I found on the internet that your musical career has begun in the band called Innoculant. After the first year of existence, band`s name was changed to Crematorium and the first and the only demo «Baptism of the Oppressed» was released. This record is versatile: there are typical for death metal faster moments and, otherwise, there are heavy slow episodes, with sound pressure that reminds bands like Disembowelment and Winter. You had changed the name for the third time to Embodied and than disbanded. Can you tell us about these bands - how you became a member, in which direction they developed and why they broken up?
Hello Eugene, & thanks for having me for the interview. Yes, you read correctly. Innoculant was indeed the first band I was in, & that was in 1992. Really, we were only called Innoculant for a short time, before I pushed for the name change to Crematorium..
The way it happened was - Guitarist Tom Tangalos was a friend for a few years, & he asked me if I wanted to join a new band he was starting called Innoculant. I joined, & after a few months of jamming we became Crematorium.. Yes, we did make the one demo called "Baptism of the Oppressed". Stylewise it touched on Death/Thrash/& Doom metal. We were, & still are interested in those styles along with many, many more.
I think it turned out pretty good for our first attempt at a legitimate recording, & we have seemed to spread it a little bit throughout the world, and it has gotten a decent response over the years.
The reason for the name change to Embodied from Crematorium, was because there were a couple of key lineup changes.. Chris Mull(guitar) & Mike Mazylewski(bass) were replaced with Tom Leski(guitar), & Russ Powell(bass).
At this point in time, we were all pretty young, I was about 20 years old and we just kinda were trying to get going with our musical careers, and basically everybody had different visions of what they wanted, & how to achieve it. So we parted ways.
I also found that there was Embodied 8-track demo. Why this record still isn`t released somehow?
This question pertains to the last one.
So, we recorded the eight track demo with Embodied, yes, this is true. We recorded it in a couple of sessions, and it sounds ok, but was in very primitive stages of production. It needed some more work for sure. I do have the master tapes still, and maybe will release parts of it at some point. You can actually hear early versions of what were to become a couple of Gorgasm songs, & part of the reason why it never has seen the light of day..
About that point in time the band was having some internal issues, about work ethic, stylistic direction, & several other things, and basically we just broke up. It was time to move on. Tom Tangalos, Tom Leski, and Russ Powell went on to form Gorgasm.
In 1997 you founded Jugular Appetizer with Michael Martocci (one of the Embodied members) and couple years later this project released self-titled demo. How can you describe «Jugular Appetite» sound?
Yes, a couple of years after Embodied disolved, Michael & I formed Jugular Appetizer. It was raw Death Metal/Grindcore. Very intense & in your face.
After you changed the Jugular Appetizer name to Morgue Supplier there were a lot of people who went through the band. What is the cause of these changes inside the band?
Many many reasons. Everything from drug abuse, mental breakdowns, to fighting, to egos, to not being able to keep up with the music, etc... Endless reasons really.
Until 2009 you were local band with self-released music and self-promotion. Were you uncomfortable in this position? Was there a big difference, after you released ЕР «Constant Negative» on Necrotic Records?
There wasn't much of a difference because of the label. They didn't do much. Basically we started to get better shows, because "Constant Negative" started getting some attention, & we put on a pretty intense live show that started to gain us some attention as well.
Your song «Bringer of the End» is theme for Executioner cartoon and was released as iTunes single. This collaboration - was it idea of the cartoon creators?
Yes, one of the writers of the cartoon & also a friend of mine; Greg Grabianski asked us to make the theme song, so we obliged.
Your new album, «Morgue Supplier», was released by Obscure Musick. Are you happy with label`s work so far? Did you get some new opportunities?
They are a small label, so there's not a whole lot they are capable of it seems, but they have helped with a few things. We will be looking elsewhere next time around.
You shot two promotional videos for the songs from the last album. There are social and religious themes and the art of photography - is it your visualization of grindcore? Was it interesting to you - to work on these videos?
I did part of the video for "Cultic Rape", & the entire video for "End of Self". It's not a visualization of grindcore, but more a visual representation of the theme of each song. I enjoy creating the videos very much, yes. I have just finished up the third video from the album. This one is for "Mental Slum", & was just released the other day.
About the same time with Jugular Appetizer, you began another project with Adam Smith (also known as B.H. Honkey) - Chronic Illogic. Is there a demo from this period? What was your contribution to the project and what was Adam`s?
Yes, that was the first collaboration between Adam & I. Yes, there is a demo entitled "Weed Kings". It's a 21 song demo actually. Very, very raw production. Was never officially released, but there are some copies floating around out there. If you search Chronic Illogic on youtube a song or two should appear.
I handled vocals/fx, & Adam handled drums.
Why did you change the band`s name to Drug Honkey in 1999? Was it just a better name or/also a conceptually significant event for the project?
We changed the name because we lost a couple members, & wanted a fresh start. & yes, we wanted to go in a different direction.
Drug Honkey`s debut album sounds like experimental electronic sketches and reminds me Kevin Martin and Justin Broadrick collaboration works. What do you think about this record now? Was it important as a step on a way of developing band`s sound?
Yes, it is quite different than the rest of the DH catalog, but it was the foundation we built upon, & there are definitely still elements from then that remain today.
I think the record is lacking in several areas, but there is also a lot of charm in it as well. Some strong points, for sure. & yes, it was extremely important as a stepping stone.
Sara Smith participated in recording. What was her part and why did she left the project after?
Sara did some vocals on the album. Sara is Adam's sister, and at the time she was my fiance. There were many internal struggles within the band because of these dynamics, & it just wasn't feasible for her to remain in the project any longer than she did. This was a time of much turmoil.
Were there any live performances at that period time?
If yes - Do you remember any details of those gigs - clubs, other bands, audience?
There were no live performances with DH until 2003.
On the next album, «Hail Satan», the direction of the band`s motion is different. Was it caused by contribution of the new members - guitarist Gabe Grosse (Hobbs) and bass player Jason Sneed (Black Honkey), - or something else?
Bringing in new members definitely had an impact on the direction of the music to some degree since we now had an actual band, but the vision stylistically was mine and Adam's. We knew where we wanted to start heading musically and conceptually, and this was the beginning of a new chapter.
First two albums were released without help from labels. Was it your decision, to be independent, or there ware no labels interested in the material?
We just recorded them & released them on our own, without any real thought into record labels at that point. We didn't care about that @ that point in time, for whatever reason. To be honest I don't think we even tried to find a label until "Death Dub".
In 2007 new bass player joined Drug Honkey. Why did you part ways with Jason Sneed?
Actually it was 2005, right after the release of "Hail Satan" that we parted ways with Jason. It was just time for a change. I'll leave it at that.
Same year the band did «Quatro de Mayo» live recording. Why it was never released?
We spread some homemade copies around a little bit, but I wasn't happy with the sound on some of the songs, so we just took "China Black"; which we were happy with, & used it on the next album "Death Dub".
Your next LP, «Death Dub», feels like the next step comparing to "Hail Satan". Was there a new approach to the writing and recording?
It just was the next logical progression. We were getting heavier as a band, and it came through as we made the album. It is our filthiest/most industrial record.
There is a song from unreleased live EP in "Death Dub" track list and not as a bonus. Don`t you think that there is too much difference between it and studio stuff, at least on a production level?
Yes, that is "China Black" that I mentioned a couple questions ago. There is a difference, but we didn't care. It just felt like the right thing to do at the time, so we did it. It is one of our most well-received songs.
"Death Dub" was self-released originally, but shortly after that you got help from Diabolical Conquest. How did it happen and was this help notable?
Kunal Choksi from Diabolical Conquest Records showed interest in the album. They helped to spread it around and anything helps when it comes to promotion/extra distribution.
Drug Honkey became well known (in some circles) by now, many years after you started this project. Now, in your forties, do you still have this power to move forward?
It is definitely tougher as we get older, & have other responsibilities to attend to, but we are still going, and very close to releasing our next full-length. We'll keep going until we die, or can't perform anymore I assume..
On the «Ghost in the Fire» and for the first time in Drug Honkey`s history there is a song («Weight of the World») with contribution from non-band musician - Nachtmystium`s Blake Judd. Was it his initiative? Was there a creative freedom for him or he did exactly what you wanted for the record?
Yes, Blake showed much interest in the band, so we had him contribute some vocals & guitar to the track you mentioned. I gave him the direction to go in with the song, & let him take it from there.
Can you agree that «Ghosts in the Fire» is the band`s best album?
I'd say it is our best album that we have released thus far, yes. But, the new one is even better, no doubt.
Are you noticing something that you can call imperfections when you listening to your older music?
There are always things that I notice, yeah. I don't let it bother me, though.. Those imperfections give character. Well sometimes, haha.
Is there a much difference between your rehearsals and performances? Do you improvise during your gigs?
No, there is not much difference. We do a lot of improvisation. Sometimes we do completely improvised sets.
There is christianity criticism in the song lyrics. I believe that in the USA this theme is not that actual as in Russia. We have "orthodox activits" who fight against metal music by prohibiting perormances because of the lyrics that "insults their religious feelings". What pushes you to write on a religious themes?
I believe religion is one of the most devastating plagues the earth has ever seen. It destroys minds and lives. REJECT RELIGION
Drug Honkey covered one of the most famous Scorn songs - «Twitcher». Did you use live instruments on this track? Why did you chose Scorn in its electronic form, not something from their earlier stuff or Godflesh, - something that can be easilly transormed into your sound?
Yes, we used live instruments. It was important to us that we did it that way. We worked out all the sounds with our instruments.. It was a bit challenging, but quite enjoyable. I chose that song because I love it, and was up for the challenge.
Now you are working on the new album - «Cloak of Skies». Are you going to continue in the direction of last three albums?
"Cloak of Skies" is the culmination of everything we've ever done, I believe. It is our most diverse work. I'm very excited to unleash it. It touches on all our styles & has some new elements as well.
There is announcement of the Justin Broadrick remix on the «Cloak of Skies». Was it his idea?
Yes, this is a brutal track. I contacted Justin to see if he was interested. He was, & we went from there. It is a remix of the track opener "Pool of Failure". The remix will close the album.
Can you imagine Drug Honkey on a big metal label in the future? Is it possible for you - to play by the big company`s rules?
I'm up for anything, really... The rules would have to bend both ways I assume. Although, there's not much room for someone telling us what to do. That never works so well, haha.
With Adam Smith you also have electronic project KLLU. There is not much info about it. Can you describe its concept?
KLLU is something we have always had in our minds while creating within our various other projects. We are both very into electronic music, & this is our main outlet for that. We have similarities with Scorn, Techno Animal, & projects of that nature.
According to your Facebook page there is «Cesspool» EP released on Everflow Records, but all that i found is couple tracks on YouTube and Reverbnation. Why didn`t you upload it on a project`s bandcamp page?
Yes "Cesspool" was our first release. I plan on putting the whole EP up eventually, just haven't gotten around to it, I guess.
Your "UpsideDownCrossRoads" record featuring Eraldo Bernocchi & Mark Piotrowski was released in 2012, but as far as i know Bernocchi`s part was recorded in 2010. Why the release was delayed and why this album exists only in digital format?
It was delayed because we all have day jobs, families, several other projects, & just life in general..
We were going to release it on vinyl format as well, but it just never happened. I would like to see it happen, though. It is one of my favorite releases that I have been a part of.
"UpsideDownCrossRoads" reminds me dub records from the 90-s. Was it your goal, to create this kind of sound, or it was influenced by guest-musicians?
It's just what we came up with. Again, Adam & I are both big electronic music fans, so it is just another natural release for us.
Is there any future plans for this project?
Yes, we are in the early stages of writing towards our third release.
You worked with Eraldo Bernocchi and Justin Broadrick, two big figures of the industrial and metal scenes of 80-s and 90-s. What this experience means for you? Any plans/wishes of another collaborations?
It was great to work with both of them, as I am a fan of their work. I was asked by Eraldo Bernocchi to do guest vocals on a few tracks for his upcoming project called 'Mangiati Vivi'. This release should see the light of day sometime this year hopefully.
I read about your another projects - LadyBug DeathCamp and Asscavern, but i didn`t find the music. Maybe even this is not a full list...
Ladybug Deathcamp was a project I was working on with the bassist David Holland of Cardiac Arrest. We had a couple of songs in the works, but the project fizzled out.
The concept of Asscavern has been in existence since 1993. This project also started with Michael Martocci(ex-Crematorium/ex-Morgue Supplier)Our first release came out in 1998. I did the following releases myself with guest musicians. If you search Asscavern on Youtube some tracks will emerge. Asscavern is the dirtiest/rawest of all my projects.
You are the part of an underground music scene for more than 20 years. Сan you describe what has changed for you through these years?
Yes, so much has changed & at the same time; stayed the same, if that makes any sense..
On one hand, you have all this technology, & ways to create, & spread music, but on the other hand it's still just a bunch of hungry musicians & fans looking to make/absorb the next musical adventure. Lots of fun, lots of mayhem, lots of trials & tribulations, lots of shitty music, lots of great music...
I wouldn't have it any other way...
02.07.2016
Hello Eugene, & thanks for having me for the interview. Yes, you read correctly. Innoculant was indeed the first band I was in, & that was in 1992. Really, we were only called Innoculant for a short time, before I pushed for the name change to Crematorium..
The way it happened was - Guitarist Tom Tangalos was a friend for a few years, & he asked me if I wanted to join a new band he was starting called Innoculant. I joined, & after a few months of jamming we became Crematorium.. Yes, we did make the one demo called "Baptism of the Oppressed". Stylewise it touched on Death/Thrash/& Doom metal. We were, & still are interested in those styles along with many, many more.
I think it turned out pretty good for our first attempt at a legitimate recording, & we have seemed to spread it a little bit throughout the world, and it has gotten a decent response over the years.
The reason for the name change to Embodied from Crematorium, was because there were a couple of key lineup changes.. Chris Mull(guitar) & Mike Mazylewski(bass) were replaced with Tom Leski(guitar), & Russ Powell(bass).
At this point in time, we were all pretty young, I was about 20 years old and we just kinda were trying to get going with our musical careers, and basically everybody had different visions of what they wanted, & how to achieve it. So we parted ways.
I also found that there was Embodied 8-track demo. Why this record still isn`t released somehow?
This question pertains to the last one.
So, we recorded the eight track demo with Embodied, yes, this is true. We recorded it in a couple of sessions, and it sounds ok, but was in very primitive stages of production. It needed some more work for sure. I do have the master tapes still, and maybe will release parts of it at some point. You can actually hear early versions of what were to become a couple of Gorgasm songs, & part of the reason why it never has seen the light of day..
About that point in time the band was having some internal issues, about work ethic, stylistic direction, & several other things, and basically we just broke up. It was time to move on. Tom Tangalos, Tom Leski, and Russ Powell went on to form Gorgasm.
In 1997 you founded Jugular Appetizer with Michael Martocci (one of the Embodied members) and couple years later this project released self-titled demo. How can you describe «Jugular Appetite» sound?
Yes, a couple of years after Embodied disolved, Michael & I formed Jugular Appetizer. It was raw Death Metal/Grindcore. Very intense & in your face.
After you changed the Jugular Appetizer name to Morgue Supplier there were a lot of people who went through the band. What is the cause of these changes inside the band?
Many many reasons. Everything from drug abuse, mental breakdowns, to fighting, to egos, to not being able to keep up with the music, etc... Endless reasons really.
Until 2009 you were local band with self-released music and self-promotion. Were you uncomfortable in this position? Was there a big difference, after you released ЕР «Constant Negative» on Necrotic Records?
There wasn't much of a difference because of the label. They didn't do much. Basically we started to get better shows, because "Constant Negative" started getting some attention, & we put on a pretty intense live show that started to gain us some attention as well.
Your song «Bringer of the End» is theme for Executioner cartoon and was released as iTunes single. This collaboration - was it idea of the cartoon creators?
Yes, one of the writers of the cartoon & also a friend of mine; Greg Grabianski asked us to make the theme song, so we obliged.
Your new album, «Morgue Supplier», was released by Obscure Musick. Are you happy with label`s work so far? Did you get some new opportunities?
They are a small label, so there's not a whole lot they are capable of it seems, but they have helped with a few things. We will be looking elsewhere next time around.
You shot two promotional videos for the songs from the last album. There are social and religious themes and the art of photography - is it your visualization of grindcore? Was it interesting to you - to work on these videos?
I did part of the video for "Cultic Rape", & the entire video for "End of Self". It's not a visualization of grindcore, but more a visual representation of the theme of each song. I enjoy creating the videos very much, yes. I have just finished up the third video from the album. This one is for "Mental Slum", & was just released the other day.
About the same time with Jugular Appetizer, you began another project with Adam Smith (also known as B.H. Honkey) - Chronic Illogic. Is there a demo from this period? What was your contribution to the project and what was Adam`s?
Yes, that was the first collaboration between Adam & I. Yes, there is a demo entitled "Weed Kings". It's a 21 song demo actually. Very, very raw production. Was never officially released, but there are some copies floating around out there. If you search Chronic Illogic on youtube a song or two should appear.
I handled vocals/fx, & Adam handled drums.
Why did you change the band`s name to Drug Honkey in 1999? Was it just a better name or/also a conceptually significant event for the project?
We changed the name because we lost a couple members, & wanted a fresh start. & yes, we wanted to go in a different direction.
Drug Honkey`s debut album sounds like experimental electronic sketches and reminds me Kevin Martin and Justin Broadrick collaboration works. What do you think about this record now? Was it important as a step on a way of developing band`s sound?
Yes, it is quite different than the rest of the DH catalog, but it was the foundation we built upon, & there are definitely still elements from then that remain today.
I think the record is lacking in several areas, but there is also a lot of charm in it as well. Some strong points, for sure. & yes, it was extremely important as a stepping stone.
Sara Smith participated in recording. What was her part and why did she left the project after?
Sara did some vocals on the album. Sara is Adam's sister, and at the time she was my fiance. There were many internal struggles within the band because of these dynamics, & it just wasn't feasible for her to remain in the project any longer than she did. This was a time of much turmoil.
Were there any live performances at that period time?
If yes - Do you remember any details of those gigs - clubs, other bands, audience?
There were no live performances with DH until 2003.
On the next album, «Hail Satan», the direction of the band`s motion is different. Was it caused by contribution of the new members - guitarist Gabe Grosse (Hobbs) and bass player Jason Sneed (Black Honkey), - or something else?
Bringing in new members definitely had an impact on the direction of the music to some degree since we now had an actual band, but the vision stylistically was mine and Adam's. We knew where we wanted to start heading musically and conceptually, and this was the beginning of a new chapter.
First two albums were released without help from labels. Was it your decision, to be independent, or there ware no labels interested in the material?
We just recorded them & released them on our own, without any real thought into record labels at that point. We didn't care about that @ that point in time, for whatever reason. To be honest I don't think we even tried to find a label until "Death Dub".
In 2007 new bass player joined Drug Honkey. Why did you part ways with Jason Sneed?
Actually it was 2005, right after the release of "Hail Satan" that we parted ways with Jason. It was just time for a change. I'll leave it at that.
Same year the band did «Quatro de Mayo» live recording. Why it was never released?
We spread some homemade copies around a little bit, but I wasn't happy with the sound on some of the songs, so we just took "China Black"; which we were happy with, & used it on the next album "Death Dub".
Your next LP, «Death Dub», feels like the next step comparing to "Hail Satan". Was there a new approach to the writing and recording?
It just was the next logical progression. We were getting heavier as a band, and it came through as we made the album. It is our filthiest/most industrial record.
There is a song from unreleased live EP in "Death Dub" track list and not as a bonus. Don`t you think that there is too much difference between it and studio stuff, at least on a production level?
Yes, that is "China Black" that I mentioned a couple questions ago. There is a difference, but we didn't care. It just felt like the right thing to do at the time, so we did it. It is one of our most well-received songs.
"Death Dub" was self-released originally, but shortly after that you got help from Diabolical Conquest. How did it happen and was this help notable?
Kunal Choksi from Diabolical Conquest Records showed interest in the album. They helped to spread it around and anything helps when it comes to promotion/extra distribution.
Drug Honkey became well known (in some circles) by now, many years after you started this project. Now, in your forties, do you still have this power to move forward?
It is definitely tougher as we get older, & have other responsibilities to attend to, but we are still going, and very close to releasing our next full-length. We'll keep going until we die, or can't perform anymore I assume..
On the «Ghost in the Fire» and for the first time in Drug Honkey`s history there is a song («Weight of the World») with contribution from non-band musician - Nachtmystium`s Blake Judd. Was it his initiative? Was there a creative freedom for him or he did exactly what you wanted for the record?
Yes, Blake showed much interest in the band, so we had him contribute some vocals & guitar to the track you mentioned. I gave him the direction to go in with the song, & let him take it from there.
Can you agree that «Ghosts in the Fire» is the band`s best album?
I'd say it is our best album that we have released thus far, yes. But, the new one is even better, no doubt.
Are you noticing something that you can call imperfections when you listening to your older music?
There are always things that I notice, yeah. I don't let it bother me, though.. Those imperfections give character. Well sometimes, haha.
Is there a much difference between your rehearsals and performances? Do you improvise during your gigs?
No, there is not much difference. We do a lot of improvisation. Sometimes we do completely improvised sets.
There is christianity criticism in the song lyrics. I believe that in the USA this theme is not that actual as in Russia. We have "orthodox activits" who fight against metal music by prohibiting perormances because of the lyrics that "insults their religious feelings". What pushes you to write on a religious themes?
I believe religion is one of the most devastating plagues the earth has ever seen. It destroys minds and lives. REJECT RELIGION
Drug Honkey covered one of the most famous Scorn songs - «Twitcher». Did you use live instruments on this track? Why did you chose Scorn in its electronic form, not something from their earlier stuff or Godflesh, - something that can be easilly transormed into your sound?
Yes, we used live instruments. It was important to us that we did it that way. We worked out all the sounds with our instruments.. It was a bit challenging, but quite enjoyable. I chose that song because I love it, and was up for the challenge.
Now you are working on the new album - «Cloak of Skies». Are you going to continue in the direction of last three albums?
"Cloak of Skies" is the culmination of everything we've ever done, I believe. It is our most diverse work. I'm very excited to unleash it. It touches on all our styles & has some new elements as well.
There is announcement of the Justin Broadrick remix on the «Cloak of Skies». Was it his idea?
Yes, this is a brutal track. I contacted Justin to see if he was interested. He was, & we went from there. It is a remix of the track opener "Pool of Failure". The remix will close the album.
Can you imagine Drug Honkey on a big metal label in the future? Is it possible for you - to play by the big company`s rules?
I'm up for anything, really... The rules would have to bend both ways I assume. Although, there's not much room for someone telling us what to do. That never works so well, haha.
With Adam Smith you also have electronic project KLLU. There is not much info about it. Can you describe its concept?
KLLU is something we have always had in our minds while creating within our various other projects. We are both very into electronic music, & this is our main outlet for that. We have similarities with Scorn, Techno Animal, & projects of that nature.
According to your Facebook page there is «Cesspool» EP released on Everflow Records, but all that i found is couple tracks on YouTube and Reverbnation. Why didn`t you upload it on a project`s bandcamp page?
Yes "Cesspool" was our first release. I plan on putting the whole EP up eventually, just haven't gotten around to it, I guess.
Your "UpsideDownCrossRoads" record featuring Eraldo Bernocchi & Mark Piotrowski was released in 2012, but as far as i know Bernocchi`s part was recorded in 2010. Why the release was delayed and why this album exists only in digital format?
It was delayed because we all have day jobs, families, several other projects, & just life in general..
We were going to release it on vinyl format as well, but it just never happened. I would like to see it happen, though. It is one of my favorite releases that I have been a part of.
"UpsideDownCrossRoads" reminds me dub records from the 90-s. Was it your goal, to create this kind of sound, or it was influenced by guest-musicians?
It's just what we came up with. Again, Adam & I are both big electronic music fans, so it is just another natural release for us.
Is there any future plans for this project?
Yes, we are in the early stages of writing towards our third release.
You worked with Eraldo Bernocchi and Justin Broadrick, two big figures of the industrial and metal scenes of 80-s and 90-s. What this experience means for you? Any plans/wishes of another collaborations?
It was great to work with both of them, as I am a fan of their work. I was asked by Eraldo Bernocchi to do guest vocals on a few tracks for his upcoming project called 'Mangiati Vivi'. This release should see the light of day sometime this year hopefully.
I read about your another projects - LadyBug DeathCamp and Asscavern, but i didn`t find the music. Maybe even this is not a full list...
Ladybug Deathcamp was a project I was working on with the bassist David Holland of Cardiac Arrest. We had a couple of songs in the works, but the project fizzled out.
The concept of Asscavern has been in existence since 1993. This project also started with Michael Martocci(ex-Crematorium/ex-Morgue Supplier)Our first release came out in 1998. I did the following releases myself with guest musicians. If you search Asscavern on Youtube some tracks will emerge. Asscavern is the dirtiest/rawest of all my projects.
You are the part of an underground music scene for more than 20 years. Сan you describe what has changed for you through these years?
Yes, so much has changed & at the same time; stayed the same, if that makes any sense..
On one hand, you have all this technology, & ways to create, & spread music, but on the other hand it's still just a bunch of hungry musicians & fans looking to make/absorb the next musical adventure. Lots of fun, lots of mayhem, lots of trials & tribulations, lots of shitty music, lots of great music...
I wouldn't have it any other way...
02.07.2016
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