Trisomie 21

T21 aka Trisomie 21 returns after many years with a new LP and line-up. Todd E Jones interview Martin Blorhorn, new member of T21

Trisomie 21 is back and with a new member named Martin Blorhorn. Trisomie 21, also known as T21, is a French cold-wave / new wave band that has explored music ranging from gothic to industrial to ambient to new age. Started in the 1980'€™s, T21 was mainly 2 brothers named Philippe Lomprez and Herve Lomprez. While Philippe did all of the singing, all of the music and most of the lyrics were written by Herve. For years, T21 has been an enigmatic group who rarely did interviews or live performances. Their album '€œMillion Lights'€ is a classic in many people'€™s minds. Their follow up album '€œWorks'€ was a much more commercial success with songs like '€œAnother Move'€ and '€œThe Messenger'€. Each LP by Trisomie 21 displays a growth and maturity. All of their albums possess a deep passion and a magnificent atmosphere of romance. Their last LP '€œGohohako'€ (released in 1997) was rumored to be their final album. It was their final album'€¦ but their final album to be released on Play It Again Sam Records. For years, T21 was silent but due to their official website, some remixes for other artists and some compilation appearances, T21 was back in action. Martin Blohorn first began to work with Herve Lomprez on a side project called Process Of Composition. Their song '€œUnrequired Love'€ was a beautiful track that had the passion and atmospheric quality of other T21 songs. It appeared on the Fun Radio compilation "Ballade Nocturne Vol. 2" alongside respected artists like Massive Attack and Moby. Around 2001, T21 announced that a new album was coming out on a new label. Martin Blohorn was also announced as a new member of the group. I had a conversation with the man and he gave me some insight about the future of T21. Ladies and gentlemen, I introduce to you, Martin Blohorn, the new member of Trisomie 21.

ONES: '€œHow are you?'€
MARTIN BLOHORN: '€œVery well. Thank you.'€

T.JONES: '€œHow did you meet the Lomprez brothers and how did you end up joining Trisomie 21?'€
MARTIN BLOHORN: '€œWe have a friend in common and that friend and I met at a party.'€

T.JONES: '€œTell us about Process Of Composition.'€
MARTIN BLOHORN: '€œProcess composition was a band only created for one project.'€

T.JONES: '€œWhere were you born?'€
MARTIN BLOHORN: '€œSouth of France.'€

T.JONES: '€œWhere do you live now?'€
MARTIN BLOHORN: '€œAlways at the same place.'€

T.JONES: '€œTell us about the new T21 album.'€
MARTIN BLOHORN: '€œThe new album will be more commercial than 'Gohohako'. We used more vintage sounds and more dance programming keyboards.'€

T.JONES: '€œWhat was a typical day of recording like?'€
MARTIN BLOHORN: '€œEvery musician in T21 is used to working alone. Hervé and I meet together every week to continue the works.'€

T.JONES: '€œWhat are you contributions to the new album?'€
MARTIN BLOHORN: '€œMy job is to program the computers and keyboards. I also give my opinions about the choice of sounds.'€

T.JONES: '€œHow much control did Herve have over the new T21 album? Total control? How much creative input did you have?'€
MARTIN BLOHORN: '€œHervé works like a artistic director. He also recorded and mixed all the songs. I don'€™t have any limits in T21, everybody gave his own opinion about the evolution of the song.'€

T.JONES: '€œYou will play keyboards in T21. At the beginnings (in the early 80'€™s), T21 used a lot of vintage keyboards. What do you think about the vintage fashion in the Electronic music (in general)?'€
MARTIN BLOHORN: '€œVintage is really more interesting than plug-ins. It'€™s really easier to create, to mix, and to finish the song.'€

T.JONES: '€œWhat do you think about Vintage analogic emulation (like Korg MS2000, Clavia, Access, Waldorf)?'€
MARTIN BLOHORN: '€œThe sounds seems to be better but, in fact it'€™s not really true because all of this synths are very cold. That is the big difference with older keyboards.'€

T.JONES: '€œWill you use vintage keyboard on the next album?'€

T.JONES: '€œWhat is your favorite keyboard?'€
MARTIN BLOHORN: '€œRoland JD800.'€

T.JONES: '€œWhat other instruments do you play on the new LP?'€
MARTIN BLOHORN: '€œS770, D50 Roland, T1, Z1 Korg, Yamaha CS1X, K2000 Kurzweil.'€œ

T.JONES: '€œSince Herve and Philippe Lomprez are brothers, were you ever caught in the middle of sibling rivalry?'€
MARTIN BLOHORN: '€œThe meeting with all members of T21 are only for photos and interviews but never in studio, so there are never any rivalries.'€

T.JONES: '€œWhat CDs or LPs are you listening to these days?'€
MARTIN BLOHORN: '€œThe last album by Killing joke.'€

T.JONES: '€œFavorite TV show?'€
MARTIN BLOHORN: '€œI am not interested in TV.'€

T.JONES: '€œFavorite movies?'€
MARTIN BLOHORN: '€œThe Matrix.'€

T.JONES: '€œFavorite books?'€
MARTIN BLOHORN: '€œProgrammation of the MC68000 Motorola.'€

T.JONES: '€œHeight?'€
MARTIN BLOHORN: '€œ1m 80.'€

T.JONES: '€œWeight?'€
MARTIN BLOHORN: '€œ85kg.'€

T.JONES: '€œEye color?'€
MARTIN BLOHORN: '€œBrown.'€

T.JONES: '€œHair color?'€
MARTIN BLOHORN: '€œBrown.'€

T.JONES: '€œAge?'€

T.JONES: '€œZodiac sign?'€
MARTIN BLOHORN: '€œGemini.'€

T.JONES: '€œDo you have a favorite T21 album besides the new one?'€
MARTIN BLOHORN: '€œI never listen all the T21 albums.'€

T.JONES: '€œDo you have a favorite T21 song?'€

T.JONES: '€œWhat other bands or musical projects have you been involved with?'€
MARTIN BLOHORN: '€œI never had any other musical project.'€

T.JONES: '€œWord association time. I am going to say a name of a person or artist
and you say the first word that pops in your head. For example, if I said '€˜The Beatles'€™, you may say '€˜The White Album'€™ or '€˜John Lennon'€™. If I said, '€˜The Rolling Stones'€™, you may say '€˜Lips'€™ or '€˜Sympathy For the Devil'€™. Ok?'€

T.JONES: '€œStereolab.'€
T.JONES: '€œSerge Gainsbourg.'€
MARTIN BLOHORN: '€œAlcohol.'€
T.JONES: '€œAir (French Band).'€
MARTIN BLOHORN: '€œHome studio.'€
T.JONES: '€œRolling Stones.'€
MARTIN BLOHORN: '€œConcert.'€
T.JONES: '€œThe Beatles.'€
MARTIN BLOHORN: '€œSubmarine.'€
T.JONES: '€œHerve Lomprez.'€
MARTIN BLOHORN: '€œWorks.'€
T.JONES: '€œPhilippe Lomprez.'€
T.JONES: '€œBruno Objoie.'€
MARTIN BLOHORN: '€œClothes.'€
T.JONES: '€œMassive Attack.'€
MARTIN BLOHORN: '€œClips.'€
T.JONES: '€œIndochine.'€
MARTIN BLOHORN: '€œBob Morane.'€
T.JONES: '€œGeorge Bush.'€

T.JONES: '€œOn days when things are going very wrong and you are so stressed out, what do you do to calm yourself down?'€
MARTIN BLOHORN: '€œI drink a cup of tea.'€

T.JONES: '€œFavorite color?'€

T.JONES: '€œDrug of choice?'€

T.JONES: '€œFavorite food?'€
MARTIN BLOHORN: '€œCassoulet.'€™

T.JONES: '€œDo you believe in God?'€
MARTIN BLOHORN: '€œSometimes.'€

T.JONES: '€œAre you going on tour with T21?'€

T.JONES: '€œDid you have to learn their older T21 songs? What was that like?'€
MARTIN BLOHORN: '€œWe only work on the new album for the moment, so we don'€™t start any reflection about the songs we are going to play on tour.'€

T.JONES: '€œHave you had any formal musical training?'€
MARTIN BLOHORN: '€œNo, only my own experience.'€

T.JONES: '€œWhat are some of your other interests besides music?'€
MARTIN BLOHORN: '€œComputers and electronics.'€

T.JONES: '€œHave you seen the T21 website? What did you think of it?'€
MARTIN BLOHORN: '€œYes, of course, I don'€™t have to make any comments on the T21 website it'€™s not my job.'€

T.JONES: '€œAre you married or romantically involved with somebody?'€
MARTIN BLOHORN: '€œI am involved with somebody.'€

T.JONES: '€œWhat would you be doing if you weren'€™t in Trisomie 21?'€
MARTIN BLOHORN: '€œI enjoy playing music with or without T21. It'€™s my favorite activity.'€

T.JONES: '€œWhat advice would you give to someone who wants to be a musician?'€
MARTIN BLOHORN: '€œIt'€™s very important to forgot the commercial side of music. It'€™s must be only a pleasure.'€

T.JONES: '€œWhat is in the future for Martin Blohorn?'€
MARTIN BLOHORN: '€œNobody knows.'€

T.JONES: '€œAny final comments for the people who are reading this?'€
MARTIN BLOHORN: '€œDownloaded music killed the musicians.'€

THANK YOU Martin Blohorn of TRISOMIE 21

Interview by Todd E. Jones

Official Trisomie 21 Site

"She Died For Love"
Continue Reading...


Wordsworth, the lyrical juggernaut, releases his debut solo album on Halftooth Records. Todd E Jones interviews the man from Lyricist's Lounge.

An intellectual emcee, Wordsworth is the Brooklyn born lyricist who has become one of the most respected lyricists in the world of underground and independent hip-hop. Like all intellectuals, his music has grown with his personality. His transition from what he was to who is now is honest, real, and emotional. Originally part of the duo, Punch N Words, Wordsworth gained respect and exposure as they performed in the legendary Lyricist'€™s Lounge. These performances led to classic collaborations on '€œYes Yes Y'€™all'€ from A Tribe Called Quest'€™s '€œThe Love Movement'€ album and '€œTwice Inna Lifetime'€ from Black Star'€™s LP. Both Punchline and Wordsworth became stars on the MTV show version of '€œLyricist'€™s Lounge'€ too. From singles and an EP, Wordsworth was known as a lyrical monster who could freestyle and battle while spitting insightful lyrics. He held the spotlight with guest spots on Masta Ace'€™s '€œDisposable Arts'€ and '€œLong Hot Summer'€ albums. His single, '€œOn Your Feet'€, produced by Da Beatminerz was an energetic hip-hop anthem that could move the laziest people. Fast-forward to 2004, Halftooth Records released his debut solo album '€œMirror Music'€ with production by Da Beatminerz, Curt Gowdy, Ayatollah, Frequency, Oddisee, Belief, and others. While many know Wordsworth as an excellent freestyle emcee and battle rapper, '€œMirror Music'€ is much more emotional and introspective. He rhymes about stories and situations of everyday life. His new topics range from fatherhood, love life, money, and inner city life. His growth is more and more evident as each track plays. While emcees rhyme about money, cars, jewelry, and women, Wordsworth'€™s wealth is his knowledge of the English language.

T.JONES: '€œWhat goes on?'€
WORDSWORTH: '€œChillin.'€

T.JONES: '€œYour debut LP is called '€˜Mirror Music'€™. Tell us about it. Why the title?'€
WORDSWORTH: '€œI called it '€˜Mirror Music'€™ because it's a reflection of the world through my eyes. I believe when you listen to it, you'€™re hearing an audio mirror of what people go through.'€

T.JONES: '€œWhy did it take so long to finally come out?'€
WORDSWORTH: '€œIt took awhile to come out because I had to make sure I knew what I wanted to do musically. Also, the offers I was getting weren't in my best interest. So, I took time to grow as an artist, so I can be here for the long run.'€

T.JONES: '€œYou got involved with Halftooth Records. How did this come about? What was it about them that was different from other labels?"
WORDSWORTH: '€œI met David Shrager in the Seven Heads office and asked if they were looking for artists. I played him a few tracks and he dug it. Weeks later, we started negotiating. The difference with them and other labels is that they let me make my album without idiotic input. They just let me be free and put my heart into my work.'€

T.JONES: '€œDo you have a favorite song on the album?'€
WORDSWORTH: '€œMy favorite song on the album would be '€˜Trust'€™ because it's real personal. I also like '€˜12 months'€™ a lot too. Plus, the song '€˜Guardian Angel'€™ is a personal favorite.'€

T.JONES: '€œThe songs on the album are very personal and introspective. I think some people were expecting more punch lines, freestyles, or battle rap. Was this move intentional?'€
WORDSWORTH: '€œWell, the album has the battle side with songs like '€˜Gotta Pay'€™, but people knew I could do that already. It was intentional to give people another side of me musically, that people didn't know. You only can brag how dope you are in the same way so many times. You can brag how dope you are in other perspectives too.'€

T.JONES: '€œWhat made you go solo? Will there be another Punchline & Wordsworth project?'€
WORDSWORTH: '€œMe and Punch are still partners. It just was time to venture out and find out what we wanted to do as artists. The EP didn't share my point of view nor do I think it shared his. A Punch N Words project may come after Punch'€™s solo.'€

T.JONES: '€œYou said that the EP did not share your '€˜point of view'€™. Can you expand on that?'€
WORDSWORTH: '€œIt held our point of view of battling and maybe, even women, at the moment. We both knew we have lives besides that which I expounded on in '€˜Mirror Music'€™.'€

T.JONES: '€œIt has been said that '€˜The pen is mightier than the sword'€™. Do you agree? Why?'€
WORDSWORTH: '€œYeah, I agree. Words can echo forever. No matter where you are, you can be moved by scripture to believe in someone. That's why music is heard around the world and brings people together. People may be threatened by a weapon, but I'm sure a speech can be powerful enough to take away any fear of any harm from any weapon.'€

T.JONES: '€œDa Beatminerz did an incredible job with 'On Your Feet' and '€™12 Months'€™. How did you hook up with them and what was that collaboration like? How are they different from other producers?'€
WORDSWORTH: '€œYeah, they are some of the best producers in the game. I got a beat CD from my home girl, Margeaux. I said that I wanted a specific beat and they said they had to hear my vocals first. That's how '€˜On Your Feet'€™ came about. They actually take time to come to the mixing session. They have a vision for the beat and the bass lines are always crazy. They know how to make a hot record.'€

T.JONES: '€œWhat was it about the other producers on your LP that made you choose them?'€
WORDSWORTH: '€œThe other producers just had sounds that made my mind click once I heard the track. I was looking for anything that made me explore other field of rhyming. You can hear it on '€˜Fastlane'€™, '€˜Point Blank'€™, real awkward but came out dope.'€

T.JONES: '€œWhat emcees would you like to work with in the future?'€
WORDSWORTH: '€œHonestly not sure, but I like The Roots, Large Professor, Pete Rock, and Premier if possible, but not sure MC wise.'€

T.JONES: '€œHow did you get involved with Lyricist's Lounge (the venue) and then, the TV show? What was that like?'€
WORDSWORTH: '€œI got involved with the Lyricist Lounge from rocking on Stretch Armstrong and Bobbito. Me and Punch'€™s name circulated from rapping on there, then the Lounge approached us for the album. The TV show I got involved with started from a cipher, which spawned a videotape that basically was a show demonstration. I had fun doing the show I learned a lot of different writing techniques and other things. It was a great experience.'€

T.JONES: '€œYou did an excellent job on Tribe Called Quest's "Yes Yes Y'all" from their last album 'The Love Movement'. What was that experience like?'€
WORDSWORTH: '€œThanks. That was cool vibing with Q-Tip and everyone. It was fun to see all of writing at the same time and being part of history.'€

T.JONES: '€œYou are also a gifted freestyle emcee. What were some techniques you had (and still have) on perfecting this art?'€
WORDSWORTH: '€œI never knew people were writing rhymes when I was younger, so I just practiced to perfect that. I just try to think of what's important to the people in my surroundings and try to speak on it.'€

T.JONES: '€œYou have a degree in English. (So do I, from Rutgers). Do you feel that a college education has helped you in hip-hop?'€
WORDSWORTH: '€œYes. It helped me become a better writer in my field. It definitely gave me some extra techniques to apply.'€

T.JONES: '€œOn 'Mirror Music', were the rhymes pre-written or off the top of the head?'€
WORDSWORTH: '€œEverything on '€˜Mirror Music'€™ was written to the track. I only free styled some of it. Then, went home and revised it.'€

T.JONES: '€œWhat was it like growing up in Brooklyn?
WORDSWORTH: '€œI grew up in Brooklyn in a melting pot. It was cool but had its negative times and good times. Everyone wasn't broke and everyone wasn't rich. It was something that made you street smart. New York definitely makes you aware of your surroundings and your senses are heightened.'€

T.JONES: '€œWhat was the last incident of racism you experienced?'€
WORDSWORTH: '€œWell, the last experience of racism was when I was pulled over on The Lower East Side of Manhattan for a broken tail light that was working. They asked for my ID after saying I was stopping in the middle of the street. Once they checked out my records and seen I had no issues, they rolled up and said, '€˜Get the tail light fixed.'€™ They needed an excuse for the police report, in case something happened.'€

T.JONES: '€œWhat do you think about the US involvement in the Middle East?'€
WORDSWORTH: '€œI think the U.S. got into something they can't get out of. The intentions for going to war we're not the case at hand. It was a bold face lie we invaded for, and you can't have peace with one person'€™s ideology of it. We just can't pull out of there now. We can't leave the terrain like that. It's a living hell situation over there.'€

T.JONES: '€œWhere were you on the Sept. 11th terrorist attack. How did you deal with it? How did you think it has affected hip-hop?"
WORDSWORTH: '€œOn September 11th, I was in Brooklyn. I was shocked that it was even happening. I used to work in the Towers just a year before. I thought it was a simple accident. When I found out it was an attack, I was like '€˜Wow!'€™ I never thought it would happen like that here. It made hip-hop aware of the value of life and the message we project can be about reality.'€

T.JONES: '€œHow has being a father changed your approach to hip-hop?"
WORDSWORTH: '€œIt made me realize that these words are chapters of my life that will be read my children. I want it to be a classic that they can be proud of and pass the book to a friend to read.'€

T.JONES: "Word association. I am going to say the name of a person and you say the first thing that pops into your head. So, if I said 'Public Enemy', you may say 'Revolution' or 'Fight The Power'. If I said 'Flava Flav', you may say 'The Surreal Life' or 'Clock' or 'Crack." Okay?"

T.JONES: '€œPhife Dawg.'€
WORDSWORTH: '€œLegend. Dope emcee.'€

T.JONES: '€œCommon.'€
WORDSWORTH: '€œInnovative.'€

T.JONES: '€œ50 Cent.'€
WORDSWORTH: '€œHard worker.'€

T.JONES: '€œEminem.'€
WORDSWORTH: '€œCreative.'€

T.JONES: '€œJay-Z.'€
WORDSWORTH: '€œLegend.'€

T.JONES: '€œCurtis Mayfield.'€
WORDSWORTH: '€œSoundtrack to life.'€

T.JONES: '€œGeorge Bush.'€
WORDSWORTH: '€œConfused.'€

T.JONES: "I saw you live at S.O.B.'€™s with J-Live in New York City a while back. You mixed your sets together. Why was that done? What was it like touring with J-Live?"
WORDSWORTH: '€œYeah, we mixed the set together. Most likely, it was J-live'€™s show and he just shared time with me. J is a cool dude. I'm glad the brother let me rock on the road with him. You get to see him enjoy his work and how people love his music also.'€

T.JONES: '€œWhat collaboration are you most proud of? Why?
WORDSWORTH: '€œI think the one I'm most proud of is the song with Black Star. '€˜Twice Inna A Lifetime'€™ caught a lot of people'€™s attention.'€

T.JONES: '€œWhat is your favorite moment from days of performing at Lyricist's Lounge?'€
WORDSWORTH: '€œThe day me and Punch performed. Q -Tip hosted and that'€™s how we got on the Tribe album.'€

T.JONES: '€œWhat has been in your CD player or on your turntable recently?'€
WORDSWORTH: '€œThe Ness mix tape, Da Beatminerz, Fully Loaded with Static LP, Masta Ace '€˜Long Hot Summer'€™ LP.'€

T.JONES: '€œI know someone who said, 'All artists will eventually disappoint their fans and in hip-hop, it happens quicker.' Would you agree with that statement?"
WORDSWORTH: '€œNo, because there are artists who haven't. Masta Ace, Outkast, and there are a number of others. You just have to listen to the music and keep your vibe.'€

T.JONES: '€œYou worked on the last 2 Masta Ace albums ('€˜Disposable Arts'€™ & '€˜Long Hot Summer'€™). How did that collaboration come about and how is he different to work with from other artists?'€
WORDSWORTH: '€œMe and Ace had a mutual friend. Ace heard a song from me and Punch and said that he wanted us to do a song on his album. It was great opportunity. We were also fans of Ace too. When you work with Ace, he has an idea in mind and knows how he wants it executed. We work until it's done.'€

T.JONES: '€œWhat advice would you give to an up and coming emcee going the independent route?'€
WORDSWORTH: '€œMake sure you stay on the same grind you had before you put the record out. Also get what you want from it, you're going independent for a reason, not to have major issues.'€

T.JONES: '€œDo you smoke weed? Drink?'€
WORDSWORTH: '€œI don't smoke at all. I may drink occasionally, but next to never.'€

T.JONES: '€œWhat is hip-hop lacking these days? What does it need?'€
WORDSWORTH: '€œHip-hop these days is lacking opinion and freedom of choice. You get brainwashed to what is supposedly hot. It needs diversity to be accepted.'€

T.JONES: '€œIf you could re-make a classic hip-hop song, what would it be? What would your approach be?'€
WORDSWORTH: '€œNot sure which one but I love '€˜Top Billing'€™ and '€˜Mahogany'€™. I rather leave classics alone right now, but you never know'€

T.JONES: '€œAs an emcee, who are your biggest influences?'€
WORDSWORTH: '€œI would say Kool G Rap, The Juice Crew, and maybe even Krs-One.'€

T.JONES: '€œWhen did you first begin rhyming? What made you stay with it?'€
WORDSWORTH: '€œI started in 5th grade and it's always been fun so I stuck with it. Plus, I saw I was better than others at it.'€

T.JONES: '€œWho supported you the most?'€
WORDSWORTH: '€œI would say my mom. She let me listen to all types of music without censorship. She knew that she was more powerful than music.'€

T.JONES: '€œIn '€˜Mirror Music'€™, you write about romantic relationships. How has hip-hop affected your love life?'€
WORDSWORTH: '€œWell I don'€™t write about romance. I write about ups and downs in a relationship. The good is just as entertaining as the bad, so I wrote to let people know I go through it too.'€

T.JONES: '€œWhat are some key elements that make a good LP?'€
WORDSWORTH: '€œSequence is very important. Answering questions you heard asked about you and you asked about others. When the album starts, it should pump up your adrenaline somehow, fast or slow. When you do songs, they should vary from what people wondered, as far as what you can talk about.'€

T.JONES: '€œWhat do you want on your epitaph?'€
WORDSWORTH: '€œHe fulfilled his purpose for living.'€

T.JONES: '€œWhat is the biggest mistake you have made in your career?'€
WORDSWORTH: '€œHaven't, this is all part of God's plan.'€

T.JONES: '€œWhat are some misconceptions do you think people have of you?'€
WORDSWORTH: '€œThey thought I was just a battle rapper and all I wanted to do was kill emcees. Nah, I live an everyday life also.'€

T.JONES: '€œWhat are some of your goals now? What is in the future for Wordsworth?'€
WORDSWORTH: '€œMy goals are to get a film company up and running and a record label all under the umbrella of Wordwide Communications. Next Da Beatminerz album, I got a song with Last Emperor and a solo record on there. I am also working on the next album.'€

T.JONES: '€œAny final words for the people reading this?'€
WORDSWORTH: '€œYeah, thanks for the support. There is no me without y'€™all, Peace.'€

Thank you WORDSWORTH !!!

Halftooth Records:

Real Audio:
'€œGotta Pay'€

'€œNot Me'€



MP3 Snippets:


'€œGotta Pay'€
Continue Reading...

The Sons Of TC-Lethbridge

The Sons Of T.C.-Lethbridge (a supergroup made up of Julian Cope, members of Spiritualized, and members of Brain Donor) are such believers in the writings of T.C.-Lethbridge that they made a special 2CD release. Todd E. Jones interviews them!

T.C.-Lethbridge once said, '€œIt is worth throwing a stone into a pool to see what moves in it.'€ An explorer, psychic researcher, archaeologist, and respected writer, T.C.-Lethbridge moved the intellectuals and scientists during his time. He left a marvelous legacy of work in his books and his studies. 30 years, he was the Director of Excavations for the Cambridge Antiquarian Society and for the University Museum of Archaeology and Ethnology. He was also Keeper of Anglo-Saxon Antiquities at the Archaeological Museum in Cambridge. As a writer and scientist, he was one of the first to honestly and scientifically study the occult, witches, and paranormal activity. He wrote a plethora of books. His work includes Ghost And The Ghoul, A Step In The Dark, The Power Of The Pendulum, Witches, The Monkey'€™s Tail, and Gogmagog: The Buried Gods. Even though he passed away in 1971, his work has inspired many artists and musicians. In 2004, a group of inspired musicians joined together to form The Sons Of T.C.-Lethbridge. This group was made of Doggen Foster (of Spiritualized), Welbourn Tekh (from Sinking Ships), and Kevlar Bales (of Brain Donor). The '€œSons'€ do not end there. Other '€œSons'€ include Julian Cope, Colin Wilson, Ben Edwards, Stephen Coalwood, Darren Smith, Echoboy, and a myriad of others. The '€œSons'€ were so inspired by T.C.-Lethbridge'€™s work that they released a double CD set called '€œA Giant: The Definitive T.C-Lethbridge'€ on Aegir Recording Company. The first disc (or '€œPhase One'€) is a psychedelic masterpiece of groovy, atmospheric guitars and cinematic synths to create '€œproto-metal'€ and '€œtrouble funk'€. The second disc (or '€œPhase Two'€) has the writer and philosopher, Colin Wilson, telling us stories and anecdotes of T.C.-Lethbridge'€™s life and his encounters. Writer of The Outsider and The Occult, Colin Wilson'€™s soothing accent is accentuated by a backdrop of psychedelic ambient music provided by Doggen, Templar, and Tekh. Besides the audio portion, '€œA Giant'€ also contains a 33 page book with essays by Julian Cope, Colin Wilson and Welbourn Tekh. On a warm Autumn evening, I had a chance to interview both Tekh and Doggen. The '€œSons'€ are not just using Lethbridge'€™s name to be cool or as a gimmick. They are true admirers and students of his work. They have intense knowledge of his rhetoric and subject matter. For those of you with a belief or interest in ghosts, poltergeists, telepathy, second sight, or the occult, explore the music of The Sons Of T.C.-Lethbridge and explore the written works of their father, T.C.-Lethbridge. Like the rock, thrown into the pool, see their work moves inside you. The '€œSons'€ are not just musicians. They are like mystic scientists who are continuing where Lethbridge left off. In their song '€œ'T.C.L.E.T.H.B.R.I.D.G.E''€, they quote Lethbridge'€™s book Ghost and Ghoul. Lethbridge wrote, '€œNo spoken or written word can be a substitute for one'€™s own practical experience. No one too can convince another who does not wish to believe what he is told. Only the doubter loses by his incredulity.'€ The Sons Of T.C.-Lethbridge are believers and they moving the waters in the pool just like T.C.-Lethbridge did when he was alive. T.JONES: '€œWhat goes on?'€ TEKH: '€œDoggen has just completed his tour supporting Julian Cope, with his band Dogntank and they have plans to record an album in the coming months. Kevlar and his wife, Gill, just had a new baby. They named the baby Leon, so he literally has got his hands full at the moment. I have been recording some new spoken-word numbers over at our '€˜Mouse House'€™ studio in Nottingham. Not sure in what form these tracks will be presented yet, but they are a real family affair and feature all of The Sons of T.C.-Lethbridge and their auxiliaries. There is also a spoken word project on the go that features the words of the writer Stan Gooch. As you may well have noticed, I edit '€˜The Sons of T.C.-Lethbridge'€™ web site and post new, Lethbridge related essays each month. So, busy times.'€ T.JONES: '€œThe brand new debut album by The Sons Of T.C. Lethbridge is called '€˜A Giant'€™. Tell us about it.'€ TEKH: '€œNot so brand-new now '€“ on 1st November 2004, it will have been out for a whole year. It was Colin Wilson who first championed Lethbridge in his 1978 publication Mysteries. Both Mysteries and Lethbridge'€™s approach and methodology made a big impression on both Julian Cope and myself. It was therefore deemed appropriate that at some stage,we would take up Colin'€™s lead and further the Lethbridgian cause. Doggen and Kevlar were already on a Lethbridgian odyssey when I met them, so it was just a case of taking this trip one step further. Lethbridge would have hated the idea of people patronizing him, but what he would have appreciated, is that his ideas and approach were inspiring others to achieve. By adopting, what I call a Lethbridgian approach, we are continuing the mantle of a Gnostic odyssey with little regard for others who had made up their minds without '€˜going there'€™ for themselves. Lethbridge might not have liked our music, but I'€™m sure he would have appreciated the context in which we are working. All of the incidental sounds on '€˜A Giant'€™ e.g. '€˜The Golden Ball Wood'€™ and '€˜Ladram Bay'€™ recordings, were made at the actual sites '€“ again exemplifying the act of making the big effort and not settling for compromise. We wanted to create a big impression worthy of Lethbridge, therefore getting Colin on board was crucial. Also, who as ever heard of a new band releasing what is equivalent to a treble album as their first release?'€ T.JONES: '€œCan you explain the difference between Phase One and Phase Two?'€ TEKH: '€œThere are three phases really '€“ the two CDs and the essays. The two CDs are intrinsically linked, although very different in approach. We wanted to create a platform for Colin Wilson'€™s words, so we considered his fan-base and decided that it was important to separate Colin'€™s contributions from what we considered to be our '€˜rock'€™ disc. The essays in the booklet and both CDs need to be appreciated as a whole. It doesn'€™t really matter which you absorb first, whichever takes your fancy. It was always our hope that Lethbridge'€™s enthusiasm, that initially inspired us, would rub off on to the listener.'€ T.JONES: '€œHow long did it take to make?'€ TEKH: '€œIt took about two years from start to finish, but recording was geared to fit in around Doggen and Kevlar'€™s Spiritualized commitments.'€ T.JONES: '€œIs there a deeper meaning to the title '€˜A Giant'€™?'€ TEKH: '€œWell, In our eyes, Thomas Charles Lethbridge was a giant of a man and of course there is a direct reference to Gogmagog and the hillside, chalk-cut figures that he discovered on the banks of the Wandlebury hill-fort south of Cambridge.'€ T.JONES: '€œFavorite song?'€ TEKH: '€œIn Phase 1, it has got to be '€˜Sleeping Giant'€™. This was the first song we recorded together and the last one to be finished. In Phase 2, it is most definitely '€˜Interest in the Sky'€™. When I assembled this track with Stephen Coalwood, we both realized that we were onto something special. We edited the pauses into Colin'€™s narration, which kind of adds to the incredible space that exists within the track '€“ magic. KEVLAR: '€œ'€˜Halangy Downer'€™.'€ DOGGEN: '€œ'€˜Sleeping Giant'€™.'€ T.JONES: '€œWhat song took the longest to do?'€ TEKH: '€œThe song '€˜Sleeping Giant'€™. There must be at least a dozen mixes of this track! It was Doggen'€™s final mix that was eventually used. It was a challenging task for Greg Marshall who mastered the track. It probably still gives him nightmares! But what a mix! About 30 seconds into the track, before the drums kick in, there is a woman'€™s scream that leads into the change. Doggen and I were recording a guitar loop on a DAT when this voice, from a previous recording on the tape appeared and by shear coincidence, was in time with the track and corresponded with the change. It was a freaky stroke of luck. It totally blew us away.'€ T.JONES: '€œHow did The Sons Of T.C.-Lethbridge come together to form a group?'€ TEKH: '€œIt was Julian Cope'€™s idea really. Previously, Doggen and Kevlar had been part of the group T.C. Lethbridge who had released two albums, '€˜Moon Equipped'€™ and '€˜Mina'€™. Julian was aware of my interest in Lethbridge and with the departure of Gary Mitchell (aka Flinton Chalk) from the group, he suggested to Doggen and Kevlar that I would be a suitable replacement. When we all met up, it kind of just clicked. The story of our meeting can be found in an essay entitled '€˜A Strange Day'€™ Tekh'€™s Journal on our web-site.'€ T.JONES: '€œWhen did you first begin to read the writing of Lethbridge?'€ TEKH: '€œTemplar Brighton introduced me to the work of Colin Wilson in about 1986 and the first non-fictional book of his that I read was Mysteries. Part one of this epic work focuses on the works of T.C.-Lethbridge and it was from this introduction that I started to search out Lethbridge'€™s books. This introduction was coincidental with my discovery of Avebury and these two discoveries set me off on a Lethbridgian odyssey around the megalithic sites of Britain.'€ T.JONES: '€œHow have his writing inspired you or changed your outlook on things?'€ TEKH: '€œMost definitely. Many in the past have disputed Lethbridge'€™s findings and discoveries, but no one can dispute his sound methodology and approach. His devotion to primary research is crucial to his philosophy. His un-dogmatic approach has proved to be the inspirational factor in my own work.'€ T.JONES: '€œDo you have a favorite book by Lethbridge?'€ TEKH: '€œThis is a difficult one to call. I guess if I had to pick one, it would have to be ESP '€“ Beyond Time and Distance, but I do have a soft spot for Boats and Boatmen just for the shear uniqueness and the attention to detail. Lethbridge'€™s ability to focus on one aspect of mankind'€™s evolution enables us to perceive the boatman'€™s role in our history.'€ T.JONES: '€œDoes Lethbridge have any living family members? What do they think of the album?'€ TEKH: '€œFunny you should ask this! At the moment, a good friend of ours, in fact a guy who will soon be inaugurated as a '€˜Sons of T.C.-Lethbridge Auxiliary'€™, Jonathan Rhys Jones, has been undertaking research into this very subject. We hope to publish his findings in the near future.'€ T.JONES: '€œHow did you hook up with Julian Cope and what was he like?'€ TEKH: '€œI met Julian outside Stones Café in Avebury in 1996. As I previously mentioned, I had discovered Avebury by chance in 1988 and this had triggered my odyssey of visiting prehistoric sites around Britain. I have always been a fan of Julian Cope and it came as a pleasant surprise when I came across a newspaper article which featured a photo of Julian standing in front of the Devil'€™s Den on Fairfeild Down, spouting off about megaliths and reading Colin Wilson. I immediately realized that we were both on the same head-trip and we were destined to meet at sometime. In fact, as I traveled around the megalithic sites of Britain, I often met up with people who informed me that Julian had just been there or was due there very soon. We kept missing each other by days! So when I eventually came across him at Avebury, our meeting was such that we had plenty to discuss and much in common.'€ T.JONES: '€œJulian Cope collaborated with you on 2 songs. How were those 2 songs created? What was the creative process like?'€ TEKH: '€œJulian is a quick worker. There'€™s no hanging around when he'€™s on a roll. He'€™s also very decisive and the songs that he was involved with happened very quickly. I learnt a lot on those days!'€ T.JONES: '€œDo you have a favorite kind of Instrument?'€ TEKH: '€œMy Yamaha bass.'€ DOGGEN: '€œLes Paul '€™57 Gold Top.'€ KEVLAR: '€œGretsch drums.'€ T.JONES: '€œWhat is the name of that guitar on the cover?'€ TEKH: '€œThe guitar on the cover of '€˜A Giant'€™ is a Yamaha bass. Although there appears to be two guitars, it is just the same one reversed and treated in Adobe Photoshop. I bought it off my mate'€™s dad a few years back and he told me that it was a proto-type built in the mid 1960s. Apparently, it used to belong to the bass player of The Merseybeats, but I don'€™t have any proof of this. It has a most amazing sound and at some stage in its history, someone has added a second pick-up. Unfortunately their installation technique was a bit gash, but they obviously knew what they were doing sonically.'€ T.JONES: '€œWill there be another LP? If so, what sound are you going for? What will it be called? Will it be on the same label?'€ TEKH: '€œYeah, there will definitely be another release in the future. Maybe it will be an extended E.P. We have a few tracks that didn'€™t make it on to '€˜A Giant'€™. It was not because they weren'€™t any good, just that they weren'€™t finished in time. One of these '€˜Shudy Camps'€™, is currently work-in-progress. The Aegir Recording Company Ltd. (ARC Ltd.) is our own label, which we established to release our own and associated material. We chose the name '€˜Aegir'€™ because it is the name of the tidal wave that travels up the river Trent. It is also known as the Trent Bore. As I live in Lincolnshire and Doggen & Kevlar live in Nottinghamshire, we decided that the Aegir was a natural occurrence that both counties shared. It was a kind of union. Aegir was the Norse God of the Sea and he is also known as Hler and Gymir. He has nine daughters, who are also waves.'€ T.JONES: '€œPhase 2 has many interesting spoken word tracks by Colin Wilson. How did you hook up with him and what was that collaboration like?'€ TEKH: '€œSince we discovered his books in the 1980s, Templar Brighton and myself always intended to track him down at some point. In 1998, Templar wrote a letter to him and Colin responded by giving him a call and invited us both down to visit him at his home in Gorran Haven, Cornwall. Since that meeting, we have endeavored to visit Colin and his wife Joy on a regular basis, maybe once or twice a year. Colin is a very generous man and has always been supportive of our efforts on the Lethbridge front. Colin even proof-read my (as yet unpublished book) book Field-Notes From A Western World and provided me with sound advice and criticism, which I am still incorporating and taking onboard.'€ T.JONES: '€œIn the next release, will Colin Wilson do more spoken word? If not, what author would take his Colin Wilson'€™s place?'€ TEKH: '€œColin has an amazing voice. It is so relaxed and natural, a real contrast to my holler. I would like to think that Colin would be up for working on another Lethbridge project in the future. In fact, I must put it to him.'€ T.JONES: '€œWhat other artists / bands inspired you? TEKH: '€œI have been listening to music since I was a kid and still continue to be inspired by bands both past and present. I am still discovering bands that I missed in my youth. For example, Clear Blue Sky, T2, The Guess Who, as well as current bands like Transmissionary Six, Bobby Conn and the Glass Gypsies, and Boredoms. There really is so much good stuff out there still to be discovered. We live in exciting times!'€ KEVLAR: '€œThe Meters, The Band, but best band of all time? It'€™s got to be The Rolling Stones.'€ DOGGEN: '€œLed Zeppelin, Black Sabbath, and The 13th Floor Elevators.'€ T.JONES: '€œDo you believe in ghosts?'€ TEKH: '€œI guess in true Lethbridgian mode, it would be wrong to dismiss anything that hasn'€™t been disproved. So yes, indeed.'€ T.JONES: '€œWhat was the last supernatural experience you encountered?'€ TEKH: '€œI guess it was about a year ago. I was driving along the Ermine Street towards Ancaster in Lincolnshire with Katie, my 10 year-old stepdaughter. We were overtaken by a white car. I was surprised when it overtook us, because I'€™d only just checked my mirrors and the road behind us was clear. The car pulled in front of us and we followed it for a few minutes and then, it just disappeared! We both saw it and I couldn'€™t provide Katie with a plausible explanation, apart from the fact that the world ain'€™t so straightforward as it apparently appears! Before this experience, I guess the previous one was the '€˜timeslip'€™ I experienced on Big Moor in Derbyshire, which is re-countered on the track '€˜F.U.S.? (Fixed Universal Scale?)'€™ on Phase One of '€˜A Giant'€™.'€ T.JONES: '€œDo you believe in UFOs or aliens?'€ TEKH: '€œYes. Like ghosts, UFOs exist in other dimensions or operate in alternative vibrational rates. It is the mind, as distinct from brain, that enables us to reach or connect with them at times. As physical entities, then no. I guess alternative life forms must exist somewhere out there. Mustn'€™t they?'€ T.JONES: '€œFavorite drugs?'€ DOGGEN: '€œTea and sympathy!'€ KEVLAR: '€œNo!'€ TEKH: '€œRed Bull, Real Ale and, of course - Tea!'€ T.JONES: '€œWhat has been in your CD player or on your turntable these days?'€ TEKH: '€œWell, this week, I'€™ve been listening to The Sensational Alex Harvey Band '€˜SAHB Stories'€™, Slade, '€˜Slayed?'€™, Boredoms '€˜Vision Creation Newsun'€™, Main '€˜Hydracalm'€™, Twink '€˜Think Pink'€™, Hair and Skin Trading Co. '€˜Lava Surf Kunst'€™, Antronhy'€™s re-mix of T.C. Lethbridge'€™s '€˜Mina'€™ and Andy Penny'€™s dance mixes of one of our new tracks '€˜Duir '€“ The Stout Guardian of The Door'€™.'€ DOGGEN: '€œTwink '€˜Think Pink'€™ on a mini-disk that Tekh recorded for me. Millie Jackson '€˜Caught Up'€™ and '€˜Fair Warning'€™ by Van Halen.'€ KEVLAR: '€œThe Bees '€˜Free the Bees'€™. What a band! We played on the same night as them at Glastonbury this year. They were amazing. I have also been listening to '€˜You got my mind messed up'€™ by James Carr and the Uncle Tupelo '€˜Anthology'€™. Uncle Tuppelo featured Jeff Tweedy from Wilco.'€ T.JONES: '€œAre the lyrics and the vocal melodies written first or is the music written first?'€ TEKH: '€œThere is no real formula, but we always entered the studio with a number of ideas, be they words, lyrics or riffs.'€ T.JONES: '€œWhat do you think of the U.S. involvement in the Middle East?'€ TEKH: '€œTheir involvement is purely selfish '€“ business, oil'€¦ but they are so blatant about it. They don'€™t really care if they know that they have been sussed. On the other hand, who the f*ck knows why we (the UK) got involved? It baffles me.'€ T.JONES: '€œWhere were you on September 11th, the terrorist attack? How did you deal with it? How do you think it has affected music?'€ TEKH: '€œSeptember 11th 2001 was the day that I first met Doggen and Kevlar. It was also the day I introduced Julian Cope to Colin Wilson. What a f*cking day that was! I suggest that I provide you with the link to me essay '€˜A Strange Day'€™. You can read the full low-down there. I can'€™t say that those events have affected our music, but I guess it has installed in us all, a sense of urgency to achieve. Who knows what sh*t lies around the corner?'€ T.JONES: '€œAbortion. Pro-life or pro-choice?'€ TEKH: '€œThis is too complex an issue to deal with in a straight yes and no scenario. It is indeed a difficult one. I can empathize with both viewpoints. Does it sound like I'€™m sitting on the fence? Well I guess I am. Fortunately, I have never had to make such a decision. My heart goes out to those who have to do so. I would never wish to judge another'€™s decision on such a personal matter.'€ T.JONES: '€œDeath penalty. For or against?'€ TEKH: '€œSometimes I think the world would be better off without some of the evil bastards that walk the planet, but who decides who should live and who should die? When I was younger, the difference between right and wrong was always seemed so very clear, but now I question everything and sometimes struggle to understand what is the truth? Who supervises the judge and jury? I guess it boils down to who is the man, who pays the man, who pays the ferryman?'€ T.JONES: '€œWhat is the biggest mistake you have made in your career?'€ TEKH: '€œI guess when you look back at stuff you'€™ve recorded, you always think, '€˜I could do it better now'€™, but I guess this proves that you are evolving and developing. I guess the thing is to be always proud of your achievements, but never be complacent. '€˜A Giant'€™ was the first time I had approached spoken word. It was a steep learning curve. I really like the declamatory style '€“ you know, shouting from the fucking rooftops approach, as sometimes, this is the only way to be heard in this chaotic world.'€ T.JONES: '€œWhat is the biggest misconception about you?'€ TEKH: '€œI don'€™t think we are well known enough to have people develop conceptions about us - let alone misconceptions! People are always asking, '€˜when are you going to release an album, do a tour etc?'€™, but they maybe don'€™t realize that we do this stuff in our spare time. Both Doggen and Kevlar are full-time members of Spiritualized, which is a big commitment in itself and I work full-time as a graphic designer. We all have young families and sometimes just getting the three of us together in the same room is a major achievement!'€ T.JONES: '€œWhat is your live show like?'€ TEKH: '€œWe'€™ve only ever done one '€“ '€˜Rome Wasn'€™t Burned In A Day'€™ on 1st November 2003. From our point of view, it was an achievement.'€ T.JONES: '€œHow had your live show evolved?'€ TEKH: '€œIt is very difficult for us to perform live, what with our other commitments; Spiritualized, work etc'€¦. The Sons of T.C.-Lethbridge are a transient collective that exists in-between the gaps in the ether!'€ T.JONES: '€œWhat is your favorite part of your live show?'€ TEKH: '€œI liked the spoken word bit that featured on the trippy bit of the live version of Halangy Downer. The words are about a walk on a stormy night to Bant'€™s Carn on St. Mary'€™s (Isles of Scilly). The words unravel and the audience joins me on my walk, not knowing where I'€™m heading. I really enjoy the idea of taking people with me.'€ T.JONES: '€œWord association. I am going to say the name of a group, artist, or famous person and you say the first word that pops into your head. So, if I said '€˜The Beatles'€™, you may say '€˜John Lennon'€™ or '€˜Let It Be'€™. Ok?'€ T.JONES: '€œJulian Cope.'€ TEKH: '€œBless his cotton socks.'€ T.JONES: '€œGeorge Clinton.'€ TEKH: '€œFree Yemen and Iraq will follow.'€ T.JONES: '€œGil-Scott Heron.'€ TEKH: '€œFree Will-he.'€ T.JONES: '€œJamiroqaui.'€ TEKH: '€œTwat in a hat.'€ T.JONES: '€œJay-Z.'€ TEKH: '€œBlue Jay Way?'€ T.JONES: '€œEcho & The Bunnymen.'€ TEKH: '€œThey once shone so hard.'€ T.JONES: '€œEminem.'€ TEKH: '€œDer der de du du.'€ T.JONES: '€œThe Stone Roses.'€ TEKH: '€œLet them bloom again in spring.'€ T.JONES: '€œHappy Mondays.'€ TEKH: '€œI don'€™t like Mondays.'€ T.JONES: '€œPublic Enemy.'€ TEKH: '€œThe music that they constantly play, says nothing about me, or my life.'€ T.JONES: '€œThe Beatles.'€ TEKH: '€œOnce there was a way.'€ T.JONES: '€œThe Rolling Stones.'€ TEKH: '€œRiffy.'€ T.JONES: '€œGeorge Bush.'€ TEKH: '€œStiffy.'€ T.JONES: '€œAre you a fan of Julian Cope'€™s music? What is your favorite song? Favorite album?'€ TEKH: '€œVery much so. My favorite track is '€˜Torch'€™, track 3 on the '€œPlanetary Sit-In'€ CD, I just love the melody. My favorite album is '€˜Jehovahkill'€™.'€ KEVLAR: '€œMy favorite Cope track is '€˜East Easy Rider'€™ and my favorite Cope album is '€˜Peggy Suicide'€™.'€ DOGGEN: '€œMy favorite Cope track is '€˜Crazy Farm Animal'€™, a b-side of China Doll and my favorite album is '€˜Jehovahkill'€™.'€ T.JONES: '€œWhat is next for you?'€ TEKH: '€œThere is going to be a Dogntank album next year. Also, the tracks we have just recently recorded will be released, but under what name we are not yet sure. Doggen and Kevlar will still be Spiritualizing and I believe Julian is planning an electric tour next year. I am in the process of putting together a '€˜Lethbridge companion'€™, which will feature essays by Colin Wilson and myself. We will be looking to publish this in the near future. I would also like to see the publication of my book Field Notes From A Western World, but you have to appreciate, these things take time, because in between these projects, we have to earn a living!'€ T.JONES: '€œWhat releases should we look out for? Remixes? New albums?'€ TEKH: '€œThere are a few things that we would like to release. After the release of '€˜A Giant'€™, I compiled a double CD '€˜Sticks and Stones'€™ which comprised of out-takes, demos, alternative takes and instrumental, remixed backing tracks from Phase Two. It would be great to release some of these tracks in the future. We also received a mini-disk recording of our '€˜Rome Wasn'€™t Burned In A Day'€™ performance last year from a guy called Richard Hayward, who recorded the gig from the audience. The quality is excellent and with a bit of tampering, it too would make a suitable release.'€ T.JONES: '€œWhat do you want on your epitaph (your gravestone)?'€ TEKH: '€œI guess no one can beat Spike Milligan'€™s '€˜I told them I was ill'€™, but seriously I guess something along the lines that we made a difference or at least inspired others to achieve.'€ T.JONES: '€œAny final words for the people who will be reading this?'€ TEKH: '€œYeah '€“ Keep checking out the web-site, which is updated on the 15th (or thereabouts) of each month and, oh yes, and if you haven'€™t got it already, please buy the album!'€ Thank you! Interview by Todd E. Jones aka The New Jeru Poet MP3 '€œA Pilot'€™s Eyes'€ (an exclusive) REAL PLAYER: "F.U.S.? (Fixed Universal Scale?) "Sleeping Giant" "The Block"
Continue Reading...


Changes.... just what the doctor ordered.

Part of the wave of up and coming artists bulleting through the glamour of stage, and the taste of green. This St. Catharines, Ontario quintuplet may have been going through the same motions and steps as most artists do after inking a record deal, but the overall drive and focus of 'AOF' has stayed the same since day one with Equal Vision Records. Music, emotion, rhythm and performance equal steady progression and maturity. One part of the equation may be the full backing and patience invested by the ever improving Equal Vision records. Chris, Dallas, Jesse, George and Wade make up the five equal parts showing the music industry how much an artist can mature with a little time and experience. With the new album â??Watch Outâ?? on shelves everywhere, lead vocalist George 'Logan' spoke honestly about the improvements made on the June 29th release. â??I think if you do it long enough, than u get better at it. Youâ??re on the road a lot and you just get better. Also, we had a great producer, Julius Butty. We learned what we like to play.â?' George continues over the loud, happy go lucky crew in the background. â??Weâ??re no longer virgins to the studio. Weâ??re just not quite the band we weâ??re a long time ago.â?' After the success and acclamation of â??Pulmonary Archeryâ?' on video stations like Muchmusic, â??Accidentsâ?? has been fingered for the first video off this release. Powerful from the start, this track encompasses the new and improved AOF, while their sound still remains as hungry as ever. This song only sets the tone for a trip through yet another revolution of rock music. Instead of wondering which of 11 tracks will become a single, the progression of this album becomes more of a concept album without the concept. If that makes any sense? Each song seeming almost Epic like. â??A lot of those songs were first draft. A lot of stuff just kind of fell on the page, and it is what it is.â?' said George with confident tone. Most critics familiar with the 2003 self-titled release could speak of an album so rich in aggressive hooks that it overflowed causing frustration to the ears. It seems these guys have harnessed that aggression and emotion, equally on all 11 songs this time around. Songs like â??Hey, Itâ??s your funeral Mamaâ?' have a mind numbing mix of melodies ranging from 80â??s metal slide chords, to the strengths of what most would consider â??SCREEM0â??,. While some changes like clearer vocals and longer chord repetition may be culture shock to fans of old, its made an amazing difference in associating familiarity with each song in its own characteristic. Track seven â??Sharks and Dangerâ?' starts off with the clicking of a keyboard and never looks back. The everyday intro build up and transforms into a berserk chord change. Simple, smooth and still ballsy. George admitted a certain personal favoritism towards track nine, â??White Devilâ??. â??I really enjoy playing it live. Itâ??s just one of those songs that just has a pace to it, that really gets you goingâ?' Often times the culmination of a new album means time off, but not for AOF. With just enough time to pick cover art and go, Alexisonfire struck while the iron was hot and hit the road, Playing with likes of Death from above, Jersey, Boys Night Out, and Billy Talent to name a few. But given the choice, is there an artist George and his band mates would look tour with. â??Thereâ??s lots of bands I would like to tour withâ?'¦Ã¢?'¦Ã¢?'¦Ã¢?'¦ (Hesitates) Bear vs. Shark, weâ??ve played some shows with them and theyâ??re absolutely nuts. Just a fun bunch of dudesâ?'¦we did like eight days with them and it wasnâ??t long enoughâ?' With such a wide variety of styles evident on â??Watch outâ?' its no surprise to hear of them playing festivals like EdgeFest 2004 in Canada, Reading Festival and Americaâ??s latest musical farm system, Warped Tour. However, not all tastes of the industry have been sweet for these guys. Radio is still too far behind, and attempt at keeping our listening habits with acts such as Muddle of Pudd. So, Alexisonfire may never have their â??O Sh*t, thatâ??s our song.â?' moment cruising in the car. Certainly, George has an opinion on this matter. â??Yea thereâ??s a lot of things we could be doing to grab more media attention. We just kind of write what we want, and it is what it isâ?'. Yes, this album down grades from the raw, deflecting metal it once was. The trade is welcomed when you consider the serious upgrades of clarity these guys have made in â??Watch Outâ?' . Most importantly things are still fun to the five boys from some small town in Ontario. And If a Dr. Helcama should come back for his revenge and this artist thing ends for George, his back up plan certainly proves his natural rock star abilities. â??When I canâ??t do it anymoreâ?'¦.. Iâ??m planning on doing lots of LSD, and walking around on the tracks (Laughs)â?'. Find out why Jeff Buckley, Michael Jackson and The Misfits all show up on the website of these young men.
Continue Reading...

DJ Krush

DJ KRUSH is interviewed by Todd E Jones.

DJ Krush has been one of the most innovative and most respected DJs/producers coming out of Japan. With his music ranging from hip-hop to techno to acid jazz, some critics have labeled him the '€œGodfather Of Trip-Hop'€. While this may not be a term he consciously agrees with (or even cares about), there is a multi-layered psychedelic element to his music. In the past, he has done collaborations with The Roots, Guru, Big Shug, Anti Pop Consortium, Sly & Robbie, and many more. His past albums like '€œMeiso'€ and '€œMessage At The Depth'€ were both critically acclaimed and commercially successful. In 2004, he released '€œJaku'€ on Red Ink/Sony. '€œJaku'€ is a beautiful and mystical sounding album with many diverse Japanese instruments that U.S. audiences have never heard before. For example, the Japanese flute shakuhachi is used in '€œUnivearth'€ and '€œSlit Of Cloud'€. DJ Krush proves to be an innovative producer because he incorporates modern music to the traditional music. Even though '€œJaku'€ is mainly instrumental and steeped in Japanese culture, there are appearances by Mr. Lif and Aesop Rock who are both from New York City'€™s Definitive Jux. On a cold November evening in 2004, I had an inspired conversation with the legendary artist. DJ Krush has found balance in his life. He has found a state of peace through his music. T.JONES: '€œWhat goes on?'€ DJ KRUSH: '€œI'm in the middle of the North America tour. It's going well.'€ T.JONES: '€œYour new album is '€˜Jaku'€™. Tell us about it?'€ DJ KRUSH: '€œ'€˜Jaku'€™ means '€˜peace and calm'€™ in Japanese. Being on tour around the world, I wanted to do an album with Japanese philosophy and instruments. So I have Shakuhachi (Japanese flute) player, Taiko drum player and other master players from Japan collaborating with me. Those instruments sound great and I got the best players in each field.'€ T.JONES: '€œWhat is the meaning behind the title, '€˜Jaku'€™?'€ DJ KRUSH: '€œIt'€™s theme is '€˜Wa'€™, which means '€˜things Japanese'€™ as well as '€˜full circle'€™, '€˜sharing'€™, '€˜peace'€™, etc. I think this concept is missing in the world today because of war and cruelty. I wanted to make an album that counter-balances all of the nonsense.'€ T.JONES: '€œHow is this album different from your last album, '€˜The Message At The Depth'€™?'€ DJ KRUSH: '€œI've been trying to do something new with every record. This one is no different. As I said earlier, I collaborated with Japanese traditional instrument players. That's certainly new and what I felt awkward doing when I was younger. As I got older, I wanted to re-discover the tradition of my culture and '€˜Jaku'€™ is the result.'€ T.JONES: '€œHow did you get involved with Red Ink?'€ DJ KRUSH: '€œSony Music Japan is my label and they have a relationship with Red Ink. My last 5 albums including this one have come out on Red Ink in the U.S.'€ T.JONES: '€œMr. Lif raps on the amazing track, '€˜Nostferatu'€™. How did you hook up with Mr. Lif and what was that collaboration like?'€ DJ KRUSH: '€œMr. Lif is on Def Jux, which is my favorite label. I met him at a party and wanted to work with him on this project. Working with him was great. Anyone who's original deserves my respect.'€ T.JONES: '€œDo you have a favorite song on '€˜Jaku'€™?'€ DJ KRUSH: '€œI like all the tracks on the record and all of the guest musicians are brilliant.'€ T.JONES: '€œDo you have a favorite album?'€ DJ KRUSH: '€œToo many to name!'€ T.JONES: '€œWhat collaboration (out of all of them), are you most proud of?'€ DJ KRUSH: '€œI'm proud of all of collaboration works I've done.'€ T.JONES: '€œWhat is the creative process like? Do you start off with a rhythm or a melody first?'€ DJ KRUSH: '€œFor this record, I made the basic track and guest musicians add their sound to it. Then I took the recorded sound home and reconstructed it freely.'€ T.JONES: '€œDo you have a favorite drum machine or sampler?'€ DJ KRUSH: '€œEMU-SP1200 CASIO-RZ1.'€ T.JONES: '€œWhen did you first get into music and DJ-ing?'€ DJ KRUSH: '€œThe hip-hop documentary film from the 80'€™s called '€˜Wild Style'€™ got me into hip-hop. I was blown away by everything I saw on that film. I bought my first turntable right after I watched it.'€ T.JONES: '€œIs there a meaning behind your name, DJ Krush?'€ DJ KRUSH: '€œI was DJ-ing in Harajuku, Tokyo. They would close down the street on Sundays and there would be bands playing, artists making art, and I was there with my gang, DJ-ing. Some Americans came around and they started free styling. I guess they liked what we were doing. They used to phrase '€˜Crush em, Crush em'€™. Thus, the name DJ Krush.'€ T.JONES: '€œWhat do you think of the term '€˜Trip-Hop'€™?'€ DJ KRUSH: '€œSome people call me a pioneer of Trip-Hop but I'm not very conscious about what type of music I do. The music I made is about how much of myself, Krush, can be put into it. That's all I think about.'€ T.JONES: '€œWho are some of your major influences?'€ DJ KRUSH: '€œMiles Davis, Coltrane, Jim Hendrix.'€ T.JONES: '€œWhat CDs or LPs have you been listening to lately?'€ DJ KRUSH: '€œDemo tapes that I get all over the place during the tour.'€ T.JONES: '€œDid you like the movie '€˜Lost In Translation'€™?'€ DJ KRUSH: '€œI haven't watched it yet.'€ T.JONES: '€œWhat is the last incident of racism you experienced?'€ DJ KRUSH: '€œNone, particularly.'€ T.JONES: '€œWhere were you on September 11th, 2001? How did you deal with it? How has it affected music?'€ DJ KRUSH: '€œIt happened right after I got back home from my US tour. I was doing a photo shoot right near the World Trace Center just 2 days earlier so, I couldn't believe what I watched on TV. It has affected my work. My previous album, '€˜Message At The Depth'€™ was a direct response to 9/11. The album before that, '€˜Zen'€™ was a hopeful album for a new dawning century. I felt like that hope was shattered.'€ T.JONES: '€œWord association. I am going to name the name of an artist or group and you say the first word that comes into your mind. So, if I said '€˜The Beatles'€™, you may say '€˜John Lennon'€™ or '€˜Abby Road'€™. If I said, '€˜Public Enemy'€™, you may say '€˜Revolution'€™. Okay?'€ T.JONES: '€œUnited Future Organization.'€ DJ KRUSH: '€œBuddies.'€ T.JONES: '€œJay-Z.'€ DJ KRUSH: '€œWhat would it be like if Jay-Z's rap and my production are mixed?'€ T.JONES: '€œAesop Rock.'€ DJ KRUSH: '€œI wanna do something with him again.'€ T.JONES: '€œKahimi Karie.'€ DJ KRUSH: '€œHas a unique creativity.'€ T.JONES: '€œMomus.'€ DJ KRUSH: '€œMy younger daughter seems to be a fan of his.'€ T.JONES: '€œPortishead.'€ DJ KRUSH: '€œMy favorite.'€ T.JONES: '€œTricky.'€ DJ KRUSH: '€œI like him.'€ T.JONES: '€œGil-Scott Heron.'€ DJ KRUSH: '€œSpeaking of which, I haven't listen to his music for a while.'€ T.JONES: '€œPublic Enemy.'€ DJ KRUSH: '€œClock.'€ T.JONES: '€œThe Roots.'€ DJ KRUSH: '€œHow're you guys doing!?'€ T.JONES: '€œKool G. Rap.'€ DJ KRUSH: '€œMaster, Classic.'€ T.JONES: '€œGeorge Bush.'€ DJ KRUSH: '€œDon't forget your pal, Prime Minister Koizumi of Japan (Laugh).'€ T.JONES: '€œWhat is your favorite part of your live show?'€ DJ KRUSH: '€œMy show is simply about connecting with the audience. I enjoy sharing a vibe, a time, a flow, a space, and a groove. I try to communicate what I feel that night to the audience.'€ T.JONES: '€œHow are Japanese audiences different from U.S. audiences?'€ DJ KRUSH: '€œI don't feel any obvious difference, especially lately.'€ T.JONES: '€œWhat was the biggest mistake you have made in your career?'€ DJ KRUSH: '€œI got a too drunk and put a record on top of another record that was already spinning. The needle popped. It made a huge, horrible noise! It got silent for a few seconds but, that actually added to the fun.'€ T.JONES: '€œWhat advice would you give to up and coming DJ'€™s and producers?'€ DJ KRUSH: '€œFrom my own experience, I know how hard it is to become able to make a living as a DJ or a producer. But those who have original style and think, '€˜This is something only I can do'€™. I want them to keep doing what they're doing and expand their possibility.'€ T.JONES: '€œWhat are some major misconceptions do you think people have of you?'€ DJ KRUSH: '€œI don't know.'€ T.JONES: '€œWhen working with vocalists, do you have the tracks ready or do you make the music with or around them?'€ DJ KRUSH: '€œI have the basic track ready for them. After the vocals are recorded, I take it home and work around it. Sometimes, I get inspired by the vocal at the recording studio and make new tracks right then and there.'€ T.JONES: '€œWhat makes a specific track need a guest vocalist?'€ DJ KRUSH: '€œWhen I start production of a specific track, I specifically make a vocal track or instrumental track. I don't decide after, I decide before I make the track.'€ T.JONES: '€œDo you want to be cremated or buried?'€ DJ KRUSH: '€œI don'€™t know.'€ T.JONES: '€œWhat do you want on your epitaph?'€ DJ KRUSH: '€œI haven't thought about that. Maybe it's time to start thinking.'€ T.JONES: '€œAny future collaborations or releases for DJ Krush? What can fans expect from you next?'€ DJ KRUSH: '€œJapan tour, Asia tour. The traveling continues. I'll just keep playing and making anyway.'€ T.JONES: '€œAny final words for the people who will be reading this?'€ DJ KRUSH: '€œThank you so much for all of your support! I'm having great time touring and getting a lot of inspiration for my next record.'€ Thank you DJ KRUSH!!! The Official Website for DJ KRUSH: Interview by Todd E. Jones For this complete interview, go to
Continue Reading...

Thanks to:

Blogger, Google and of course Jermy Leeuwis.

Flickr Photostream