowing only until the end of that year. We were swept along in its starry wake. For the type of music that we were writing and recording we were certainly in the right place at the right time. London was vibrating with possibilities. We were young, naively confident of our own abilities, unstoppable. As we entered 1968 Ed and I were writing in a more mature way, hence songs such as `Black Fjord`, `(Love Song)For Annie` and `If you so wish`. But we still adopted a psychedelic stance -- true to our roots -- on songs such as `Faintly Blowing` and `The Feathered Tiger`. (We attempted to record `I remember Sunny-Side Circus` at this time, but were unhappy with the results; and the song wouldn`t appear until `From Home to Home` -- slightly out of place on that later album.) With a healthy budget our sound was augmented by a full orchestra which certainly enhances the more mature approach employed in the sessions. I no longer listen to our records -- indeed, I listen to very little music as my legacy from the band is deafness and tinnitus -- but of our two early albums, it is `Faintly Blowing` that appears to wear the musical crown.

A brief mention of the session in which we recorded `Music`. My memory is shot full of holes so very little in the way of detail remains. But I do recall that we all made a concerted effort to make the track as way-out as possible. We were urged on by our producer who was keen to establish a name for himself. Once the basic backing track was recorded we added a lead vocal. We then set about embellishing the ending with various `found` sounds, such as coins spinning on top of speaker cabinets, radio broadcasts and doors slamming. The following week we were called into the studio to hear a first mix of the album. We were slightly alarmed to find that Dick Leahy had smothered `Music` in phasing rather than keeping the effect just for the ending. But we were persuaded that it was the correct mix for the track and, still young and over-awed by the attentions of our multi-national record company, decided to zip up our objections. Today I get regular e-mails from fans, young and old, singing the praises of `Music`. I guess it is a matter of taste.

3/ Kaleidoscope made a single entitled " Isle of Wight Festival Theme " in 1970, under the name of I Luv Wight, you played live in Friday, august 28th, under Fairfield Parlour and it seemed that you have been informed of an anonymous letter which said that the first band who played will be shot. Do you remember some details about this?

**In May and June of 1970 our manager had extensive talks with the Foulk brothers, the festival organisers. He pulled off an amazing coup. Not only did he secure the band a place on the bill at the upcoming Isle of Wight Festival on the Friday, but talked the two wily brothers into agreeing that we should write and record a song that would be released as a single under the banner: The Official Isle of Wight Festival Song 1970. They further agreed that the song would be played between every act. This massive publicity during the weekend festival, together with the expected heavy radio airplay, would at last secure the band its long overdue first hit. Legal representatives drew up a contract which was duly signed by both parties.

In June Ed and I wrote the song: `Let the world wash in.`

On the Thursday we were all sat in the salubrious TV lounge at the Shanklin Clarendon Hotel: a side room with over-stuffed sofas that had been fashionable between the wars, a shredded bile-green carpet and a black and white television balanced on a stylish Fablon-coated table. We were on the hard stuff: big chipped mugs of creosote-coloured tea. Dave suggested we watch the news to see if the festival got a mention. Second item: "The IRA announced today that in protest at the continued presence of British troops in Belfast they will shoot the first group to appear at the Isle of Wight Festival tomorrow."

"Who is the first group on stage tomorrow, Dave?"

"You are."

On the Friday we hung around waiting to go on. All nervous. This was a major gig for us. Eventually we found ourselves on stage in front of a quarter million people. Dan thumped a drum. Steve pumped a bass string tentatively. Ed retuned. I approached the microphone, my heart pounding. The familiar opening chords of `Eyewitness` -- I opened my bone dry mouth:"We know you have seen a lot of things..." Appropriate. The sound is surprisingly quiet. We had expected to be deafened by the walls of speakers. They`ve only turned the volume knob to 5. Bastards. And now `Aries` that nostalgic hymn of youth -- but the sound is evaporating in the open air, swept away gently on a balmy breeze. The sound is going to the hill! You can almost see it misting into the green-blue distance. And now an audible wave: applause. Warm, welcoming applause and encouraging calls. But wait... The IRA. If they shoot anyone it`s going to be the singer, center-stage, arms outstretched in his white Jesus-suit. A perfect target. For a frozen moment I thought about looking for the rifle, but brought myself back to the now instantly. Now was not the time to think about my death; I could do that at leisure later in a pool of blood behind the stage, my life melting into the trampled grass like crimson snow, my breath forming a last word, "Bastards..."

After an all-too-brief set we left the stage, relieved to still be alive. It had turned out to be an empty threat, made simply to garner publicity for their blinkered cause.

 4/ So you still play music nowadays and you made a lot of albums, do you have some new musical influences? Do you have a nostalgic feeling while thinking about the 60's / 70's era? And more precisely about the Kaleidoscope/Fairfield Parlour years?

**When the band broke up I moved away from London, escaping to the green hills of Wiltshire. After a hiatus of a couple of decades I found the old creative urges re-emerging, a need to write. I set out to write and record my own songs -- and to date have released fourteen solo albums and a DVD. I sell my albums through my websites: www.chelsearecords.co.uk and www.myspace.com/peterdaltrey

I have had good feedback from fans regarding my solo work. They tell me my voice has not changed and they like what I`m doing as it bears the traces of Kaleidoscope and Fairfield Parlour. This is inevitable. I can`t -- and would not want to -- escape my roots. Nostalgia gives one a nice warm melancholy feeling -- but it is essentially self-indulgent and vacuous. I prefer to live in the Now. I am more concerned with the next song I am going to write than songs I wrote over forty years ago. Which is not to denigrate in any way our back catalogue. I am proud of our work -- and deeply moved that younger generations are discovering our records and enjoying them. That makes me feel immortal. Something to which every creative person aspires.

My years in the band were framed in frustration. Frustration that what should have been success eluded us, through no fault of ours. Our record company were useless, unable to get the records into the shops when our fans wanted to buy them. And our lack of a manager when we were Kaleidoscope seriously handicapped us in our direct dealings with the record company. We made three hit records: `Jenny Artichoke`, `Bordeaux Rose` and `Let the world wash in`. But none achieved success; the first two -- huge turntable hits -- failed to chart because of record company ineptness; the third because the Foulks brothers reneged on our contract to promote the single at the festival.

So I have fond memories of those years in the band, but I don`t look back. There lies madness.

5/ Do you have some stories about Kaleidoscope gigs? Some facts that you remember well?!

**We did so many gigs that my recollections of individual appearances in pubs and clubs have all dissipated. Merged into one almost. See the next question for a few rusty details hewn from the mine of my flawed memory.

6/ What a spectator would have expected while going to a Kaleidoscope gig?

**We had several personas. If you had come to our first gigs you would probably find yourself in a smelly youth club or a dusty church hall. A few slightly embarrassed teenagers, allowed out by their over-bearing parents to their first `dance`, would be milling about, over-excited, nervously clutching glasses of lemonade. You would see a group of four equally awkward teenagers on stage: The Sidekicks. We would be playing early Stones and Beatles covers and blusey stuff by Mose Allison and Muddy Waters. The sound wouldn`t be very good because we only had a few cheap amps and speakers. The singer would be rooted to the spot, gripping the microphone stand, desperately trying to remember the words. After about an hour the band would run out of songs and would have to start repeating material you`d already heard. But not many in the `crowd` would notice as they would be more interested in the pubescent attraction game.

If you had come to see The Key, you would be in the dark back room of a pub -- the band set up on the floor in the corner -- or at a college. If it was the pub you would be surrounded by rockers, greasy guys more interested in finding a target for their angry fists than watching the band. There would be an over-whelming stench of beer and sweat and an air of anticipation -- not for the band, but for the bloody punch-up. If you were at the college gig you would be in a larger hall and the band would be on a proper stage. The crowd would be youthful, intense, clutching pints of cider and ale. There would be actual spotlights on the stage, perhaps some coloured lights flashing off and on. The band would still be playing easy-peasy blues stuff, but now they would have incorporated some self-penned songs. They would be wearing frilly shirts and Anello & Davide Beatle boots. A girl in a mini-skirt would be sitting on stage. In-between songs she would read a line or two of poetry. At the climax of the final song of the set -- a frantic long-forgotten live masterpiece called `Face` -- the singer would collapse on stage with blood pouring from his mouth. The rest of the band would finish the song and then carry the singer off stage. If you were at the Brunel University where this happened you would then see the crowd going wild and the gig organisers chasing us out of the building for upsetting public decency. They didn`t seem to appreciate our rather over-blown stage-craft and the blood capsules we`d bought from the local joke shop on the way to the gig.

At a Kaleidoscope gig you would be at a university or a club and you would be in the company of some colourfully-dressed folk. The band themselves would be nicely kitted out in all the latest gear. Their sound equipment would be of better quality and they would be loud. They would be playing all their own material now, with stand-out performances of `Dive into Yesterday` - `Snapdragon` - `(Love Song)For Annie` - `Music` etc. This last number would now be their finale: a raucous cacophony of sound that would usually have the audience calling for more. No blood this time, but real sweat.

A Fairfield Parlour gig would definitely be in a university -- and now the crowd would be more soberly dressed, in dark colours, floppy hats. The whole evening would have a more mature feel with the band featuring a greater proportion of acoustic numbers. Steve would play the flute on `Eyewitness.` I would play my clavichord on `Soldier of the flesh.`

Or you might catch one of our shows at Mothers club in Birmingham, situated above Burtons the tailors. The place would be heaving. We played there several times and always got a warm welcome. It was here that Dan suffered his massive medical trauma when he trapped a nerve in his spinal column after one particularly energetic performance. We thought he was dying there in front of our eyes. He spent weeks in hospital, survived, rejoined us on stage eventually, a real trooper -- but still bears the scars of that night.

7/ Contrary to the USA, English psychedelia seemed to face difficulties to established in the musical environment. What are for you, the main differences between the two countries?

**There are real differences between US and UK psychedelia. The US version was very heavily influenced by the burgeoning drug scene, particularly from San Francisco. The music, whilst retaining the essential elements -- the jangly guitars, the studied weirdness, the incomprehensible lyrics -- was generally heavier.

The UK version had a lighter more sensitive touch -- and some would say more intelligible lyrics. Our influences were fairy tales and the gentler side of life, which probably stretched way back to our childhoods. Drugs featured -- although not in our case -- but were referenced with a subtler touch. I prefer the UK version of the genre -- I guess I would say that. Psychedelia was very short-lived: a musical phenomenon that created its own time, part of a brief era that blossomed for no apparent reason, seeming to offer a colourful gentle signpost to the future, but in the end consumed itself in excess and died -- giving way to so-called progressive music. We moved with it and shrugged off our coat of many colours to become Fairfield Parlour.

8/ What do you think of downloading? " Tangerine Dream " has been reissued many times, did someone ask you to participate to these reissues? Did you have royalties?

**A very sore point. As four naive young men we were -- like so many before us, including the Beatles -- easily manipulated by a multi national record company. I doubt that we even read the contract that we signed. I am still bitter that Dick Leahy, our producer, did not advise us to get ourselves a manager. He would then have represented us and negotiated with the record company. A tough manager would have insisted on a better royalty rate, better distribution and promotion, better all-round support. As it was, we were walked over by a totally incompetent record company whose executives were still living with one foot in the Fifties; they knew nothing about psychedelia, their distribution department was seriously negligent -- and they had bigger fish to fry in the shape of Dave Dee Dozy Beaky Mick and Tich.

Although our Fairfield Parlour manager had his faults, he did at least secure us a much better deal with the record company`s new label, Vertigo, by negotiating a tape-lease contract: we went away and recorded the material and then leased it to Vertigo for five years. After this period all rights reverted to the band. We now enjoy a healthy income by leasing our Fairfield Parlour recordings -- and `White-Faced Lady` -- for reissuing by labels all around the world.

So -- to answer part of your question -- yes, we do get royalties from sales of Kaleidoscope records, but they add up to pocket money because of the criminally low royalty rate that still pertains forty-two years after signing the contract. Am I bitter? You bet.

I`m answering your three-part question backwards. Sorry. I worked with Universal on the compilation, `Dive into Yesterday.` But they even cut corners there. The booklet was supposed to be full colour which they changed at the last minute to monochrome on the inside pages to save a few pence. Pathetic company.

Downloading...? Don`t like it. We get paid tiny fractions of a penny for each download. Unless you are having hundreds of thousands of people downloading your stuff you`ll never make any money that way. I still prefer to sell my CDs from my websites. Fans know that if they choose to buy a CD from Chelsea Records the profit will go straight back into making more music -- not into the clammy claws of some tone-deaf record company executive or shareholder.

9/ What do you think of nowadays bands? Do you have some favourite ones?

**I don`t listen to music. I can`t afford to damage my hearing any more than it has already been damaged. Guys-in-bands reading this: Hey, protect yer ears. Wear musician`s ear-protection and save your hearing. Or you`ll end up like me. My most-used word in the English language is, "pardon...?"

10 / Have you already been mistaken for Roger Daltrey?

**Lots of people call me Roger by mistake. Funny story: My parents booked a restaurant. They had a nice meal. The waiter asked them if the restaurant staff could meet them. They thought this extremely odd, but agreed. Out came the waiters and the kitchen staff and stood around gawping at my puzzled folks. Then the chef asked if Roger might be paying their restaurant a visit. The penny dropped. But my parents didn`t let on. I think they were hoping for a free meal. Ha, ha!

Interview with Marcus McDonald from the legendary Psych/Space Rock album "From The House Of Trax"

Louis Hauguel: Thank you for accepting this interview, it's a great pleasure to have you here for Fuzzine! So to start, could you tell us about your musical journey, when did you start playing music?

Marcus McDonald: Let me start by saying I am very flattered to do this interview and thank you for your interest in my path on this old rock.

My parents gave me a set of drums when I was 13 and that lasted about 2 weeks and they took them away from me… I guess it was pretty annoying to listen to a kid banging on them all day and not really having a clue as to how to really play them. They had given a guitar to my older sister who never played it and it just sat in the closet so she gave it to me. So by that time I was around 14 and started playing music well I guess it was music but mostly I just banged around on it until it sounded good to me. I carried it around with me nearly everywhere I went.

2/ We will talk about "From The House of Trax" of course but before, could you tell us a bit more about your influences?

The first cover tune I learned to play was Led Zeppelin’s Stairway to Heaven; you know a little Led for the head. Second tune I learned was Deep Purple’s Smoke on the Water; after that I just started making my own music. That way nobody knew if I was doing it wrong. To answer your question better I must say that my influences were varied from bands like The Moody Blues, Pink Floyd, The Beatles, Stevie Ray Vaughan, The Rolling Stones and a host of others.

3/ "From the House of Trax" is a very unique record with lot of psychedelic effects and sounds like nothing else. How went the recording process of that album, what motivated you in exploring such atmospheres back in 1978?

I met Jim Fergusson who owned and operated The House of Trax Studio and when he heard me play he offered to record my music for free so I could not pass that up. It turned out that he was and is a Masterful Genius when it comes to audio engineering and my music would have never turned out like it is without him.

4/ Did you expect after all those years that your album would turn into a psych masterpiece highly sought after by collectors?

Funny thing about that… Jim Fergusson said that my music was 10 years ahead of its time and may take a while to catch on and sure enough I could not sell copies for place mats and some of my friends used them for Frisbee's just to see how far they could toss them. Almost ten years to the day a guy in New York called me up and said he found one in a used bookstore for 2 dollars and loved it and asked if I had any for sale. Well yes I said I have a few but actually I had a lot but anyway he offered me 300 dollars each for 10 of them and I was astounded and said sure I will sell them to you. The man drove from New York to New Albany Indiana and met with me and paid me 3000 dollars for 10 records. I have seen this sell for as much as $1.200 at an auction in Germany and I have sold some to places all over the world from California to Japan and many countries in between Like Greece, England, France, Germany, Australia and many others. The short answer to this question as to did I see this coming? No I did not but am very pleased that people from around the world still likes it.

5/ What are your thoughts on the music industry of nowadays?

Well to each his own I say… There is no music anymore that moves me like it did in the 70s and I guess that era has passed sad to say but thanks to the modern technology we are able to preserve that music to enjoy and reminisce with today. I am a bit surprised with country music today it seems it is not country at all anymore it is all starting to sound like rock music and I must say I like the change.

6/ Do you have any interests in the occult, unknown secrets and mysteries in this world?

The world is full of secrets and mysteries that level the playing field of life and death and the reins of power and control are often being slacked and taught. But I will not be divulging any antithoughtical information today. Don’t bother looking up antithoughtical because I just made that up.

7/ Do you have any plans concerning some new releases in the spirit of "From the House of Trax" ?

Yes I do and I have a few new pieces of music nobody has heard yet and working on a few more.

8/ Would you consider touring and playing "From the House of Trax" in its entirety along with other compositions?

I would absolutely love to do that if it came to pass as a possibility.

9/ I read that you were also releasing a movie, could you tell us more about that other project, how things are going?

Ah yes my new movie… Chain of Events {The Movie} Well it is not at all what you would probably expect from me but I made it to get my foot in the door. It’s a Romantic Comedy that took me 2 years to make and it is finished. I just submitted it to the Sundance Film Festival and hope something good comes from that. It was a lot of fun and I had the privilege to work with some very talented actors. Now that being said if we make any real money from this or not my next project will be the complete opposite of a romantic comedy and should be inspiring and downright frightening. I got to give a fair shake to the other side.

10/ I always submit that question, which is the desert island one haha... Tell me about one album, one book, one movie you would take there with you ? 

Pink Floyd; Dark Side of the Moon, My next Movie and The Bible.

11/ Would you like to share anything else with us, thoughts, whatever coming to your mind right now...?

I was kind of wondering why French Fries and French Toast have nothing to do with France and if we want peace in the middle east and the rest of the world why don’t we just have a one world order and have the whole world take a vote for just one good king.

Thanks for letting me voice my thoughts and memories into your world, Marcus


Louis Hauguel for Fuzzine (2014)

Interview with Elin Larsson (Singer of heavy psych/blues band Blues Pills)

Louis Hauguel : So very typical question to start: How Blues Pills was created? Was it difficult to gather everyone?

Elin Larsson: Blues Pills formed a while after I became friends with Zach and Cory back in early 2011. Me and Zach were sending songs we had been writing separately over the internet to each other, and the second time I flew to America we started collaborating and writing together. In the beginning we were only 3 (Me, Zach and Cory). We didn’t take it too seriously, more chilling at the farm outside of Ames, Iowa. Just writing music, jamming, having fun. not knowing what would ever happen for us, we where all kind of lost but just enjoying life for what it is, day dreaming. Our first ever demos of Blues Pills were only the three of us playing. Cory and Zach splitting the guitar parts and then Zach on bass and Cory on the drums and me (Elin) singing. Eventually really quickly offers and shows were coming in, and we got signed by crusher records of Sweden. We got really blown away by this and I remember that day, you see I never would have thought stuff like that would happen.

We got a tour offered in Spain and Portugal, but we were only 3 people at that time. Zach and Cory remembered they met and saw this french kid ( Dorian ) play guitar incredibly. They met him during a tour with their old band. We got in contact with Dorian, at that time he was only 16 years old. We asked if he wanted to play with us on our first tour and also record some solos on our EP that would be released. He said yes. After this tour in Spain, and after playing together we all decided that we would continue and be based in Sweden. It was kind of hard in the beginning with all the visas but finally it all sorted it self out.

2/ You have a very powerful bluesy voice that brings shivers to the spine - for how long have you been practising? What are you main influences and what do they mean to you?

Elin: Thanks dude. That’s nice of you to put it that way. I don’t really know. I’ve been practicing my instrument with teachers since age of 14 back and forth. When I was 16 I went to music high school in Sweden. But I been singing a long time. as long as I can remember. I think what most inspired me was the love and joy music gave me. When I was singing it made me feel so much, you know? Made me feel happy and whole in a way, all the different emotions you feel x 1000. It was so cool to me. I know this maybe sound super deep or something but that was the main reason for why I started to sing. I always listen to big and bluesy, soulful voices , everything from R’n’B artists to Jazz, Blues, Soul and Rock. I think it’s a mix from all of it that made me find my own sound. Aretha Franklin is one of the main inspirations for me, since I listened to her a lot as a younger kid. When I got older I started to listen to more heavy music/psychedelic/rock ect. But I still have my heart for the soul and the blues of course. Of course my influences means a lot to me, even though I never met any of them personally they where still the ones that helped me and teaching me, I was listening to their music and singing their songs and so on. Which I think is super cool they did that without their physical presence.

3/ I read somewhere that the name Blues Pills came from a music blog. What are your thoughts on nowaday's music industry where digital releases are always expanding, CDs kinda going down and Vinyls, on the contrary, rising up again? What format do you like the most?

Elin: I kind of have a mixed feeling against it. It’s good, you can spread your music everywhere and there is so much music today, and back before the internet existed INCREDIBLE bands where playing that no one probably knows about. Then of course there is bad stuff with downloading as well. I think that if you’re really into a band, you should buy their album. And also you go to their shows and so on, which supports the band. I like vinyls, the artwork is bigger and also I like flipping the record over and it just feels more alive then digital and CD format.

4/ How did you come up to the - let's say, globally speaking - Psychedelic scene?

Elin: I started to listen to psychedelic and 60’s and 70’s rock when I was a teenager, started out when some dudes from my class wanted me to jam War Pigs with them in the basement in my old school. And that opened slowly the door to this kind of music. I had lot’s of musician friends that shared music with me and I with them. I’m not really into this mainstream pop star Idol lifestyle that's going on all around. It kind of had a backward effect on me. Back in the 60’s and 70’s there was just so many great vocalists and musicians, and songwriters, and the raw talent would shine through, probably because nowadays it all gets watered down with digital recording where everything can be fixed and autotuned and so on.

5/ Do you have any memorable life, musical moments in your young career that you would like to share with our readers?

Elin: I can’t think of something special now. Maybe.. don’t build a human pyramid while your on a festival concert with your drunk friends, will end kind of badly.. haha

6/ Blues Pills new album is gonna be released in July, the 25th. What can we expect from it, what are the themes you decided to explore this time?

Elin: This is the true sound of Blues Pills. I can definitely say that we are the most proud of this recording. We have some old songs that are really re arranged. It’s going to be fun to see how fans react on that. For me they are way better. Feels like we made the songs more full songs, they are finished from the ideas of them that we released on the EP’s before. Now also since working with a producer and recording in a real studio, it’s really a noticeable difference from the past stuff we put out. Basically all stuff before I see as demos that we recorded our selves that happened to get released. This is going to be the real deal. It’s a lot of rhythm and way groovier then our other stuff. Im exited to release it and I am so proud of the album and all the people being involved and working with it.

7/ I saw that Blues Pills are playing a lot of festivals. Do you actually prefer outdoors or indoors venues? and why?

Elin: I appreciate both. Outdoor shows usually have a better sound than the indoors venues we’ve been playing so far. But then again, you get closer to the Audience indoor than outside. So I like it as much playing indoor as outdoor.

8/ Tell me, how music is important for you, what does it represent to you? Plenty of good bands comes from Sweden, would you consider it too as a big scene of creativity and in a way, a main influence?

Elin: That’s a darn good question sir, getting deep . Wow where do I start?! Music brings people together, it makes people excited, it can bring the saddest person into a state of bliss. Make you look forward to something, make the day dreamers dream even wilder and rocking the unsleeping to the heaviest sleep. It can help you through hard times and struggles you have to deal with in your life and connect to the darkest of your thoughts. It can also make the good stuff feel even better than it already felt . Music is the cherry on top of the cream and the cream is your life. Sometimes it’s a big mess and sometimes it’s too sweet, but sometimes it’s really perfect.

Sweden definitely has a very rich music scene. There is no doubt that it inspires creativity. Being around so many good musicians, seeing lots of good bands, it all contributes, and pushes you to be even better.

9/ Desert Island question is a kind of tradition. So, here we go! Give me one record, one movie, one book you would take with you there ?!

Elin:
 Album: Etta James - At Last
Movie: Hot Rod   
Book: Robinson Crusoe

10/ What are your ideals in life, things, themes you like to fight for?

Elin: I could probably write you a book based on this question, but I will keep it simple. I think happiness is the most important. But the hard part is how we get there.

11/ Last lines are entirely yours... Feel free to share with us anything that comes up to your mind right now!

Elin: Thanks Louis for taking interest in Blues Pills and doing this interview.
Hope to see you at one of our shows in the near future!
Best Regards From Sweden Elin Larsson, Blues Pills

Louis Hauguel for Fuzzine. (2014)


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Interview with Mike Garson (Legendary Pianist / David Bowie)

Mike Garson is a legendary pianist who's mostly known for his work with David Bowie but also Nine Inch Nails, Smashing Pumpkins, he accepted to talk a bit with me about his upcoming plans and his musical background. I don't think such talent needs a bigger introduction, so enjoy!

Louis Hauguel : First, Thank you for accepting this interview, it's a great pleasure. So 2013 is over, how was this year for you, in terms of music and personal achievements ?

Mike Garson : Excellent. Working on 2 new CDs : a solo Piano album of the music of Thelonius Monk plus an album of originals with a large ensemble. Jazz Performances in Budapest. Mentoring some up and coming young students.

2/ What are your upcoming plans for this brand new year ?

I'm just about to complete a SYMPHONIC HEALING SUITE to be premiered March 1 2014 at Segerstrom Hall in Costa Mesa, California. I have composed a 12 movement suite. (45 minutes in length) I worked in conjunction with a brain surgeon and we tested my music on his patients. I will have 42 hand picked classical and jazz musicians on stage plus a 50 piece children's choir. It's a mammoth project I've been working on for 2 years. More info can be found on music-heals.com, I will also broadcast it worldwide on the Internet in real time so for those who can't be at the live show they can still see it.

3/ So 2013 was also a very productive year with the surprising return of David Bowie and his new album " The Next Day ". What are your thoughts on his last effort ? Have you been in touch with him recently for any new projects ?

Great endeavor. Occasional emails.

4/ What is your favourite Bowie track you like to perform and reinterpret ?

Space Oddity

5/ What are your main musical influences and sources of inspiration when it comes to composing ?

Everyone from Bach, Beethoven, Chopin, Mozart, Liszt to Art Tatum, Bill Evans, Bud Powell

6/ Do you have any favourite places where you like to perform ?

Halls that have good sound. Approximately 600 - 2000 capacity.

Do you have in mind a specific country you could remember well, bringing you special feelings ?

Bosnia

7/ You collaborated with David Bowie and bands like N.I.N, Smashing Pumpkins as well as French artist Kuta. How did all those meetings come up ? What's guiding you or not into a certain artistical project ?

It feels like my destiny just unfolds spontaneously and all the above people just appeared effortlessly and I didn't know any of them because I was living in the classical and jazz worlds.

8/ I have a "Desert Island" question for you : Give me one album, one book and one movie you would take with you on a desert island !

I just need a PIANO

  

Thanks!


Louis Hauguel for Fuzzine (2014)

Interview with Damo Suzuki (CAN, Network)

There is no need to introduce him. I have the great pleasure to offer you this interview with the legendary Damo Suzuki, mostly known as the singer of the german band CAN ( Tago Mago, Future Days, Ege Bamyasi ). He shared with me his views, conceptions of music, life and dreams. It's also about the Network, travelling all around the world, meeting people, meeting musicians. It's about sharing, connecting emotions and feelings. It's the positive energy against the bad things. It's gathering people for the good. No more, no less. I hope you'll enjoy. 


Louis Hauguel: 1/ First, I would like to thank you for accepting this interview. Let's go straight into your world of music and landscapes of sounds : how's the Network was created ?

Damo Suzuki: Network exists since 1997 when I toured in Japan for the first time.

Since 2003, I perform like now, creating time and space of the moment with changing local sound carriers (musicians). Before this, I toured with my friends or musicians I know...

On March 19th 2003, I heard the news of US bombing Iraq, I was angry, confused, sad... because there are millions of people that went in the streets against US bombing for some weeks. As usual US ignored them. Now every healthy people knows that what they did was a wrong mission.

„Violence“ capture this world, I cannot stand this.
„Violence“ is everywhere, not only at battlefield, at home, at work, at school......
I just wanted to make something against „violence“.
Music is one of best weapon against this.
It creates free energy, organic music,......
So, I made up today’s Damo Suzuki’s Network.
I create music on spot with local sound carriers (mainly) I’d never met before.
Music is communication, so it works Step by Step to change this violence orientated world system.

2/ In December, 16th, 2013, a book and a strictly limited LP of Art and Music performance will be released, can you tell us more about it and what's making it special ? How did you meet the people that are performing with you on that record ?

In the year 2010, I travelled through Japan, it was my 60’s birth year, so I presented myself to research my native country for three months. Top North to Bottom South, all 47 prefectures.

In Osaka, at my performance, I met Simon and Bettina from Sweden/Norway. Simon was quite surprised that I spoke with him broken Swedish and he was the first Swedish that knew the tiny village called Gräsmark where I lived for a few months, even during my tour I met many Swedish people. And later they mailed me they would like to make their art project that zoom up Damo in Sweden at the end of the 60’s. Even last year I came back to Gräsmark, a tiny sleeping Swedish village and met some old friends.

This is a book and LP set, limited edition of 500 copies. Audio part is live documentation in Stockholm early this year with Simon, Bettina and other two Swedish sound carriers. Simon and Bettina were curators, so they found sound carriers.

3/ How would you describe your Art and your goals to someone who's discovering the Network, what kind of emotions is it transmitting ?

I would like people to get free from this system.
Freedom is a gift from God. God made us walk on own decision and opinion.
This system ties you and make a slave out of you. Take care, many informations you get in TV, newspapers are manupirated. They make mind control, be awake.
For example, western media inform you about all the bad things about Putin. It’s not true. He might be the only top politician doing something for the folks. I didn’t know about him, I knew him through a blind understanding from western media.

Well, what I wanted to say is everybody have to decide which way you go, not from mainstream media or trend. You have to find how your life's worth.
So, I make instant composing which is just out of this system, we don’t have any control (=we don’t rehearse) before/after the show we don’t talk about music generally. Even I, don’t think I’m making music. Much more creating Energy to Share.

4/ You're performing in many different places, different countries, do you have one in particular where you feel like home, that have that special atmosphere, where you feel safe and free too ?

All Network performance is AT HOME and I thank God for all these opportunities that I have. I feel very comfortable to perform with open-minded sound carriers, and audience support us and share energy.

5/ I read that you mostly like to perform on stage, is there a reason why ? What kind of sensations do you feel there ?

As music is communication, sound carriers on stage, visitors in audience begins from zero. I can feel people breathing, live pure. It’s a meeting place for free energy. It’s Gorgeous, I have such good times, together with these sound carrier, great audience, venues, sound man, local promoters.... All of them are supporting this project. Hope this moment we’re creating is home for everybody involved.

6/ What are your ideals, things, thoughts, causes you like to fight for ?

This world is ruled by a few super rich people who don’t share, who have no interests in other people, even them cannot carry all their materials with themself when they will leave this planet.
As human born naked and leave naked.
Everyday is fighting, within myself and around.

7/ The world is a big scary place sometimes, how do we do to escape from that, do you think your music can help to escape from everyday's life situations/problems ?

Be yourself, find your decision, say no to control, no to gen manipulation, no to nuke plant... No to all things that destroys our nature. This beautiful planet is prepared for us, human being.
Natures’ had been there long time before our arrival.
Yes, positive music (that is not in this system) is a weapon against this completely wrong system.
Instant composing is free from this system, you cannot make that much money but it is worth to work on it.

8/ Do you have some favourite records you like to listen to if you have time ? Are you having some particular influences ?

My favourite music is changing as I’m not friend to eat so much music (information). To live healthy is to eat different things, not always the same. I’m just happy being Damo Suzuki.

9/ What season do you enjoy the most, do you feel concern about climatic change ?

Every season has her own dress.
Climatic change is not coming from global warming, there are many substances, Chemtrail, A-bomb test in atmosphere, etc... if I say here this, many people stamps on me that I’m brain-washed and I’m such a naive person.

People are generally believing in mainstream media. It’s very comfortable to live in the system. There are many questions you can set up. Good thing is that you can research anytime if you’re interested through surfing Internet.

10/ So those lines are yours ... Do you have any last comments, things to suggest, to tell to our readers ?

 Find yourself, be yourself, then share your good vibes to the one next to you.
And most important stay at side of God.

Thanks, Damo !


Louis Hauguel for Fuzzine. (2013)