MC: How did you guys get together to form Peeling Grey?  Was there a precipitating event, so to speak?

PG: I met our former guitarist Mike at a club I was running in 2007. We use to jam, just the two of us in his Hollywood apartment starting in the summer of 2008. I brought in our first two songs “Faith In Forever” and “Peeling Grey”. Months down the road my friends Richard Nielsen and Naren Renz came in to complete the line-up. I had a musical past with the both of them…..especially Naren. After some changes last year my longtime friend Karla Blume took over on guitar.

Everyone I have played with in this project has been a friend, prior to Peeling Grey finally becoming a reality. We even had another friend James Hazley produce & engineer our demo EP. He also was a session guitarist until Karla stepped in. I suppose the band is a family affair of sorts. I’m fortunate to personally know great talent that makes this thing fly.

MC:  What sort of music were you listening to in your formative years?  Was this a major influence on your music now?

PG: First wave Punk, New Wave, and early Goth music paved the way for me ever since I was in my early teens. I always felt I borrowed from various influences and was inspired by very particular characteristics from each group or artist. The Cure has always been a tremendous source of ideas both musically and stylistically. I feel some of our songs reflect a degree of “Cure-esque” emotion if I dare say so. I feel our song “The World’s Not Sorry” is one of them.

The spirit of The Clash always spoke to me on many levels. I think that compelled me to write (lyrically) a few songs geared away from emotional distress and heartache and address bigger issues. “The Strip” is so far our most political song as it is a reflection of everyday life in the Gaza Strip. “James Quarterly” is a track where I’m reaching for my inner Mick Jones, lol. But, it is a serious song about friendship and witnessing someones drug addiction and close brushes with death.

I do hear some touches of more current bands from Rich’s end on drums and I think that is a great thing. Furthermore, some of his drumming reminds me of Joy Division and early New order as well. Naren has similar tastes as I, but his trained background in music gives us an edge over how I personally approach writing, and it works really well. Karla and I see eye to eye on The Cure, and she too comes from a rich musical background. Her mother was a folk singer that used to hang out with Bob Dylan! How’s that for band DNA?

But, back to your question, yes, those very influences from my formative years play a vital role in our sound. I think that goes for all of us. In the end though those influences are simply just that. We’re not here to imitate anyone.

MC:  The internet is a great thing that allows people more access than ever to new music (after all, it’s how I found Peeling Grey!).  But sometimes I think a down side is that access can be too easy.  Let me explain:  back in the day, if someone even knew about certain bands, they were more than likely a kindred spirit.   But now it doesn’t necessarily mean much at all. You can reach a vastly larger audience, but do you think this results in a correspondingly larger number of “real” fans?    Or do you have to pick and choose your target audience?

PG: We pick who we feel is most likely to understand, appreciate and of course like our music. But, we welcome everyone to enjoy it. I personally do not have a problem with your average teenie-bopper tapping their foot to our songs. Maybe that’s their gateway to better music!

The internet is over-saturated so it’s kind of a miracle that we’re having this conversation. Yes, back in the day things seem to be more sacred. You had to take your chances with some random junk you would find in the discount bin at a music store. That or it was simply word of mouth that got you interested in a band. It’s been so long since the radio did anyone any favors so I won’t go there.  Those things still exist but the internet has made people both impatient and dismissive of lots of things….especially music……Attention span? What’s that?

Hence this calls for bands and promoters to figure out ways to use the internet more effectively. Our way of reaching out to new potential fans through the internet is to actually speak to them one at a time. I like to add a personal touch and remind people that we really do exist! Getting them to your shows is key so that they can make that connection. I think that’s one of the challenges of the internet; The world is condensed down to neutrons and lacks being three dimensional. Still, I would never want the plug pulled on the internet especially in the case of music. Despite the disadvantages anything can happen with billions of people out there. It boggles the mind indeed.

MC: It seems like today’s youth culture is rapidly turning into an amorphous thing where everything has a sort of disturbing sameness, from music to fashion.  That is, what used to be fairly distinct subcultures now have many elements that are almost identical.     I think is largely due to the efficiency of modern communications globalization of mass media.  What are your thoughts?  Can subcultures still retain their identity in the 21st century?   What do think are some of the important factors with this?

PG: I think a new phenomenon may arise. By then who’s to say music will play a significant role. We can only hope so. We call it “subculture” now. It’s so difficult to predict where things will end up in this century. In the long run it’s anyone’s guess. I mean, who in the 19th century would fathom an underground youth movement fueled by music, fashion, and sometimes politics known as Punk Rock in the 20th century?

I think you’re right about technology having its effects on subcultures. The main thing for “subculture” to thrive as we know it in 2010 is passion and rebellion. When people, especially the younger generation cease to revolt or express themselves that is the death of any counter/sub culture. What worries me is that people in general seem to be more complacent these days. That’s what most governments want…if not all of them.

The homogenization of subcultures you speak of has been going on for years now. It’s hard to pinpoint what the causes of that are. But I see this “absorption”  effect in many areas outside of music. I see it in our foreign policy with how we claim to want to spread democracy to other parts of the world while under the table contracts are being awarded to companies that don’t care about American ideals. Instead it’s corporate American homogenization. I see it in globalization as well. It’s also apparent in the media when huge broadcasting companies absorb smaller stations. That’s what happened to KROQ out here in L.A. That was our subculture’s outlet for good music. Now it’s all crap.

As mentioned it’s always about passion. But with passion which can be a fashion as well, comes purpose. Too many people do not have that. Maybe it’s more convenient that way. We use to call out the people who didn’t have a purpose or understanding for their scene or subculture.  They were called poseurs! Now, I don’t intend on going off on an elitist tangent but that is part of the problem; More and more people get into something because it has become accepted. It’s safer nowadays, but I know I can’t turn back the clock….And that’s not what Peeling Grey is all about. We wish to look forward.

At any rate subculture can be the symptom of an ill society. It can also be a wonderful forum for creativity nonetheless. But it seems a lot of art is also the product of social strife and upheaval. I think that’s what made the original London Punk scene real. Bands like The Clash provided a social commentary. It would be interesting what the youth in Iran have to say these days. Maybe that’s where Goth and Punk need to regroup!

MC:  How is the LA scene doing these days?  What are some of your favorite venues and events?

PG: Los Angeles is vast and diverse much like any big city. There are many facets of the Goth scene here. To simplify I would boil it down to two factions, but not really opposing ones: Hollywood is one with its establishments and promoters that seemingly have the financial backing. This comes after years of doing it I suppose. Most events that relate to that side of town or its entrepreneurs cater mostly to dancing…..which I do enjoy…..when the music is decent.

Then there’s the rest of us that throw our own clubs, and more or less stay true to the original aesthetic. I think there’s more of a grassroots feel with the independent promoters and DJ’s that really try to promote not only new and obscure music, but local bands. That’s currently our nitch in L.A. and everyday I do appreciate more what we still have in this town.

My favorite club is Release the Bats…..period. That’s in Long Beach at the Que Sera and was integral to bringing Deathrock into the 21st century. We play there in March and it is a good feeling. I hate the Sunset Strip and never had a good experience at The Knitting Factory in Hollywood…oh that’s gone now, good!

MC:  What are some of the good things about the music “underground?   What are some of the bad?

PG: The good thing is there are no limits. I have seen a few artists really push them. In my opinion it doesn’t always translate into good art or music, but I appreciate anything out of the ordinary.

One of the bad things is depriving the rest of the world of what you want to share. Usually when it’s “underground” it’s relatively unknown. That can also be a good thing, but I think after a while that can get old. I don’t care what anyone says. 99% of art is created with the intent of exhibition……and there usually isn’t a set limit on how many people are allowed to appreciate your craft. Of course I am aware of the stigma of success beyond underground approval. I think I may have touched on that in a previous question. However, as long as the artist remains sincere I do not see a problem.

I suppose what can get annoying is when people’s interest in “underground” scenes is either to be seen or relishment in being among those that pioneer a movement for the sake of it. The most important thing is to really like something, to care for it, and understand it.

MC:  How do you get that cool “fuzzy” sort of sound on the guitar on your demo?

PG: That was our original guitarist (Mike O’Hare) sound. He would just sit there and tinker with his processor during practice. It use to drive us mad because we took 10 minutes between songs! He was very particular. I think the fuzz was partially our collective brainwaves being processed and amplified too. I heard that’s how The Jesus and Mary Chain do it

MC:   When do you anticipate your full length CD coming out?  Can you tell us anything
about it?

PG: Initially we had our sights set on another E.P. Then it dawned on us that a full length is really what we want. It’s difficult to gauge what type of release would get people on board. I figure we’ve already done an EP (even if it was a demo) so now it’s time to properly record our songs for a full length album.

I anticipate the album will be ready for the masses in June or July. In my line of thinking the sooner the better as no one waits for anything these days……so I won’t either. Afterall we’re competing with instant gratification all around!

We’re going to feature at least 10 tracks on the album. We have more songs than that, but anything leftover can be released as a b-side I suppose. I don’t even know if b-sides are still relevant….To hell with the rules, we’ll still have them!

We begin recording on Feb 6th. Our reworked and final version of “Peeling Grey” will be submitted to a German compilation titled “Darkness before Dawn” that will be distributed at this year’s WGT Festival in Leipzig in May. All I can say at this point is I am confident that our album will do justice to all our music. It will sound real, and have some raw nerve yet still hold up to today’s standards of recording.

MC:  Where will Peeling Grey be performing next?   Do you have any plans for a national tour? (hint, hint!)

PG: We’re booked through April. We actually play this weekend at Club Vicious in Rosemead. After our Release the Bats show we’ll be opening for Fangs On Fur and The Deep Eynde in April….Exciting stuff.

We will tour eventually. No matter how much more accessible music is online, it can never replicate playing out. And that is one of our goals; To be a touring band around the world and break some hearts while we’re at it! I wouldn’t be surprised if we were invited over to Europe before the rest of America. We’ve been getting some great feedback from NME Radio in the UK and as mentioned we will also be featured on the German compilation.

I have a feeling there will be a long road (no pun intended) ahead. I think gigging is half the fun…..Could be chaotic and memorable at the same time. Tell us if anyone is willing to sponsor or help us reach that goal One way or another we’re coming to your town.

MC:  Thanks so much for doing the interview!  Is there anything else you would like to add?

PG: Yes, we will be playing your daughter’s next birthday party drunk. Just kidding…..I’m known for bad jokes. Actually we don’t really drink until after the show….At least that’s how I handle it.    Thank you for the interview and we will see you in 2010 and beyond! Stay tuned for our debut album as we’ll be landing in your neck of the woods someday soon. Goodnight!

http://www.myspace.com/peelinggrey

http://www.facebook.com/pages/Peeling-Grey/343472150136

MC:  How are things going for you these days? I understand that you have been doing some commercials and films.

MC: I just love the very eclectic range of elements in your music.  What are some of your musical influences?  Who did you listen to in your musically formative years, so to speak?

Randall Keith: Anything and everything from the early Chess records catalog.  Later on, artists such as Duke Ellington, Thelonius Monk and Charles Mingus really changed my concepts of harmony and composition.

Mather Louth: Personally, my musical influences run the proverbial gamut. Growing up, I was raised on music spanning from Vivaldi to The Cars, and I suppose that eclectic tradition has continued throughout my life. As far as who I would be able to classify as constant musical touchstones, I am always mystified by music bolstered by a voice that instantly seems able to turn your insides out and shake you like a revival meeting. Some of those voices…Mark Lanegan, Nick Cave, Tom Waits, Patsy Cline, Howlin’ Wolf, Etta James, Billie Holiday, Screamin’ Jay Hawkins…all iconic in their own right, and always in my regular rotation.

Jon Nilsen: Not to be repetitive, but the whole gamut. I could be twit and boast that it’s broader than Mather’s because I’m older than she and have had more time to listen to music. But someday I’ll be old and senile, while she’s still sprightly and able to hear new music; so I won’t go there. Being a sax player, a jazz influence is almost an unspoken given. Especially the tenor giants, Ben Webster, Lester Young and Dexter Gordon. The power and breadth of sound they could get out of the horn definitely set the overall tonal quality of the bands when they played.  With the more modern horn players, I’ve been drawn to bands such as Oingo Boingo and Fishbone that used the horn sections to add a chaotic layer of harmonics that blended with the rest of the instrumentation.  Listening to Dana Colley of Morphine showed me how approaching the sax as a replacement for the rhythm guitar, rather than a lead, can add this same sort of textural layering to the songs as a lone horn player without sounding like a weak, anemic R&B band missing a few members or resorting to derivative fills that have dominated much of the post-bop playing styles.

Adam Bankhead: Before I was a “musician,” it was the Cure, L&R, PIL, the Smiths, Suicidal Tendencies, Pixies, Minor Threat…  Then at the age of 10, I started playing music as though it was a sport.  Very into the technical aspect of it.  I played in drum corps, listened to Yes, Rush, King Crimson, Tower of Power, Mahavishnu Orchestra, etc.  Math rock, I call it now.  All those time changes were soothing to my ADD. Also, not having to bear the terrible burden of looking cool, as evidenced by greasy mullets and guitar straps cinched short enough to choke a poodle.  That’s a plus. Luckily, my appreciation for acrobatics and technical prowess eventually led me to straight-ahead jazz- Miles, Coltrane, Wayne Shorter, Bird, Coleman, etc.  And the annoying snobbery of music school led to an appreciation of the other side of the

guitar-strap-length spectrum, like Supergrass, Madness, Bowie, Nirvana just to name a few… you get the idea.

MC: Many current cabaret performers sort of harken back to the 20’s and 30’s.  The vibe I get from your music is more of a ‘40’s-early ‘60s mix of swing, jazz, beat-poets, blues, and even rockabilly.  Instead of the frantic lets-party-before-the-storm attitude, you exude an attitude of “we-ARE-the-storm, baby”!  Your sound is BIG.   Was this something you consciously aim for, or did it just occur naturally?

Randall: Well. if you think about it – we are essentially an acoustic band with an electric guitar. The combination of an upright bass, sax and drums could just as easily is comfortable playing unobtrusive background music to the dinner crowd.  There is a risk of getting lost in the din of a rock club and we have to arrange the instrument parts so that they compliment each other and maximize the sonic and harmonic possibilities. That’s what gives us our sound. There’s a huge difference between what we do and just playing loud, which is what many bands seem to think constitutes a big sound.  Mather also puts a lot of thought into the tonal characteristics of her guitar playing for each song, giving each tune its own sonic landscape.  Riding on top of all that is Mather’s lung power.  So yes, I would definitely say our sound is deliberate, intentional and focused. At times, some of the creative aspects occur quite naturally and some songs have a momentum of their own in the birthing process, but again, the final outcome will always have a large measure of control.

Mather: Agreed. Relating back to my musical influences, I have always been fascinated by the shoegaze scene and the otherworldly guitar tones that play such an integral role within that specific genre. As Randall mentioned, I love creating “landscapes” for each song, not unlike how a film composer will integrate specific sounds and textures into a scene to enhance the story’s momentum. In fact, as a band we’re often described as “cinematic”, so it’s flattering to hear that the music conjures the vision of a storm for you, Aiden. J

MC: A lot of Goths see absolutely no connection with Swing, Jazz, and even Blues, but I see a lot of common elements.  For example, both were considered to be subversive in their heyday. Like Goth, both became watered-down and co-opted by the mainstream. They were very innovative and unlike anything that came before them.   There was definitely a dark side to many of the famous figures in these genres. What do you think?  Am I too far off the mark?

Randall: An excellent point. I would go as far to say that this is (unfortunately) common to many, if not all, styles of music.  Early rock and roll, punk, rap, hip-hop, soul, metal, etc.  The originators and innovators of these styles were tired of hearing the co-opted versions of whatever was once fresh-sounding and exciting from the prior generation’s musical achievements. There is a measure of anger and intolerance in the need to break away from mediocrity and the unmotivated masses.  These individuals had passion – that “artistic temperament” if you will.  So if, in referring to the “dark side” of human nature, you are referring to the visceral, raw, emotion-fueled side of the human psyche, then yes, you’re on the mark.

Mather: Certainly there is an element of darkness in the blues. I feel that blues, folk, and country (which could all be considered forms of “folk”, really) started out as the musical expression of the long-suffering working class. All of those unintentional pioneers sublimated their sadness, loss, and personal demons into a musical form that helped them to cope with the difficulties they faced. Over time, those genres birthed new genres, and so on and so forth through the present. Gothic music often utilizes blue notes or progressions, and the subject matter often delves into themes of sadness, loss, and personal demons present in the blues- not to mention the Devil himself (who was always a popular subject with one of the greats, Robert Johnson!) I think there has always been a thread of darkness running through the musical bloodline, as human suffering is a universal theme in music, regardless of genre.

MC: You started out as a one-woman show, so to speak, and then you enlisted Randall, Adam, and Jon.  Did having a band influence the processes of how you developed your music at all?

Mather: Oh, absolutely. When I started composing, I had a very experimental and primitive approach to songwriting. However, I have never been a fan of the stereotypical “singer/songwriter” type that runs their band with an iron fist and expects their bandmates to carry out their mad visions without the slightest bit of creative collaboration. Adam, Jon, and Randall each add such distinctive musical viewpoints along with excellent musicianship, so it would be incredibly dense and foolish not to foster a collaborative environment. Besides, oftentimes the “refining process” during rehearsals results in a stronger song than I ever could have written on my own. Nowadays, I find myself able to focus on building the skeleton of a song, because I am confident that the guys will be able to build the connective tissue, so to speak. From time to time, I will revisit original recordings of some of my earliest work (Desert Woman and Marisela included) as a means of witnessing the evolution of the music. It never fails to fascinate me how far the songs have come.

MC: You recently moved to the desert.  How did your move go?  What are some of the things that made you decide to move to where you are now?

Mather: Indeed I did, though it’s more of a pit stop than anything! Until recently, I have called various neighborhoods of Hollywood home since first moving out to California. The move itself was mostly for a personal reason, but provided an additional opportunity to escape the undesirable self-absorbed culture so closely associated with Hollywood. I guess you could call it my “five-year itch”!

MC: How is your touring going? Do you have any plans to come to the East Coast? (Hint, Hint!)

Mather: Well, we have been submitting to a number of prestigious festivals both in and out of state. Touring does require a considerable amount of planning with regards to finances, so it’s in our best interest to be very selective about booking shows outside of our usual radius. However, I know we would love to come to the East Coast (as all of us have lived there at one point or another), and certainly when the right opportunity presents itself, we will be eager to travel there!

MC: This one is for Randall:  are there any advantages that a double-bass lends over an electric bass in your particular style of music?

Randall: The double-bass has many advantages over the electric bass…..except for ease of transportation!  The electric bass is fun and in the hands of the right player, quite versatile, BUT, the upright is capable of many more subtleties of expression. It also makes you work harder at your craft. The upright can be an uncooperative, defiant (and at times, violent) lover. But in the end it’s always worth the extra effort.

MC: Have you ever felt any pressure to compromise on your music to make it more “accessible” (cough*cough) to the mainstream?   What would you say if someone were to suggest this?

Mather: Oh good lord, no! Firstly, the mainstream does not even truly have an opinion as to what it wants. Creating that opinion is the job of advertisers, PR sharks, and other “tastemakers”. Top 40 music receives its ranking oftentimes solely due to how much money a label will pump into their artist, not by the actual validity of the talent being spoon-fed to the masses. Besides, most of the performers that we love and respect as a band are considered to be cult favorites, and oftentimes, cult fans tend to be much more loyal to the band, and not so easily swayed by the fickle pendulum that is the pop music business.

Randall: Never. Period. I would not be capable of having a conversation with such an individual.  It is impossible to explain what integrity is to someone who thinks that way.  Also, such an individual would never have the facility to comprehend what it means to have a complete lack of interest in pleasing mainstream tastes for the sole purpose of attaining “success” (read: MONEY) and “fame”.

Adam: If a sexy front-woman in fishnets and a corset isn’t enough mainstream appeal, then it’s pretty safe to say that we will never have mainstream appeal.

MC: Who are some of your musical heroes? (This can be present as well as past.)   Who do you see as kindred spirits in underground music today?

Randall: Lester Young. Dexter Gordon. Howlin’ Wolf. Muddy Waters. Charles Mingus. Count Basie. Astor Piazzolla. Tom Waits. The New York Dolls. Metallica. Judas Priest. Lydia Lunch (and all of her early collaborations). X. Beethoven.  Can’t say I know much of anything about any contemporary music from the last decade – underground or otherwise.

Mather: I don’t know if I would call them “heroes”, but certainly some musicians I would count among my favorites (other than those mentioned initially) include The Velvet Underground, Cab Calloway, Jesus and Mary Chain, Hank Williams, My Bloody Valentine. The kindred spirits that I see from more recent times are Mark Lanegan, Gallon Drunk, Morphine, Black Rebel Motorcycle Club, and Mazzy Star. Sadly, some of those bands are now defunct due to various reasons, but perhaps we are meant to carry the torch for them.

Jon: To the above lists I’ll add Love and Rockets, Dramarama, Jane’s Addiction, Nine Inch Nails, Catherine Wheel, Madness, English Beat, Gershwin, Ozomatli as bands consistently in rotation. For more nascent bands, I’m finding Last Shadow Puppets, Silversun Pickups and Shiny Toy Guns creeping into the playlist on a more regular basis.

Adam: Elvin Jones, while in the studio, when questioned on liberties taken while trading 4’s, responded with “well, sometimes my 4’s take a little longer.”  He is my hero.

MC: Do you have any plans to release another CD anytime soon?   What sort of plans are in the works for Mather Louth and radio Noir?  Is there anything else you would like to add?

Mather: Honestly, I know I would love to release a full-length CD in the next year or so. For now, we do have our EP, “The Swamp Jazz Sessions” available for download on both iTunes as well as Amazon, and physical copies are always for sale at our shows. We have also started talks to film a music video, most likely for our song “Damned Lady”. As always, fans can stay posted on our performances and other announcements by visiting our MySpace page at www.myspace.com/matherlouth. In addition, we are located on Facebook, ReverbNation, and many other sites reachable via a simple Google search. Finally, I’d like to thank you for a lovely interview!

MC: I remember back in the ‘80s when Early Music, and particularly medieval music pretty hard to find. Nearly all of it was funded by Universities or Foundations. At least in the USA, in the days before the net if you didn’t live in a college town it was virtually impossible to find. In the past few years, Early Music has become much more popular. What do you think are some of the factors that sparked the public interest in this type of music?

LVCVS: Surely in the last few years the interest in early music has grown. It started back in the 60s when some classical musicians started to explore baroque and renaissance music. Traditional and ethnic music from other cultures pushed listeners and musicians towards more authentic sounds. Also, early music is easier to listen than classical music for the modern ears.

MC: It is very fascinating how the songs of LVCVS are written by Andrea, and not performances of medieval songs, and yet they have a very authentic medieval sound. What factors led you to decide not to perform medieval songs, but to compose your own?

LVCVS: The aim of LVCVS is not to play authentic medieval music. We already do this with our side-project LILIUM AERIS.    LVCVS  is inspired by Folk and Ethnic music as well as Medieval and Renaissance music.

MC: What drew you to Early Music? Do you see any correlations between earlier eras and our own?

LVCVS: A really fascinating thing about early music is that in an age when musicians explored everything, the real avant-garde seemed to be the exploration of the origins of music.

MC: Many bands that are inspired by or incorporate medieval/renaissance music also use modern electronics. What are your thoughts on this? Do you think that music with modern electronics can convey the true spirit of medieval music?

LVCVS: The mix between ancient sounds and electronics can create a really interesting and fascinating music. But we think that the true spirit of the Middle Ages can truly be reached only through the authentic and sometimes rough sound of the medieval instruments.

MC: Do you have any favorite Medieval/renaissance poets or musicians? Also, were you inspired by any of the “first generation” early Music performers such as Alfred Deller, Musica Reservata, or David Munro?

LVCVS: We really love the Italian literature of thirteenth and fourteenth century. From Dante to the “Scuola Siciliana”, Cecco Angiolieri, Petrarca. As listeners and players of medieval music we know our debt to the pioneers of early music.

MC: On your website, you refer to the music of LVCVS as Neo-Folk, as opposed to Early Music. I have also seen the term Neo-Medieval used for similar music. What is the difference between these terms?

LVCVS: We refer to LVCVS as dark-folk because our music is inspired more by folk and ethnic music, and sometimes renaissance music, than by medieval music. But it’s really hard for us to label our music.

MC: What are your thoughts on the debate in Early Music circles about the performance of the music and authenticity? Since notation was a fairly late development and what survived in writing is doubtless only a fraction of what was actually performed, can we ever really know how early medieval music sounded? Is it important?

LVCVS: We can answer to this question as medieval musicians (with our project LILIUM AERIS) not as LVCVS. It’s not easy to know how early music was performed. However beside the notation there are many Middle Age treatises and iconography, which tells us how the instruments were played and something about the vocal technique.

MC: You describe your music as a mix of Medieval and Renaissance influences, and your vision of “a faeric middle east, seen through the eyes of the medieval Europe”. This is very appropriate, since many musical elements of the Middle East filtered Medieval Europe by way of the Troubadours and Moorish Spain. (Just like how the most advanced Medieval medical techniques came from Arab physicians and medical treatises.) Was the music of LVCVS influenced by the Troubadours? Do you have any favorite Medieval poets or musicians?

LVCVS: We share with the Middle Ages the compositional spirit, the union between distant cultures, and the mix of instruments from distant places. We love the Troubadours and all Medieval music.

MC: Is your first album, Cantiones Filicatae, still available?

LVCVS: There’s just a few copies. You can ask for it directly to us, contacting us at www.lvcvs.com (lvcvs@lvcvs.com)

MC: What other music do you enjoy?

LVCVS: We love many kinds of music: classical, early, folk, ethnic, dark, metal.

MC: Why did you decide to start your own label? Has this been a difficult endeavor?

LVCVS: The record label Ars Aeterna was created in 2009 by Andrea and Serena with the aim to support not just our projects (LVCVS, LILIUM AERIS and SEPULCRUM SPEI), but also similar bands. We would like to release bands playing ancient music (medieval and renaissance but also ancient Greek, Roman and Etruscan music), folk and traditional music. We are also interested in other kinds of music, mainly acoustic. “Semen Roris” is our first CD release, and to date we have gotten good feedback from the public.

MC: Are you going to be touring anytime in the next year? Is there anything else you would like to add? Thanks so much for the interview!

LVCVS: We are organizing the concerts of the next year. In 2009 and 2010 we’ll have an intense performance schedule. You’ll find the dates on our website. Thanks to you for your support!

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http://arsaeterna.com

http://lvcvs.com

MC: Your performance at Eccentrik really blew me away!   Considering all the different elements in your music, I was amazed at how seamless and natural everything sounded. For example, it was only after I really began listening that I could pick out things like the reggae-sounding bassline, etc. How do you manage this?

NJ: I’m glad to hear you enjoyed the show. I really didn’t know what to expect from the performance but I knew that there would be some amazing musicians on that stage and that whatever happened, it would be awesome! I wrote pieces that were complex enough that they were interesting to play and yet simple enough that the musicians involved would be able to improvise around in them. On the last song we played, Davis Petterson (the drummer) had never actually heard the song before and had to come up with a rhythm right there on the spot. I love that I know musicians who can do well under that kind of pressure.

As far as how I ‘managed’ to get the sound? Well, it’s all about the trust that I had in the musicians on that stage. Each one is really good at what they do and I just told them, “do what comes naturally” and I left it at that. That’s the joy of improv. It’s always a surprise!

MC: What are some of your favorite influences/artists in world music?

NJ: When I was a developing violinist, the only world music that I was exposed to was of the Celtic and Folk variety: mostly dance sets played in accompaniment to Highland and Irish dancers. I was also exposed to a lot of bluegrass and really like the almost Jazz-like improvisation that the really good players get into. Beyond that, most of my early musical influence was very classical in nature. Of course, that was always colored by all the heavy rock music that I was learning on the guitar.

When I joined Abney Park, I found myself playing with a more Eastern European/Harmonic Minor sort of style and that’s really where I’m finding the most inspiration. Artists like Beats Antique, Balkan Beat Box, Django Reinhardt, Stephane Grapelli, Shankar, and Firewater are getting pretty heavy rotation in my CD player nowadays. They all have a more modern slant to the traditional harmonies and rhythms and that is really spurring me on in my own musical explorations.

MC: You are a prolific musician! Were you inspired by any particular violinists? (I played the violin as a child, and it has stayed close to my heart.) How did you become interested in the mandolin?

NJ: Actually, my most recent inspiration is Paul Mercer. He is such an open minded and good-hearted musician that it’s always a joy to share a stage with him. I took a rather lengthy hiatus from the violin after I graduated from college to concentrate on playing the guitar. I found myself drawn back to it very shortly before joining Abney Park. I figure I’d been back to the instrument no more than a year before I met Paul at DragonCon in 2006. One of the very first things he did when we met was to hand me his 300 year old baroque violin and said, “Let’s improvise!”  That stuck with me and it very much informs how I approach other musicians now. There’s so much joy to be had in music and it’s compounded many times when shared liberally.

I’d always been interested in the mandolin as a kid but had never had the opportunity to play on one. It wasn’t until I was in college when someone handed me a mandolin and said, “try it!” I’d already played the violin and guitar for some years and found myself instantly able to play: the mandolin is tuned just like a violin and the ergonomics of playing it are just like a guitar. I’d never touched a mandolin before and was instantly playing all the old fiddle tunes I’d learned as a child. I went out and bought a cheap old mandolin and have played ever since.

MC: I see that you are a fan of H.P. Lovecraft. I don’t think most people today realize that Lovecraft is really the dean of modern horror, and most popular horror authors owe a substantial debt to him. What do you enjoy about Lovecraft? What are a few of your favorite stories?

NJ: What I like best about H.P. Lovecraft is that he totally eschews the standard model of horror where the conflict is cast as some kind of hero vs. villain struggle. It’s not so much a good vs. evil story as it is a story of an unfolding, nihilistic realization that -everything- we know or thought we knew was wrong. My favorites are Dreamquest of Unknown Kadath and Lurker on the Threshold. I especially like the use of first person voice in his stories and they are even better when read aloud.

MC: What is going on with Abney Park these days? Are you looking forward to the Whitby Festival?

NJ: Things have been getting steadily busier and busier over the past year and it looks like it’s only going to be getting busier. We’re hard at work on the newest album and some of the mixes are really close to done. We’ve been playing about half the songs from the album at shows recently and they’ve been getting a good response. I may be biased but I think the whole album is really going to rock.

We’re all looking forward to visiting the UK. We’ve got two shows planned – one in Whitby and one in London the very next night. I have a feeling there will be very little sleep in this trip. There is so much that I want to see and do…

MC: What do you consider to be the central pillars (for want of a better word) of the Steampunk subculture? I find it to be a fascinating mix of things infused with a fresh approach that will readily appeal to people who may be burned out in related subcultures, There also seems to be a sense of camaraderie that I miss from the old days in the gothic community. . What are your thoughts?

NJ: The first thing that springs to my mind is the inclusive nature of Steampunk. It’s an aesthetic that -everyone- can like. It’s definitely a culture of DIY and Makers. That doesn’t mean that everyone has to build boilers or anything like that – more that everyone, on whatever scale, makes their own way. Even as simple a task as dressing yourself takes on an entirely unique quality. I never see the same outfit worn by two different people.

The audiences that I’ve seen at the Steampunk festivals dwarf every other demographic I’ve ever played to. It used to be that the audience at your typical Abney Park show tended towards the 21-35 year old club going crowd. Now our demographic seems to range from 8-80 years. We still play in 21+ clubs at times but it’s the all-ages shows that we occasionally play that have been some of the most rewarding shows I’ve ever done. I was floored the first time an older gentleman brought his granddaughter to one of our shows!

MC: What are some other bands and events that you would recommend for people getting into Steampunk? Do you have any favorite books or authors?

NJ: Sepiachord.com is a great resource for Steampunk music. Jordan and his crew have pretty much nailed the aesthetic as far as I’m concerned. For specific bands, here’s my short list: Rasputina, Dresden Dolls, Tom Waits, HUMANWINE, The Ghosts Project, Magpie Killjoy, Hellblinki, and Voltaire. Now, not all of these bands claim to be Steampunk but they all have that certain flair that I like to see in my Steampunk.

Tim Powers wrote an incredible time-travel yarn called The Anubis Gates. Pretty much everything he’s written is awesome but that’s the one that really drew me in. His book On Stranger Tides is also as cool but less Steampunk in scope. I’m also a huge fan of Phil and Kaja Foglio’s Girl Genius.

MC: If you can’t get hold of Jameson, what is your next choice in Irish Whiskey? Have you ever gotten hold of the famous Red breast or Green Spot?

NJ: Generally speaking there aren’t a whole lot of choices available to me. Here in Seattle, it’s Jameson or Bushmill’s and between the two, Jameson wins out. I once was given a bottle of Inishowen and loved it. Alas, it’s not available locally. I’ve not tried either Red Breast or Green Spot. I’d certainly be game to try.

MC: Do you like animals? Do you have any pets?

NJ: Cats. Lots and lots of cats. Well, two: Eleanor and Simon. They are about 9 months old right now and have effectively taken ownership of my tiny home.

MC: Are you working on any new projects? Anything else you would like to add?

NJ: I’ve been following my muse wherever it takes me. At the moment, I’m spending most of my time thinking about the new AP album. After that, I’m going to see about turning the songs played at Eccentrik into something more concrete and album-worthy. And from there? Who knows?

http://www.myspace.com/nathanieljohnstone

http://www.myspace.com/abneypark