a selection of
Statements on (KALIFFORNIAN) DEATHROCK
It’s very interesting to see Deathrock growing into something more than it was in the past. I think at the time while I was in it at the beginning, we didn’t see it as a trend or something that was really labeled “Deathrock”. It was just the way we lived back then. I think it’s wonderful to see so many people around the world enjoying this lifestyle now. I find some of today’s bands just great.
SCREAMS FOR TINA
My connection with the so-called „Goth“ scene came as sort of a natural progression. I had already been going out to clubs for years… always looking for the latest trends in music. I was out seeing bands probably 4 or 5 nights a week for a long time. It started out with New Wave… went to Punk… then, New Romantic and eventually Goth. Goth, or ‚Deathrock‘, struck the biggest chord with me, though. I had heard music in the past, that I had liked, that wouldn’t be considered „Goth“, but had a lot of similar elements… dissonance, a heavy mood, and dark, thought provoking lyrics. I loved horror movies as a child and the music seemed to sort of go along the same lines, so there were several aspects to it that I immediately identified with. There was a New Romantic club in Hollywood called ‚The Veil‘, which was like a haven for trendy club goers. When the New Romantic thing started to wind down, the Goth thing started to filter in and suddenly „Goth“ and „Deathrock“ were the latest buzzwords going around town. Then, I met a guy named Tom, who was the DJ at a tiny. after hours club in Hollywood called „Seance“. He invited me there as a guest, and that became my weekly Friday night hangout until it eventually closed. It was the first real Goth club in Hollywood… playing Virgin Prunes, Princess Tiny Meat, Sex Gang Children, Bauhaus, Fad Gadget and stuff you wouldn’t hear anywhere else at the time. Five bucks to get in… (which included all the beer you could drink…) and it was open until the sun came up the next day! Screams For Tina was just forming as all this was taking place . There wasn’t really an identifiable ’scene‘ yet… it was all in the beginning stages back then.
THE DEEP EYNDE
I won’t make this a political essay, but the state of our country has affected everything in some way, because there is an answer to that, a repercussion to that, a silent scream to that within every faction of art, literature, and everyday life. For any artist in America to be completely ignorant to this is a damn moron.
In my songs, especially around this time (1981-83), my lyrics were about DEATH as a romantik metaphor, about OUR kind of subculture before it really was 1 that spread, being an individual, the oncoming Apocalypse, and personal politiks. It wasn’t just about hatred like in most ‚punk‘ songs. Like in all subcultures that finally start to become exploited and opted-out, everybody starts to look exactly alike. THIS is what kills it all. Lack of originality in musik, fashion, and lifestyle.
SCREAMS FOR TINA
CINEMA STRANGE / THE DEADFLY ENSEMBLE
Cinema started at a pretty stagnant time in the early/mid-nineties. We came about, partially, because it was so stagnant. Later on, Release the Bats started up, other bands started up, and people started getting creative again. More recently, it’s been more of a struggle to put the emphasis back on art. The Deadfly Ensemble is every bit about art in music and storytelling. A healthy culture needs creativity. Too much regurgitation leads to choking.
DJ Mark Splatter
To enable bands to survive, we have to be very anti-piracy………If the labels don’t get paid, the bands don’t get paid and there is no money to pay for the Recording Studio costs and hence no more commercial releases.
Sure people can use home studios but I have never seen or heard a home studio that could record a large drumkit, loud guitars etc……Without upsetting the neighbours !!!…..Making computer music with drum machines, loops, samples & keyboards can be done, but it is simply not „Rock ’n‘ Roll“ and should be left to school children……….“If you are going to do something, do it properly or not at all“.
all interview quotes © Paul C. / Strobelight Records