Interview by Danny Trudell
When I was about sixteen years old, I saw David Lynch’s Wild at Heart and my mind was blown. From a young age, I was seeking stranger, grosser, darker and more obscure films, but Wild at Heart was the first one that really satisfied me completely and I needed more! I instantly delved into the back catalog, watching Eraserhead, Blue Velvet, Dune and The Elephant Man, each one it’s own equally strange, violent, beautiful and visually arresting experience. Each one was everything I wanted in a movie, and was not even aware was there for me to want. David Lynch expanded what my expectations of a filmmaker were, as well as what I could and should expect from the movie going experience. Later in life, I read Lynch on Lynch by Chris Rodley, and found David Lynch as a person every bit as interesting and inspiring as I found David Lynch the artist / director. Thankfully, filmmaker Jason S and producer Jon Nguyen found David as inspiring and interesting as I did, and started a documentary series dedicated to exploring his life and art. Here is a short interview with Jon about what we can expect from their third highly anticipated installment to the series.
Next week, on Thursday, April 12th, CVLT Nation will be hosting our very first show in honor of our 1st Anniversary! This epic event will be taking place at BIP in L.A., and will feature sets from Age of Collapse, Low Places, Creatures, NASA Space Universe, Doctorshopper, Wreck & Reference and Skinfather. Doors are at 7pm and space is severely limited, so get there early and show DIY respect for BIP!! Big ups to Vince from Low Places for co-curating the event! To kick off the next week of celebration leading up to the show, we are giving you Artist to Artist Interviews with Doctorshopper and Wreck & Reference. First up, Doctorshopper Vs. Wreck & Reference after the jump…
Next up, Wreck & Reference Vs. Doctorshopper…full interview after the jump…
You posted your album, Degenerate Utopia online for free. What are your thoughts on music, money, and piracy, especially for small bands in niche genres?
Speaking for the collective we feel that music is sacred and certain structures can indirectly cheapen it. Lots of creative people have to make comprises they wish they didn’t have to to make a product financially viable or work within the constraints of another entity’s wishes. Being able to record ourselves and align everything in a structure where everyone is involved working towards a whole allows us to not have to make too many comprises. One of them being that we place every new release free for download when our physical copies arrive. It’s going to leak anyway, might as well do it ourselves at a high quality rip with lyrics and release info. I’d rather people hear it, as a newer band you really have nothing to lose anyway. Money wise doing smaller runs for each release ensures we don’t dig ourselves into deep wholes. Tapes allows you to get a release out very quick if you have the means to dub it outside a plant. Just order the length you need and you can get a release out in days or weeks depending on time and extra hands. Make the art yourself, assemble it yourself, and you’ll eventually make enough to break even or stay ahead of the debt at least. Small bands have nothing to lose doing this, and learning all the aspects of a release will enable you to enrich the conversation if you end up working with others on future releases. We’re still learning and evolving as well with every release through Cult of Melancholia. When it comes to working with other labels, we work with people who go about things in a way we respect and that lends itself to few headaches.
Noothgrush is a Crushing Machine. They are one of the most killer bands around and they’ve been playing some of the most pissed off sounds imaginable over the course of the past few decades. It’s an extreme honor to be able to interview such an incredibly Heavy band. Here’s how it all unfolded.
This is probably the most asked question…What is a Noothgrush? There’s a lot of rumors floating around, but I figured i’d go right for the source and just ask you folks.
A Noothgrush is this little prismatic stoner imp who takes over your toothbrush. That’s according to Dr. Seuss. I’ve never actually seen one, and Seuss is too deceased to elaborate on his encounter.
For fans of dark punk music, The Mob need no introduction. During their initial run from 1977 to 1984 they released a string of influential EPs, worked with Crass, and left a legacy of heartfelt, if apocalyptic, punk rock, most notably in the 1983 LP Let the Tribe Increase. The Mob used the medium of punk to paint an amazingly morose, yet darkly beautiful, picture of a world living in the shadow of nuclear Armageddon — a mournful lament for the tragedy of mankind’s impending collective self-immolation. The Mob provided a soundtrack for lost souls wandering the gloomy landscape of humanity’s new dark age.
The band have been called peace punk, postpunk, anarchopunk, and deathrock — but whatever you choose to call them, their influence and profile has grown over the years. The band have recently reunited and will be playing a string of US dates this year, starting May 31 at Chaos in Tejas in Austin, TX.
I recently conducted this interview with Mark Wilson, aka Mark Mob, the main vocalist, songwriter, and guitarist of the three-piece band. I wanted to ask him about The Mob’s past and why the band chose to get back together. The band has been an inspiration to me, and I originally did this interview for NO DOVES FLY HERE, the free twice-per-month deathrock and dark postpunk event night we hold in Austin that is named after The Mob song and EP. A special thank you to Mark for his time. I’m proud to present this to CVLT Nation. And now — LET THE TRIBE INCREASE!
By Jahmekya Birhan
“Justice must be served, place them behind bars” they scream, that is the solution! How will metal bars in large concrete buildings solve our problems, beyond those of the money hungry people, hoping to benefit from the screaming crowds? The prison industrial complex that has found its home in the United States is eating away at the minds of many, as they continue to believe that by placing “criminals” behind bars, the world will become a safe place. Incarceration acts as a means through which we as a society can easily disregard the issues of increasing poverty, a failing educational system, persistent racism, exploitation of the have-nots and the vicious cycle that continues to exist in this country and abroad. Dealing with these issues isn’t easy, and we as a society don’t like to have face the ugly reality that the world isn’t perfect. At her talk last week at Columbia University called “Removing the Bars,” Angela Davis spoke about the Prison Industrial Complex, and how it is modern day slavery, and how it’s existence effects everyone. Instead of seeing incarceration as the solution for all things, Davis urges the masses to begin thinking about alternatives, ultimately getting to the root of the issues that lead people to a life behind bars. A dialogue must be created – rather then being a part of the screaming masses, we should take the time to talk to one another and find alternatives to prisons which serve to benefit a capitalist and classist system. Despite the pain that thinking about these issues may inflict on us, we need to think and teach each other about them, and together work to break down the Prison Industrial Complex. After the jump, watch a speech she gave at UCSC, and a Democracy Now broadcast featuring Angela Davis discussing prisons in the U.S.
CVLT: Tell us about the history of Cancer Spreading and what have you been up to lately? I also see you played at the Dewdrop Squat in London, how did that go and have you played many places outside of Italy?
CS: Cancer Spreading is a stenchcore band born in 2006… since then we added a second guitarist in 2009, released some crap (a demotape, 3 split 7″s, a split Lp, a full 7″ ep and now a full lenght cd.), toured Europe a couple of times, played in some fests and a shitload of gigs. Recently we have a new permanent bassist after our old one went away in 2010 and since then some friends from other bands helped us to play live. Our next release will be a split 7″ with Black Trinity from Greece (which is on press now) and a split Lp with Last Legion Alive from Belgium that we will record next summer. London has been a great experience for us, we stayed there one week and I have great memories of it… thanks again to the mighty Deathdrop Crew! I know that now they’ve been evicted, I wish them all the best. We have played in England, Germany, Czech Republic, Austria, Slovenia, Croatia, Hungary, Holland, Switzerland, France… maybe I have forgotten some. Probably the countries where our shit seems to be more appreciated are Germany and Czech Republic, but I think that probably every country have his own good and negative sides.
This Saturday, Scion and Profound Lore are putting on a label showcase in Pomona, CA, and CVLT Nation is going to be there for sure! This showcase features Yob, The Atlas Moth, Loss, Wolvhammer, and Pallbearer, and promises to be an epic event. It’s pretty rad that kids are given the opportunity to see these bands free, and this is an event that we want to support so that we help ensure that more of these showcases follow! To celebrate this event, Ryan from Ear/Splitters has done interviews with The Atlas Moth and Pallbearer, and we are stoked to bring them to you here! So after the jump, check out Ryan’s interview with The Atlas Moth, and make sure to RSVP for this Saturday so you can see them live!
Q: Why do you guys have such a goofy band name? Do you geeks collect bugs or something? Set the scene for us.
TAM: Nope. Just sounded cooler than Bless Than Martyrs of Last Autumn Fall or some stupid shit like that
Interview via Wolf Song Journal
Scott Move’s work is known the world around for its Doom-Orientated approach, intricacies and striking symbolism which has enabled him to exhibit work in a number of Galleries worldwide, as well as produce designs for respected clients in a range of fields. After coming across his work online, I was introduced to a original and unique approach to a steadily popular aesthetic within modern illustration. The interview was conducted just before his latest exhibition; Symbols, in San Francisco.
WS: So you’re becoming a dad; how does it feel?
SM: It’s pretty exciting man; one of the most exciting things I’ve ever done so far… I don’t think there’s anything in life that can happen as cool as this.
WS: Are you hoping for a girl or a boy…?
SM: It’s a boy; we already know! I’d be excited either way; as long as there’s all arms and all legs and facing forward, I’m happy.