Table of contents Interview with M. (Anémic Cinéma) 3 Anémic Cinéma – "(ceci n'est pas) Triste" review 5 Interview with Chris Pelle (Guitare Noire) 6 Guitare Noire – ‘The Debut’ review 8 Interview with MAV 9 MAV. ‘Enter’. First band’s album review 10 Interview with ‘Holy Blood’ 11 Biography of Dementia ’99 13 Interview with Cain (Dementia '99) 15 Interview with Deadchovsky 17 Interview with ‘Flowers in Flames’ 23 Flowers in Flames – the debut album review 25 Vincent Fallacara (A Sordid Poppy, JefH, TORSO) 26 Interview with Lucas Lanthier 31 Interview with Andi Sex Gang 36 Sex Gang Children – Salamun Child EP review 41 2 Interview with M. (Anémic Cinéma) http://www.myspace.com/cinemanemic Nattsol: Say a few words about discovering more kinds of music re- position with Duchamp's, Man Ray's yourself for a start, please. lated to the goth scene, like batcave, and Picabia's works and I knew I had M.: I'm a young guy from coldwave, deathrock... found the way to communicate what Barcelona who has a hyperactive As the musician, this is the first I wanted: absurd. Maybe that exposi- mind and can't stop creating. The 'goth' project I have. Before AC I had tion only took outside my addiction problem here is I'm very lazy, so most an experimental black metal project to Kafka and Bukowski's literature, of the time I simply do nothing until called Nacht, which I abandoned where I felt identified with the mis- something comes to my mind and I when I stopped hearing to that kind understanding of the world the au- feel stimulated to do something use- of music -I keep composing and thors reflected in their books. less with it, like a song, or a photo. recording songs for Nacht, although. Nattsol: You took the name of Nattsol: How did you come into Nattsol: How did you catch the Marcel Duchamp film. What's the 'goth' (etc) music as the listener idea of creation your own project? Duchamp's and the film's influence and as the musician? How was it born? on your project? M.: This is hard to tell, because I M.: It was born after listening lots M.: If you look to the film you'll don't really know what the fuck is and lots of times The Cure's Pornog- see it is absurd. I saw it in the expo- "goth". I could say the first deliber- raphy album. I didn't understand sition, projected on a wall, and I ately sinister group I heard was Death how they could express so much with stayed there, standing up, hypnotized in June. I got addicted to their music, so little. I wanted to do something by the words that appeared. And even so I started looking for more grups like they did, I mean making people I knew he didn't want to tell me like Dij on the internet and I became sic, sad, just like I felt after listening something, he was only playing with a habitual listener of all the Neofolk that album. the spectator -me-, who would judge music and from that point I started And then I went to a dadaistic ex- him in a good way because he was a 3 fucking genius, I saw there what I M.: Well, the dadaistic influences everyday to plough ourselves a future wanted to do. So the project could can't be kept original as they are pure that may not exist. Contemporary have been called "Retours a la rai- nihilism, and nihilism only admits dada can be our lifes. son" or "Un chien andalou", or the concept of destruction. "Ready Made" too. To avoid the dadaistic deadlock Nattsol: Enough about dada for The influence, so, is not artistic, I'm considering incorporating more now. Tell me about your first demo, is... ideological. I mean dada was themes in AC's new songs, letting be- please. How was it recorded? What is born from disorientation and the will hind the nihilism of that movement its conception? (Etc). of breaking everything that had been and, also, making of that deadlock an M.: Oh, god, this may be a bit dis- absolute in art, is nihilism in art, and inspiration point. Because that dead- illusioninc, because "We all dream / the message is that everything is rela- lock can be seen as the maximum ex- We all die" was created without a tive, irrelevant; everything can be art, pression of the dadaistic main line, conception behind. I simply thought so art is absurd, and doesn't exist it- which is destruction, defined by the "I must do a demo", and started self. That feeling of disorientation members of the movement when they working on it. Because of that it was and misunderstanding of the world started it. And destruction leads us a demo, I wanted to create some around is what I want to reflect in to despair and disorientation which songs who could defend themselves alone, so I rejected the idea of creating something similar to a conceptual album -which I want to create some day-. It was recorded at home, like the new re- lease, and I did everything, from the programmed drums to the bass guitar -which is not a bass guitar but a guitar tuned in a low tune :D-. And it was after record- ing the five songs and having heard at least ten times each that I named the demo "We all this project, and that's the influence are some of the feelings I wanted to dream / We all die" -I don't know of Duchamp -and the dadaistic art- transmit when I conceived AC. why still- and numbered the songs in in Anémic Cinéma. To the second question I could the order they are. answer only one word: everything. We Nattsol: Well, then I have to ask have destroyed the tradition and Nattsol: So you recorded the sec- you, what is dada for you. As we hugged contemporary art, which is ond demo recently. Could you repre- know, the period of the original the abnormal son of the avant-garde sent it and say, what has changed in dadaistic activity is 1916 - 1922, and movements of the past century, so we comparison with the previous release? the movement partly broke up be- have no art, and no past, because the M.: In this demo I tried to incor- cause of the repeating of itself. So present has broken with the past ways porate other elements to the songs, how do you reflect your dadaistic in- of living. The world is so compli- like synths -i.e. in labyrinth- and to fluences with keeping them original? cated we have to abandon the pur- omit others in some songs, like the How are you going to avoid the pose to understanding it, so we can't bass guitar -i.e. in fading memories-, dadaistic deadlock? imagine how the future will be. And which made some songs too dense Oh, and what is contemporary our present, our life, pass by between and saturated. The point was to try dada in your opinion? gray buildings and cars, as we work to fusion ambiental music with the 4 cold wave, but I discovered shoegaze all, but what I wanted was to end and not just only to compose, record -especially the band Trance to the with the rain sample in the last song, and release more and more demos - sun- during the recording of the as an outro -maybe if I have some that would be very boring- because songs, so I decided to add some rem- time I'll add that sample one of these that's similar to doing nothing as the iniscences of that kind of music in days :D-. real life of groups are their gigs. one or two songs. That's why some- times the guitars have a bit of echo Nattsol: Well, what are the musi- Nattsol: What other artistic ex- added to the reverb I use to put on cal plans of AC at the moment? I periments would you like to try? them. Also, I programmed some mean, what ideas or innovations M.: You got me without an answer drums deliberately 'strange' -I'm you'd love to use in the future? here because I haven't even consid- sorry I can't find the word to define M.: I'd like to add to AC some ered trying other artistic experiments what I really wanted to achieve when post-industrial reminiscences, like the as AC takes me so much free time - I programmed them-. ones in Death in June’s 'Nada!' -I'm composing, recording and now work- So the point was to erase some in love with that album, jaja-. So, in ing of the artwork of the new layers whose objective was to give the future I'll try to make the songs release-, and I don't have to much 'consistence' and to add others whose a bit more complex, giving the songs free time to spend working on artis- objective was to make the songs even structure and, maybe occasionally, in- tic projects or experiments. Although more obsessive. And when I couldn't corporating that elements -I haven't I'm experimenting with some samples add that layers to make the song ob- decided still if I will add them to the I downloaded to create some 'music' sessive until nausea I tried changing songs or in different songs, as inter- for maybe a future noise/industrial some drum rhythms in the middle of ludes-.