Loud_Cities_Magazine_Issue 5_SE_2021

ISSUE #5 

SUMMER 

EDITION 

REVIEWS - INTERVIEWS - FLASHBACK - PLAYLISTS - GUESTS & OTHER 

Vukovar 

APOF 

Hanging Gardens 

Meat 

Injection 

Lycia 

AMMO 

Mary McIntyre 

TONN Recordings 

Pieter Nooten 

Marselle Hodges 

RAW - ELEGANT - ALTERNATIVE - MUSIC

Every Thursday 

Loud Cities Radio Show 

www.mercury-radio.net 

TUNE IN 22:00-00:00 GR TIME/21:00-23:00 CET/12noon PST/3pm EST

EDITORIAL 

Before the summer holidays we all look forward to, and with 

hope that we’ll all return back whole and cuckoo enough 

to dive deep in the cities’ paranoia (again), we offer you the 

summer edition of our babe LCM. 

In this issue you’ll find what we thought may work as the 

mountain dew or like the aura from the sea, with our always 

beloved artists from the wider alternative music front. From 

the next issue LCM shall be expanding towards wider horizons 

and views that we know will excite you. 

Whatever you do, have a wonderful vacation everybody! 

Do us one favor please; Do NOT dare to drive with alcohol 

(or other shit) in your blood!! 

We love you!!! 

The LCM Crew 

Mike D. 

Mar Gee 

Kat Z. 

https://soundcloud.com/mike-dimitriou 

https://www.mixcloud.com/mike-dimitriou

Cont 

1991 - the 

punk b 

6 AMMO 

8 THE JOY FORMIDABLE 

10 LYCIA 

12 

PETER NOOTEN 

Marselle hodges 

14 the tunnel 

21 Hanging Gardens

ents 

Meat Injection 

28 

32 

playlist 

echoes of the city 

Amusement parks 

on fire 

Factice 

Factory 

the black watch 

34 

36 

38 

40 

vukovar 

42 

mary mcintire 

Tonn recordings 

year 

roke 

46

6 

Loud Cities Magazine / #5 SUMMER EDITION 2021 

REVIEW Mike D. 

AMMO brings on a loaded 

“Total Recall”(THE SOUND 

Cover), teasing new 2-track 

How many times we shed our tears 

for the art of Adrian Borland and The 

Sound, how many times forever and on 

we’ll talk about his music and lyrics… 

how many times we’ll be looking for 

him again without a signal from his 

star? It will be forever as he was one 

of the most influential musicians 

ever. Wanna call it new wave, postpunk, 

darkwave…he’d be fine with it 

cause that’s what he wanted; a little 

recognition for his effort before he flew 

away in April ’99… 

single 

‘Total Recall’ was in The Sound release 

‘Heads and Hearts’ in 1985. 2021 

comes AMMO from L.A. to remind us 

of the song again with a glorious cover. 

Mention that she is coming from the 

tribe of Los AngelesShoegaze, from the 

city that in addition to the delivery it 

has offered to the genre, the modern 

cult is like living for the race – who’s 

gonna make it louder, thicker, more 

emotional, more perfect. And AMMO 

now offers an amazing piece loaded 

with her shoegaze and the dreampop 

crafts all over it. A very emotional 

approach on that song by her and her 

friends in the studio, to a song so fragile

Loud Cities Magazine / #5 SUMMER EDITION 2021 7 

by an artist so beloved to us all in the 

alternative wing. It took me time going 

from the original to its new cover and 

back and all over again. And I felt fine 

with the result of her vision and with 

all the rest she offered to that gem. 

AMMO has enveloped herself in a 

number of music, photography, and film 

projects. Her band Brass Box released 

their full-length LP ‘The Cathedral’ in 

2019. Past music projects include Black 

Flamingo, Darklands, and Tête. Her new 

2-track single ‘Rose + Crown’, is going 

to be released via California-based 

Mourning Sun Records, and the b-side 

to this single is ‘Total Recall’, which was 

originally released as part of ‘Do You 

Feel That Way Too? A Tribute to The 

Sound’, the first charitable compilation 

on the Dune Altar label, aimed at 

increasing awareness of the mental 

health conditions plaguing millions 

today. Inspired by Adrian Borland 

(frontman of criminally underrated, 

yet tremendously influential 1980s UK 

band The Sound), who suffered from 

schizoaffective disorder and severe 

depression. 

A rock and roll photographer, musician, 

and songwriter, AMMO spent her youth 

ditching school to delve through record 

store bins and scour the LA music 

and art scene in hopes of running 

into like-minds. Pushing boundaries 

and challenging the status quo is a 

constant in her life. She has shot and 

produced a feature film, co-founded 

PLAG Presents, a platform for women 

musicians and the LGBTQ community 

voices to be heard. As of June 4, the 

‘Rose + Crown’ single will be available 

across online stores and streaming 

platforms, including Spotify. It can 

already be pre-ordered via Bandcamp. 

Keep up with 

AMMO 

www.whitelight-whiteheat.com

8 



THE JOY FORMIDABLE “Chimes” from 

the upcoming album “Into The Blue” 

“There’s a tunnel ahead and there’s no 

light around fight as you may…TJF” 

“Chimes” official video premiered 

yesterday on their YouTube channel 

and is the leading track off their new 

fifth LP “Into The Blue” slated for 

release on August 20, 2021, via Hassle 

Records UK, on digital format, softpack 

CD, and on vinyl too! Here are again 

the Welsh rockers, now residing in 

Southern Utah, The Joy Formidable in 

all their flashing glory, yeah! 

The song is a stunner indie rock bullet in 

the expected post-punk swirl the band 

is wrapped on, and more, there’s a clear 

flirt with the shoegaze thing, and that’s 

what nailed me for good. You see, we 

have a troupe from Britain which now 

lives in the US…and it all sounds like 

these two worlds that are responsible 

for the ‘gaze break out since ages now, 

came together with a dense blow 

from TJF‘s amplifiers. I enjoyed their 

utterly fresh and explosive rock and 

roll groove all over “Chimes”, starring 

frontwoman Rhiannon “Ritzy” Bryan. 

TJF also consists of Rhydian Dafydd 

(bass, vocals) and Matthew James 

Thomas (drums, percussion). I hope 

and I wish that, honestly, their new 

album must be a little more explosive 

than this first sample because I need 

them to be included in my best 

lists 2021 when that time comes. 

The new album includes 11 new songs 

with only two of them published so far


as I speak to you, two terribly wonderful 

and ecstatic tunes in the likes of the 

edgiest and thickest and more angular 

rock and roll music babe, created and 

performed by only a threesome outfit 

that knows so well what to do with their 

toys in their hands in their playground. 

But you know them well too I guess for 

about 15 years as they are active with 

always good records in their quiver, no 

question why they play major festivals 

on both sides of the Atlantic. Last, I’d 

like you to pay attention to TJF‘s lyrics 

and stories, please, please, please do 

it! It’s all about our lives as we speak 

with a beer in the hand during that 

‘wonderful’ heatwave, especially here 

in the Mediterranean. I’m gonna get 

another cold bottle and then order 

the album for the rest of the summer 

days to become a little wilder. Also, go 

check their official website where they 

map all things The Joy Formidable with 

style and fluency; keep the following 

link and show them your love! 

Keep up with 

THE JOY FORMIDABLE 


10 



“Casa Luna” EP by 

Arizona living legends 

Formed in 1988 and with a remarkable 

collection of releases so far, the 

American dark alternative project of 

Lycia (Arizona) released their brand 

new monument ‘Casa Luna’ EP on 

June 11th via the Italian independent 

label Avantgarde Music (on Mini CD, 10’ 

Vinyl, and Digital). Certainly registered 

as one of the most respected names 

in the dark alternative front, Lycia‘s 

records are fairly placing them in the 

frame of the living legends stratosphere. 

Success for a band is not only their 

record sales, not only the influence on 

the souls of the listeners, not only that 

they make art for art’s sake, but also 

(and maybe mainly) how high they are 

in the statements and in their influence 

LYCIA 

on other similar artists, thus they are 

considered as such, furthermore, that’s 

why we see the name of Martin Bowes 

from also legends Attrition in the 

credits of ‘Casa Luna’ as he handled the 

mastering work. 

The new EP has 6 brilliant songs, 

including 2 re-recordings of “Except” 

and “Galatea” (from 1989), previously 

only in rough demo form. The record 

also revisits the interesting Flamenco 

style “On The Mezzanine” previously 

explored by Mike VanPortfleet and John 

Fair in 1983. Tara Vanflower’s desire to 

sing a heavier piece, along with David 

Galas’s music that led to the song “Do 

You Bleed?”. It has “A Quiet Way To Go” 

which in the future will be referred to 

as a masterpiece in a hypothetical bestof 

release and the closing track of the 

album “Salt & Blood”, one desirable and 

so attractive ethereal piece of music. 

So, we have John Fair (synth & drum 

programs), David Galas (bass, drum 

programs), Tara Vanflower (vocals), 

and Mike VanPortfleet (vocals, guitars, 

bass, synth) who is the only constant 

member since the band’s formation. Of 

course, all songs written, performed, 

and recorded by Lycia. You will listen 

to alternative darkwave music that is 

away from the norms of the dedicated 

dancefloors, and you will listen to


ethereal music of the same level and 

quality as the Cocteau Twins (without 

any idolatry on my part), with a few 

gothic scents to perfume the whole 

mystery, and yeah there you have a 

really precious release in your hands. 

Mention that Lycia in the past have 

also worked with both the shoegaze/ 

electrogaze wings too, and maybe 

you’ll find some hidden similar flashes 

in the ‘Casa Luna’ album. It is like a 

precious wine that slowly fills the 

space with its sins and demands. Is one 

of those records that’ll be shining like a 

diamond in my collection, like all their 

works after all!!! 

Keep up with 

LYCIA 


12 Loud Cities Magazine / #5 SUMMER EDITION 2021 


PIETER NOOTEN (ex-Clan 

Of Xymox) – MARSELLE 

HODGES (The Blue Hour) 

“Anonymity” LP is a treasure 

We have an amazing release here, a 

treasure for all ears. Pieter Nooten, a 

co-founding member of the seminal 

darkwave band Clan of Xymox, with 

whom he recorded several highly 

acclaimed albums for 4AD Records, 

met with Marselle Hodges from the 

also highly acclaimed synth noir band 

The Blue Hour, to write and record 

an ambitious album of high-quality 

ethereal dream-pop music. Then they 

handed it over to Brian Hodges (also 

from The Blue Hour) for what turned 

out to be an exemplary mixing in the 

studio for such kind of music, and 

right after that, the album went to the 

hands of Martin Bowes (from legends 

Attrition) for the final mastering at the 

Cage studio. 

These four visionaries together made 

the enormous album ‘Anonymity’ LP 

that was released on May 7, with 6 

songs of huge interest at the highest 

level of this (dark) art. The 6-track album 

blends elements of ethereal, electronic, 

and neoclassical to offer a suite of 

songs that nest comfortably between 

the lush output of early 4AD and the 

modern ambient electronic music 

with Pieter Nooten on instruments 

and composition and Marselle Hodges 

on vocals and lyrics. The first single a 

couple of weeks ago was ‘Fade Away’, 

come to experience for what follows in 

the album. 

Magical and integrated musical 

things shall fill your space. The 

sense of perfection and absolute 

balance everywhere within this work, 

‘Anonymity’ LP is a landmark record 

of its kind. On May 12, came out the


second model from the record and is 

the title track with an also official video 

too and we go on… 

There are only a handful of musicians 

in the world who can live up to their 

expectations and imagination, there 

are very few who can reach such 

artistic heights. And if the whole thing 

with the ethereal dreampop furrow 

used to be sounding like something 

finite all over the years, our guests 

today are coming to shake the waters 

again with an album that is what the 

same genre ordains; that music has 

to be larger than the same music 

style itself. Everything must be done 

with great care, everything must bind 

the free mood of their members, and 

everything must be … magical by all 

means. 

A fantastic music melody with an 

incredible chanteuse, they both need a 

song to stand safely on it and Nooten 

sat down to write the notes on paper 

first, and arrange it all for the lyrics and 

the voice of Hodges. And if it seems 

to you that everything was done 

automatically, then listen to what work 

has been done for the whole offering/ 

album/ release. The record is a bliss, 

and I put in the job of both sound 

mechanics; Martin Bowes (Attrition) 

and Brian Hodges (The Blue Hour), 

who made some targeted wonders to 

make it all sound exactly as it should. 

Keep up with 

Pieter Nooten 

Keep up with 

Marselle Hodges 



INTERVIEW Mike D. 

Video Premiere “Last 

Exit” + Interview with 

THE TUNNEL 

Amazing things are on the way for Californian noise rockers The 

Tunnel (SF), and this is an indicative sample of what we should expect 

from these guys! Taken from ‘The Nightfall’ EP last year and after two 

more official releases, “Last Exit” is coming along with an official video 

that makes us wonder how could we assume an upcoming release 

from the band? Will it be a noir soundtrack of their art? Noise rock 

like moving threateningly indifferent like a ghost? Swamp rock like a 

wonderful landscape with countless dangers after we died and nobody 

cared? Whatever will be, we in WL//WH can’t wait for another strike by 

this intelligent act from San Francisco and we have our reasons; you 

see, their last album “Shapeshifter” (also in 2020) went by itself to a 

high position in my best of 2020 list, and more than that, The Tunnel 

told me honestly about their plans and about some other things 

too that you’ll find interesting, especially if you are a noise rocker/ 

shoegazer yourself (they told me about their gear, and about their 

music), about the current Covid situation there, about the SF Bay Area 

special. Read on, it is our honor that such bands trust us their works!!!


Hello guys and welcome to WL//WH! 

Let’s go straight to the news; What we 

just watched was an amazing piece 

of loud and powerful music. Who 

imagined it? How long did it take to 

make it? What other useful details for 

our readers? 

Jeff: Sam, Michael and I wrote “Last 

Exit” together. I think Sam brought the 

bassline first, and he also suggested 

the mood for the video. Both were a 

natural for us so it all came together 

pretty quickly. I have been making 

these video collages for our music - 

for this one I found a bunch of driver 

education films about not falling asleep 

behind the wheel - appropriate for the 

dangerous, hypnotic feel of the song! 

What is the story behind the song? 

Jeff: The lyrics are mostly primitive 

internal sounds and fragments, more a 

state of troubled dreaming and desire 

than a coherent story. 

You were telling me the other day 

about a new album on the way, where 

are you at now and when do you say 

to release it? A bird blew me a whistle 

you must choose between 20 songs, 

or will it be a double disc? 

Jeff: Yes, we have around 20 demos 

now, it’s a bit ridiculous. The plan right 

now is to record most of it, then see 

how it hangs together and figure out 

how we will split it up. 

Michael: Writing while apart during 

Covid kept us all sane I think. The 

seclusion engendered some dark 

inspiration in all of us. I’ll never get 

over the experience of sitting down 

at rehearsal and playing almost fully 

formed songs that you’ve never played 

live together. It’s amazing. 

How is the situation with Covid in San 

Francisco? Bars and stages and clubs 

are open? 

Jeff: Indoor venues for loud weird 

music have not yet re-opened in the 

San Francisco Bay Area. The outdoor 

music permits seem to be only for 

acoustic and cover bands. It’s been so 

long that imagining clubs re-opening 

as they once were seems like a strange 

dream. I am hoping life can change 

again. 

Michael: Guarded optimism. Our 

neighbor state of Oregon has rising 

Covid rates right now and we hope 

they get it under control. We’re hoping 

that California can keep it together. 

Feels to me that shows in large part 

will still be next year. We’ve been very 

lucky thus far in SF/Oakland that most 

independent venues have survived 

thus far. 

To assume that all this pandemic 

pressure will come out in your music? I 

am a little ‘scared’ to be against that wall 

of sound of yours that I adore and with 

you taking out all this stress regarding 

the bad events due to the virus… 

Jeff: Lyrically and musically the previous 

songs were already pretty dark. Dealing 

with life’s joys and atrocities, that 

sort of thing. So maybe not so much

16 


difference now. It’s possible there are a 

few more reflective moments from the 

pandemic. 

Can you give us your gear please? 

There is a lot of people who are 

looking for the bands equipment and 

paraphernalia especially if they play 

noise rock or shoegaze stuff, will we 

give them this gift? 

Jeff: I play a 1952 Tele reissue these days 

through a 1973 Traynor 2x12 combo, 

with strategic use of just a Boss DS-1 

and PS-3 delay/pitchshifter. It’s a simple 

sound (“piercing” would be another 

description), but I think it balances well 

with Sam’s heavy frequencies. 

Sam: I play a ‘76 Pbass into a two amp 

system: the main bass signal goes into 

a mid-70’s Ampeg SVT and 8x10. The 

other amp is a late-70’s Twin. That one 

handles the reverb and esoteric effects. 

I use pedals on both amps. 

Michael : I play drums that are orange 

and sparkley. They are Crockett 

Tubbs, an independent drum maker in 

Discovery Bay. Just got a new Jenkins- 

Martin snare that I’m excited about. 

Your previous album ‘Shapeshifter’ 

(2020) literally nailed me for good, and 

I nailed it on my list with my favorite 

releases last year. I felt like helpless with 

that amount of energy in front of me, 

will you follow the same path again or 

surprises await us? 

Jeff: Probably follow the same path, 

given that it twists from album to album. 

But that’s great, the goal is always to 

capture and transmit that energy. 

Michael: We were really pleased with 

how cohesive that record sounded 

considering it was comprised of three 

separate EPs that were all recorded at 

different times. Tim Green’s mastering 

touch certainly helped with that. Our 

new material is brimming with energy. 

Excited to start firming up songs and 

recording. 

Really now, whenever I speak with 

artists from especially California and 

similar to The Tunnel, I always ask if all 

this is like a race for you, who’s gonna 

build the most impenetrable wall of 

sound as there’s nowhere in the rest of 

the world such a ‘commitment’ to that


What would you tell to new bands that 

play like that regarding noise rock is 

way more than just guitar noises, what 

The Tunnel need to ‘break it’ in the 

studio? 

Jeff: Noise and catharsis are some of 

our ingredients, but we don’t really 

strive to be extreme. What’s more 

important are the imagery and moods 

we try to get into a song, those are the 

things that excite me. 

Now I guess the readers would like to 

know about your inspirations, about 

your record libraries, about the heart 

and soul of the band. Let’s make some 

noise. 

energy…guys, why please?! What is out 

there in the Californian air that makes 

you offer monumental musings alike? 

Jeff: I think something that makes 

the SF Bay Area special is the relative 

lack of musical rules, and that being 

uninhibited in your art is encouraged. 

I wonder too if the cliffs and Pacific 

Ocean and giant redwoods tend to 

remind artists that there are larger 

beasts all around you. Maybe that’s just 

me. 

Michael: California is a special place, 

especially the SF Bay Area in my mind, 

but I’ve been here my whole life and 

I’m biased. Amazing amount of music 

history and agree that the music scene 

is very diverse. The natural beauty of 

this place always serves to inspire. 

Jeff: Many of my records are from the 

various artistic family trees that sprung 

out of the Birthday Party, Bauhaus, 

Prince, Pussy Galore, Oblivians/JMM, 

Mr Bungle, WaxTrax, Touch and Go and 

AmRep...also inspiration from film, ‘40s 

US film noir, ‘70s Italian Giallo, ‘80s-90s 

Japanese cinema… 

Sam: Killing Joke, Gary Numan, 

Siouxsie, Unsane, Hammerhead 

Michael: Birthday Party, JL, Jon 

Spencer, Slint, Unwound, Girls Against 

Boys, Lowercase, Heads., John Lurie, 

Young Widows/Jaye Jayle, Big Brave is 

one of my favorites right now. 

I went crazy, I like it, thank you for your 

time guys, keep dissolving us, the last 

words are yours…

18 


Jeff: Thanks! 

Sam: Thank you for the interest! 

Keep up with 

The Tunnel 

Michael: Really appreciate the 

support and kind words man. We 

wish continued success to you and 

WhiteLight/WhiteHeat. 



Cat With Red Fish 1912 

“ Cat With Red Fish” by Henri Matisse is a popular painting from 

his famous collection In this painting it is seen that Matisse had 

an exceptional love for cats (and also doves). His cats were called 

Minouche, Coussi, and La Puce the black cat. Coussi, it is said, 

had an “M” for Matisse on his forehead.


Mike D. REVIEW 

HANGING GARDENS 

“Corps Vides” 

It’s no secret how much we love Hanging 

Gardens from Metz en France. Moving 

slowly but with steady yet impressive 

leaps ahead, Nadia and Loic, offer another 

state-of-the-art musical ornament to the 

darkwave veil. A band that doesn’t hurry 

to release records, HG is an act that only 

when ready to say something and open 

a new circle, only then it reveals new 

things. Active since 2015 with only 2 EP’s 

(‘Corpus 2.0’ and ‘Materia Prima 3.0’) and 

a triple single (‘SsS’) they have managed 

to enchant us with their quality and a few 

more things; perfection, passion, with a 

disarmingly poetic attitude all over their 

music, which bridges and brings near the 

abyss between their releases, Hanging 

Gardens are expanding the lines of the 

French darkwave as they reveal the 

rosebush within their souls. 

Their entire work is a challenge that won’t 

leave you untouched by all means and as 

they told us last year in an interview they 

granted us “We Are a Constantly Evolving 

Raw Material”. Thorns and beauty are on 

their brand new official video of ‘Corps 

Vides’ from the upcoming new EP in 

2021. Thorns on the music of the new 

song by Loic HG, and beauty on the 

always imposing singing by Nadia Be, or 

vice versa? Their innermost thoughts are 

here again at the front of another killer 

dark sonic belle and like some other 

deities from the French past they do not 

participate in the event, they just 

emphasize it, they underline the facts and 

then let it all go alone to the place it 

deserves, at the highest peak of the 

French darkwave, and for them, also that 

music for the ages -such a precious band 

they are!!! 

Keep up with 




FLASHBACK Mike D. 

‘We Are a Constantly 

Evolving Raw Material’: 

An Interview with 

So, on the occasion of the article about ‘Corps Vides’, we continue with 

Hanging Gardens with an interview we did about a year ago, then for 

‘Materia Prima’ EP. Ladies and Gents, here is Nadia Bé, and Loic HG.


I discovered the French darkwave 

duo Hanging Gardens with their 

first-ever release ‘Corpus 2.0.’ back in 

2016 and I instantly became one of 

their most dedicated fans. It is their 

whole motion in music that keeps 

me tight to their artistic and sonic 

microcosm and their albums that 

are constantly unveiling a band so 

unique to me. WL//WH has honoured 

them a few times with articles by 

both Cat Gillette and Fab Lusso, and 

it was my turn to pay my tribute to 

this peculiar outfit with a review on 

their latest ‘Materia Prima 3.0.’ album 

last September. In order to learn more 

about them, I reached Nadia and Loic 

for an interview which turned out to 

be an amazing chat. Let’s see what 

Hanging Gardens said to me about 

all things darkwave, their music and 

lyrics, and many more things! 

Hello HG and welcome to WL//WH, 

please introduce us to your latest 

work ‘Materia Prima 3.0’.What does 

this record mean to you and where it 

addresses? 

love the stage! We have never tried to 

find a musical genre and yet we are 

certainly part of a mixture of existing 

movements. 

Nadia : “Materia Prima 3.0” is an ode 

to who we are. But, do we really know 

who we are? Apart from a constantly 

evolving raw material. Where is the 

madness of normality? What are 

our standards, where do they come 

from… 

What really inspired the music of 

‘Materia Prima 3.0’? 

Loic and Nadia: Our inspiration 

for this EP was/is the stage. Work in 

terms of sounds, rhythms, shorter 

and more intense texts, and with the 

desire to pierce our scenic emotional 

atmosphere even more. We try 

through our universe to share and 

provoke emotions, even if sometimes 

it can mean unease or melancholy. But 

our creations are not detached from 

real life, they are a poetic approach 

Loic and Nadia: Hello Mike!! Hello to 

WL//WH!! Thank you very much for 

your work and your invitation!!! It is 

a series of chapters which marks a 

constant evolution of our creations. 

We perpetually continue to compose 

with our vision of this world and in 

order to share it. A more refined work 

and study in terms of sounds and 

texts. Hence this need for exploration 

time to be as close as possible to what 

we wanted to express. The pleasure, 

too, of shaping the atmosphere for 

the live shows to come because we

24 


vibrations and I like this! 

…I see, and you mostly narrate them 

as spoken-word over the music…do 

you see yourself seemingly as one 

of the ‘daughters’ of Anne Clark and 

other similar artists, and what leads 

you as the frontwoman of a darkwave 

band to handle your words with such 

an impressive result? 

which speaks of love, of melancholy, 

of society also with the eyes of a “vivid 

skinned” who feels the harshness of 

what makes him surrounded. 

Nadia, please say something to all 

of us who don’t speak French about 

your lyrics and the poems that you 

write for the band. 

First, the music. Then, the writing 

arrives or is already existing. The 

creation of this union does this. The 

guitar responds and accompanies me. 

Words take on even more meaning. 

And the French language is one of the 

richest languages in terms of words. 

My texts are the addition of alchemy 

and mystery …a vibration until a sort 

of trance feels like a vagabond of 

words.. among the limbo. 

… and where do you get inspiration 

for your writings? 

I am inspired by my expirations: life! 

Our lives… Death, love, between us, 

transformations, ideologies, how 

far can we explore ourselves? Life 

is words, words that make us who 

we are. Life is a vibration, words are 

I have been immersed in theatre for 

a long time as a director, actress, and 

speaker art. I have worked my voice as 

a singer and the work is all the more 

technical. I found my artistic balance 

by being myself, without artifice; I 

found my voice and my music and 

the liberty of my expression. Other 

inspirations exist and each will defend 

its movement. Music makes the 

interpreter and vice versa. Anne Clark 

is in balance, others bring nuances, 

others a rehearsal. I admire the artists 

who when they are there, are there! 

Make one with the band! 

Loic, may I ask, what comes first in 

the procedure; a ready song which 

needs its lyrics, or a ready piece by 

Nadia that needs suitable music? 

The process is almost always the 

same. The starting point is musical, I 

search a lot, I throw a lot too …before 

proposing it to Nadia. Sometimes the 

process begins with just an ambient 

sound or a rhythm that will resonate 

with the words of Nadia. It’s a special 

feeling but we both know intuitively 

when it does, this is where the piece 

is built and takes place as evidence. 

In parallel, she always has her loan


books, and the vibration as she says 

is done! But my favorite creative part 

is the guitar, my favorite instrument 

which brings the final touch to the 

songs. I am in a perpetual quest for 

the holy grail of delay or reverb … the 

GAS crisis, the geeks will certainly 

understand what I’m talking about. 

darkwave music? 

Loic: yes I have heard this remark in 

Germany several times too. Perhaps 

a reminiscence of education, we all 

read the romantic poets or Camus at 

the College, reading “L’Etranger” gives 

a certain vision of life … Robert Smith 

talks about it pretty well! 

Nadia: French are Romantic ... 

When do we expect another Hanging 

Gardens release? Is it still early to ask 

about any hints on that? 

Loic and Nadia: Our music follows 

the movement of what surrounds 

us. Our next EP is planned for the 

end of 2020. It is still early to give it a 

direction. Certainly more refined and 

more electric. 

Where will you navigate HG in the 

future? 

Loic: I take advantage of this 

confinement to listen to a lot of 

music, old and new, and to have a 

new technical configuration which 

will certainly impact the new sounds 

of the next EP. 

Where do you see the darkwave/ 

post-punk genre heading in the 

next years? I am pretty sure it won’t 

remain as it is now and I’d like your 

perspective on that… 

Loic: A lot of groups break free 

from the Dark “codes” by looking 

for new sounds, new looks … to get 

out of the cliché: rhythm machine, 

reverb, cavernous voice. For me, Boy 

Harsher is a perfect example of this 

I have clearly understood, for many 

years now, that in the whole darkwave 

constellation the French bands and 

artists are so peculiar and unique. If 

I may say so, the French darkwave 

style appears like some precious old 

Absinthe. Can you tell us why and 

how all of you are always ready to 

create such an extraordinaire and 

utterly addictive trademark French

26 


evolution. The future will belong 

to those who know how to feed on 

other influences”. The Cold or the 

Dark have infiltrated everywhere even 

outside of music, in series, films … 

The world is more and more cynical 

and hard to live for many people. You 

have to look for warmth and beauty 

in the gray, the dead trees, the mist, 

and the crows; it may darken the soul 

a little, but it poeticizes the darkness. 

So I think this musical movement 

will increase by feeding on society 

but also by enriching itself with all 

the new influences of the people it 

will touch. Everything continues and 

transforms! 

After all this Corona-Attack will you 

start performing live again, and what 

are your thoughts on the next day 

for the whole dark alternative music 

scene? 

Loic: The stage is the place where 

we fully experience our music. We 

are always looking forward to these 

moments! And if conditions have 

to change, why not consider live 

streaming, but that will never replace 

proximity to the public and the sound 

of a guitar vibrating and filling the 

reverb and delay space. 

records that you are stuck with now… 

Loic: Quarantine has at least one 

advantage: it gives us time … lots 

of time to listen to music. so I take 

the opportunity to walk on Youtube, 

Soundcloud, an infinity of incredible 

groups on Soundcloud! At the top of 

my top 5 containment, KOMPROMAT 

discovered a month ago, but a big slap. 

You listen to “Das Grab” and you say 

to yourself … wow this is my favorite 

and then you listen to “Le Gout des 

cendres” and you say to yourself .. ah 

no this is my favorite, etc … and you 

listen to the album again. Powerful, 

bewitching, and addictive. Ideal to 

let off steam during the confinement 

period. The other band that follows 

me everywhere, BOY HARSHER with 

“Pain” or “Electric” of course but above 

all “Fate and his synthetic refrain, with 

each new listening, there is always an 

element that surprises, a sound … brief 

favourite. I have just finished reading 

a French book which describes the 

Nadia: After the coronavirus, we will 

enter a new era. If we have to distance 

ourselves, we will play in huge spaces, 

if not, with huge plexiglass( hahaha). 

Otherwise, I believe in underground 

places as it should be ... 

What are you currently listening to at 

home? Please, share with us the top-5


creative process of THE CURE albums 

as therapy by Robert Smith. Therefore I 

rediscovered the ‘Seventeen Seconds’, 

‘Faith’ and ‘Pornography’ trilogy and 

in particular all the sound work, the 

noises, the atmospheres everything 

that I did not hear before … a real 

rediscovery. The album I listened to 

the most this year, looped from start 

to finish, already a classic: ACTORS – 

‘It will come to you’ LP. To finish my 

top 5, the album that touched me 

the most recently, in a completely 

different genre, a French band that 

comes from Metz (relocated to Paris 

now): GRAND BLANC. To listen 

urgently to the sessions at Studio 

Kerwax in 2016 (search on Youtube), a 

group that deserves to be in the light. 

And with my 15-year-old daughter, 

that discover the 80’s with the Netflix 

series, I listen to bands like Talking 

Heads, New Order, The Smiths, U2 … 

candies for ears!!!! 40 years already, 

that does not rejuvenate me! 

Nadia: Chrystal Pite‘s Body and 

Soul Ballet, for its anatomical 

choreographies and musical 

composition. List of spiritual tunes 

by Johann Sebastian Bach. At the 

origin of the oldest music publishing 

house in the world (Breitkopf & 

Härtel) – published in Leipzig, in 

1736, a Musicalisches Gesang-Buch. 

This collection, by Georg Christian 

Schemelli, contains 954 lieder and 

spiritual tunes for soprano and 

continuo. Bach collaborated to a 

degree not established precisely for 

69 of these melodies!!! Kat Onoma: 

‘La Chambre’, often looped…The 

energy of Shaka Ponk…..is already 

enough ... 

Nadia, Loic, thank you very much for 

your time, last words on you… 

Loic: Thanks so much Mike for your 

(eternal) support and the platform 

you offer us to share our passion. 

Nadia: Looking for a Label!!! Take 

care of yourself and a long way to 

WL//WH!! 

Keep up with 




INTERVIEW Mike D. 

“Chaotic Ride” by 

MEAT INJECTION 

This is the official video of “Chaotic Ride” by Athens-based darkwave 

act Meat Injection, it releases today, and for this reason (plus more) I 

sat down with Cleopatra Caido and Dimitris Katsikadis for an interview 

on all things about it and the band.


Hello Meat Injection and welcome to 

WL//WH! What we just watched was 

a striking piece of darkwave music, 

your new video ‘Chaotic Ride’! How 

come you chose that song from 

your last album ‘System Anomaly’? 

Dimitris: Thank you for having us, 

we believe that this song is one of the 

most cinematic and characteristic 

tracks of the album. Because of it’s 

groovy style regarding the beat and 

the feeling, we felt that this is a song 

that should be visualized, including 

a dark romantic scenario. 

Cleopatra: Dimitri I’m glad you see 

things in a romantic way, I will add 

that it is dark with a great amount of 

realism and madness. 

What is the song all about? Who 

wrote the lyrics? 

Cleopatra: Chaotic Ride refers 

to people who have not found 

themselves and, driven by chaos, 

they end up in madness. We all know 

that, nowadays, and especially in this 

period we are going through, the 

world is facing its fears, loneliness, 

confusions and insecurities. The 

lyrics were written by me before the 

“release” of covid 19 and now that 

I think about it, maybe, for some, 

“Chaotic Ride” fits in the whole 

situation of the pandemic. 

It is no typical video meaning it 

doesn’t show the band performing 

somewhere but it has a scenario 

behind. Can you tell us all about it, 

please? 

Cleopatra: I wrote the script in 

such way, in order to pass emotions 

through facial expressions and body 

language. I wanted to emphasize in 

the anger, the oppression, the chaos, 

the madness that a man lives, trapped 

(figuratively) in a suit. (Dimitris 

Katsikadis) and (Babis Kaidos) are, 

essentially, one person, in conflict, 

with himself. My role is the voice that 

speaks to their subconscious, the 

voice of truth, and when the mind 

plays games this person transforms 

from a demon figure to an angel. The 

maid (Johanna Athanasiou) is the 

face of the delusion that weakens 

the mind, the doctor (Achilleas C.) 

is the form, the shape of despair 

and resignation and the psychiatric 

room symbolizes the confinement 

of the soul. 

I see that Nikos Chantzis (Press Eject 

and Give me the Tape) created the 

video, why did you choose to work 

with that director? What did he bring 

and what did he give to the song? 

Dimitris: Nikos is a respectable 

artist of the local scene. He has 

collaborated with lots of artists 

from Greece and has also produced 

documentaries from the darkwavepost 

punk- electro wave scene of the 

country which in our opinion are a 

state of art and a legacy for all the 

people who love this kind of music. 

Cleopatra: Nikos is a talented 

person with an intuitive personality. 

He takes his work very seriously, he 

loves what he does and he does it 

with a professional way. 

May I ask, are we gonna watch 

another video too from the album? 

I have the feeling that after the 

lockdown you will focus more on 

the band with possible live shows, 

or head into the studio for a new

30 


release? 

Dimitris: Actually we are focused 

on making new music wright now 

as we are planning to make a new 

release on summer, but \in the near 

future we will make a new clip, either 

from the ‘’System Anomaly’’ album 

or from new stuff. 

‘System Anomaly’ LP was a very 

powerful record. I’d like to discover 

and learn where did all this pressure 

inside the disk come from and what 

do you really map into it? 

Cleopatra: It is true, Mike, that the 

whole album is really intense. With 

Meat Injection, the basic condition 

is spontaneity. We write about what 

it comes out of our soul, good, bad, 

paradox, dark, romantic. Passion is 

what gives the intensity, our energy. 

Dimitris and I, we both believe in 

this band and we want to pass this 

belief to any other member who 

joins the band. We want to be united 

and have a common vision. To play 

music and whatever it is to come, to 

come because we really deserve it. 

Cleopatra, I was speaking about you 

the other day with an acknowledged 

singer from the Athenian dark 

alternative front and she told me this 

very convincing thing about you, 

“Kleopatra is actually a rock singer, 

but the girl knows so well how to 

react and how to sing her lyrics as a 

totally darkwave singer”. Where are 

you coming from artistically? What 

other musical paths are you ready to 

explore? 

Cleopatra: I am happy for what I read 

and I would like to thank her for the 

kind words. When I was a teenager 

I used to listened to many rock 

bands, mainly Gothic, alternative 

rock, heavy metal, Electro darkwave, 

black metal, even jazz and blues. All 

this played a role in how my voice 

was formed. Artistically, I come from 

a creative family, my dad used to 

paint, my mother was a musician, 

but in a different genre from what I 

do, so she supported me a lot with 

the video clip. The video was filmed 

it at my family’s home and I thank 

her for everything. I often discover 

new music and when I want to 

sing or write something, I am really 

getting into it, seriously. 

And the music, Dimitris? What are 

all these things that torment you 

and you offer us such incredible 

musings?


a band, why do you call your act like 

that? 

Dimitris: Meat Injection in the British 

slang means either one night stand 

or shooting dope. Fair enough… 

MI, thank you very much for your 

time, last words on you! 

Cleopatra: Thank you Mike for this 

interview and for your support. We 

want to say a big thank you to those 

who supported us in this new step 

of ours, family, friends and of course 

Nikos Chatzis. And finally, Mike, if 

you need a doctor for an injection 

you know where you will find us... 

Lack of faith kills. We all need to 

remember this and we do not want 

any pills. 

Dimitris: Thank you for the kind 

words, I believe that these tunes 

come from facing my daemons 

and trying to feel the vibe of all 

creatures of this world, as well as all 

the emotions … pain, love, affection, 

hatred. 

Keep up with 

Meat Injection 

It’s the timing good to ask you about 

the band’s fresh news (except for the 

video)? 

Cleopatra: Yes, of course! We have 

a remix of a powerful Greek band 

that we will not reveal its name yet 

and will be released in the summer 

with a special release. Also, we have, 

a subversive remix by Pedro Code 

and IAMTHESHADOW, that will be 

released soon, in the collection of the 

Swedish magazine SVARTPUNKT. 

www.whitelight-whiteheat.com 

Meat Injection is a strong name for

32 


ECHOES OF THE CITY PLAYLIST by Mar Gee 

Shannon & 

The Clams 

Midnight Wine 

1 

Tomorrow Is 

Already Here 

Anybodys 

Lorem ipsum 

Seafoam & 

Coral Dream 2 Do We Disgust You? 3 

Acid Rooster 

Doused 

Tannhauster 

Orchestra 

Stereofuzz 

4 

Glue 

5 

Yamahaze 

6 

Mennen Men 

Sweet Williams 

Freedom Curse 

Filthy Filters 

7 

Dead Singer 

8 

I Used To Know 

9 

Pork Belly 

Hallan11 Impossible Odonis Odonis 

DUMB 

10 

Orwell's Idyllic 

Future 

12 

Sieve 

Klapper 

Fake Last Name 

Around 

13 

Kicking Down 

14 

15


Together 

PRINT HEAD 

16 

Tombstone In 

Their Eyes 

Quarantine 

Blues 17 

Pretty Picture 

The Pleasure 

Dome 

18 

19 

Last Tourist 

NYLON 

Cave In The Hills20 

No Bother 

21 

Polyester 

Friture 

22 

XOUT FACS 

23 

Lou 24 

Mellow Lizard 

Mesh 

Company Jeep 

25 

DETECTS6 2 Looks 

Raw Plastic 

There Is No 

Way Like Home 

27 

Stranger 

NOV3L 

Fat Whte 

Family 

28 

Muscles 29 

POND 

America's Cup 

30 

Keep up with 

Echoes of the City

34 



The wondrous new album 

by 

Ten Years after the highly acclaimed super 

album “Road Eyes” the British (Nottingham) 

art-rock troupers Amusement Parks On 

Fire are back with their glorious new fulllength 

“An Archaea”. The album releases 

today (June 25) and is available on CD, 

digital formats, and absolutely on vinyl too. 

We have the great return of a very ‘welleducated’ 

ensemble that plays seemingly 

art-rock; how else can you describe that 

band when they create this pretty attractive 

and colorful sonic spectrum? 

It is easy to call APOF an art-rock band 

but when you try to describe in your own 

ears what you hear in their music things 

are changing ipso facto towards a wider 

kaleidoscope. They are expanding (and am 

not afraid to write this at all) the limits of our 

beloved UK alternative rock, only that while 

having studied the past decades’ victories 

won by Albion’s older and successful artists, 

APOF now won’t hesitate to present how 

to blend it all with the new core matter of 

shoegaze, noise rock, dream rock of course, 

and with open disposal for experimentation 

they offer an album of 10 new songs, 

literally 10 superb new adventures. The 

leading track of the record is “Boom Vang” 

and it came with an official video too on 

June 11th, watch it with a friend and see 

where your conversation (or dissent) about 

this song will go; it is shoegaze, yeah but 

what else lies in there? 

Amazing issues are waiting for you to 

discover in the entire album, with great 

and very interesting arrangements all over 

the opus, with also great players who are 

performing targeted themes and with an 

also the great given sense of responsibility 

on the result they want to present. Things


may become vast in their songs but not 

unlimited and not chaotic at all. 

“An Archaea” is a foxy title for an album, 

same as is the name of the band, same as 

the music they create. They own the secrets 

of shoegaze, they occasionally push these 

secrets in the noise rock sludge respectfully 

to your ears. They think of some really 

beautiful vocal lines to front their musings 

and they present it all with another amazing 

and so compact rhythm section at the back 

– no good rhythm section, no good band, 

we know that from the dawn of rock and 

roll music. 

And now yes, you got it right, such albums 

need, sorry, they demand some really good 

sound to support the whole work. The 

album has the sound it just needs to show 

its delights, that very precise sound that 

won’t polish the band for no reason, but 

that sound work that goes together with 

APOF‘s necessities. 

Success, my friends; that’s the best word 

for this record. Success in all, by a band 

that came along with a wondrous new 

work in their quiver. Ten years and we were 

thinking like “why did they disappear”? 

Certainly, APOF didn’t release “An Archaea” 

LP to prove anything to no one, not even 

to themselves but what stays at the very 

end of the audition is that you clearly just 

listened to an utterly convincing recording, 

and that includes all members of the crew 

involved; the band, the sound engineer, 

and us at home. Last, I won’t give you any 

focus tracks as I believe that this record 

doesn’t need that because it flows like a 

river from start to end, but only a hint if you 

like; towards the end of the disk you will 

find the same song “An Archaea”, and “Blue 

Photo by Carla Mundy 

Room” that will both surprise you with their 

conception and performance, but don’t 

rush to hear them first. Let the album roll 

from track 1 and all the way to the end I 

hope it will give you the same feelings as it 

gave to me. 

Keep up with 

APOF 


36 



FACTICE FACTORY new LP 

“Figments” is more than splendid 

and cool, it is grandiose! 

After almost four years, Factice Factory 

(from Liévin, France) are back with 

their fourth studio album ‘Figments’ 

via German label Holy Hour records 

released on May 15. FF comprises 

François Ducarn/Chroma Carbon on 

lyrics and vocals, Theotime Lefebvre 

on bass guitar, electric guitar, and 

effects, and Fabrice Lefebvre on drum 

programming, keyboards, and the 

musical arrangements. ‘Figments’ LP is 

a pack of 7 new songs recorded during 

2020 and 2021; seven fully emotional 

works with the expected songwriting 

quality by the band, with the expected 

special sound production, and with the 

suspense to be at least on the same 

level with ‘Lines & Parallels’ album 

(2017), that album which put them in 

the pitch for good. Only that… to my 

wonderful surprise, the new album is 

fearlessly their best ever release so far. 

FF plays post-punk we adore, FF are also 

coming from the minimal wave too, 

and FF will not hesitate to flirt with and 

finally fall into the arms of the shoegaze 

swirl not just like good students, but 

like a gang that goes through the whole 

thing with knowledge and valency. 

Sounding like been tormented by the 

entire case of the pandemic the new 

album is another striking model of 

how difficult times for everyone can be 

a source of unique inspiration and tour 

de force. Many records nowadays like 

that and ‘Figments’ LP now appear as 

a flagship of the dark alternative genre, 

with ‘Boiled’ being the first arrow 

thrown through the fog. 

‘Distance’ came a little later as if 

to emphasize the greatness and 

complexity of this album, it was about 

time for me in my enthusiasm to stop 

with the fireworks and sit down to 

carefully listen to what FF wants me 

and you to hear in their new musings… 

check this out!


You will also taste some wonderful 

poisons, some wonderful worlds, that 

bridge the streams and which may be 

the music score of a slightly less horrible 

near future. Try ‘Weimar’, ‘Cent Dix Huit’, 

absolutely ‘Tucson‘, and the final opus 

of the album; the adventurous elevenminutes 

‘Mojave (Part I-II-III)’. 

Keep up with 

FACTICE FACTORY 

I will not say anything else, you probably 

understood what we are dealing with 

here. Here is the new ‘Figments’ LP by 

Factice Factory!!! 


38 



THE BLACK WATCH 

“The White” EP 

L.A. Alternative Rock Bomb! 

Their Bandcamp says; The Black 

Watch has been called “a national 

treasure”! That note is absolutely true 

by all means, Los Angeles troupe The 

Black Watch started releasing their 

visions in 1988 and they never stopped 

creating some of the fuzziest, indie, 

most colorful and wild, pure American 

alternative rock musings in the history 

of the nation. Although John Andrew 

Fredrick‘s band never signed to any 

Def Jam, Geffen, or Matador records, 

his name is already among the most 

genuine figures in California’s alt.rock 

bible with his band having made clear 

so far that what you’ll be listening to 

the most original stuff for 30+ tears and 

on. The man is the same generation 

as Dinosaur Jr, Presidents Of The 

USA, Sonic Youth, Pixies, and on, and 

I mention these names as reminiscent 

of beloved ‘crazies’ like him. 

With an endless catalogue of LPs, EPs, 

and singles, The Black Watch recently 

released their brand new accreditation 

‘The White EP’ (May 7) with 6 bullets 

inside that are among the twelve or 

so that could easily have gone on the 

ambitious band’s 20th album, ‘Here & 

There’ (coming soon on ATOM Records). 

Frontman John Andrew Fredrick 

seems to toggle between working with 

producers Scott Campbell and Rob 

Campanella. The single, “Off You Go!” 

imagines what the principal characters 

of Mike Nichols’ The Graduate would 

make of contemporary USA. Utilizing 

open-tuned electric guitars, Fredrick 

strips down (and thus pumps up) TBW‘s 

normally quite lush sound here. 

Everything TBW is restless, is groovy, 

is colorful, and yes my brothers and 

sisters, it is also flirting with dreampop 

occasionally, psychedelic rock too, 

and with all these things we adore in


the American alternative scene since 

forever, I guess. What I adore in Fredrick‘s 

musical approach is that he is always 

unpredictable; he is raw, he is tuneful 

and his music is always taking me to 

an amazing live gig with the band. The 

immediacy of his music is like being in 

a jam with TBW in a basement studio 

with beers and friends and fun and all 

these things that are keeping my heart 

and soul alive, the disarming honesty 

of our youth, the everlasting life. ‘The 

White EP’ is not only a remarkable 

record, it is that kind of a disc that 

will lead you to the next beer for each 

track separately. Now I am going to the 

store to get another six-pack cause I’m 

gonna replay it all over again, cheers 

and listen to it loud!!! 

Keep up with 

THE BLACK WATCH 




“The Great Immurement” LP 

by the incredible 

VUKOVAR 

This is one of those cases that I remain 

a little speechless with the result and 

amazed by all means. And this one 

is a little extravagant record. “The 

Great Immurement” LP by UK-based 

Vukovar will try to nail you and believe 

me, it will be easy if you let it absorb you 

into its strangeness, especially if you are 

keen on experimental stuff with a good 

reason.The album is slated for release 

on April 25 via Russian independent 

label Other Voices Records, and it is 

coming to catch you unsuspected on 

the tail of the previews megablast; 

the fearful LP “The Colossalist” which 

was one of my best releases last year. 

A very impressive album with a very 

impressive sequence in the circle, let 

me show you what I read in the press 

release of the new album. 

Following ‘THE COLOSSALIST’ and 

continuing the death-life commitment 

to their grave loss, VUKOVAR‘s next 

step in their obsessive memorial 

device to Simon Morris is ‘THE GREAT 

IMMUREMENT’. With the new, stable 

lineup, here with Jane Appleby 

(CERAMIC HOBS), the NeuPopAct have 

collided and colluded to now present 

their 9th LP and part two of the Eternity 

Ends Here triptych; the most ambitious 

thing attempted by the group and 

the most wrapped in turmoil. OTHER 

VOICES RECORDS, a label to match the 

group’s ambition, bring out this second 

CD in a planned series of releases in 

collaboration with world-renowned 

artist Andrzej Klimowski. VUKOVAR 

formed in a crumbling placefiller of a 

town in 2014. They were always dying 

and reorganized after cease to exist 

in 2019. Effete artists pretending to be 

northern hard cases pretending to be 

uniform fetishists in iconoclast drag. 

“Do not trust us; we are fragile stars.” – 

“When Rome Falls” is the leading track 

of the album and it is a song so unique 

in its entire acoustics, like every single 

song of the album, it has no other 

resemblance, no other little-brothersong 

alike. Dare…


OK, that was a little spooky, right? Do 

not expect to hear it again in ‘The Great 

Immurement’ but you should expect 

to experience musings experimental 

with parts industrial and pieces no 

wave that all together form an amazing 

audition. Literally, this album may work 

as a concept LP (why? is not it finally?) 

as it needs you seamlessly from start to 

end. The opener “Your Icarus” is but an 

adventurous introduction with the rest 

being…one hell of an opus to listen to. 

How things are branched out in here is 

not something you hear often, but it is 

the necessity to them and for what 

they want you to hear in their work. 

You will hear individual music creations 

that are deconstructed and completed 

with mastery, you will hear something 

similar with the scientific approach of a 

monumental record; If you went crazy 

with “Persepolis” by Iannis Xenakis 

without exaggeration you will discover 

an album that flirts with that mentality. 

Am I profane? No, I don’t think so as 

this album is a masterpiece! Another 

credit must go to The Brutalist House 

& The Ghosts In Their Machine and 

Phil Reynolds who handled the studio 

work, and as a sound engineer myself 

I’m gonna tell you my truth; I wouldn’t 

try to be involved in the mixing work, it 

needs tremendous commitment to the 

vision of the creators, it is not post-punk 

stuff, it needs you enchained to the 

purpose of the artists and it needs you 

to look for and to highlight pins in the 

straw…most respect to the whole team 

for the amazing work! Last, get ready for 

one totally impressive epilogue, finale; 

the last song is “The Great Immured 

And His Sea Of Love” where Vukovar 

finishes you with concise procedures 

within 12:12”, and when everything 

is over then it is most likely you will 

replay the whole album for a further 

study…no joke, the album is art for art 

like all similar masterpieces!!! 

Keep up with 

VUKOVAR 


42 


GUESTS Mary McIntyre - TONN Recordings 

This month we host Mary McIntyre from Belfast, owner of the significant 

label TONN RECORDINGS, and the newly born New Sinister label. I cannot 

remember exactly how many times I have reviewed their records, and that’s 

the fact that made us talk to each other about music and the arts. Very 

specialized labels, both with the aim of promoting new important musicians 

(Madmoizel, Crystalline Stricture, This Is The Bridge, Misfortunes, Iv/An, 

Guinaepig, Monsieur Crane, Nao Katafuchi, and many more) who all have 

specific views on new music. I won’t say anything else now as what you’ll 

read is like a coffee conversation with a gifted person in all things alternative 

music, Mary McIntrye.


Starting a record label is probably the 

most surprising decision I ever made. 

Before the label, I never considered 

myself a risk taker, but founding TONN 

Recordings made me realise that I must 

be, as I embarked on it without any 

experience in running a label. All I had 

was a drive to do it and a passion for 

electronic music. It literally came about 

overnight. I woke up one morning and 

thought - maybe I should start a record 

label? It still feels strange that that 

thought came to me, but I’m glad that 

it did. 

As a visual artist my professional life has 

always been in the contemporary art 

world, but electronic music has been 

an enduring presence. As a teenager 

growing up in Ireland, the post punk and 

new wave artists who I was listening 

to, formed my taste in music. Those 

early encounters with music, Ian Curtis’ 

compelling baritone vocal, Billie Curry’s 

soaring synth, the discordance of Mick 

Karn’s fretless bass, all of these things 

and more, taught me to love that cold, 

brittle sound that I’ve never shaken off. 

Although my love of electronic music 

stemmed from that period, it’s not 

now driven by any sense of nostalgia. I 

still hear synth today that I find just as 

affecting. And that’s what motivated me 

to take a leap in the dark and start TONN 

Recordings. 

My long standing relationship with 

visual art probably informed the way I 

went about developing TONN. From the 

outset I had a very particular aesthetic 

in mind, to create a strong house style, 

which has since become one of the 

label’s hallmarks. 

This month TONN reaches its 5th Year 

and looking back over all we’ve done, 

it’s been incredibly gratifying, to date 75 

releases, working with over 30 artists from 

all over the world. TONN’s international 

dimension was not intentional, but 

after coming into contact with so many 

wonderful artists, it soon became clear 

that TONN’s geographic makeup would 

inevitably widen. But my process for 

selecting artists hasn’t been driven by 

location, it comes down to my own love 

of certain musicians’ work. If someone’s 

sound resonates with me, that’s what 

motivates me to work with them. 

At the same time I’m very aware of not 

endlessly duplicating one kind of sound 

on the label. I know that people often 

prize continuity, but it doesn’t interest 

me to take a narrow approach. That’s 

why on TONN, coldwave from France, 

sits alongside minimal synth from the 

U.K. The label’s output could be said to 

be diverse. That’s why I chose the name 

’tonn’, which is Irish for wave and for me 

encapsulates the scope of the label’s 

output. But I think there’s a sensibility 

that runs through it all, which goes back 

to that cold sound I spoke of earlier. 

It’s been amazing to have the opportunity 

to work with so many of my favourite 

artists on TONN Recordings and its 

sister label, New Sinister, people whose 

music has been such a big part of my 

life. There are exciting new things ahead 

for the label in the coming year, but 

most of all I’m looking forward to those 

things that I wasn’t anticipating, the 

brand new synth that gets sent to me 

by TONN’s artists late a night, when I’m 

least expecting it.

44 


’Repilicas’ - 

Tubeway Army 

(1979) 

The very first record 

I ever bought was 

Tubeway Army’s, 

‘Repilicas’. I came 

across it through 

radio plays and 

TV appearances. 

I remember one 

particular early TV 

performance of 

‘Metamatic’ - 

John Foxx (1980) 

In 1980 I bought 

my first John Foxx 

record, ‘Metamatic’. 

At that young 

age, during such a 

formative period, 

that album was 

like an education. 

It introduced me 

to metronomic 

minimalism and 

’Scary Monsters 

(and Super Creeps)’ 

- David Bowie (1980) 

David Bowie’s musical 

legacy spans so 

many decades that 

everyone has their 

own entry point for 

connecting with his 

music. Mine was, 

’Scary Monsters (and 

Super Creeps)’. I 

know that particular 

Bowie album is not 

often the one that 

gets singled out, but 

‘Mask’ - 

Bauhaus (1981) 

At School, art history 

classes led me to Walter 

Gropius’ Bauhaus. So 

when I came across 

an album bearing that 

name, in a record store 

in Belfast in the early 

80s, I was intrigued. In 

those pre-internet days 

we came upon music 

in a very different way, 

sometimes by word 

‘Porcupine’ Echo & 

The Bunnymen (1983) 

This is an album I 

can come back to 

again and again and 

it never sounds dated, 

or loses its agency. I 

recognised something 

in, ‘Porcupine’ when 

I first heard it, that 

was sharp and jagged 

Gary Numan, which 

stuck out for me at 

the time, because 

his manner of 

performing seemed 

so different from all 

of the other artists 

on those TV chart 

shows. His vocal 

style was so singular. 

As a young teenager, 

discovering music for 

the first time, it made 

quite an impression. 

But beyond that, 

something that had 

an even greater 

impact on me, was 

Gary Numan’s synth. 

The minute I heard 

that buzzing, cold 

sound, I was hooked. 

usual clichés of sad 

music. Timeless. 

dystopian brutalism. 

I recognise it now 

as the single most 

important album 

that helped shape 

my musical taste. It 

taught me to love 

that metallic beat, 

that several decades 

later would inform 

TONN Recordings’ 

sound. Listening to 

it now, it’s striking 

just how fresh and 

relevant ‘Metamatic’ 

still sounds. I’ll never 

tire of it. When it 

comes to sharpedged 

electronic 

sophistication, no 

one comes close to 

John Foxx. 

I vividly recall how 

this album felt like 

it constituted a very 

different listening 

experience. In 1980 

when I played this 

12” for the first time 

and ’It’s No Game 

No.1’ started up, it 

felt like a revelation 

and the ‘Teenage 

Wildlife’ lyrics painted 

such vivid pictures 

in my head that 

I’ve never forgotten. 

The album’s title 

track is still one of 

my favourite Bowie 

songs, with Robert 

Fripp’s guitar slicing 

through the off beat 

rhythm. The whole 

album is a masterclass 

in raucousness. 

of mouth, sometimes 

through music press, 

but mostly through 

surreptitious discovery. 

So I bought, ‘Mask’ 

with no clue as to what 

Bauhaus sounded like. 

When I got home and 

played that record, 

my love affair with 

Bauhaus began. Peter 

Murphy’s distinctive 

voice and the sense 

of strangeness and 

theatricality within their 

music, lyrics and visuals, 

presented a captivating 

combination. I still can 

recite the monologue 

from, ‘Of Lilies and 

Remains’ by heart. 

through and through. 

Musically and lyrically, 

it lurched in twists 

and turns in ways that 

felt dangerous. Ian 

McCulloch’s stuttering 

vocal’s in tracks like, 

‘The Back of Love’ 

perfectly reflected the 

album’s dark core. 

Something that I’m 

always very aware of 

when I’m listening to 

it, are the lyrics, which 

sounded as sharply 

cutting and visceral as 

Will Seargeant’s guitar. 

“Come to the free for 

all, with seven tapered 

knives”.

’This Nations Saving 

Grace’ - 

The Fall (1985) 

This may be the time 

to re-trace where my 

love of the discordant 

first began. It was my 

1st week, in my first 

year at art college 

and the chaotic mess 

of the fine art studios 

felt foreign to a young 

student fresh from 

School. But one of the 

‘Yanqui U.X.O.’ - 

Godspeed You! Black 

Emperor (2002) 

After the electronic 

discoveries I’d made 

in the 1980s, the 90s 

was not a decade that 

musically inspired 

me. But on trips to 

Canada during the 

90s, I did encounter 

things that went some 

way to redeeming 

that period. One thing 

that seemed to be 

‘You Today’ - Martial 

Canterel (2011) 

Whilst I grew 

up appreciating 

synthesiser music, 

my knowledge and 

love of modular synth 

stemmed from an 

encounter in more 

recent years, with the 

work of Sean McBride. 

Martial Canterel’s 

music is borne 

from extraordinary 

technical virtuosity 

and exceptional 


’Lady Dandy’ - 

MADMOIZEL (2013) 

The first time I heard 

MADMOIZEL’s music, 

it stopped me in 

my tracks. She is 

without doubt, one 

of the most incredible 

performers I have 

seen live. On, ‘Lady 

Dandy’ she takes 

vocal performance 

to a new level. It’s an 

’s/t’ - 

Monsieur Crane 

(2016) 

When I started TONN 

Recordings in the 

spring of 2016, much 

of the music catching 

my attention was 

coming from France, 

which seemed to be 

a kind of epicentre of 

electronic music. One 

French electronic 

artist that really 

other art students was 

playing the then just 

released, ‘This Nation’s 

Saving Grace’ and I 

heard Mark E. Smith’s 

voice for the first time. 

In that moment there 

was no going back. 

The Fall became my 

favourite band and the 

Brix Smith years my 

favourite Fall period. 

And since that point, 

I have listened to The 

Fall every day. For me 

they will ever be the 

masters of glorious, 

sonic dissonance. 

So much so, that I 

named my post punk 

label New Sinister, in 

honour of them. 

particular to that part 

of the world, were large 

ensembles creating 

a heavily charged 

sound, bands like 

Superconductor, who 

boasted six guitarists 

and two bassists. It was 

there I came across 

Godspeed You! Black 

Emperor and soon 

came to appreciate 

the soundtracklike 

quality of their 

intensely atmospheric 

productions, which 

ebbed and flowed 

in densely crafted 

crescendos, that felt 

hypnotic. ‘Yanqui 

U.X.O.’ is an album 

I re-visit on those 

days when I crave a 

cathartic wall of sound. 

compositional talent. 

‘You Today’ is an 

album that I frequently 

return to. It’s full of 

heart lifting synth, with 

a crisp, clarity of sound 

that gleams brightly. 

‘Secret Stores’ is one 

of my all time favourite 

Martial Canterel 

tracks. I’ve since been 

fortunate to work with 

Sean on a collaborative 

project, centred on his 

creating a series of 

musical compositions 

in response to my 

photographic images, 

that will be exhibited 

as part of my art 

installations and 

released later this year 

on TONN Recordings. 

album brimming over 

with dynamism, each 

track flowing into the 

next, creating a rich 

musical narrative. 

When I first heard 

it, I was struck by 

the uniqueness of 

MADMOIZEL’s sound, 

shaped by the power 

of her machine driven 

beat. I’ll be forever 

grateful to ‘Lady 

Dandy’, because it 

became the meeting 

point for MADMOIZEL 

and I, and led to all the 

work that we’ve done 

together on TONN 

since, in an incredible 

creative journey. 

made an impression 

on me, was Monsieur 

Crane. I loved 

everything about his 

sound, which is a 

musical dichotomy. 

I’m still not sure 

how he manages 

to create synth that 

is simultaneously 

sparse and yet so 

rich, so powerful and 

yet full of pathos. ’s/t’ 

is one of my all time 

favourite albums and 

on it, one of my all 

time favourite tracks, 

‘Cockpit’. Going on to 

work with Monsieur 

Crane on TONN, 

has of course been 

utterly fantastic.

46 


MOVIES & BANDS 

the fire, we didn’t even try to slink out 

at all. 

1991: The Year Punk Broke, released 

theatrically in 1992, is a documentary 

directed by Dave Markey featuring 

American alternative rock band Sonic 

Youth on tour in Europe in 1991. 

While Sonic Youth is the focus of 

the documentary, the film also gives 

attention to Nirvana, Dinosaur Jr., 

Babes in Toyland, Gumball and The 

Ramones. Also featured in the film are 

Mark Arm, Dan Peters and Matt Lukin 

of Mudhoney and roadie Joe Cole, 

who was murdered in a robbery three 

months after the tour ended. The film 

is dedicated to him. 

No matter how many times you watch 

it over and over again, it gets you stuck. 

It is the immediacy of these ‘criminals’, 

it is the truth of an entire generation 

with and all the reasons these people 

left their mark indelible over time. 

Was it punk? Was it noise rock? Was it 

grunge? That documentary annoyed 

many people when it came out but 

we definitely loved it forever. It is not 

a small thing to watch this epic with 

these people who ... basically is our 

generation. The entire LCM crew was 

16 years old at the dawn of the nineties 

and there was no way we could escape 

Several scenes in the film involve reenactments 

and references to scenes 

from the contemporaneous Madonna 

tour documentary, Truth or Dare, 

such as Gordon complaining about 

“industry people” in the front row, 

or Cobain, introduced as “Costner” 

telling Sonic Youth that their show was 

“neat”. At a screening of the film at the 

2008 All Tomorrow’s Parties festival 

in Monticello, New York, Markey 

mentioned that the working title for 

the film was Tooth or Hair, as a further 

play on this connection. A home video 

VHS was released by the David Geffen 

Company on April 13, 1993. The film 

was again re-released on DVD on 

September 13, 2011 by the Universal 

Music Group.

Loud Cities Magazine / #5 SUMMER EDITION 2021 47

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