Exponentia: Je tiens absolument à évoquer dans ma voix et les effets du multiprocesseur, une créature fantasmagorique.

Exponentia est un projet musical particulier. C’est une formation néoclassique de juste une personne : Ludovic Dhenry. Il vient de sortir ‘Abend’, son quatrième album, mais il a aussi sorti d’excellents disques sous les noms Zauber et Résonance Magnétique. Vous vous demandez ce qui le motive ? Nous aussi, et nous lui avons demandé.

Bonjour Ludovic. Tu viens de sortir ‘Abend’, le quatrième CD d’Exponentia. Je suppose qu’il y a de nouveau un concept derrière l’album. Si c’est le cas, tu peux nous expliquer un peu le concept?

Pour cet album, j'ai travaillé différemment. Contrairement à « Sadness » par exemple, sur lequel j'ai composé les morceaux en évoquant émotionnellement la tristesse, ou sur « Ghost » dans lequel les entités étaient le thème de l’album.  Sur « Abend », j'ai voulu intégrer dans Exponentia un nouvel instrument, la guitare électrique, et travailler sur des structures de chanson plus conventionnelles.

En effet, tu as mis l’accent sur les guitares, un élément qui n’existait pas sur les disques précédents. Est-ce l’influence de Lacrimosa, dont nous savons que tu es grand fan?

Avant de commencer la composition, j'ai débuté le processus de création en écoutant mes précédents albums. Dans un second temps j'ai réfléchis à la couleur musicale du futur album. A partir de ce moment là, j'ai imaginé mentalement une chanson, comme une piste témoin sur laquelle baser le disque. L'ajout de guitares électriques s'est imposé dans mon esprit. Au studio j'ai donc enregistré une première maquette dans cette optique. Le titre en question, et dont tout l'album résulte, est « Abend », qui est également le nom du disque.

Il existe une multitude de groupes de musique de style rock, métal, électro indus etc... Par contre très peu de groupes gothique de style Lacrimosa, Das Ich, Goethes Erben, Sopor Aeternus et autres. Quand j'ai créé Exponentia, j'ai voulu m'inscrire dans ce style de musique, tout simplement parce que c'est cela que j'aime écouter et composer. J'ai  cette musique en moi. J'écoute souvent ce style de musique ainsi que de la musique baroque et classique. Cela influence mon travail. J'écoute souvent les albums de Lacrimosa. Cette influence a jouée un rôle important dans mon choix de l'ajout de guitares.

Comme toujours, les compositions contiennent des arrangements fort compliqués avec beaucoup d’instruments. As-tu suivi des cours spéciaux en harmonie pour travailler comme ça?

J'ai intégré, tous les jours durant un an, une école de musique professionnelle. Une formation intense, complexe, et passionnante. J'y ai étudié l'harmonie et la théorie musicale, ainsi que les techniques d'ingénieur du son en studio pour le mixage et le mastering. Par contre, je n'ai suivi aucun cours d'orchestrations symphoniques.  Après avoir obtenue le diplôme, en complément de ma formation, j'apprend également beaucoup seul en autodidacte. La réalisation des arrangements dont tu parles demandent une connaissance approfondie de la théorie musicale, ainsi que des heures de travail personnelles. Quand tu composes pour un orchestre symphonique, il faut avoir les idées claires, savoir exactement ce que tu fais, et pourquoi tu le fais. Par exemple, selon la tonalité du morceau, si j'écris une mélodie pour les premiers violons,  que je décide que les accords seront interprétés par les seconds violons, les altos, les violoncelles et les contrebasses, il est indispensable de déterminer qui jouera la quinte, la tierce et la fondamentale afin de ne pas se perdre pendant l'écriture de la progression d'accords, et ce surtout lors d'un changement de tonalité ou de l'empreint de notes à une tonalité voisine, les altérations accidentelles, où le mi bémol devient bécarre juste pour quelques mesures. De même, que de définir dans ce même passage ce que joueront les cuivres et les bois. La musique est toute ma vie, je lui consacre beaucoup de temps. 

Tous les instruments sont en fait joués par des programmes de synthé et des claviers. Tu n’as jamais cherché à t’entourer de vrais musiciens?

Le fait d'utiliser les claviers donne au disque un son plus synthétique, électronique que j'affectionne. Ce serait une grande satisfaction de faire jouer mes compositions par un orchestre symphonique, mais le budget pour enregistrer en studio avec un tel orchestre est bien trop conséquent pour Exponentia.  Par contre, il est envisageable qu'à l'avenir j'enregistre un disque avec des musiciens, pour la guitare par exemple.

On entend bien sur tes disques que tu portes beaucoup d’attention à la voix et à l’articulation. Ta voix sur ‘Abend’ me fait penser à Sopor Aeternus, un autre groupe qui t’a fort influencé. Quel était le but de ton style vocal sur ‘Abend’?

Je tiens absolument à évoquer dans ma voix et les effets du multiprocesseur, une créature fantasmagorique. C'est une chose très importante artistiquement dans mon projet. Une voix étrange, inhumaine. Mon but sur cet album était d'améliorer mon chant et les réglages d'effets dans cette optique, de franchir un cap par rapport aux précédents.  Effectivement, Sopor Aeternus m'a influencé en ce sens.

Comme pour le début d’Exponentia ‘Allein’, tu utilises la langue de Goethe sur ‘Abend’. Pourquoi?

Le choix du langage est très important. Il  crée une ambiance, il change le caractère et la nature même d'une chanson. Le même titre interprété en anglais, en espagnol ou en allemand ne rend pas du tout pareil, le titre est comme  totalement transfiguré. En ce sens, l'allemand  est la langue qui correspond le mieux à mes attentes, et que je préfère musicalement.

Depuis notre dernière interview, tu as sorti plusieurs disques excellents. Il y a eu ‘Engel’ de Zauber, un projet que tu a ressuscité et qui fait un beau mélange de l’aspect symphonique de Exponentia et de sons électroniques darkwave. Et puis tu as fais un cd instrumental et industriel avec Résonance Magnétique. D’où vient la nécessité d’avoir plusieurs projets en même temps?

J'ai voulu m'exprimer dans des styles musicaux différents, et concrétiser les idées musicales que j'avais depuis longtemps en tête. Le nom de Résonance Magnétique existe dans mon esprit depuis que je compose.  Avec des sonorités saturées, dansantes, ou parfois sombres et ambiantes, avec des manipulations sonores, comme sur les titres « Illusion » ou « Arcane ». 

De même que pour Zauber « Engel », j'étais satisfait du résultat quand j'ai terminé les enregistrements, en particulier le titre « Ewigkeit », je tenais à composer un disque comme cela. Intérieurement, j'étais poussé à enregistrer ces albums, cette musique. Ces projets musicaux ont des points communs, ils forment comme une unité de mon œuvre.  A présent, j'ai décidé de  me consacrer exclusivement à Exponentia.

Pourrons-nous encore une fois te voir live, ou est-ce que les concerts font partie du passé pour toi?

A ce jour, aucun concert n'est prévu. Mais tout reste possible.

Et maintenant? Quels sont tes projets pour l’avenir?

Après avoir composé « Abend », j'ai réalisé une version remix pour le nouveau CD EP de  Sara Noxx et Marck Benecke. Actuellement, j'ai débuté l'écriture de mon prochain album.

On te souhaite bonne chance !

Exponentia

Skeptical Minds: It’s like a voice telling you: “hey guyz... you started, now you have to continue...”

Skeptical Minds has surprised us with their latest work. It is a combination of a CD with a comic strip called ‘Omega Thanatos’. Both the strip if the CD tell the same story, and the result is impressive. We discussed how it all came about with guitarist Mich and singer Karolina.

With ‘Omega-Thanatos’, you succeeded in making a piece of art that combines a beautiful cd with a comic book. Where did that idea stem from?

Mich : In fact, when we were busy with the second album, in 2008, we had also some ideas about a concept album we would like to release in the future with a comic book. Something different than what we did before. We always try to bring something new. We wrote a small story. The story contained 11 chapters and the CD would also contain 11 tracks. That was the starting point.

That’s a long time ago. How did you then proceed?

Mich : We built the structure of the future Omega Thanatos project in 2008. But at that time, we had no idea how we would achieve that in the future. We left that for later... In 2010, we released the album ‘Skepticalized’. In 2011, we made our first steps with Alain Poncelet. We made a first try with a comic book about the song Broken Dolls. Alain became responsible for the whole Skeptical Minds’ artwork. That’s how we started to make Skeptical Minds and Alain Poncelet’s dark art to be inseparable. After we saw the result and people’s reactions about the new t-shirts designs and about Broken Dolls comic book, we decided to start with the Omega Thanatos Project. We started in 2013 and we released it in October 2015. Two long years of work, but it was a real pleasure both for the band and for Alain. We learned a lot and after that “one shot” project, we decided to continue because when we achieved it, many ideas started to come in our heads... It’s like something telling you: “hey guyz... you started, now you have to continue...” And that’s what we’ll do.

Many songs have elaborated parts with piano and strings, and the guitars sometimes have to keep quite during longer parts. Does that make them more difficult to play live?

Mich : Not at all. Those piano and electro elements are sampled. It’s not more difficult than before. It’s true that some times some instruments are more quiet. We tried it and it worked. It gives most of the space to Karolina. People can hear clearly what dimension she can give to her voice ! People appreciate to hear the voice “alone” without heavy instruments around like usual. That’s a comment that came back… Then, having a piano on a playback or not, I think they don’t care. We don’t anyway… (laughs)

I presume Karolina came up with the story line, or was it an idea that was discussed with the other band members?

Mich: The story line was written mostly by Gab, our previous drummer. Then we discussed it together with the band. We had the structure in 11 steps. When we really developed the Omega Thanatos project, Karolina wrote all the lyrics of the songs. She knew the 11 steps and what each song was about. Then she developed it with her own words. As she has to deliver the songs and play the character, it’s important that she writes the things how she feels them. You can feel in the interpretation if it comes from her or not.

Karolina, you only joined Skeptical Minds in 2008. It is surprising how well you fit with the band. You have also taken a leading role in the creation process, even if I don’t underestimate the input of the other members. Wasn’t it hard for you as a newcomer?

Karolina : In fact, when we met with Skeptical Minds in 2008, we spent a day all together in Amsterdam. The band was there and also our common friend who introduced me to the band. His name is Stephane Odent and I want to thank him. Without him, nothing of this would have happened. We spent a day all together and we all felt like we knew each other since years… We all were connected and felt like we formed a real team. The rest followed naturally… The contact with the band is fantastic. They were very understanding and helpful in the beginning. I could find my marks easily. When they felt I found my place, they started to give me more responsibilities. In Skeptical Minds, everyone as his part of the job and everything is discussed together. I also received my part of the job. I felt they trusted me, and they were happy with what I provided. Since that moment, you will fit better and better, also because you can bring things that fits to you. If you feel comfortable with what you create, then it’s easy to express yourself better and better. It was hard in the beginning. The band provided me all what I needed, but they also were very demanding and I had to work hard. Without work, I wouldn’t have stayed for long in the band. (laughs)  They all work hard and continuously for the band. I really like that because it make you feel super motivated even after many years. The flame is still there, like in the beginning.

I have read that you also plan to tour with Alain Poncelet. How do you think you can make him a part of your live-act? Is he so devoted to Skeptical Minds that he’s ready to follow you everywhere?

Karolina : Alain is the fifth member of Skeptical Minds. If you see the promo pictures, he’s there. It’s not only the picture. It’s a team and Alain is a part of the team. When he decided to start the project, he also decided to be involved 100%. When we play, he often comes to dedicate some comic books. About the shows, we try to develop the concept on stage to make Alain’s universe co-exist in Skeptical Minds’ shows. The visual touch of Alain will be more and more present. Our last video clip ‘Emptiness’ is a good example of what we try to develop. It’s a good example of the co-existence of both universes. In the live shows, Alain can be present through video projections or also by drawing live. We did the experience once in January. 6 comic designers were drawing about Omega Thanatos while we were performing on stage. It was great moment for everybody. We are keeping busy with developing ideas… it can be visual but also more theatrical. I don’t say more for the moment. Let’s see what surprises the future will bring. (laughs)

The clip for ‘Emptiness’ is amazing. How much work was it to make this mix of real shots with animation figures?

Mich : It took two months in total since the moment we shot the musicians and the end of the production. The shooting sessions were ready in two evenings. Then came post-production… Alain and the very talented video producer Patrice Gautot worked together for about two months to achieve that clip, to see what drawings they would need and how to make them move… Alain prepared the drawings and Patrice added his magical touch to give them life. The result is far beyond what we expected! What a chance we had to collaborate with such master. Don’t be surprised if we continue to work with the same team. (laughs) Everything fitted very well with the Omega Thanatos spirit we wanted to create. They all went into it very naturally.

Last question: why should I watch my back?

Mich : Very good question… (laughs) Many side effects are possible if you don’t watch it. Better not to know. Continue to Watch Your Back!!! (laughs)

Skeptical Minds

Interview: Xavier Kruth
 

Merciful Nuns-singer Artaud Seth : I don't like the term Goth-Rock. It sounds so traditional, mostly bored and uninspired like the million of other Goth-Rock bands out there. That's not my cup of tea.

With Thelema VIII Merciful Nuns released a fantastic album. It’s theme was inspired by Crowley and Rabelais : Do What Thou Wilt Shall Be The Whole Of The Law.   We thought is was a nice theme to chat about with Merciful Nuns-singer Artaud Seth

Hi Artaud, with Merciful Nuns you just released your 8 th album Thelema VIII, which is a concept-album, based on the lifes of Aleister Crowley and François Rabelais.  What’s your opinion about those characters ?

  

Artaud: François Rabelais was a French writer and lateral thinker who wanted to establish a new form of society at the beginning of the 16th century – the Abbey of Thelema; where the people were supposed to live in complete freedom, guided by the single canon: “Do What Thou Wilt”.  He is worshipped as the creator by the population upon my ficitionally planet called “Thelema VIII”. If you hear the first seconds of the album, it is, if you like, a kind of introduction to the prevailing scenario on planet “Thelema VIII”.  The population gathers at the central assembly point and honours its founder Rabelais. Here begins the journey into the depths of a dystopic society living on a distant exoplanet according to Thelematic principles. "Thelema" stands for rebellion and insurgence. Or, put in a different way: it symbolizes the conquest of one’s own limitations within. Here too we call upon willpower. Conquer your fear. Resist, gather together and change the situation. The British occultist Aleister Crowley has taken this guideline for cohabitation and expanded it later on, introducing it into his Thelema temple.

Thelema is Greek for ‘To Will’. Do What Thou Wilt Shall Be The Whole Of The Law. Don’t you think if mankind can do whatever they like things can go out of control ?

Artaud: The album’s subject matter, or more specifically: is the awakening of individual will within every single one of us. Like a golden thread running through the revolutionary projection to enforce one’s own will, oppose and reject oppression; determine one’s own path according to one’s own ideals and without compromise. Why revolutionary? Because modern society pursues coordination and synchronisation rather than individuality. “Do what thou wilt shall be the only law” – addressing individual freedom and “Every man and every woman is a star” – denoting gender equality are the center quotes of all. These tenets for gregariousness were transferred to a distant exoplanet in order to bear fruit in a dystopic society.

Doing whatever you like will end in freedom for all. The theme of freedom but also dystopia are parts of the Thelema-album. In what way you think freedom and dystopia can work together ?

Artaud: Freedom is the central theme on “Thelema VIII”. Freedom of the individual, in particular freedom for woman, living out one’s individual inclinations and wishes; to satisfy the self and indeed the original goal of existence: personal fulfilment. This may sound abstract when taken in context to the fictitious society on “Thelema VIII”, yet nonetheless quite easily transposed onto our society in the present. We are here ALL but once! EVERYONE has but one chance for a beautiful and fulfilling life!

Who are The Aeons ?

Artaud: Beyond our minds.

By yourself so now and then you are living in your own created Exoplanet. What do we have to know about that planet ?

Artaud: I could now tell you everything and nothing. After all I have envisioned it. Perhaps it would prudent to state here that we are traversing terrain of fiction. This planet is not real. It is an effigy of our own society in light of a past shaped by outside influences. And even this claim is essentially nothing more than conjecture; albeit rather plausible and more than just a statement of possibility.

In some way Merciful Nuns can be described as an occult goth-rock band. Where did you find the fascination about this occultism ?

Artaud: What is occultism? Occultism only works in an environment of a religious, mostly Christian faith. I don’t have such a faith; or rather: I have the certain knowledge that God, by whatever name, does not exist! Religion is an illusion fabricated by humans and thus obsolete.

That kind of occcultism looks to me is what you can hear in a song like L.V.X.  Dark and morbide. Right ?

Artaud: “L.V.X.” particularly is, to my mind, very felicitous indeed.  A song can’t be much darker and morbid than this one. The lyrics are reminiscent of Baudelaire, Rimbaud or even William Blake. Defintely one of the gothy songs ever written.

Are we wrong saying the Thelema-album is the goth-rock version of The Book Of The Law ?

Artaud: I don't like the term Goth-Rock. It sounds so traditional, mostly bored and uninspired like the million of other Goth-Rock bands out there. That's not my cup of tea. And no, "The Book Of Law" has no central roll doing and creating "Thelema" at all.

Shortly before Thelema VIII there was The Allseeing Eye-EP. In what way can we add that song in the theme of Thelema ?

Artaud: The song has a quite simple structure. To be honest this song almost came too easy to me and hence I pondered for quite some time whether it would actually do the album’s atmosphere justice. In the end I’m glad having forced myself to include it on the album. By now I do consider “All-seeing Eye” as a real enrichment, felicitous and intelligent pop song.

The track Isolation did not appear on the album. For the same reason ?

Artaud: Same as with Allseeing Eye yes. And one "pop" song is enough for an album, isn't it? But however i like the song.

Crowley was getting his words for The Book Of The Law by the ghost Aiwass. Where do you find your inspirations ?

Artaud: (laughs) Well, its not Aiwass. As you may know i visited the original Thelema Temple in Cefalu, Sicily, and he doesn't speak to me in the chamber of nightmares at all. However i think the inspiration comes from my curiosity about the dark side of things. I am always searching for images that combine the past and the future. I believe in cycles, the perpetual return of what has gone before and I can see parallels between the high cultures of antiquity and futuristic societies. I believe in unknown cultures, from so far back in time that there are no more discernible traces from them in the classic sense; highly advanced cultures in antiquity, perhaps even older still. Ancient advanced cultures like the Sumerians, Egyptians, Maya and their adoration for divinities from “beyond” always appear to me as an effigy of the future.  By now I have arrived at the inescapable conviction that we have already been visited by these so called advanced cultures. Nowadays these visitors are worshipped as God or Gods by us.

You are creating by yourself the artwork of the Nuns-albums. What will all those symbols wanting to say ?

Artaud: Those symbols, sigils and hexagrams guide me though the journey of creating an album. F.e. the frontcover of "Thelema VIII" showing three Thelematic seals next to the Greek letter for “Thelema” which i found on the original walls of Thelema Temple in Cefalu. Or the cover of the single “All-seeing eye” features the symbol of the dystopic society on Thelema VIII. The symbol features a double “Victory” sign which I have crossed with the Greek word for “Will” (Thelema). Victory requires the Will. Obviousley those symbols help me to get into the whole story.

November the 5th Merciful Nuns are playing in Belgium, at Dubhfest in Poperinge, what do we have to expect from that gig ?

Artaud: I really looking forward to that gig. We have a strong community base in Belgium and i am pretty sure we will celebrate together a big gathering.

Many thanks for this interview !

Artaud: Thank you. See you at the Dubhfest.

Danny Quetin

Website

Wendy James: "I don’t really adhere to the aging process!"

Most people know Wendy James as the charismatic lead singer of 80's poppy punk/wave band Transvision Vamp. After the band's demise in the early nineties she went solo, and just released the great album 'The Price Of The Ticket' on which she worked together with band members of Nick Cave And The Bad Seeds and Sex Pistols. I never thought a big star like La James was interested in an interview with a Belgian webzine, but almost immediately she answered my interview request, and in no time the interview was done!

DE: First of all, congratulations with your new album ‘The Price Of The Ticket’, how is the response so far?

Wendy: I think the response has been incredible - The Fans are loving the songs, choosing their favorites, sharing their thoughts with my via Facebook and Twitter and Instagram and overwhelmingly radio and press has been completely positive. 

DE: You gathered a remarkable band to record ‘The Price Of The Ticket’, how did you meet?

Wendy: I already knew Glen Matlock for many years since I lived in West London (I now living in NYC), James Sclavunos and I had met in NYC and talked many times about recording together, Lenny Kaye is my neighbor in NYC and one of my all time favorite guitarists and James Williamson from The Stooges, I first talked to via Facebook and then we decided to record together so I went over to Berkeley, California with James Sclavunos and the three of us recorded the two cover versions: ‘It’s Alright Ma’ & ‘You’re So Great’ (Bob Dylan and Fred ‘Sonic’ Smith respectively), and during that session James Williamson also brought in Steve Mackay (RIP) who played all the wonderful sax for Iggy on Fun House.

DE: The album is self-released, you don't work with labels anymore? Just like the music which has a punky spirit, it looks like you believe in the DIY ethic, I also thought it was like a big fuck off to record labels who only go for their own profit, instead of giving their artists musical creativity etc, am I right?

Wendy: The music business has changed a lot! I think Malcom Dunbar at PledgeMusic.com has changed and revolutionized the way bands can make music, be in close contact with their fans and have an organized and transparent method of selling the album on CD, on Vinyl, Posters, T-shirts, Gig Tickets etc, It is like a one-stop shop for all the needs a fan may have of his/her favorite act. It was the perfect and most immediate method for me to choose to release this album, and I could not be happier. It has been a very successful launch.

DE: It's almost impossible to talk about ‘The Price Of The Ticket’ without mentioning the cover art. Was it your idea to show yourself and is it to express that The Price Of The Ticket is also showing a figuratively 'nude' Wendy through the lyrics?

Wendy: I have no issue with female nudity, in fact I find it crazy that in certain streams of the media the female form is taboo or even censored against. I simply went to my friends apartment in Paris, she is a fashion designer and photographer and we took some photos and it was all done in 45 minutes. There is no artifice or pretense or even concept, it is just me. Sculptors and Painters have been working with the Female form as a thing of beauty and reverence since time began. 

DE: Your lyrics are very personal, which also explains the cover with a naked Wendy. A song like Screamin’ Back Washington for example, for people who know your background, is very heartbreaking. Is it difficult to bring these songs, or is it like a kind of therapy?

Wendy: That song in particular is very reflective, I wrote it on my birthday and I tried to imagine how my birth mother (or any mother who has given away a child for adoption) must feel when a birthday comes around. I imagine of course that she wanted the best for me and hoped that I would be safe and well taken care of in life, I imagine she thought this would be a better life than she could give me if she had kept me.

DE: With Transvision Vamp you were able to reach commercial success but you also gained respect from the new wave underground. Like acts as Kim Wilde or Blondie… Accidentally all blondes and with singers who drove many men crazy, but was there another key for this double-sided success?

Wendy: Transvision Vamp were a very active and busy and good live band, so while I got a lot of attention from the fashion and style and sometimes tabloid newspapers for my physical appearance or the things I might have said in moments of teenage energy, the truth was we sold out many, many, many gigs around the world and toured non-stop. So this defined us as a good live band and that’s why I think fans are enduring, they like me, my talent, my personality, but they also remember very well good nights they had when we played live!

DE: The musical landscape has changed a lot, and what I like the most on 'The Price Of The Ticket’ is that it seems you totally don't give a fuck and do what you want to do, your own way. In my opinion it's the way for musicians to win their place in the heart of true music lovers, but I can imagine it's not the easiest way?

Wendy: I never have a plan laid out, my only raison d’être in life is to continue to make music, write it, record it, release it. learn my talent and improve my talent in evolution each time. The thrill of working with fellow musicians who inspire me: that is my purpose. The pure joy of being in a team and all playing together in harmony, in the studio and on the stage, there is no happiness like it for me, it is my art, it is my reason, it is my life.

DE: I saw at your website there is also a sort of crowdfunding going on, like VIP passes for shows etc, Is that the new way of working for independent artists instead of trusting in record labels?

Wendy: My album is available world-wide on PLEDGEMUSIC.COM where you can buy the full thing on download of course, on Vinyl, on CD, you can buy the poster and the T-shirt and yes, there are available places for VIP gig passes which allows you to be present with with me and the band throughout the evening of the gig, the soundcheck, hang out with us and also, which fans love: get all your old records signed! Some people really like to do this, so I made it something available via Pledge. I find the whole thing benefits me and it benefits the fans - they get everything they want and quickly and efficiently. I go to indie record shops and they have my album in stock but not all the different items. So for me as a fan or a shopper, I think Pledge does very well indeed and fulfills a need. 

DE: I’m not a fan of covers, bit what you did with It's Alright, Ma (Dylan) is truly amazing and blew me away! Was it your idea to cover this song, and as it is a protest song, how rebellious is Wendy James?

Wendy: It’s Alright Ma (I’m Only Bleeding) is my favorite song by Bob Dylan so when James Williamson and I discussed making some music together we both agreed Bob Dylan was my favorite artist and his, so we covered it. I think Bob Dylan would disagree with you that it’s a protest song! He OFTEN told journalists to not call him a protest writer! But one thing is for sure, the lyrics of the song as about as high philosophy on the human condition as any other words written by any other person. The clarity with which Bob understood life when he was merely in his early 20’s is astonishing, and of course he’s a truly wonderful poet. 

Personally I demand my liberty at all times to make my own choices in life and I react very badly to anyone or any body of authority attempting to squeeze my privacy and my liberty.

DE: Melody Maker asked back in 1988 when you were in Transvision Vamp: "Would you like to see more chaos in the world?" Which you responded with: "Yes, definitely". In the world we live in today, there's plenty of chaos, we live in a society of information, sometimes too much... So I guess that was not what you had in mind, but how do you feel about the situation in the world today?

Wendy: I live in USA. There are religious wars going on all over the world. There is a technological revolution which has left a large amount of people untrained and despondent for their futures, and the greed of corporations around the world are permitting themselves to ruin the environment for short term financial benefit and the banks are more powerful than ever. 

Still I know that Music, Art, Literature, People have the Power. 

DE: I can imagine, that with your Transvision Vamp history, it's very hard to stand as a solo artist. Was your past a curse or do you see it as a blessing?

Wendy: I am grateful and happy for all of it. Everyone evolves through life, I am no different. 

DE: ‘The Price Of The Ticket’ sounds very mature, but your voice sound still sweet as candy, just like when you were twenty. What's the secret to keep your voice (and not only your voice, which a lot of guys already confirmed!! ;)) as beautiful as it sounds?

Wendy: I don’t really adhere to the aging process! If I am healthy and excited then I am ageless… Society’s notions of age appropriate normality is not really something that enters my consciousness. So I am healthy, my voice sounds strong and I look fine because I feel fine!

DE: There's a lot of musical styles on the new album, going from punk, garage, even no wave to more quiet ones. For example the song 'Why Oh Why Do You Hurt Me Still' which reminds me even of Vampire Weekend, and your hiccuping voice in King Rat is really addictive! I also heard The Breeders (their latest stuff) in Paloma's Downs... Which bands do you like at the moment?

Wendy:  I fell in love with THE BLACK LIPS and I kind of like THE PARQUET COURTS, there are some West Coast USA Psyche bands that I kind of like, but to be honest I end up always back at Lou Reed or The Stooges or The Stones or Marc Bolan or The Doors or… etc etc etc 

DE: You picked band members which already had an impressive musical career. If you want to start an all star band with your all time favorite artists (dead or alive) what would it look like?

Wendy: I’d love to have played with Fred ‘Sonic’ Smith and I would love to have played with Ron Asheton. I would love to have been in the lineup for the BAND’s gig ‘The Last Waltz’ and I would love to have seen Jimi Hendrix play live!

DE: I guess you will be touring with this new record, any plans for Belgium?

Wendy: I would love to play Belgium! please tell your promotors and gig venues to contact me!!

DE: We know what to do, thanks for your time, Wendy!

Dimi Brands

Photo credits: Ricardo Gomes / album cover: Kym Ellery

Wendy James (Facebook)