They're Not Giving Up on This One

You can't keep a good band down, heck, Coalesce is living proof that even a good band with well documented inter-personal instability and tension can't keep itself down. Which is good news for anyone familiar with their groundbreaking work on records like Functioning on Impatience and Revolution in Just Listening. Coalesce are back... with a new record in the works and to kick your dick into the dirt (sarcasm) and prove once and for all that they are NOT a tech metal band.

I was ecstatic to hear the band was active with Jes in the band again, more so when I heard the newer songs. But the big question is how far are you going to take this? Will we really see a new full length? If so when and what can we expect from it? Any tentative titles or release dates?

Nathan Ellis: The new record is happening, and we’re going at it pretty full speed right now. After the release we’ll be doing some touring, but not full time as we all have full time jobs, and families. (There are freaking ten kids between the four of us!)

Jes Steineger: Yeah, given all else that we’re doing, I’d say we’re nevertheless taking coalesce as far as we can; given the constraints of responsibilities elsewhere, we are still putting all that we have into it. You’ll definitely hear a new coalesce full-length, like Nellis just said, but when you’ll hear it is totally up in the air. Much has already been done, and our wells still haven’t dried up. We expect to have the longest coalesce release to date, and everything we’ve written up to this point we consider to be to our liking. This thing is the locus of so much of our creative energies right now; everyone is involved and I can feel an increase in depth because of that. Actually, I’m not sure what I can say about what people should “expect” from it. I hope you can expect us to give you something that in doing something for us (i.e., in its being something that isn’t forced or contrived) will do something for you too.

Nathan Ellis: You can expect to have your dick kicked into the dirt. [Disclaimer: this is sarcasm]

Are there any goals you're setting out to achieve that you didn't during the band's previous years?

Nathan Ellis: We have never gone to Europe or Japan, and I think everyone has that goal in mind for sometime in 2009. But other than that we’re just thinking about how to best release a record we’re all really excited about.

Jes Steineger: No goals for me other than making and going on to play some music that feels right: expansive and raw.

From things like the Jesus Lizard cover on the myspace page from a while back to Jes selling his old Ibanez guitar because of a newly acquired love of strats, does this signal an end to the more metal oriented grooves in the new material? Or do you feel that the wiry, more angular elements of your sound that were always present have been somewhat overlooked by people who view Coalesce as primarily THE tech-metal-hardcore band.

Nathan Ellis: I personally have never thought of coalesce as a metal band. We grew up in the Kansas City music scene with bands like Season to Risk, Iron Rite Mangle, Secular Theme, Rocket Fuel is the Key, etc, and I just always assumed we were the punker more aggressive version of that stuff. We certainly ARE NOT tech metal. That connotes a concern for perfection and Jes and I have never given a fuck about playing the right notes live. We don’t have any care for having some saturated guitar sound that would put us in a category with other hardcore/metal bands that we nevertheless seem to get lumped in with. What bothers us most is that we don’t like that kind of music to begin with.

Jes Steineger: I’ve often wondered who the first person was to call us “tech-metal,” “metalcore,” “mathcore,” “noisecore,” or some likewise gay-ass category. Ultimately, I see the impetus behind introducing a category that would specify what "kind" of metal or hardcore we are. What's silly, though, is that no one can provide any set criteria for what constitutes a band in one of those categories (much less the basic categories “metal” and “hardcore”); and whenever someone tries, those criteria (or criterion) are always so trivial that it's stupid to think they do anything to delimit coalesce (or any other band). What's worse is when one of those categorizations implies elements of the (illusory or trivial) label that I probably hate (e.g., as part of a genre defined by those banal riffs and sounds that one finds at the local Guitar Center). The worst of all, though, is when I feel like one these (illusory or trivial or offensive) categories is intended to exhaust all that coalesce is. This is the worst because it’s the least tenable: coalesce, like any other band, even the unbearable tech-metal-math-core band, e.g. No Good and the Terribles as a dear friend usually refers to them, is exhaustible by a category.

To get back on track, though, my point is that there was never a faultier categorization for what we do than “tech-metal.” When have we ever been or accomplished anything “technically” proficient in the least?! Moreover, what “metal” means today, after the corruption of the genre by post-Helmet hardcore bands, is totally different than what I took “metal” to mean when we started coalesce in 1994. If by “metal” you mean Sabbath, Motörhead, Master of Puppets-era Metallica, or even a newer band like High on Fire, then it’s definitely a moniker I can live with for coalesce. If you mean by the term post-Helmet bullshit like the acclaimed “nu-metal” bands, or even the “cooler” less-acclaimed bands that have clout in the underground but still have that same polished nu-metal sound, count us the hell out.

On a similar note, my love for Strats has nothing to do with my hatred for that techy sound; it has to do with my finding (finally) the guitar that feels best; one that has all the qualities that I prefer in the shape of a woman shrunk down and appropriated in an instrument: thin from the side, wide from the front, and heavy-n-smooth-n-curvy in all the right spots. Your asking about the guitar thing, though, is a good way to further emphasize how much technical proficiency has never been a concern for coalesce at all. I’ve only had two guitars in my life that weren’t $150 or less; both could have been conceived as “metal” guitars and both failed in living up to coalesce abuse. I have an entire harem of Strat hotties now; and they like it rough.

In conclusion…haha: coalesce, not tech-metal, and certainly not like Jesus Lizard or the countless other bands that we listen to. We are the band that we are and hate it when people try and tell us what “kind” (read: “brand”) of band that is. Or, as Nellis often remarks: Give me wounds and scars, not computer chip guitars. If there were ever a mantra motivating our next record, that’s it.

To me Coalesce has always come across as a very volatile band; from your sound as well as the road stories and insane live performances and thriving on uncertainty (or functioning on impatience?) helped shape your sound. Do these tensions still exist and was it ever an issue that having grown and matured, started families etc. might actually hinder any attempts in recapturing some of that same edge and intensity?

Sean Ingram: My take is that conflict will always exist; it’s just that where that conflict manifests evolves over time. No one cares about straight edge or veganism anymore (if ever), but commerce, and how our lives are ruled and dictated by it? That was a source of conflict then, and remains so now. There will always be conflict to fuel one's creativity; it's just a question of whether you are able to channel it effectively. We'll see how we do on that front as the year progresses.

Nathan Ellis: Growing old and settling into full time jobs can put you on edge quicker than when I was living in my parents’ basement at the age of 15. I think our motives and inspirations are all very different than when we were writing records like Functioning on Impatience, but the same thread connects our newer songs and those written a decade ago. We’re still pushing ourselves and looking to create something unexpected and catchy, no matter how ugly or harsh it might come across. We definitely don’t have the inner-band tension that we had in the past, but in all fairness, we’re not around each other enough these days to piss one another off either.

Jes Steineger: You want volatile? Tell us we’re a tech-metal band…haha.

With your previous drummer James Dewees touring with My Chemical Romance and Sean's appearance on the Used record a couple of years ago I was wondering if you felt a connection with newer acts coming out and getting big that years ago would have most likely not had a chance of cracking the mainstream the same way?

Nathan Ellis: None.

Jes Steineger: None.

Sean Ingram: I sang on the Used record simply because I was asked to do so. I got to hang out with the My Chem guys when I toured with Reggie. I have always done guest appearances on records due to the fact that I had no band of my own, and it was simply something to do. Maybe I would have had some arrogant underground deity attitude if I hadn’t been humbled so well by coalesce’s demise. But that’s all the thought I put into working with the Used. All those guys in all those bands are good peoples.

I was wondering if you could talk a bit about some of the other projects that were started by Coalesce's members (Able Baker Fox, Casket Lottery etc.) what is the status of these projects and are there any new ones in the works?

Nathan Ellis: The Casket Lottery is on an indefinite hiatus, and Able Baker Fox will be booking some dates in late 2008.

I remember growing up with bands like Coalesce and The Get Up Kids definitely setting a precedent and I feel this has had a significant influence on newer bands making their mark today. Do you feel this time was a high point for your local music community? Nowadays are there any bands from your area that could break out and have such an impact?

Sean Ingram: Yeah, I think you can look at that era as a high time for the Kansas City scene. Not only did you have The Get-Up Kids, but you had The Anniversary, and Appleseed Cast. It’s gnarly to look back at flyers for those shows back then; I would kill to go back in time and see some of those. I guess all places have bands that can break out at any time, but you know, the industry is so much different today, who knows what breaking out really means anymore. I used to think getting on a label was a sign of success. We all know that not to be true. I guess maybe I'm too far removed to answer this question properly.

There was a lot of controversy in the past regarding Sean's lyrics which I felt brought up really valid issues (dealing with “the scene” and so forth). Do any of the newer lyrics provide the same sort of commentary? What are some of the new themes and their inspirations?

Sean Ingram: None of the newer lyrics will be like what you have mentioned. I want to keep the newer lyrical themes under wraps until the record comes out, but I will say that they are more focused than in the past.

Do you plan to perform or record any more covers? The last release you guys did on Hydrahead was awesome and I've always admired the fact that a lot of the Coalesce covers were never what people would expect. Heck, I have a vcd of the Dillinger Escape Plan at Krazyfest with Sean singing and I remember thinking that Breed by Nirvana would be such an obvious cover in other situations but in these circumstances it was truly something else.

Sean Ingram: DEP decided to cover that song the day of the show. I wish there had been more time for me to prepare. I was barely able to memorize the 10 originals they gave me, which ended up being played live 3 times faster than what I had prepared for on the cd!

Jes Steineger: We love to play cover songs. It gives us the chance to put our own touch to songs that we like. We probably played too many covers last August during some shows, but that was only because we were so sick of playing the older songs. The next cover we do, most people will probably not be familiar with.

There's probably a ton of people over the moon that Coalesce is a band once again. In some cases, a band breaking up at their peak is the good way to go. But are there bands that you feel called it quits too soon and that you would like to see back together?

Nathan Ellis: I had someone tell me once that they thought every band should break up after the third full length and that if they kept going they would never make anyone happy again. I think that the second half of that theory is correct.

Sean Ingram: Oh, I don’t know; I think Quicksand could probably still be putting out amazing records.

Jes Steineger: Unfortunately, I hardly ever get out to see a band live. So even if I wished a band back into existence, I’d probably be swamped down with something or other that prevented me from seeing them. If I could bring Stevie Ray Vaughan back to life, however, I’d go into debt thrice over my school debt to see him. Same goes for Bill Monroe or 1950s-era Stanley Brothers.

Coalesce – There is Nothing New Under the Sun
This is actually a re-release of an old ep of Led Zeppelin covers with eight (!) bonus tracks. Alas this isn't the new album that the kids functioning on their impatience (I've milked that gag way too many times in this feature) have been waiting for. Yet it has got everything you could ask for in a coalesce record, grooves, riffs and a cathartic unhinged rawness that grabs your very soul by the throat and shakes it. It's an especially satisfying listen since most of their releases, I feel at least, haven't had nearly enough tracks. Aside from the Zeppelin covers there's quirkier choices such as a Get Up Kids cover (I'm Giving Up on This One) and two Boysetsfire covers which they make their own (I prefer Coalesce's version of Vehicle to the original). Even though they manage to out-Sabbath Black Sabbath on Supernaut, the highlight is still hearing Sean Ingram, who possesses one of music's most intense and downright frightening growls in music singing Hey, hey, mama, said the way you move Gonna make you sweat, gonna make you groove!

The Lame Old Snakepit of the Late 00's

Ben Snakepit may very well be one of my best friends in the world. I've seen him at countless parties in the last six years, I've seen him on top of the world when he joined one of our favourite bands, J Church and I've seen him at his most vulnerable when his romances haven't been at their best of times and when they ultimately end. I mean sure, I had only really spoken to him for the first time a couple of weeks ago to do this interview and had only become aware of his work as a comic book artist when I picked up his books last year. But these two books chronicle every day in six years of Ben's life in a crudely drawn three-panel comic, so it's hard not to feel like you know the guy. Since the next collection, Snakepit 2007 isn't out 'til August, I thought I'd drop Ben a line and see how my old friend is doing.

You have another collection of Snakepit comics released in August, what can people who have seen them develop over the past six years expect if they haven't kept up to date regularly?

Well, for one thing I've definitely started partying less. In 2007 I got a solid job, a solid girlfriend that I moved in with, and a dog. The wild, pants-shitting Snakepit of the early 00's has given way to the lame old Snakepit of the late 00's.

Even in a small city like Hong Kong, with a job on TV I have strange experiences of people coming up to me and acting like they know me on a first name basis. With people being able to summarise six years of your life by reading two books of three panel comics, do you often get total strangers coming up to you under the impression that they're old friends of yours?

Yes, but it doesn't bother me that much, especially if they've got a joint they want to share with me! The only time it ever gets to be annoying is when people ask about my personal life, but I guess that's what I get for publishing it.

Doing a warts n' all account of your life and the people in it, have you gotten into trouble from some of the things you write about other people in your comics?

Oh yes, yes indeed. I've ruined friendships, there are people who hate me and will never speak to me again. Lately I've been trying to still tell the truth, but maybe be a little more tactful about it.

Hypothetically, if there's ever a time where you might settle down and take things easy, not party and rock out so much, would you consider stopping Snakepit if the material wouldn't have the same dynamic anymore?

Ha ha, never! I have in fact settled down and the comics may not be as much puke and hangovers, but I think I still manage to keep it interesting. I've been drawing a lot more weird experimental stuff, like the party monsters everyone is so fond of. Back in 2001 I decided to make this a lifelong project, and as long as I can keep finding publishers, I'm gonna keep doing these comics for the rest of my life.

What other artwork are you involved with at the moment or do you plan on pursuing? I'd be all up on that No Idea shirt you did a while back if it was in black!

I still do a regular column in Razorcake every issue, I do a lot of t-shirts and record covers for bands. I just did a 7" cover for a band from New Mexico called Shang-A-Lang, I drew the back cover of the newest Japanther 12", I've done t-shirts for Tiltwheel, The Ergs, Let's Pretend Records, No Idea Records, Razorcake Magazine and some other stuff I can't remember right now.

What comics are you into personally? Past or present are there any other comic book artists, or even characters that inspire you to stick to doing them yourself?

Charles Schultz is absolutely my all-time favorite, I'm also a big fan of Jim's Journal by Scott Dikkers (which is where I got the idea for Snakepit), I always love comics by Charles Burns, Johnny Ryan, and Janelle Hessig. I'm really not a big comics guy, to tell you the truth.

Aside from your comics you're also an accomplished musician having played in J Church, been a touring drummer with The Soviettes etc. What's the MO behind the band you're doing now Party Garbage? Any new releases in the works? What's the status of Bloodbath and Beyond, which by the way has to be the best band name ever!

Ha ha thanks, we stole that name from the name of the gun store on the Simpsons. Bloodbath is a hard band to do because our members are spread out so far. Mike lives in Portland, Davey lives in San Diego, Paddy in Minneapolis and I'm in Austin. We get together when we can, but it's not that often. Party Garbage is just a lot of fun, we can't play that good but it's not really about playing good. We're about to tour the UK in May, and I'm really excited about that. We've got two 7"s out and hopefully a 12" by the fall.

Sticking with your music, how do you feel about your time in J Church, one of my all-time favourite bands? I felt the last releases after Lance relocated to Austin had some of the best material he'd ever done. Had the band been planning to do more around the time Lance passed away?

The last time I talked to Lance he told me he had a bunch of new songs he was excited about learning, we were planning to play the Fest 6 in Gainesville, Lance died a week before the show. Getting to play in J Church and be friends with Lance was maybe the awesomest thing I've ever done in my life, and I still miss him every day.

I was surprised to find out that you had written the lyrics to the song '210' on Society is a Carnivorous Flower and I thought you did a rad job singing the Misfits cover on the Japanese release J Church did. Are you involved in any projects as a singer and songwriter? Is this something you would be into doing? What kind of music would you be into doing in your ideal band?

I like singing but I've never been the lead singer for a serious band, I can't really write songs to save my life (the one on society I wrote back in 1997, I had always wanted it to be properly recorded, but I wasn't very happy with the way it turned out on the album. It's a shitty song, anyway), I feel like my place in a band is better as a rhythm player. I'm not a very good drummer but I love to do it, and I can play the bass & guitar pretty well, but I'm terrible at writing songs or playing solos.

Are you in a financial position to draw dogs dressed as pimps on the days you get paid?

Lately, yes. My rent is really cheap and I'm making a good wage at my job, so I'm doing pretty good.

Ben Snakepit – 'My Life in a Jugular Vein'

Back in the dark ages in the pre-internet days there was a time when the DIY community took the media into its own hands. Reviews, interviews, rants and raves were collected in zines – crudely xeroxed cut and paste pieces of literature that also spawned what would become blogging. These were heartfelt, recollections and scrawled down thoughts and poems that were way more in touch with the reality of being a teenager and youth culture than 'Party of Five' or 'My So-called Life'. In a sense, despite turning the big 3-0, Ben Snakepit captures the same spirit in the comics he draws to summarise each and every day of nearly the last decade of his life. In his second collection condensing the last three years we see our hero move to and from Canada, tour the world with J Church, hang out with the Sainte Catherines, meet Mike Watt, get caught in the throes of whirlwind romances and we're there to watch helplessly as he gets his heart broken. There's also more pants-shitting, Adderall tripping and days of doing absolutely nothing to keep the old school fans happy. Also keeping with tradition there's a song allocated to each day and this collection comes with a mix cd of some of those songs for the maximum Snakepit life experience.

The High Priest of Holy Terror

Revered... and sometimes reviled as purveyors of the 'metalcore' sound, Integrity's classic records combine the drive and intensity of hardcore and the heavier elements of the best metal. Behind it all is Dwid Hellion, the one man who has been the visionary behind Integrity through an insane number of lineup changes. But it's his unmistakable roar, cryptic and yet intriguing lyrical approach as well as his appreciation of a variety of art (he's a filmmaker, graphic artist and has ventured into abstract noise projects) and the occult that has led the band's sound into darker, uncharted territory; incorporating samples, industrial sounds and noise. He has also been a guest on a number of records recently (by the Hope Conspiracy, Pulling Teeth and the Ocean), is responsible for the equally amazing Roses Never Fade and is working on a new project, Irons, which features fellow visionaries Stephen Kasner and Jacob Bannon (Deathwish Records, Converge frontman). Dwid was kind enough the shed some light on his many projects and on the new Integrity record out in August.

What is the status of the different projects you're involved with such as Roses Never Fade, Irons, Psywarfare (and anything else I've missed out!) can people look forward to any releases from these projects any time soon?

Roses Never Fade has a long delayed ltd edition 7" that will hopefully become available soon from www.MissionMerch.com

Psywarfare has been on hiatus for the past decade.

Irons is currently in production with a tentative late 2008 release date scheduled, or at least a glimpse unveiling with that time frame.

Sticking with Irons, can you describe the concept behind it since no material been made available? I've heard it described as non-linear. Could any of it any of it be considered a continuation from your more abstract work with Lockweld and projects like Psywarfare?

It will comprise of many different elements and techniques that have been previously employed by the past work of myself, Mr Bannon and Mr Kasner.

With Roses Never Fade I was surprised by the song uploaded recently Rosa Italia which has heavier moments and you screaming/shouting. Do you plan to do this on more RNF songs in future?

We place no constraints upon RNF.

You've said the upcoming Integrity record 'The Blackest Curse' has similarities to your earlier work on 'Humanity is the Devil' and 'Seasons in the Size of Days' and is very metal sounding. Was it the plan to reference those two releases when you started working on it or is it just the way it took shape? How soon can we expect it?

There is no reference to either previous album. The Blackest Curse is its own album and concept. The release date is 18.08.08 available from www.DeathWishInc.com.

I've seen the upcoming dates on your myspace page with Converge and Coliseum, will you be playing new material on these dates? Do you plan on having any new releases available by the time these shows roll around?

A limited release 2 song 7" record will be available around the time of the summer tour

Despite the huge number of line-up changes through the years Integrity's output has had a certain consistency, vibe and feel that makes it Integrity. As a vocalist how do you communicate ideas with the band you're working with? Do you write guitar parts and much of the music on the other instruments?

The band has existed for 2 decades, and within that time previous members have moved on to different styles or abandoned music all together. Communication is sonic and visual.

I've heard you in earlier interviews talk about the different reactions to Integrity when you first started (something to the effect of it was too metal for hardcore kids and too punk and hardcore to be metal), what made you want to start a band that took hardcore and introduced the other elements into it? And then keep at it despite the less than enthusiastic responses at times?

I simply created a band that I wanted to hear.
It was a very selfish act.
I do not acknowledge the public response, whether it may be positive or negative. The music is our expression and our interests. The audience is more or less, eavesdropping on our own private entertainment.

My personal favourite Integrity record (and one of my all time favourite records period) is Closure which was a huge departure from the other stuff and overall sounded more industrial. What circumstances led to this and how do you view it in retrospect, do you like it? Hate it? Did you achieve what you wanted to with it?

Of course I enjoy many aspects of that album. Each album has moments that I still can relate to and enjoy. And each album has its own personality. None of the albums have been identical to eachother.

Integrity has definitely had an impact on shaping a lot of the hardcore, metal, and metalcore today. But what would you like people to take from the music you create and have created?

These creations are my/our expression.
The influence or reaction are not consequential to the music.

I thoroughly enjoyed the Halloween podcast you did last year. Has anyone ever approached you to do host any more radio shows? Do you plan on doing it again?

Thank you.
Yes, as time allows, I will post future media at www.HolyTerror.com

Integrity - 'Closure'
Despite the fact that no two Integrity albums are alike, To me Closure sticks out from the pack as it strayed the furthest from the metal-hardcore fusion that the band helped pioneer. It plays more like an Industrial record while losing none of the bite that made the band's other records so great. Samples and ambiance are incorporated more seamlessly than in their previous efforts and as always there were some surprises such as the Danzig-esque backing vocals on tracks like 'Mine' and one of my all time favourite songs 'No Time for Sudden Glances'. Some tracks also offers a glimpse into the work Mr. Hellion would later other pursue with other projects like Roses Never fade (the acoustic guitar and sample-driven 'The Martyr Inside') and the grating noise of 'Le Mmurb' - which by the way is 'Brummel' spelled backwards, as in Tony Brummel, owner of Integrity's label at the time Victory Records who the band had some well publicised problems with during their time on the label.

The Bastard Laments

We set upon our maiden voyage on fine form with this interview with Nathan Dylan Bennett, the visionary behind Capricorns, White Daughter, Bridge and Tunnel and the best music to ever come out of London. The first time I saw Capricorns I walked into the gig riding the at the drive-in wave and came out wanting bigger riffs and bigger amps from every next record I picked up. He's currently living in Germany and is set to invade Japan where I'm sure he'll start something else that'll level the place like a hairy Godzilla plugged into a Sunn Model T.

What brings you to Japan? What brought you to Germany? Have you lined up any bands to work with? What type of things would you like to do musically?

An opportunity recently arose for me to relocate there for awhile. As a frequent visitor to Japan, due exclusively to romantic endeavors, I've always wanted to live there for a spell. It will be an opportunity to finally learn the language and try and convince those guys in Corrupted to do a side project with me. Germany has been kind of a retreat from London for me. London was raping my brain on a daily basis, my wallet too, and I felt the only way for me to get any perspective on things was to get the hell out for awhile. I thought, Berlin is dirt cheap and not very far away so why not head over there for awhile? It's got to be better than Walthamstow! Anyway, with my newly attained perspective I've realized Berlin is cheap because it's dirt poor and full of hippies but it may be possible to make a buck or two teaching 'rock English' to pop stars and record executives in Tokyo despite the looming U.S. recession! Musically I want to do a million and one things. I want to do a large ensemble based project, a euphoric crust band, a doomed out electro thing and I figure Tokyo is the place to be to start that creepy psych band I've always wanted to do.

What's happening with Capricorns? Will you continue to do the band after the move?

Well, we've got an album coming out. We'll probably tour it and then see what happens.

What can we expect from the new record? Any titles or tentative release dates? I remember before you guys had a record out, live you'd introduce songs with titles like 'Pigeon Fist' and 'The Bastard's Lament'. Do you ever plan to use those? They're genius!

The album is called 'River, Bear Your Bones' (just to clarify that's bear as in carry not bare as in exposure) and it will be released sometime in early Summer. I've stolen all the song titles from a book but the album title is my own. I forgot about Pigeon Fist and The Bastard's Lament - they were good weren't they? Dunno maybe I'll use them in the future but if anyone wants to steal them go right ahead!

Eugene Robinson from Oxbow did an amazing job on 'The First Broken Promise'. Will the new record have any other guests? I heard there were plans to get Mike Williams from Eyehategod on one of the tracks on Ruder Forms but it fell through. Is this something that will happen with the new record?

You know, I was torn about this. I like the idea of having guests butI never wanted to have a Probot or a Sunn scenario where it's expected of you. I wrote 'The First Broken Promise' expressly for Eugene as he's one of my favorite singers OF ALL TIME. And I mean that, he's got something that no one else can touch. He's like a feral Sam Cooke or something, first and foremost a soul singer in my opinion. So I'm thinking, hmmm how do I top that? Mike Williams, who I also love is kind of hard to pin down. Then there was John Brannon who's a genius but I don't think our new material suits him at all. Then I thought about the guy in Wolfmangler, I even contacted him and he was interested in doing something but the tune I had in mind didn't really suit him either. Then a friend of Dwid from Integrity said I should get him on the record but that guy guests on everything. So you can see my problem, nobody quite fit. Well, apart from Glenn Danzig who's my hero but he's not going to do it for anything less than several thousand pounds and then I might end up hating it anyway... So I thought it best to avoid guests on this. Though as I write this I think EYE from Boredoms would be perfect on this one song...

What were some of the ideas and concepts when you started the band? Did you intend for it to be instrumental? Also I've always been into the raw rock n' roll swagger present in Capricorns' output that distinguishes it from the Isises and Pelicans. Was this 'vibe' something you planned out or did this happen naturally with having members of Iron Monkey, Orange Goblin as well as a result of some of your previous endevours? Or do I have it ass-backwards and you were trying to start a crusty sludge band that came out the way it did because of your work in Bridge and Tunnel and you love of film soundtracks?

No concept. Whenever I try to realize a concept it falls flat on it's ass. We didn't even intend for it to be instrumental, we got a gig booked after about 5 rehearsals and we were like "Shit, we don't have a singer but we have all the riffs kind of arranged." So we just went and did the gig without a singer. I think people were kind of expecting me to take on singing duties but I didn't start this band to be a front man, I started it to NOT be a front man. But then I kind of ended up being the only person who would speak into the mike anyway. I think your ass-backwards take on things is probably more accurate. Capricorns was definitely meant to be a crusty sludge band but I've got this real melodic side to me that I find really hard to shake. I mean, if I could start all over again or if I find myself with loads of time and money on my hands in the near future I would try for a degree in composition. I'm that fucking fruity man.

I remember the first time I saw the band at the Underworld with Lungfish and PW Long (awesome show) and later with Nashville Pussy. Unfortunately i left to return to Hong Kong not long after. Did you continue to play gigs on mixed bills often or did you find yourself playing with more stoner/doom bands?

Things started getting a lot more typical shortly after that time unfortunately. I mean, we always play with great bands for the most part but I really enjoy doing those incongruous shows - they are so much more fun to play and to attend. I remember thinking the Nashville Pussy crowd was going to hate us but we actual ended up going down pretty well with those maniacs. If you have the right amount of attitude you can get away with anything.

Looking back, how would you remember your time in London and how do you feel about how far Capricorns has come?

My time in London was great, it made me as English as I am American in many ways. I mean, I lived there for 12 years - I kind of 'found' myself there so to speak. I think Capricorns has done well, better than I thought we would do. I mean, we're just a dumb underground band but I'm pretty proud of our little following and we played some major gigs. I met a lot of heroes with this ridiculous hobby and have seen some parts of the world I never would have seen otherwise, it's been great. It takes character to do a job like this, most people can't hack it!

For the uninitiated, can you discuss some of your other projects? (Cattlepress, White Daughter, Bridge and Tunnel, as well as any I may have missed out!)

Cattlepress is ancient history. I learned how to play guitar in that band. We were a bunch of knucklehead kids from New York who were into crust and hardcore. They kept going and got a whole lot better after I moved to England. I'm still in touch with those maniacs. We might try to do a project some time in the near future. Actually, the Cattlepress bass player Javier Villegas, who was also in Born Against and happens to be my best friend in the world played with Capricorns on our last Euro tour. It was really great to play with him again after so long. White Daughter is kind of still happening at a glacial pace - we released an album called 'Stiff With The Invisible' a couple of years ago that I'm quite proud of. B & T is definitely over, that was a weird mix of all the things I'm into or was into at the time – I can hear some of it now and manage not to cringe!

How did the shows with Baroness come about? At the time was there a sense that they'd get as big as they did? I saw a Guitar World magazine article with them recently and Baizley was wearing the Capricorns Sharon Tate shirt!

We contacted Baroness the old way, directly, and mentioned that we could probably get them over to England for a tour with us. I knew they would get big and I think they'll get bigger. They've got massive hooks and can play they're asses off. I love that whole southern rock element they've got going on, I really hope they don't lose it like Mastodon did. They are sweet as pie too, love 'em to death.

You've had a long history working with Mark Bihler (Capricorns, Bridge and Tunnel, White Daughter) how did you first start collaborating with him? Do you plan on doing other projects with him in future?

He had a studio opposite a bar I worked in London years and years ago. We just got to talking about music and I ended up at his place with a pile of modern classical and soundtrack records that I thought would be worth looping over some Dale Crover breaks. This was kind of at the tail end of trip hop in the UK before it became a complete embarrassment. We just clicked musically. As people we are very, very different and don't always get along but when it comes to 'the music' we've got this synergy that's really special. And we're not gay, honest. We'll continue to do White Daughter, I've got tons of ideas
and want to take it to some really dark places!

Any final words of wisdom?

I always seem to be reminding myself that where there is horror beauty is never far away.

Thanks again, hope all is well.

No problem Arthur, see you in the far east. Oh, I won't forget about the shirts.

Capricorns – 'Ruder Forms Survive'

When Capricorns finally took some time out from destroying every single darkly lit room in London and introducing the English to Baroness to record their full length for Rise Above Records, I had the feeling they were going to come out with a masterpiece. It had seemed like a long enough wait having only been partially satiated by the ep they put out. But 'Ruder Forms Survive' over shot any expectations I had, and they were pretty damn high too (the expectations, not the band). Yes it is a masterpiece, yes it has understated moments of ethereal beauty. But these only serve to make the band hit harder when they all dive in and damn near kill you with the riffs. The guitars crunch without sounding saturated, it's sludge without the lumbering, geeking-out-on-smack shambles and the record sounds more live than most bands' live albums. No small feat considering Bennett recorded his tracks Anselmo 'Era-Trendkill' style in a separate studio in Germany, in an old radio broadcast studio used by Hitler no less. The one track with a 'singer' on it comes in 'The Last Broken Promise' featuring Eugene Robinson from Oxbow turning in a performance that ranks high among his most unhinged as well as his most vulnerable moments.

What This is and Why I Liked J Church

Ooooohhhhh shit... he's blogging now. Recording the esoteric details of his mundane existence, writing about music that no one knows, talking about the bands he's in, the parties he's going to and giving his opinion on the last gig he went to whether anyone cares or not.

Well, not quite...

A couple of years ago I placed an order for the Storm the Tower 7" and the StT split with J Church, a band that I grew up listening to and have always held in the highest regard. It was through the label Honey Bear which, coincidentally, was run by one Mr. Lance Hahn, who WAS J Church.

Myspace was a new thing at the time and so was being able to talk to some of the great artists I've always admired. I began writing to Lance on a pretty regular basis, even though we weren't bosom buddies. Our correspondence usually consisted of me asking about the 50 different projects he was working on, such as the book on anarcho punk he was writing or the records he was going to put out, and him giving me an update. Heck, I signed up for the Honey Bear Newsletter which was always a great read.

I figured I was pretty much 'interviewing' him anyway so I might as well do a legit one and started planning out this here blog. Unfortunately I never got the chance to interview Lance, he died late last year after slipping into a coma. The man who sang 'New York Times Book Review' which I would listen to on repeat while skipping most of my last year of high school, 'The Track' which I would sing along out loud to with my best friend when we were on the phone together and 'Society is a Carnivorous Flower' – the only 18 minute song ever written that I feel is too short.

I've lost my fair share of friends and family but for some reason this hit me pretty hard. But it did get me off my ass to at least try to do something to document these people and their work and let them know what impact they have on people who are in a totally different time zone.

I made a wish list of all the musicians, artists and visionaries that I had always wanted to know more about. I started trying to get in touch with them and asking them if I could interview for this 'thing' I was starting up with some friends here in Hong Kong, which has a good independent thinking community, but where a lot of the underground music I enjoy is hard to come by and unreachable if it's older than five years.

Within a week I found my inbox flooded with responses from some of the great minds behind my favourite bands, books, art etc. Nathan from Capricorns, Dwid Hellion from Integrity, Spencer Moody from the Murder City Devils/Triumph of Lethargy Skinned Alive to Death, the list goes on... I was over thee moon when I got a response from Ben Snakepit who, not only created the most addictive and voyeuristic look into a man's life you'll ever get in comic book form, but was the last bassist for J Church. For the most part these people were happy to answer some questions, and some of them like the members of Coalesce, were psyched when they saw what i sent them, things like that gave me the drive to not make this another half-assed idea that would die after the first few posts.

As I told them, I'm not going to be asking generic things about influences, crazy stories from the road etc. Nor was I looking for bands doing the rounds promoting their latest album. Google that stuff and you'll get it all from 50 other sites. I limited myself to 10 questions per interview so I could narrow it down to the burning questions and not walk away from it feeling like I wasted any opportunity by asking something typical or just plain stupid.

Another thing is there's no deadlines or any set schedule for these posts. I'm giving no pressure to any of the people who agree to answer my questions and my day job as a TV reporter is all about deadlines. Aside from the interviews I'm going to write a bit about the people for those not in the know and review some of the work.

Thanks to everyone that's been kind enough to answer my questions. If I interviewed you than you've done something that's had a profound impact on my life.

And to you, dear reader, whether you like what I'm doing here or not, please check out the work of the people I'm talking to if you haven't yet. I'm sure you won't regret it.