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Features
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Awesome is Susan Surftone |
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Written by Sameerah
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Thursday, 01 March 2012 00:25 |
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Some ladies are cool because they work hard at it. Others are cool because they have an army of stylists and shit working over time to give them the right look, then there are those that were just born cool. They take the amazing and make it look effortless. Viola Davis, Ertha Kitt, Meryl Streep, Abby Travis, and Sarah Deva Jezebel are just a few examples of women who exude awesome from every pore of their being. And now I can add fellow Libra and all around kick ass chick Susan Surftone to my list of incredibly awesome women.
Susan Surftone is an amazing lady, who has had an equally amazing career. She got her start in music as a child of the 60s. A time where free love filled the air, but the idea of women playing guitar was still frowned upon. Honing her craft throughout her life, Susan’s path eventually turned to law school at Boston University and ultimately a career with the FBI. Between hitting the books and catching spies at the height of the Cold War, Susan played gigs all over NYC making a name for herself in the Bowery district. Ultimately Susan chose her love of music over a life of mystery and intrigue, and I am glad she did. Susan has been making music that sounds like liquid sunshine since the 80s . In that time she has managed to maintain the magic and whimsy that embodied 60s surf rock while embracing musical changes around her. At this stage in the game many artists either don’t have anything interesting left to say, or are content to rest on their laurels and let their reputation fuel the wave a nostalgia dollars that comes their way. But Susan has found a way to keep her music as fresh, fun and exciting as it was the day she picked up a guitar for the first time. I was able to have a little Internet time with Susan before her show at the Redwood on March 3rd, and I can say Susan Surftone is hands down one of the coolest ladies I have ever had the pleasure of talking to.
Sameerah: Growing up in the 60s there weren’t a lot of women who played guitar, let alone lead guitar. Who would you credit the most in encouraging you to playing guitar even though it wasn’t “what girls did” then?
Susan: I started taking guitar lessons in 1964 when I was nine. My parents were encouraging. My mother was an Elvis Presley and Rolling Stones fan so that helped. My guitar teacher was very encouraging. He knew I could play and that was all that mattered to him. I’d do something good in a lesson and he say “atta boy” then quickly correct himself. I got a kick out of that even as a little girl.
Sameerah: You led what some may call a double life early in your career; working for the FBI after law school and playing music in your off hours. What was the driving force behind your decision to leave the law behind to focus on music full time?
Susan: I was leading a life based on someone else’s expectations. When John Lennon was killed in 1980 I started to think about my own life as people often do when someone influential to them dies. Music was what I wanted my life to be about. It took a few years to make the necessary changes and I’ve never regretted it.
Sameerah: For some of the songs on “Shore” you wrote the bass lines first. What made you want to put so much emphasis on bass for this album?
Susan: Playing the bass is new to me. I’ve been playing guitar for a long time. I think it was just that natural thing of being drawn to what’s new and somewhat exciting. Also a bass line provides a good foundation when you are building a song by yourself.
Sameerah: There is no doubt that you know your way around a guitar, but playing bass is a bit different. How long did it take you to get into the swing of playing bass before you were ready to record “Shore”?
Susan:It took about two years. I learned by going back to The Beatles, of course. Paul McCartney can be credited for being my bass teacher. With Audacity software I played his bass lines right along with him to Beatles songs. Then I branched out to early Rolling Stones, Blues and early Elvis Presley. After I could handle the Elvis material I felt I had it.
Sameerah: Like millions of other people I am a massive fan of The Doors, and I must say that your cover of “Riders on the Storm” may be the best cover of a Doors tune I’ve ever heard. Was approaching a cover of one of the greatest songs in rock history intimidating?
Susan:A bit. My approach to covers has always been to take the song and try to make it my own while leaving the song intact and recognizable. That took a bit of doing with “Riders in The Storm”. Once I started recording it I got comfortable with it and could see it was going to work.
Sameerah: How did you approach balancing the original creepy vibe of “Riders on the Storm” with your own style?
Susan:I just recorded the parts with no preconceived notions. I was completely winging it on the keyboard. I just played what sounded right to me. The guitar and bass parts were a bit more structured before I recorded them but, with the guitar parts, not much.
Sameerah:“Shore” was recorded at Jackpot Studios in Portland, OR. What made you decide to record the album there?
Susan: Jackpot is the premiere recording studio in Portland, OR. It had everything we needed. The producer, Steve Kravac, was willing to make the trip from LA up to Portland so we decided Jackpot was it.
Sameerah:Your music feels like it takes a more traditional slant on recording, keeping all of the digital bells and whistles to a minimum. What do you think about the wave of digital recording that has swept through the music industry? Do you feel the technology hurts or helps the creative process? Susan: I think the digital wave is good. Having new and sometime better tools to work with is always a good thing and it certainly doesn’t mean old approaches are lost. It’s nice to have both. Technology can both help and hurt the creative process. (Do you get the sense from my answers that I am a Libra?) It hurts when players start to rely heavily on the technology and do not learn to master their instruments. Time must be spend learning to play your instrument. You will be a better player and in the long run it will pay off. This is especially true for female musicians. We still have to constantly prove ourselves and the best way to do that is by developing your talent to its fullest. You know you are going to be judged harder so play better. Technology helps the creative process when it is used to enhance proficiency that is already there. Robert Johnson played a beat-up acoustic guitar. Imagine what he would have done with today’s technology.
Sameerah:All of your music has the upbeat swing of the 60s surf swing to it, but there is always an under current of a modern edge to what you do. Is it difficult to keep finding new ways to update the sound of classic Americana?
Susan: It is somewhat difficult. I try to blend the surf influence with other genres to get something new and a bit different. I get fixated on some genre I haven’t really worked with too much and off we go. The 1960’s garage influence is a constant for me as well as surf but it’s usually that third ingredient that takes us somewhere new. Right now I’m finding myself drawn to ska….upbeat, fun and challenging bass lines…what more could I want?
Sameerah: If you could say one thing to all the people who said “girls can’t play guitar” when you were coming up what would it be?
Susan: Two things. First “there are a lot of female guitarists out there proving you wrong” and secondly “I have always found inspiration in being told I can’t do something.” Susan is playing at Max Stieners in Long Beach or March 2nd and the Redwood Bar in LA on March 3rd you can get tix and showtimes at http://www.theredwoodbar.com/ or http://maxsteiners.com/. Now go out there and get some Surftone! |
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Last Updated ( Wednesday, 30 November -1 01:00 )
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Divine Eve and the Gathering of the Bestial Legion |
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Written by Sameerah
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Thursday, 09 February 2012 05:26 |
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Ahhh the Gathering of the Bestial Legion, the most brutal metal fest to run through the city of fallen angels in the fledgling new year. Eight different bands from all over the country have gathered here to pull our souls out of our chests and shit on them. HOD, Divine Eve, Autopsy, Incantation, Grave Ritual and a shite load of others converged on the city. It was a bone crushing night that was almost ruined by the crowd being well, very LA. The Gathering started at 4pm and the opening bands were playing to handful of people that weren’t paying them much attention. Not even the promise of swag bags at the door were enough to get the crowd off their asses. I always get so annoyed when I see a band working their asses off for a bunch of people that aren’t paying them any attention. Despite the disinterest of the rest of the crowd, I screamed my lungs out for the opening bands. I needed them to know that not everyone in LA is an asshole and some of us do appreciate what they were doing. That being said, the small crowd did ensure that I snagged myself a sweet, sweet, swag bag and was able to get some solid drinking in before the main event.
The crowd was a bit better when HOD hit the stage, but they were still being dicks. How the crowd managed to stay silent and disinterested when HOD was doing “Victims” or “Demoralizer” is absolutely beyond me. Both songs are fucking awesome and HOD played them both with precision and brutality. For awhile I was a pit of one headbanging to my hearts delight while everyone else milled around booths buying shirts and swilling beer. The lack of response got to Lord Necron as well. In between songs he stopped and said “I guess we do have bigger dicks in Texas.” I would wish I could take this time to defend my home time, but when you’re right, you’re right and I bow at the mighty dick of Texas sir.
Sadly I missed Incantation, spending that half of the show out on the smoking patio chatting up some hot guy whose name escapes me. Luckily I made it back inside in time to see Divine Eve do their thing live. Jesus fuck words can’t describe how awesome that set was. Actually words probably could, but to be honest it was all a haze of headbanging, booze and the energy of the crowd. But suffice to say, Divine Eve put of one hell of a show.
With the night coming to the end and the booze wearing off, it’s time to check email. While going through my stuff I found a Divine Eve interview from last summer that I never ran. With Divine Eve on my mind and the Gathering of the Bestial Legion behind me, I figured this was the perfect time to run it. So without further adieu I bring you Divine Eve!
You recently returned home form your first tour of Europe how was the reaction there? Divine Eve had parted ways for quite some time. What prompted the decision to start recording together again?
Hello and thank you for the interview, Xan from Divine Eve here. Yes we recently finished our first European tour and the reaction was great, the turnout was usually pretty high and the shows were generally really good overall. We played in 9 different countries so the travelling was sometimes a beating, but the shows were excellent for the most part. That first show we played in Nottingham was the first time we had played live as Divine Eve since the mid 90’s. As it was our first time touring we learned a lot and we plan on going back to Europe some time this year if possible. As far as why we reformed…we hadn’t talked at all in 15 years or so, since the breakup of Divine Eve. I had been living in Los Angeles for a good amount of that time, and after I had been back in Dallas for a while and Mike and I had gotten in contact, we got together with Matt and decided to give it a go. It took a while to get things going again from that point as we all had/have various other things going on, but once we got rolling we decided to go ahead and record an e.p. and get it out there.
For Vengeful and Obstinate, did you record new material? Or did you revamp the abandoned material from the 90's?
Two of the songs are new ones we wrote for the e.p. and two are older ones we revamped and added some stuff to. These 2 old songs were on the Crimson Relic record but as with everything but one song on that record it was a Divine Eve song initially. There has been some criticism in some of the reviews that the e.p. is way too short and that “after 17 years they should have been able to come up with more material” and so forth, but as I’ve already pointed out we weren’t in contact at all for many years and when we got back together we didn’t have much time to rehearse and write new material. It took us quite a while even to record the e.p. because of the piecemeal manner in which we did it, but we got things done when we could get them done.
I know that you're working on the full length album right now. How does it expand on the Divine Eve legacy?
It will be in the vein of what we have recorded before, and I hope it will please old fans as well as gain some new ones. We are writing material for it right now and hope to have around 11-12 songs for the release. We will again be revamping 2-3 older songs that were never recorded as Divine Eve, but the others will all be new ones, although some of these “new” songs actually have riffs we never used from back in the mid 90’s.
Even though Divine Eve was dormant as a band for a long time, your music was still relevant to a lot of people. How does having such amazing fan base make you feel?
Personally I’m very appreciative that there are people who still remember us from back then, and we’re certainly hoping the people who know us from those days will like the newer stuff we’re doing.
At times there is a lot of grumbling about bands not playing "pure black metal" or not being "brutal" enough. What is your definition of black metal?
My definition of black metal is Bathory’s “Under The Sign Of The Black Mark” album, to me this record is the true representation of the quintessential black metal sound : dark, fuzzy, and nasty. Of course I’m aware of Venom’s “Black Metal” record (one of my favorite recordings ever, long live Mantas) released several years before, but Venom were still more of a heavy metal/rock n’ roll type band with satanic imagery I think, sounding not unlike Motorhead and some of the other NWOBHM bands that were also very Motorhead influenced in the early 80’s. Bathory’s first two albums were very Venom inspired themselves and so also have a bit more of a rockin’ feel at times. I love the brilliant sloppiness of “Bathory” and “The Return”, but “Under…” is what all black metal should be judged by in my opinion.
Your lyrical influence takes a lot from pagan history and ideas that to some may be considered hieratic. What other kinds of ideas do you like to explore with your lyrics?
Well we certainly don’t mind being called heretic hehe. Our lyrical concepts vary quite a bit, from general sort of battle themes, to some pagan historical ideas as you said, to other more esoteric concepts.
How do you feel about synths in black metal? Do they help or hurt the sound?
That all depends on the band and what it is they’re trying to accomplish. I’m generally not a huge fan of synths in black metal, a lot of bands just plain do it wrong and it ends up sounding more comical than anything. But that’s really the fault of the band putting crappy synth parts in already crappy music and not the fault of the synth itself, there are some bands that use synths as an atmospheric tool that actually helps their sound rather than hurts it, but it can get old really quick.
How do you prefer to go into production? With all of digital gadgets of compression? Or do you prefer a more organic sound?
Again, that all depends on what you’re going for. For Divine Eve we prefer a fairly raw/primitive sound. Not to the point that we have to record in retro recording studios with ancient gear only (nothin’ wrong with that either by the way), but we do try to keep the gadgetry to a minimum. On the other hand, if you’re doing some technical death metal or something you need a fairly clean, compressed sound otherwise it will end up pretty muddy, and if you’re doing certain kinds of black metal you actually want it to sound shitty. It all depends on that you’re trying to do.
When can we expect the new album?
We’re hoping to record the full length sometime this summer and have it out by the end of the year.
Anything else before we wrap?
I want to thank Kyle from Incantation for playing drums with us on this last European tour and I would like to say hello to the other bands on the tour, Hate, Noctem, and Nerve. Thank you very much for the interview, we appreciate the support. Keep an eye out for the full length later this year, and hopefully we will playing live somewhere near you soon! |
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Last Updated ( Wednesday, 30 November -1 01:00 )
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Evil is Fun Again with Root |
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Written by Sameerah
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Thursday, 09 February 2012 04:41 |
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Root’s Big Boss has now made my list of people I want to have drinks with before I die. I know that Root has been around for a long time, but to be honest I didn’t really get into them until they dropped their most recent album “Heritage of Satan”. Big Boss’s baritone on “Introprincipio” struck me in a way that was both terrifying and sexy. The best way to describe Big Boss is as the demon love child of Berry White and some horrid aborted beast from the blackest pits of hell. From that second on I knew “Heritage of Satan” was going to be something I was going to enjoy listening to. But it wasn’t just Big Boos that made me love “Heritage of Satan”, it was the sense of fun that Root injects into their all encompassing evil. The pure unadulterated joy that Root takes in creating their special brand of evil is infectious. The only thing that is more fun than rocking out with Root is chatting it up with the incredibly charming Big Boss, the latest addition to my list of people to drink with before I die.
“Heritage of Satan” is a bit different from your other albums. Yes, it’s heavy and fun to rock to, but the songs run the gambit from the dark, epic doom of “His Coming” to the black n roll of “Legacy of Ancestors”. What made you decided to experiment with so many different styles on this album?
But it is not change of our style .... as I have said in many interviews each of our albums is completely different. And on this album we just decided to merge all these so-called "styles" that we used in our previous records. It's easy :-)
I love the dark lord as much as the next girl, but there are a lot of Satanic bands that take their evil a bit too seriously. When I listen to “Heritage of Satan” it feels like you’re having a really good time throwing in a bit of silliness here and there. Is it important for you to throw a bit of humor into the abyss from time to time?
I do not know how about the guys in the band but for me, Satan is my "old friend" with whom I discuss all the important decisions. For me it's a form of Cosmic Energy. That's all I can say because the rest is my private issues.
Knowing that you’re all Satanists, I’m curious to know what the most awesome thing Satan has done for you lately? *I’m secretly hoping for something involving lots of sex and blood but don’t think I’m that lucky*
You cannot want Satan to do something unreal for you. You can not want him to make you the world champion in high jump from tomorrow if you've never did sports. It is the same as you cannot be the sex machine in case you are impotent man ... hahaha .......
When Blackie left Root in 2004 people thought you were done for, was it difficult to regroup after his departure? How has your approach to music and song writing changed after losing a key component of the band?
It was very hard and we have looked for the new direction for quite a long time. The result was the next album Daemon Viam Invenient . Back then we did not make clear what we should exactly do and how. The storm shook our tree and broke off one branch. But the tree survived and got re-rooted. We are strong as before if not stronger.
You’ve been playing black metal for longer than some of us have been alive, what have been the most dramatic changes in black for you?
OOOOOOHHHHHH .... there are so many changes I've gone through – from communist prisons to the fall of the fucking commies, Blackie’s departure from the Root, band‘s breakthrough to the west and traveling around the world ... it is like a big book of memories. I started to write it a long time ago but I have not written even a single row for about 10 years because I'm lazy :-)
Are there any plans to tour on this album? In particularly any chance that you will head back to the states next time you tour?
Tour in these days? We do not want to play anywhere for free. We have our requirements and if the promoter is OK with them we are ready to go. Of course we are available to the organizers for any festivals where they invite us to. Everything can be negotiated with Igorr. Regarding the States – this will probably be difficult due to the insane conditions relating to the various work permitions, etc. ...
A long time has passed between 2007’s Deamon Viam Invenient and Heritage of Satan, how has the album been received over the last few months?
The album was received very well, see the reviwes in the world magazines for example:
"The Czech Black Metal legend strikes back impressively with "Heritage Of Satan" - matchless originality and esprit!" (Legacy Magazine, Score: 14/15)
"After nine albums these Czech Occult Metal pioneers are still highly underrated! Black can be this colourful!" (Rock Hard, Score: 8/10)
I think it is clear .... We are very happy and hope that our fans are happy too :-)
STAY PROUD ! BigBoss |
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Last Updated ( Wednesday, 30 November -1 01:00 )
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Written by Sameerah
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Monday, 24 October 2011 04:48 |
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It was one of those days were nothing seemed to go right. It was insane in the office, and all I have been looking forward to is the Alcest show tonight. Alcest is one of those bands that I have been dying to see live since I first heard their last album “Ecailles De Lune”. Their music is so heavy, but through the fog of distorted guitars and screams there is always an element of peace and beauty that lurks just below the surface. Alcest is both the calm and the storm just off of the horizon, and I am always happy to be swept away by them.
Sadly I missed the first half of the show stuck in traffic. Thankfully nothing in LA ever starts on time and I wasn’t late for the Alcest set. Listening to Alcest live is truly an experience. Neige’s tall, thin frame and boyishly handsome face don’t always match the intensity of his voice, but that’s par for the course with Alcest as a band really; you’re expecting to hear one thing, but they turn around and deliver something that defies expectations and blows you away with it. A combination of Alcest and vodka washed over me. Melting away my shitty day with surreal music and warming booze. That was until about half way through the set. About half way through the set the guys from Ensalved came on the stage wearing powdered wigs and offering Neige and the guys cheese and wine. I’m sure it was some kind of an inside joke between the bands having something to do with Alcest being French. And while the audience may not have been 100% in on the joke it was still funny as hell. It also made me realize that the set was almost over and I had to interview Neige in about 15 minutes. Panic set in. Because while I have interviewed plenty of people in my life, few have filled me with awe the way Neige has with Alcest. I go back to the bar for another cocktail, I need some liquid courage to make this happen. Not too much courage though, I need to get through this without sounding like a blithering idiot after all. The last thing I need is to start drunkenly spewing bad high school French at the guy. Especially since the only French I remember is merde, bite--French for cock if memory serves--and how to conjugate a verb. All of which would be done horribly. Despite my nerves after the show, Neige set me at ease with a polite charm that can only be described as being very French. And even though I was shaking like a leaf the entire time we spoke, I can say with all honesty that Niege’s answers to these questions made me love Alcest even more.
Everything that you write for Alcest is based on the "fairyland" you imagined as a child. Why did you decide to share that part of you childhood?
Let's be clear, we are not speaking about imagination or fantasy, but about a real (esoteric) experience which had and will always have a big impact on my life. As a child I used to have sudden visions, memories of a place that is not the one we know. The things that came to my mind, with the precision and the evidence of any "real" memory, had nothing to do with anyone can know or imagine there. These were images about an indescribably beautiful haven where everything - trees, glades, streams…- produces a pearly light and where a faraway and celestial music floats in the air like a perfume. In such a place the spirit wanders without its mortal coil and deprived of the five senses pertaining to the body. It perceives what surrounds it in a completely different way. There, one no longer feels moral and physical suffering, diseases, anguish of death but only a feeling of peace and indescribable ecstasy. This heavenly place is inhabited by beings of light who are infinitely benevolent, protective and who communicate by talking directly to the soul, in a «language» beyond words.
During years I thought everybody also had similar visions but I quickly noticed that I was wrong, and this is not something I can explain, prove or share. A lot of people are close minded with these sorts of experiences, arrogantly breaking it with so called scientific arguments that aren’t worth anything since they don't know what they are speaking about. After having looked for answers in books, discussions etc.. I guess that I could still have memories of the place (or one of the places) the soul would go after death, an haven where we would rest, be free of the burden of incarnation before starting a life again. I do believe in the immortality of human soul and in life after death, here or somewhere else. If didn't have these "visions" I would certainly not believe in this but due to this I can't have a single doubt about it. And despite some life's dramas as illness, death, suffering, though unfair events that can happen suddenly I am seeing a sense in existence, a goal that every soul tend to reach. A terrestrial life could be comparable to an exercise we repeat again and again in order to always learn more, to improve, to evolute and to raise our spirit in order to reach another state of existence at the end.
Why did I share it? Because you simply can't keep something like this inside you, even if I don't speak often about this experience directly I need to express myself about it in a way or another. I choose music because it's the best way for me to describe what I lived, it's beyond words and human perception, it's just about feelings.
What parts of "fairyland" do you feel are the most important to convey?
This experience learn to see life with another eyes, to see the beauty behind all the things that is surrounding us, the magic of existence, the magnificence of nature and what is surrounding us here, to take advantage of precious events, and to value the links we can have with the persons we love. In a world where there is so many sufferings and things going wrong I think this is important to keep being optimistic and conscious of the privilege of existence, to find our own equilibrium. We can have special glance upon the things, seeing what is beyond our down to earth realities. A tree is not just a piece of wood and a cloud not just an accumulation of water, let's see an emotion, a feeling, some romantic representation behind our surroundings, considering it just like if it was extraordinary, and feeling a deep emotion while looking to a landscape, as a reflection of our human feelings, as a mirror. To my eyes, pure imagination, is not only the ability to invent, there’s also a part of mysticism in it. I think that the great dreamers have an access to other realities.
Do you still feel the same connection to "fairyland" that you did as a child? Or is the connection only exist in your music?
No I don't feel the same connection that I had when I was a child, and this is very hard to remember it exactly now, I just have remains of it and indelible mark inside my heart because this is the kind of thing you can't forget. Music is of course a way to keep contact with it. Also, a way to recall sparkles of it is the connection with nature. Nature is very important for me as it is a bridge, a key to this "world". When I walk in the forest during springtime, when the gentle breeze caresses my face, when the sun rays gleam the leaves of the trees as if they were emeralds, I feel my faraway realm again and the reasons that led me to create Alcest are obvious once again, so are my motives.
Why did you want to re-record “Le Secret” songs? How would does differ from the original material?
This EP "Le Secret" is very important in the Alcest's discography since it contains the first compositions I made from the visions I had about the "other world". I never liked the raw sound of this release, that's why I think it was worthy to record it again in a more professional way. I guess some people will prefer the old version because they didn't imagine how it was supposed to be, but in my case I think it's great to have both versions now.
You’ve just released an Alcest mobile app. How has it been received?
Alright I guess. The app wasn’t our idea, it was something that the label wanted to do. So far I think it’s good. It’s nice to have something different with our logo and our music. A place where people can find out what we’re doing. Something original and more appealing than a plain Facebook page. Lately it’s been a bit difficult with the app. Since we’ve been on the road, we haven’t always had Internet access so we haven’t been able to post updates and things as much as we would like, but once things settle down I think it will be a good way for people to see what is going on with Alcest.
When things settle down how involved will you be with the app?
I don’t know really. I like the idea of people being able to have a place where they can hear the music, see tour dates and things like that, but I am a very private person and don’t know if I like the idea of posting my every move. I take it you’re not a fan of social networking?
I ‘m OK with some social networking, it can be a good way for people to reconnect and see different things. But sometimes I fee it’s too much. So much of our experience in life involves a kind of intimacy with other people, and I think too much social networking can cause us to loose some of that intimacy. When you can see every moment of someone’s life just by looking at their Facebook, or Twitter or whatever service people use, you don’t have a reason to call them, to have a drink with them, to really sit down and connect with them. This is an intimacy that is so important to us as people. And it is something that can be lost behind the computer screen. I’m sure I will be involved with the app somehow, just not sure how much.
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Last Updated ( Wednesday, 30 November -1 01:00 )
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