Evi Vine: "We have a few stories but maybe over a beer one day … My lips are sealed! haha … "

It was at the Black Easter Festival edition 2016 that I witnessed 2 bands performing who urged me to rush towards the merchandise stands in order to buy any material by them I could find… after 1 or 2 songs already… The first band was our National Postpunkish Pride calles Whispering Sons and the second one was Evi Vine, who came to present her 2nd album Give Your Heart To The Hawks… 

They were picked up by festival organiser (and founder of Peek-A-Boo magazine ànd IT-wizzard for Dark Entries) Ward De Prins to play on his beloved Black Easter. That same Ward De Prins came to pass away last year, being greatly missed by fellow music lovers and befriended artists alike. Some of his close friend came tot he idea to celebrate Ward with a  new edition of Black Easter, inviting some of the best bands of former festival editions, not forgetting the great 2016 passage of Evi Vine…

Evi and her band will be performing material from their 3rd record Black/Light/White/Dark, but not before kindly answering our questions…

Dark Entries : The first time I saw you performing was on the Black Easter Festival, some years ago, the same festival and on the same location you will be playing (again) on april 20… The second time was a gig for Can’t Live In A Living Room (wich was in someone’s living room indeed)… I understand that you met Ward, the late organiser of Black Easter on a previous Can’t Live-gig…? Is that how you came to play Black Easter in 2016 in first place…?

Evi Vine : Yes, that’s right: we met Ward for the first time through Eddy and Anja who are amazingly supportive beings whom we love dearly and they introduced us to Ward. He was so kind to us and his enthusiasm for the scene was unstoppable and contagious. Black Easter 2016 for us was a time of transitions, GB our drummer had just joined and we were trying out a bigger sound which led us to where we are now with this album….so we are very much looking forward to return to BE 2019 and perform the new material.

Other people came accross your music via Joy Division tribute-album A Change of Speech, A Change of Style, where you contributed with a reworking of Dead Souls. How came this into life? Did it opened some doors…?

EV : We have had some great support from a dear friend & collegue Sven Affeld who was integral in our support tours with Phillip Boa, also NCN Festival.  And being asked to contribute to the album havinjg opened doors …? I’m not sure but we have had some really positive feedback. There is a great deal of pressure taking on a track from such an influential band. Working with Danny Nolan aka 'Flint Kids' on production certainly gave it the dark edge . 

You also came to sing with Goth supergroup The Eden House (feat. Tony Pettitt from Fields of the Nephilim, amongst other fine names)… How did you end up singing and touring with them…?

EV : I met Tony & Peter (Yates?) at Elektroworks… We were there to see our mutual friend Bob White perform with his band NFD, so the communications started from there … which led to me writing & recording  Reach Out, In The Fire For You and The Dark Half with the guys. 

In The Eden House you shared vocal duties with Monica Richards (Strange Boutique, Faith and the Muse, solo, …), so you are familiar with each other. She’ll be performing Black Eatser the same day as you… Long time no see…? 

EV : Actually we don’t know each other that well. There was a really amazing performance where we were all together but maybe for just one show? In that time Amandine,  myself & Valentine toured the first album just the three of us … but we are really looking forward to see Monica performing live again at Black Easter. 

To play the Fields-card again: you already worked with Tony and now Peter Yeats (one time guitarist with Fields) worked with you on the single Sabbath, from your new album Black/Light/White/Dark… Do you have any harmless Fields-aneqdotes from them…? 

EV : We have been working with Peter Yates for years. We have toured together as part of Evi Vine and of course Peter recorded on the 2nd album Give Your Heart To The Hawks too… We have a few stories but maybe over a beer one day … My lips are sealed! haha …  

So we have Peter Yates but also Simon Gallup (Cure) working with you and the band on Sabbath… How come this into life and what was your experience with this…?

EV : Being in a space with Simon was so inspiring as I’m sure you can imagine … He is such a humble guy which makes the experience all the more fulfilling. The discussion to do something together has been some years in the making just trying to get the timing right. We feel so privileged… 

The single Sabbath has a heavier sound then we are used from you (next single My Only Son proved to be more old school Vine again)… Also the videoclip has a more heavy pictural approach… The title Sabbath makes me think of a period of contemplation but I heard that the video is all bout transformation?

EV : Transformation / Metamorphosis … Who are we if we don’t shed our skins ... The only reason I can think of for being here is to learn, grow, be more than we were before .. step outside the fear … it’s not always easy … Craig Murray’s work is out of this world… We just adore him… 

Would you say that the whole album deals with transformation in some kind or another…? 

EV : Yes, I think so … The album is layered like always … The songs deal with the recent loss of loved ones … They pass into new dimensions and we remain … Transforming in the cycle or destruction & rebuilding from within… 

Black/Light/White/Dark contains 6 tracks, so people would expect a short album. Wrong, I would say, because you’ll let the tracks breathe… (discuss…  )

EV : We didn’t want to have as many constraints this time  … We were recording for the first time as a band with Matt Tye on bass & GB on drums with everyone bringing something to the table … There are a few vocal based tracks but the album is not lead by stories this time, so yes > more room for the music to breath…

You and Steve are vegans… I know that veganism has a deep impact on a lot of things that I do in life… In what way and how much does this influences you in terms of your work as an artist…?

EV : I let you leave … Hmmm… to know the difference & the burden it become’s  you can’t unclear things, you can’t unsee terrible things once you know you step into a mother level of understanding… For us there is no option… 

GB is nearly there too… If we are talking about food then usually the communication works better one to one,  as long as people don’t feel like they are being threatened or judged, wich sadly is often the case … Some get very defensive when it comes to the eating of animals/meat conversation. They feel like their rights are being compromised somehow > they trust the system and don’t want to have to rethink eating…We have become accustomed to instead of taking new information on such things they may never have known… People can get very defensive .. They have animal companions, see themselves as good and kind people, have no knowledge of industrial farming practices and have never known to question the system… So defences go up… 

You are very weary about what’s happening in the world (politics, environment issues ,… ) and you speak out, being it in your lyrics (examples?) or during mid-concert speeches… As an artist you use your channels… Do you feel that people are open for this, I mean besides the music…? Do you experience moments that the message gets really across…? 

EV : Our recent show in Belgium, where you were present, was a very special night >  one fueled with emotion… Ward was as a brother to many...He was a dear friend to so many… The music community lost a friend and champion. It was a rare thing for me to feel as I did that night and I composed a spoken work piece reflecting the pain and love  present in the room…

During the Living Room-gig I was in the company of a Lady with a lifelong carreer in dancing, also Butoh (a post-war Japanese dance-art, known for it’s transformating potential)… If you would use the skills and experience of someone like that, how would you put it into use…? I did see AmenRa performing with a Butoh-dancer onstage and it was very powerful …

EV : Yes we did met her there and I’m so glad you are reminding me … She was a very charismatic inspiring woman and I would defer to her experience … I’m sure we could create a living working piece with movement both musicaly and physicaly… It could be very important to film this  … Maybe something for Craig Murray ?? 

Looking forward to your Black Easter-gig > what may we expect…? 

EV : When we get on stage now as a 4 piece, the aim is to connect with each other musicaly and sonicaly….That’s what we are looking for, The moments where you feel it may explode or take a new direction or improvisation… We will be playing the whole lot of Black/Light/White/Dark possibly for the first time ever and that will be exciting for us to share. Mostly we are also looking forward to catching up and seeing old friends… 

Well… see you folks there, for music ànd stories… !! 

(interview by Jan Denolet) 

Evi Vine

Black Easter Festival

Jo Quail: I guess I’m a bit difficult to categorize!

We still remember the second edition of the Black Easter festival in 2016, due to Jo Quail's concert. With only her cello (and an ingenious loop system) she succeed to win quite a few new souls. Organizer Ward De Prins had a good relationship with this British artist, and did not mind traveling to see this fantastic performer play. Therefore, it's quite logical Jo will be back at Black Easter, in memory of Ward. A conversation about her music, but also about processing the passing of a mutual friend.

DE: When we heared there will be a new Black Easter Festival, in honour of Ward De Prins who passed away last year, it was just unthinkable you were not on the bill.

I know Ward was a huge fan of your music, and he travelled often to England to see you perform. He had a special bond with you, so how do you remember Ward?

JQ: Ward. I always think of his warm smile, his joy and passion for music that seemed to run through his veins, and this passion he shared with everyone, he was an inspiration to me. And I can immediately recall his giggling laugh! And his knack for turning up unexpectedly to some of my concerts, not just in England, and me telling him off for not letting me put him on the guest list!  That was Ward to me, a treasured friend, a loyal friend, a friend I miss very much, and a friend I celebrate on a daily basis.

DE: Ward’s death came totally unexpected. How did you hear the news, and what was your reaction?

JQ: I had a call from Eddy, our mutual friend, when I was in Glasgow on tour with Amenra. I remember hearing this heartbreaking news and looking at huge grey skies outside. I felt I couldn’t understand what was being told to me, it just didn’t make any sense. Strangely, it was only when I began to play that night that the overwhelming fact sank in, I think because I was playing music, and music was Ward’s passion, and that was the point at which we met. When I played that night, I played for Ward. 

DE: On this year’s Black Easter a lot of artists who played one of the two previous editions will perform again. Honestly I must say your show is the one I’ll look forward to the most. I still remember the show you gave in 2016, it was the first time I saw you live and I was really impressed. How did other people react to that show?

JQ: Thank you! I’m glad you enjoyed the show. People seemed very enthused by the performance, and it was a privilege to play for you all. I performed ‘Five Incantations’ that night in its entirety as I’d just released the record, so it was an unusual concert for me. Normally I explain a little about the pieces before I play them but that one ran straight through from the first note of White Salt Stag to the last note of Gold. I’ll have a different set for you this time!

DE: Sieben will perform before you at Black Easter this year, you and Matt are both involved in Rasp, can you tell a little bit more about this? And is there a possibility there will be a collaboration on stage, as Matt does the whole looping thing also with his violin?

JQ: There’s always the possibility of a collaboration, though it might not be this night! We’ll see how it pans out. Matt and I very much enjoy working together but we both have very full schedules so opportunity does not often present itself. With Rasp, we wanted to make a record together, but had no time to write in a conventional way, so we decided to write and record a largely improvised album, in front of a live audience, and the result is this record! We are both huge fans of improvised music, and also collaborations so it was a real pleasure to make this record together. And a huge amount of fun too!

DE: What do you have in mind for your show at Black Easter this year?

JQ: I’ll be playing a brand new track for you, Reya, which is due for release in the summer, and at least one or two from Exsolve, my new record (thank you for your review!!). It depends on how the time goes but also tracks of course from Five Incantations and Caldera... we shall see. Whatever I do, I cannot wait to play for you!

DE: When people see you on stage, there’s just you and your cello. But with your unique looping technique you’re able to set up a very special and intense atmosphere on your own. Can you tell us a bit more about your way of composing and playing, and how did the idea came to mind to work with the loops?

JQ: I usually have a broad aspect that I’m exploring musically, whether it’s sculpture, art, poetry, sensation, experience, landscape, it all serves as a springboard from which to start. Practically speaking, my pieces are usually borne of a single theme which can be very small, three note motif, or a particular sound. Five Incantations, the entire album, is interlinked by one theme of three notes, the whole thing was built musically around this, whilst exploring the cardinal elements of earth, air, fire, water and spirit. In Exsolve I’m exploring both the more physical aspects of playing cello and creating, and the ‘known unknown’ processes involved in creating, as such it’s an dive in to the depths of where my particular creativity stems from, what runs within me. It’s also an aural representation of the turbulence that engulfs the writing process I’d say 80% of the time, and now and then the mists clear and you see the vast distances with clarity and certainty.  

I began looping when I began my career as a soloist, in 2010. I started with a single loop of 14 seconds in length... and even that was enough to let me hear the possibilities afforded by this technology. I now use the Boss RC300 triple loop station, and I spend a huge amount of time modelling my sounds and effects in order to get that breadth of sound you’re mentioning in your question. I usually begin my writing with a ‘clean’ sound, unless the piece has stemmed from a particular sound effect of course. Once it’s harmonically in place I’ll then start the fun process of ‘colouring in’ and seeing what form the piece morphs to as I begin to work with the effects chain too.

DE: All of your albums are self-released. Is this because you want to keep complete control, because I really can’t imagine there’s no label interested??

JQ: I’m very happy to self release, as you point out it gives me complete autonomy and I like to make my packaging as special as possible too, which might not be something a label would allow for budgeting reasons. I’m not adverse to working with a label but there honestly has not been any interest, I guess I’m a bit difficult to categorize so perhaps that puts them off! It doesn’t matter to me, I’ve managed thus far as a self released artist and I would recommend it. You do have to be very well organised though, and you do need some form of income as it’s not cheap, but on the other hand 100% of album sales come back to you, and in my case go in to the pot to make the next release. 

DE: Alongside music, you’re also inspired by visual arts as I read the biography on your website. Also an example of stunning visuals and one of the most beautiful band sites I’ve already seen!

You cite Barabra Hepworth and Georgia O’Keefe as key influences. Did you already linked songs to a specific piece of visual art?

JQ: Funnily enough ,the brand new one I’m going to play for you, Reya, is the fourth or extra track on the vinyl release of Exsolve which will be released in the summer. Reya is actually the closest I’ve got to ‘realising’ the concept if you like behind Exsolve, which was the work of Barbara Hepworth, and in particular ‘Single Form’ sculpture. The funny bit about this is that this concept and image was behind all the rest of the album tracks, yet I only feel now, on this ‘extra’ track that I’ve actually got close to the depth, the raw power of her work, coupled with the overarching majesty, the placement, the scene, everything combined. I can’t really describe it. I hope you’ll like it when I play it!  

Georgia O’Keefe’s great quote along the lines of ‘I went as far as I could in charcoal, then I added blue’ is a great reminder of what can be achieved with a comparatively simple set up, ie, don’t over complicate! In my case, don’t loop because you can, loop because you need to, add sonic colour because you need to underscore a musical point, and you cannot do this any other way, don’t do it because it’s ‘there’ and waiting to be used. 

DE: You also a much asked artist to collaborate with. I guess they’re all special, but which collaboration(s) will always very special to you?

JQ: I love all my collaborations! It was a joy to work with Eraldo Bernocchi and FM Einheit, that was a great experience and we made a fantastic record, Rosebud (Rarenoise). I’ve worked recently with Poppy Ackroyd on her latest release ‘Revolve’ (One Little Indian) and that was a huge amount of fun. Rié fu is an artist I recorded with and her album is being released today (15^th March), which is stunning. Check out Mirror.

There are several ways I collaborate, I’ve got one on the go at the moment with a fantastic Canadia singer and we’ve literally started from scratch, sending each other tiny snapshots of sound that we will build in to a track over the next few months. At other times I’ve gone in to a situation where there is a skeleton, or even largely developed track (such as the one I did recently for Don Anderson Aggaloch) and I’m asked to ‘do my thing’ on it, and so I do! 

DE: One of your strengths is also that musical borders are crossed to create a complete new soundworld. This is (neo)classical music, but not as we know it. It has electronic elements, and even references to post rock, ritual and metal music. A purist nightmare! I hope those purists didn’t cross your way often, or did you already convinced some people to stop their narrowminded thinking?

JQ: I’ve never met any of these purists you speak of! Very glad about that. In my experience my audiences are very broad minded and whether I’m playing to a metal, prog, classical or contemporary crowd, with the same repertoire (just at varying volumes usually!) its met with enthusiasm and encouragement. I feel very very lucky indeed to meet such fascinating people from all tastes and backgrounds at concerts. 

DE: You’re also a parent, in a previous interview for Peek-A-Boo Ward asked you how to combine that with being on tour. I also have a 9 year old daughter who started drumming recently, so I was wondering if your daughter is also interested in making music?

JQ: Drumming, that’s awesome! Tell her to check out Niki Skistimas, (Krash Karma) , she is incredible. My daughter seems to really enjoy playing piano, and recorder too. When I am practicing and writing at home she will often pop in, put my headphones on and start and stop the loops, she knows her way round the RC300 now! The other day she said ‘Mummy, this piece needs more water’ and I knew exactly what she meant! I am blessed with this little one.  She also loves dancing and science and lego. And tree climbing! 

DE: A question I hear a lot is that people want to get into (neo)classical music but don’t know where to start. With your knowledge I think you’ll be able to point some “must-heards”...

JQ: I actually just stopped this interview to take a call from a friend of mine Damian Iorio who is a conductor, and we discussed your question! In its ‘classical’ interpretation we’re talking about a period of time beginning around 1920 ish. For Damian the piece that sums up the neoclassical movement is Stravinsky’s opera ‘The Rake’s Progress’.

I tend to direct people to the Rite of Spring (also Stravinsky) but this is a bit earlier than the neoclassical period, however it is a very important work for several reasons. On the other hand, the term can also be loosely applied to anything that is modern ie of today, but with ‘classical’ influence, so therefore sometimes what I do is termed neoclassical, though obviously it’s not part of the traditional meaning of the genre of neoclassical that was defined by a particular time line! I think neoclassicism as a subgenre if you like is pretty prevalent in all ‘main genres’ of music, and as such it could imply longform composing, aspects of serialism in music (looping being one example), bringing strings or ‘orchestral instruments’ in to the performance stage, and crossing perceived boundaries in terms of texture and timbre and style. 

These are not ‘neoclassical’ but they are pieces I enjoy from the repertoire that is not metal or rock etc, see what you think:

John Cage ‘In a Landscape’ for solo piano is beautiful, that’s from 1948 I think. This uses a very simple technique on the piano that comes to the fore right at the end of the piece, just allowing the harmonic overtones to reverberate out, no actual ‘front end note’ but you need to play or hear the whole piece in order to get this effect. It’s really cool. 

There’s a lot going on in the piano world at present. Have a listen to Joep Beving, beautiful playing and composing. 

George Crumb’s ‘Black Angels’ is a pretty pivotal piece too, using strings and extended technique with amplification. It’s also structurally quite involved too, multi layered really and I find this very inspirational. 

Gregory Rose’s Danse Macabre, premiered in Tallinn in 2011 is an incredible piece of music, please listen to this if you can!

The beautiful thing about music today is the ‘permission’ to be artistically free in expression, and the natural coalescence of previously distinct styles or genres. These new, bright colours and sound themselves inspire creativity, and it’s a constantly turning wheel. I love it. 

DE: And we love Jo Quail! See you at Black Easter!

Photo credits: Simon Kallas

Jo Quail

Black Easter

Hackedepicciotto: Anything that sounds unusual attracts me immediately

When the first names for the Black Easter festival were announced, we couldn't resist a jump for joy. We tipped Hackedepicciotto because, in our humble opinion, it was the right act for this festival. Luckily BodyBeats shared this opinion. Not only did the couple Alexander Hacke and Danielle De Picciotto released the very strong album Menetekel, both of them gathered a lot of musical experience through the years and thus were the ideal candidates for an interview.

DE: When our readers see the name of Alexander Hacke, most of them will automatically link it to Einstürzende Neubauten. Danielle, you’re know as one of the founders of the legendary Love Parade and was involved with Gudrun Guts Ocean Club, Space Cowboys, Die Haut and many other projects. Hackedepicciotto is a recent project, although you already made music together before. Is Hackedepicciotto a new start of something?

Danielle: hackedepicciotto is part of an ongoing work process Alexander and I have been immersed in since 2001.We have done very many different collaborations together over the years: interdisciplinary projects, theater plays, film music etc.. hackedepicciotto became our band name when we felt we had found the sound that fitted perfectly to both of our characters.

 Alexander: Hackedepicciotto is the accumulation of our combined efforts in equal parts. Like the name suggest it is more of an symbiosis than a collective. We’re not a band with replaceable members, we’re one entity.

DE: You’re married in 2006, and the cliché wants us to keep work and private life apart. How do you manage as a couple to work together, does it bring some extra tensions, or is it just easier to work with someone that’s so close?

Danielle: We are working together not because we are a couple but because we complement each other perfectly in our tastes and talents. The fact that we are a couple is beautiful but even if we were not a couple I would love working with Alexander because he always comes up with something I would not and vice versa.

Alexander: We know and trust each other more and better than anybody else. At the same time we are very different from each other and may approach issues from opposite angles. That can cause friction, but in the end we are always better off that way and see it as an advantage to have a variety of ideas to draw from.

DE: Since 2010 you live as nomads all across the world, constantly touring. A very intense lifestyle which made you both decide to stop smoking, drinking, becoming vegan and start with meditation and yoga. Has this current lifestyle made you more conscious of life than before?

Alexander: Of course! And I don’t think that we would be able to survive tis kind of life any other way. It is also quite rewarding to escape that cycle of punishment and reward, of work - excess - hangover - work and so on, which particularly many artists are prone to

Danielle: This experiment changed my life completely. It has changed my perspective on art, health, spirituality and society. It feels as if I have been put into a fast forward motion of personal development in which I am learning things at double speed which I would have otherwise spent my whole life discovering.  The first and very important aspect was getting rid of everything superfluous in my life. That in itself was a life changing catharsis. 

DE: Which brings us to ‘Nosce Te Ipsum’: did you met yourself on your trips?

Danielle: Most spiritual leaders or philosophers say that understanding yourself is the first step towards enlightment. It is also the most difficult. I would say I am starting to understand myself a little better but still have a long way to go.

Alexander: “Know Thyself” is the essential hermetic motto and a valid goal to aim for. “Be Thyself” and “Love Thyself” are the next steps. Necessarily in this order, because you can not be or love anyone you do not know.

DE: The first Love Parade was in 1989, initialy to celebrate the birthday of DJ Motte. Danielle, you were one of the co-founders of this event that became the biggest dance event of the world. How long did you do this, and how do you remember these days?

Danielle: Motte and I initiated the Love Parade because we felt that music can cross all borders and wanted to make a statement of peace and joy. The fact that it became so big was a confirmation that many people all over the world feel the same way. Another wonderful fact about this collaboration was that we made it happen with very little money. We had a lot of enthusiasm and the Parade became a symbol of the fact that everything is possible and miracles can happen. I was part of the Love Parade until we had 1.5 million participants. After that I decided that I am an artist and not an event manager and went back to doing music and art. The times in the late eighties and early nineties were magical because it was the beginning of a new era. Everything was new and exciting, the world seemed to opening up to something positive and Berlin was a playground of creativity. I am very happy to have been able to experience these years in Berlin because it gave me an incredible foundation of fun and know-how.

DE: I remember in the 90’s, it was absolutely not done when you were listening to what they called “alternative music” to listen to dance. Nowadays (fortunately) the musical landscape changed completely. It’s easier to get access to music, and back in the days everything was more divided into different parts. Berlin was always a very important city for music, was there a comparable reaction?

Danielle: Crossover has always been really important to me. My first band “Space Cowboys” was a cross-over hip hop/rock band and I was their singer whilst working in techno clubs such as the Tresor, so I never felt imprisoned in a specific genre. Berlin has always been a city that has broken down barriers. Being a interdisciplinary artist and working in different medias was already popular there in the eighties. That is why I moved to Berlin from NYC. I do not think there was a city comparable back then.

DE: Alexander, we can hear you throat-singing. My wife is a huge fan of Mongolian and Tuvan acts like Huun Huur Tu, Yat-Kha and AltaiKai. Where did your fascination come from, and was it hard to learn it?

Alexander: My musical tastes have always been very eclectic, so I am certainly aware of Tuvan throat singing. I started practicing it as a kid though, totally unrelated to music, by trying to talk like a robot to amuse my mates in elementary school. Much later I got introduced to recordings of Inuit people from Northern Canada and I realized that they apply the same technique and I started to explore how far I could take it myself, without a teacher or direct musical reference. I am still working on the overtones...

DE: Talking about the throat-singing technique: have you ever heard of the Russian monks of Phurpa? They practice upside-down and drink black tea with chili peppers and cream for their vocal chords. Do you have a special method to train your voice?

Alexander: No, I don’t know them, but will investigate. I also like some “pain" with my food though, which allegedly helps and to be a non-smoker can’t be bad either.

DE: You both also use a lot of less common instruments like the hurdy gurdy, autoharp and the Turkish kemençhe. Is this also due to your travels that those instruments had their influence on you?

Danielle: I have always loved odd sounds. In a way my music can be considered sound art more than anything else because I am always looking for a specific tonality. That is also how I chose my instruments. Anything that sounds unusual attracts me immediately and that is how I discovered my instruments.

DE: The result we hear on Menetekel is a very rich sound. Also quite unique, the only reference I could make in my review was Swans, with Jarboe. What’s the most original comparison you’ve already heard when people want to describe your music?

Danielle: I am not interested in comparisons.

Alexander: The most original, I suppose, was to be compared to “The Revolutionary Army of the Infant Jesus”, an obscure English neo-folk band.

DE: Alexander, I always was (and still am) a big fan of the Crossing The Bridge documentary you made with Fatih Akin, that deals with the vivid music scene in Istanbul. I was in Istanbul twice, and you succeeded in bringing the feeling I experienced when you dwell through this wonderful city. In the documentary you also played together with Turkish musicians. Do you still have contact with some of these artists?

Alexander: I’m still in touch with Murat Ertel of Baba Zula, in him I have found a kindred soul concerning our musical tastes and sense of humor.

DE: The artwork of Menetekel is based on the iconic painting of American Gothic. Was there a particular reason you’ve chosen that work?

Danielle: I was not thinking of that painting when I was doing the lithography. Originally I did not plan for it to be the record cover, I was just experimenting on this technique and as our nomadic journey is my main artistic theme momentarily I tried to convey what we feel like at the moment. When Alexander saw the first result he said: That is our record cover!

DE: Menetekel refers to the writings on the wall in the Bible, just like Jericho. Alexander sang in the past with Einstürzende Neubauten of ‘Der Schacht von Babel’. Why this fascination with the Old Testament? Is it just because of the beautiful stories, or does it have a deeper meaning?

Alexander: We study a variety of sacred texts. I consider music, all arts actually, but mostly music, to be a direct means to get in touch with the Devine and cherish and respect the craft for that quality. Creating vibrations like that is a matter of cause and effect, which should not be taken lightly. Music is spiritual by default and as a spiritual person I am interested in spiritual allegories.

Danielle: Interestingly our journey feels biblical in many ways, like a pilgrimage towards some kind of truth. This kind of search touches many basic human and social themes, which often are mentioned in spiritual books, one of them being the bible, so becoming immersed in these subjects has become part of our work. This obviously influences our music.

DE: Globetrotters as you are, you must get in touch with all kinds of habits and religions. Do you adopt things of those impressions in your daily life?

Alexander: Yes, we research, discuss, meditate and try to adapt what we learn in our work.

Danielle: Yes we have learned a lot from the different cultures and countries we have experienced on this journey and they influence our thoughts and development.

DE: We’re very delighted you are going to play the Black Easter Festival, what can we expect from your show?

Danielle & Alexander: We will be performing our current album Menetekel, songs from our last album Perseverantia and new songs that will  be released on our next album.

 Hackedepicciotto

Black Easter

Monica Richards: I always felt out of step with the Modern world, ever since I was a child, I do even more so now.

Monica Richards is one of those names who doesn't need a further introduction. These year the goth icon will perform at the Black Easter festival in Antwerp, where she will play together with Anthony Jones. A great opportunity to talk with this multidimensional artist.

DE: You were booked for the Black Easter festival in 2016, but had to cancel due to health issues. I’m glad you’re better now, because it was quite serious Ward (organisation Black Easter) told me. Do you want to tell us about it, or rather not?

Monica: It’s thyroid, and unfortunately it’s a bit chronic. I was hit very hard in 2016, as it’s connected to my throat, and my voice was not in good form at all. I was facing surgery but the doctor decided to not to do that yet. At the same time, the band I was bringing were very relieved about the cancellation, we were due to arrive the very day the bombing happened at the airport.

DE: At this year’s Black Easter you will perform together with Anthony Jones, just like you did at the WGT last year. How did this collaboration came to life?

Monica: I have known Anthony for many years through the scene, and have admired him so much as an artist. His style and my own are similar in the World-music, electro-tribal One-Heart style. He got in touch with me about doing a live show two years ago at a time when I wasn’t really interested in performing. But Anthony had some wonderful ideas about putting some of my songs together for live performance as well as his own, so the idea took off from there.

DE: Together you both also released the EP SYZYGY. A term with various meanings but here refers to astronomy. A shared passion?

Monica: Anthony suggested this title and I looked into it. It is found in many sacred and philosophical texts. I went through some of my books and there it was. After I read from a few different sources, it seemed perfect.

DE: Are you also planning to record a full album with Anthony?

Monica: We are at work on it right now! We have a new song “Avalon” to come out end of this month (February).

DE: Also in 2017 there was a new album of goth supergroup The Eden House. Also in The Eden House is Evi Vine, who also plays at Black Easter. We wouldn’t be surprised if she also will share the stage with you for one of more song(s)?

Monica: I have not met Evi but really quickly, I think in Poland, 2010, when I jumped on stage for To Believe with the Eden House. I do hope to spend a bit of time with her in Belgium, and looking forward to her set, I think she’s brilliant! But we have not planned anything… Our time in the Eden House were different albums, so we have not shared the stage properly.

DE: Do you also have plans to record new work with Faith And The Muse. Because the last album’s already 10 years old, some people are wondering of FATM still exists?

Monica: No, that era has ended.

DE: Alongside your music, a few years ago you published a coloring book for adults, which was quite a hype. I know some people do coloring for some therapeutic reasons, was that also the reason why you’re interested in this kind of medium?

Monica: Cat Carnell from the brilliant classic 90’s Goth magazine, Carpe Noctem, (do you remember this mag)? She was publishing coloring books and asked if I would make one with her. My art style has always been with outlines very thick, so I thought it might be a nice challenge. It was actually very therapeutic to draw them, and then color them so that I could check the lines. It was a great project for that year.

DE: You’re a painter yourself, and a detail of one of your paintings is used for the poster of the festival. When I look at your paintings I see you often choose to paint with loud colours. My wife (who is a huge fan of you) also paints, and also uses this colors. In her paintings it is to make ‘dark’ themes more colourful. Is it also why you use these colors, or do you have another reason?

Monica: I am a giant fan of Art Nouveau, which can be very colorful. I have always loved working in color and patterns. Color can bring out a great deal of emotion. Black and white is wonderful, but add some color and BAM! you can change the whole feeling… Zeva seems to have a lovely style.

DE: You did not only publish the coloring books, but also wrote some actual books, like the graphic novel Anafae. Are you still writing, and if so, what are you working on?

Monica: I am writing all the time, mainly poetry. I have also many micro-stories. I have been working on a new classic work of music, so they are on the back burner. It’s very very hard in this new Modern online world to put out a book. Our attention spans have been severely damaged by social media and too much input. So I’m unsure when I will release new written work.

DE: Completely justified you’re called a goth icon. But, what does gothic really mean to you?

Monica: For me, a longing for a more classical time, a simpler beautiful time - but it is a reimagining of the past, not the reality of how hard it actually used to be. I always felt out of step with the Modern world, ever since I was a child, I do even more so now. So Goth and all of its classic splendor spoke to me, romantic, dark songs and clothing, depicting something dream-filled and deeper than life. 

DE: Gothic has become a ship with many flags, you have the old school gothic rock, deathrock and batcave who leans more to (post)punk. But you also have electronic music you only hear at goth clubs, a genre in which we find Anthony Jones. Dark folk, noise, industrial, minimal, medieval,... all completely different, but all present at big events like WGT. Are you a musical wolverene who swallows it all, or are there styles you completely don’t get into? Did you recently discovered some acts you really like?

Monica: Well, I came up in all of it while it was brand new, so it has all been alongside me on my path. You know my music was called “Doom and Gloom” before the term Goth came along! I think I am known for my diversity. With Faith and the Muse, we decided to do any and all types of music we wanted to, Medieval, Celtic, hard rock, death rock, Sea Shanty, even techno. I do what I like in my solo music, I’m more about the song than the style, if a song or lyrics move me, a melody or riff that’s really great. The highlight for WGT for me was seeing Warduna, just brilliant live. I’ve been listening to the band Clutch lately, great hard rock, good lyrics and musicianship - they are not in the ‘scene’ at all, but they’re really cool.

DE: One of my favorites of your solo work is the song ‘Like Animals’, especially because the lyrics are spot on. As I encourage a vegan lifestyle myself, I think it’s important people like you keep their audience aware of this subject. When it comes to animal rights, do you call yourself an activist?

Monica: Thank you! That song was actually originally in the 1960’s “Dr. Doolittle” which I adored as a child. For me, I do things in my own way, and I find people are more willing to look and listen. So I am not a hard-lined activist, but an InfraWarrior (warrior from within). I find it’s best to do your thing, and show why you do it, but don’t push anger and judgment upon others. We can look at the many new vegan products that are coming out, as well as their easy access in large grocery stores to show that Veganism is on the rise, be it for health or for animals, it is going in an upward direction globally, which is great.

DE: Hot topic today is global warming. You can be optimistic and say: better late than never but do we have a reason to be optimistic. Do you think our earth is doomed?

Monica: I think we can view it that way for humanity, especially while the insanity of religious dogma and the need for money and power prevail. This brand of philosophy is the definition of Disease. But there are thousands who are working hard on positive solutions, and we must look towards them, not only the negatives that are blasted at us all the time. We are dealing with rising weather events, which will change our ways of living more and more, and we are a very adaptable species at the core despite the insanity going on at the top. We have the ability to change our behaviors. I have a website about my work in Permaculture: infrawarrior.com which goes into finding my way to work with my desert land to live in harmony with Nature. (It actually needs to be updated with new work). In the next months, we are getting a greywater system to the house, so all showers and washers will go straight to the trees. When you are feeling despondent, look to people in Permaculture, there are so many at work all over the world in positive ways. The path itself can be the means, not where it ends but how you live, if that makes sense.

DE: You show interest in ancient mythology, but also Celtic, indian and Eastern wisdom like the Shinto religion. Would you describe your spiritual path as a hotchpotch of influences, or is it a well thought out own interpretation?

Monica: Well, the more you look, you more you can realize it is all the same, but differentiated by culture, climate and history. The basic truths in world-wide Matriarchal Mythology are: respect for Nature (animals as well as the earth), respect for each other (men and women together, neither is above the other), respect for ancestors and your elders and carry on the knowledge they have given you, adding to it with what you learn, live lightly and in harmony with Nature. Be honorable in your word. My path is as much that as I can be (though being human has its faults), I prefer my fingers in the soil, surrounded by Nature. And this is how I write my music, usually. My new album I am writing, “Hiraeth, is all entwined with this…

  DE: You already did some (brilliant) covers of Bauhaus, Kate Bush, Dead Can Dance and The Chameleons. I was wondering, if you had to choose a song that’s not in the wave/gothic catalogue you had to cover, which one you should pick?

Monica: That is very hard as Underground music is in my blood, ha ha! In Strange Boutique, we did a cover of Bowie’s “Heroes”, does that count? Actually, I have always wanted to cover The Beatles “Within You and Without You”… probably an obvious choice for me!