RITUAL MAGAZINE INTERVIEWS ANGELSPIT

 
Please leave a brief comment about each full length you’ve released underlining the evolution of song writing and the differences of production…
KRAKHAUS, 2006: written in Sydney, Australia – very punk. Very dirty. Very fun. Worked with real drums, guitars and dying synthesizers.
Since this was done in my home town Sydney, I had space, time and many friends to help make it happen. I have a fairly large collection of analogue synths which were used on this album.

BLOOD DEATH IVORY, 2008: written in Berlin Germany – I had a much smaller studio set up on this album, so it is much more dirty electro punk with drum machines and modular synths.

HIDEOUS AND PERFECT, 2009: written in Sydney – it was great to work with my friends and use my old studio again. This album is more abrasive and industrial punk with real guitars and real drums…played loudly!!

HELLO MY NAME IS, 2011: written in New York City. Angelspit was a 5piece band. Real guitars, drums and Alan Labiner (our beloved rock’n’roll producer) – this one is the live rock album.

THE PRODUCT 2014: written in Chicago. This album was recorded on several old samplers – so it has a raw industrial feel. More melodies and complex musical clouds in this one.

Much of CULT OF FAKE was produced on my beloved Doepfer Modular Synthesizer. I also use several old samplers from the late 80s early 90s from a brand called E-MU. These include EMAX 1, EMAX 2, Emulator 2, Emulator 3 and Emulator 4. I also heavily relied on the Moog Voyager and Kurzweil K2000.
Old samplers have a huge sound. They are unique and add an edge to the music. I ran the samplers through the Doepfer Modular Synth to destroy the sound a little more…!

What are your favourite software to create music ?

Cubase. I have been using Cubase for 25 years – I absolutely love it!

What did you want to change or improve after ‘The Product’?

With CULT OF FAKE I wanted to write a dance album – which is something I have never done. I also want to try new things with my voice – like singing gently, speaking bitterly, singing much higher than I usually sing. More vocal melodies and catchy hooks. I wanted the beats to be bigger and more simple, making way for darker, more complex dirty synths.
I wanted the lyrics to be much more political and in-your-face.

Are you closer to dancefloor or industrial, now?

Brutal industrial you can dance to!

What are your favourite alternative dancefloors?

Unfortunately, many alternative clubs are closing. It is important that we support the clubs to make sure they can keep going.
Please review ‘New Devil’ and ‘Disaster Porn’ for our readers…Are you lookin’ for Suicide Girls or pornstars for the videoclip?

…more like corrupt politicians and masses glued to the screen with a thirst for blood.
‘New Devil’ is about political corruption. ‘Disaster Porn’ is about the media’s thirst for blood whenever disaster strikes…and their audience’s blood lust to watch a fresh kill. The terrible recent events in Orlando are an example. The media turned this awful tragedy into entertainment, while politicians used it to sell their campaign agenda.
We are not on this Earth to serve the rich and fund their corruption.

How much have your goals and your artistic approach changed ten years after ‘Krankhaus’?

After meeting so many Angelspit supporters, I have grown to genuinely care about our tribe. I have a responsibility to deliver lyrics with a message that will encourage and hold our community together. The lyrics are built around conversations with fans. I spend so much time on the lyrics.

Is ebm/electronic still alive, in your opinion?

I think EBM needs to evolve and grow, as it is has been in a rut for many years –  and has become repetitive and uninventive. Same beat, same vocals, same lyrics, same sounds…
There is a new generation of bands that are adding colour and like to the genre.

What’s really “fake” for you?

Social media demands that we become a hyper version of ourselves. Keeping up with this fake persona is draining us.
Professional politicians are a disgrace and bleeding this country.
Large corporations are getting away with murder, while government bail outs are destroying the people.
Capitalism has given way to absolute greed. The world has become fake.

How’s gonna be the live line-up?

Our live show features abstract projections. Lorelei and I do vocals while Matt Slegel makes noise and video mayhem. It’s WILD!

You’re constantly tagged on many websites and social networks. What’s your relationship with internet and how much important has it been for your career ?

It’s very important, but increasingly it is being strangled by algorithms that are suppressing everything but cat videos.
It has become extremely difficult (and expensive) to let people know about tours, new releases and other band news.

Corporate “Algorithms” are turning this into Anti-Social media. The free voice of “we the people” is subtly disappearing.

What are the direct advantages and disadvantages on Facebook for you as a band?

There are not many advantages anymore. The reach of our posts is about 5% of what it used to be. Band related posts are being buried.

There is freedom of speech, but you need to pay so people can actually hear it. Social media has become yet another system of control.

I think this has had a lot to do with the decline of the alternative scene. People are not aware that bands are touring anymore, because these tour notifications are getting lost in the noise.

It’s ok to accept that the “system is fucked” – it’s always been fucked. It’s NOT OK to accept that we are powerless to change it….and we can change it!

Remember to check out Angelspit’s PATREON – Get a regular dose of MAYHEM!

Cult Of Fake is released through Negative Gain Productions