nvr mnd blog


  • About a week ago, the PDX based dark electronic duo Force Publique pushed out some pretty high profile material, content worthy of premiering. Even though that may have been the mission to drop this a few days ago never the less the magic still remains intact. If you are familiar with these artists, then you are aware they are originally are from Denver, Colorado. Force Publiques’ June 2k15 release of Bloom, a grungy alternative witch house shoegaze album. Bloom has been received fairly garnering some publications in WestWord. For all listeners and supporters it still available for listen/purchase on their bandcamp & soundcloud pages.

    Although the track is not an 100% original, the way it presents itself is completely fresh & incredibly imaginative take. Fringe Class’ sound is delivers itself as more of a neo-fem pop discoteque sort of vibe, as where Force Publique has this ethereal but sort of raspy darkwave electronic feel. The two interpretations of the song are completely unique from one another, think twins with different personalities. This could eventually lead each song to be mistaken for the other by listeners, but highly doubtful. The hook is clean enough to make out, too. Something to tide fans over these final few summer months before we slip back into the cold, wet, wild winter months. This is not the first remix by Force Publique. Nor is it the most iconic cover. If you recall the version of “TODAY” by The Smashing Pumpkins, released a little over two years ago. This group knows what they are doing, and has done some amazing reproductions over the course of a couple years.


    † NVRMND †

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  • Just 5 days until Noah 23 drops this massive release he has been hinting toward via his social media, down below we have an unbelievable track listing. Its 33 tracks long, and regardless how ethereal that is alone, its unheard of really for this many artists to be on this tape at once!  Set to release this coming Saturday, the 23rd. Noah 23 along side the onslaught of artists on this monumental feature. Witch may very well break the game. fortunately. Any zag we pull down into the neither world to listen to this may jeopardize the upper crust of mainstream culture, causing a shift into this Void Wave masterpiece.


    I have got a NVR GIFT for you brought to you by Noah 23, Pictureplane, & Dylan Ross. A track called RUNNING THRU YR HEAD ft. DYLAN ROSS (PROD. BY PICTUREPLANE)

    The newest kids on the block aren’t as “NU” as you’re thinking. When grind long enough zag, everything can feel like forever, in your mental. Just something to consider is the fact that these players have been logging in more hours than lumber jack made of your adolescent meebo instant messenger. Anyone who supports this kind of entertainment I’m sure to be really expecting something that this album actually delivers on. I haven’t heard the entire thing but get ready for this great production – some flows so icy & relentless (even) on a colossus mega deck, & to mention, there will be a physical release. Where we find many a unique flow from artists like the main zag Noah 23 but spanning across the crypt with unlock-able listens

    “So is here the official track list. It is insanely monstrous and also comes with instructions on listening in 2 pieces. Side (B) begins on track 16.” – NOAH 23


    1. INTRO {FR<>ZE}
    26. FENG SHUI {SHMX}

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  • A musician named Bryan Dellamorte, from an anonymous area of Florida began creating some beautiful dark wave. Under the alias D3∆†hh CvL†, he opens “unfamiliars”, up to the undead-world of witch house, #Endjoy & #NvrMnd #WitchausWednesday only on the #NvrBlog

    In that sounds of phantoms hymning, we find the unanimously endless “trapstyle” playing skeleton tapping against his snare, staring back as the hairs on our neck are raised just high enough to meet the peaks in the scope of tracks; such as “I Will Take Your Light”; Listen close to the first two tracks, & you wont be disappointed with them, keeping in mind that the major problem with #WH “floppy discs” (thats krypt for shitty disc jockeys) is they don’t seem to be developing their sounds enough to get into their genre and really even be relevant. The heritage of witch house (came from a joke, but) definitely has some pretty unprogressive & progressive artists – in its own right, but unlike these songs on this ‘EP’ titled after the final song on the ‘EP’ I WILL TAKE YOUR LIGHT;  SH▲DOW EYES  & BURIED FLESH (but not excluding I will Take Your Light) feature very unique and uncompromising similarities between the three of them. These three (completely) different tracks stand together – incredibly well, & offer a great listen! Its too bad – The damn thing is so short.


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  • #NVRBLOG Presents the Chilean artist, BAXTER. 

    Scope this teaser [down below] for a #NVRLOOK at the emerging artists’ album, LUST [luhst];

    This Album, An 11-Track Darkwave, Experimental, Synthpop Experience, Incorporating Additional Thematic Stylization Such As Industrial, & Cyberpunk. Although no release date confirmed, the album should be out within this or the next quarter of this year. By definition this album us sure to be pack with an overstimulating slew of energetic, and very ravy concepts galore. Stick around the #NVRBLOG for more info on this up-and-coming electronic beast!

    “Lust is an emotion or feeling of intense desire in the body. The lust can take any form such as the lust for knowledge, the lust for sex or the lust for power. It can take such mundane forms as the lust for food as distinct from the need for food. Lust is a psychological force producing intense wanting for an object, or circumstance fulfilling the emotion”


    Physical CD Cover [Front]

    Promo video for BAXTER’s first album “LUST”

    The teaser video featuring 90’s goth youth, and a cybergoth girl named Adora. Nostalgic in nature, but remnant of a not so distant past, resurfacing and rejuvenating itself, like the kids featured in the video. #Teased is definitely the word of the day, or at least in this case. These #NVRMNDKIDZ mohawks are on point, literally.

    The order of the songs in the video go as follows: Bondage, G.Line, Cruising, Gorgoneion.


    Physical CD Cover [Back]

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  • gene editInterview Conducted by EA

    EA: You have worked with some very notable artists and producers including T.RAUMSCHMIERE, Paul Castle, and Andy Chatterley of The Droyds (ex Psychic TV), Mark Moore aka S’Express, and Punx Soundcheck. Can you tell me a little bit about your personal musical history and how you came to work with such respected personalities?

    GS: I have always been musical. Since I can remember, I did my grades and techniques as a kid but classical music wasn’t for me really, not back then – the music on the radio was really what did it for me growing up. I first engaged with “dance music” in the early 90’s – I heard Papua New Guinea by FSOL and I was blown away. I knew it was BIG and that sound was going to stay. It was around then I rang up my top ten UK records’ labels and tried to see if I could sing with someone. Back then I saw 4 labels and tried out with 2.

    That was when I first sang on electronic music in the studio proper. It was amazing. I have written a lot of songs. During that time the world of making music has changed a lot, so much so sometimes, it has been hard to keep up with it’s evolution. When I started recording music 23 years ago they still used 2 inch tape, you would have to get it perfect or drop in, totally perfect. Then came a-dat and soundscape, and before we knew it we could edit vocals digitally and put guitars next to a drum loop and it all sounded fantastic! Things are very different now…that’s the norm – and how gorgeous is that? Everyone has a chance at being perfect and brilliant – there’s no excuse … now it’s down to character and ideas. That’s the real challenge.

    I have been really lucky, to have crossed paths with such talent, but I have fallen prey to the usual pitfalls too, I have made some classic mistakes along the way. Being an artist isn’t for the faint hearted, it plays with your dreams. Somehow for me, it has been at that those points, when I have thought I can’t do it anymore, it all takes too much and gives too little in return that someone, or something wonderful simply appears and leads me onto my next big thing. I met a couple of the people you mentioned above at those times. Sometimes I have approached an artist I really admire myself – see if they would like to collaborate, or I have been contacted by them, their label, whoever – usually its largely a part of time and place. I work to one rule really, and that’s never to make music with someone whose work i do not like. It has stood me well I feel and allowed me to release some very high quality recordings over the years. Music i still like. Really I just count my blessings for all I have learned from each person I have collaborated with so far.


    EA: Back in the early 2000’s you used to record as Louise De Fraine why the change to GeneSerene?

    GS: It wasn’t really intentional but it somehow changed everything. In the early 00’s I had a new collection of songs having recently split from a long term writing partnership. I wanted to perform the songs and I needed separation, as it was a very different sound to what I had been doing before. For a laugh I wrote a character, Gene Serene into “Wicked” a track I was writing with Billy Borez and Barry Ashworth at the time… It rhymed with silver screen – It was pretty tongue in cheek. I remember giving my first performance as Gene Serene and getting several bookings afterwards, and then it rolled on from there on for the last decade, my husband calls me Genie!

    EA: You were right up in the thick of the Electroclash movement. What are your reflections on that time period? 

    GS: Music was exciting then and I remember there being a real buzz. The first real moment for me live, was a Fischerspooner launch party in a long tunnel – all I could see was their hair, but everyone was excited, something was happening, there were songs in dance music, I really liked that. Looking back it was a whirlwind for me; I met people who felt like family, People finally seemed to get my music, and me, which was special for sure.

    EA: There have been some people on various social networks recently declaring a rebirth of electro clash. Do you think this will ever happen and why?

    GS: i think rather than it dying a lot of its qualities have been imported into the mainstream. It really was a “scene” and I would be interested in how this reincarnation would take manifest. “Electro-Clash” was coined I believe by Larry Tee, and it was born in New York City. What was happening in London, and other European cities started to make a family of artists, people who would inspire each other, entertain and write some great songs – i feel a lot of it sits at the underbelly, unrecognized in popular music, but the roots go way back, back to the 70’s and 80’s. It was a phenomenon for sure. I hope and pray for the world to keep inspiring and daring one another, there were so many great artists that emerged through that scene at that time.

    EA: Your song “All Over You” was used in the indie film Four Eyed Monsters, which I sadly have not seen yet. Have you had any other music in films or done any scoring work?

    GS: I have only just really started to compose music again myself with this last project. It’s something I would love to do, all my family have worked in film. Fine art/television – I feel a strong affinity to cinema.

    EA: Do you feel more of an emotional connection to one type of sound, specifically electronic over live instrumentation? Is there a certain style of electronic or live music you feel most connected to?

    GS: No. I wouldn’t go as far as to say that, I certainly feel a connection to composed music, written with love, intention and meaning. I love electronic music, I have released dance records since 98 and so club culture has been a massive part of my life too. I grew up in great times for live music the late seventies – punk, new wave – I discovered Cardiacs very early on in life, I was about 14 the first time I saw them play The Whole Wide World Window live, it blew my mind and set the bar for live music experience very high. I enjoyed seeing bands like Pink Floyd and The Damned, Siouxsie and the Banshees, Colorblind James Experience, The Buzzcocks, Depeche Mode, The Ramones and the Butthole Surfers – I loved the sub pop releases in the early nineties like Mudhoney, Rev Horton Heat, the list is endless of the bands I loved in the 80’s and 90’s really…

    I never really went in for Folk or Britpop, everyone loves Helplessly Hoping but I found the likes of Joni and Blur a little needy and emotional so round 92 I really turned my taste around and started getting into dance 12 inches and mixing, the first record I ordered on import was Accident In Paradise – Sven Vaith, Plank 01 was also one of my first amazing dance tunes. I suppose what I am saying is the sound that really does it for me is both together, live and synthesized instruments can make some beautiful places.

    EA: You are about to release your new album, The Polaris Experience. What can we expect from the new album?

    GS: Yes, this summer I will release the album. It’s a concept album, telling of 2 people escaping the earth forever. Its a journey and written to be listened to from beginning to end. Live it lends to cinemas, theatres and unusual settings. The majority of tracks are more downtempo than my previous releases, yet big, bold and beautiful. I am very happy with how it has turned out – even if it has taken so long, it’s been worth it, it’s finished.

    EA: You posted a picture of one of your songs in the works on Facebook, what programs have you been using? How has your use of technology changed over the time you’ve been writing music?

    GS: That was a particularly beautiful spectroscope used for visualizing sound in a mastering software i have forgotten the name of. There are tools you can really see what’s going on, a spectroscope forms a visual landscape allowing you to watch your music and catch things you may miss audibly with your eyes. I wrote the songs using a sample library Bob had created. After we decided to work with one another he sent me a file of loops he’d made, all different vibes, keys and speeds, some synth, drums and bass for me to work some musical ideas around. I used an Alesis midi controller keyboard and first recorded my vocals at home using a condenser mic – I then sent my ideas over to Bob who imported the project file into Pro-Tools and worked his magic. Bob designs and builds synth modules – his Penfold unit was used a lot on our album.


    He also used a modified Alesis HR16 drum machine, that’s also on his page.

    Bob’s quite the engineer, on several levels & truly a good guy. Our sound grew pretty organically and It was quite magical really – over months and months songs and stories began to develop, it became a conceptual piece.

    EA: It’s very cool you have a remix by producer Fil OK of We’re in the Water (ex-Atomizer) on the new single for “Don’t Let Go,” from The Polaris Experience. Have you known Fil previously? Did you ever experience the classic Nag Nag Nag night that he, Johnny Slut and JoJo De Freq used to do first hand?

    GS: I love Fil OK. We have shared some great times together. I went to some of the Nag Nag Nag parties and they were definitely wild! I think we first shared a bill in Bournemouth (or Liverpool) it was then we really hit it off and we were both already working a lot out in Berlin, so we saw each other a fair bit when I lived out there. He is a fantastic DJ and producer. He was my resident DJ for my Drop the Bomb parties, such an inspiring artist I have seen him get better and better. He’s very open-minded musically and draws from a really wide selection of influences – it makes his work really outstanding. He has introduced me to so much music I would never have heard. His mix is special.

    EA: You have a track on The Polaris Experience called “The Singularity.” What’s the story behind that track?

    GS: The Singularity in the Album is that moment the earth is toxic, the war is over – the intelligent machines are in control, it’s all about escaping with your life, with the one you love. Kurtzweil’s “Singularity”, Mars One, the Hadron Collider, Fukushima effect, HAARP, it goes on and on and it’s all pointing towards one thing – the need for off world escape. The singularity is not far from what I see currently happening here in the world really. Sure, It’s allegorical in many ways, telling the age-old story of a man and a woman. But living through these fast and dangerous times. Existing on a toxic planet and offered the opportunity to leave. My Grandfather, Terence Fisher directed Hammer Horror films and I grew up with those stories of tortured souls. Frankenstein created a monster, a poor tortured creature – that’s what we’re currently doing to earth with scientific experiments on our environment, energy and so on.  I am sure in a hundred years we will see our attempts at AI to be incredibly crude, just as Frankenstein’s monster was simply body parts sewn together. The singularity is a fascinating concept, and can have so many meanings.


    EA: Do you fear the possibility of a singularity in the technology takeover sense?

    GS: All things considered I think I am probably a futurist, this scientific and technological revolution has been going on since the wheel and Aristotle, like – forever. As scientists advance in our age, I have experienced the benefits personally. My daughter has a metabolic disorder, MCADD. It’s genetic and can be diagnosed by testing for a gene in our DNA. Having that knowledge has probably saved her life, and so I am also beholden to the positives not just the negatives of our times and I subsequently do not fear the technological singularity as such. I feel I have a healthy interest in these things, and to me it’s not a just theory but “faction” and inevitability. In a “takeover” sense would it really be much different to the corrupt systems and warfare we are currently experiencing? I don’t know, I am exploring all these things in the album.

    The Polaris Experience will be released this July.

    EA: Thank you Gene for taking time out of your busy recording schedule to speak with us at NVR MND. It was a pleasure hearing your insights.

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    Chicago’s Caden Moore aka LAKE RADIO has been an important character within the realm internet electronic musick. He tends to pull away from stereo-types and avoids clichés like the plague. Although he has appeared on witch house compilations and been labeled as a “chill wave” artist, he breaks those stylistic traps and has some serious words about these genre restraints. NVR MND’s EA catches up with Caden for an in-depth interview.

    EA: I know you have been in several bands and collab with some other artists, can you tell me a bit about your musical history?

    LR: Yeah! I have been lucky to work with a lot of really talented people! My music history started when I was a kid and wanted to learn how to play guitar. I took lessons at this guitar shop near my house and learned how to play some cheesy classic rock songs, and learned the basic chords. I took lessons for probably a year and a half, probably. I started writing my own songs on guitar and recording them to cassette tape using this karaoke machine that my sister had. I remember writing and recording a terrible Rock Opera using that karaoke machine, a casio keyboard, and a guitar. I was 15 and it was really bad.

    Then I got a laptop and started messing around with sound files and effects, and I haven’t stopped since!

    EA: You told me before the interview, “I’ve got some hard opinions about the current state of witch house and harder opinions on vaporwave.” I’m interested to hear your opinions.

    LR: Regarding Witch House, and my relationship with it, I feel like that’s over. There were things I didn’t like about it from the beginning. I remember this one dude on Last.fm getting mad that I was tagging my stuff as Witch House when I was just starting LAKE RADIO. I wont name names, but he wasn’t a musician, or really involved in music at all, he was just some guy that people respected for whatever reason.  This was in wild west days of Witch House, and it seemed like certain people took the trend and assigned themselves some sort of authority to the genre: people who weren’t any more qualified to say what IS or ISNT Witch House. There was a tag on Last.fm called “True Witch House”, that this person started. He left me out, and I am embarrassed to say that hurt. Who was this dude to say I wasn’t TRUE Witch House? What the FUCK is TRUE Witch House? Did I not have enough claps and hoover synths in my music? I was just a kid that thought the idea of the genre was cool and fun and I had my own take on it.

    I think Witch House is silly. I always have. The whole thing started as a joke. It was supposed to be fun, and it is fun! But when people take it too seriously, it leaves a bad taste in my mouth.

    I’m worried about how it’s gonna age, and worried about how it already has aged. Maybe I, myself, am taking it too seriously, but its something I have thought about a lot. I am absolutely no authority on anything, especially Witch House. I was just talking to my friend, and telling her about how I feel about it, and it made me realize that maybe because I am sort of on the inside of it all, and one of the artists who put out Witch House music sort of early on, I lack perspective. I don’t think most fans give it much thought, I think they just like the music. And as a fan, I agree! I think the problem is when everything sounds too same-y, and I am proud of the fact that LAKE RADIO hasn’t ever really tried to sound like other Witch House acts.

    I’ve tried to distance myself from the whole Witch House thing in terms of sound, and what I am working on now is not Witch House at all. I dropped the triangle. I didn’t tag my last song as Witch House on bandcamp or soundcloud. I’m not kicking it to the curb, or putting it down or biting the hand that fed me, but I am just ready to move on as an artist. I honestly wasn’t ever very Witch House anyway.

    I’ll make a joke about it on social media, and people will think I am being serious. I made a joke about Witch Hazel being a new genre, and some people thought I was being serious. I don’t think I like the idea of coining a new genre for internet cool points.

    Take Vaporwave for example; It was already a thing before the people who gave it a name decided to name it. Chuck Person’s Eccojams Vol. 1 came out five years ago. That’s a great album, for sure, but I wonder how Daniel Lopatin feels about being called Vaporwave or even more contrived; proto-vaporwave. A lot of the people who criticize it will say it’s too easy to just find an obscure song on youtube and slow it down in Ableton and add reverb. Thats fine! That’s nothing new; it’s called plunderphonics and thats like half of what I do. That’s not my problem with it. It’s the Facebook and Tumblr elitism that I have a problem with. People are hopping onto trends early for the sake of being cool, and then dropping the whole thing before the style of music has time to breathe and evolve, which is a shame. And then musicians will be afraid to branch out and do their own thing because it doesn’t fit into a microgenre, which is really suffocating as an artist. It’s dangerous, is all. My advice is to just do whatever you want to do with your music and not worry about what you are gonna tag it as on bandcamp or soundcloud. I think that’s important. It’s about self expression, not about trends. Make your own shit and let history decide what genre it is.

    Also, I am well aware no one asked for my advice.

    EA: What is your music about? It seems very personal even when you do covers like “In Heaven” or mash ups or original tracks or even mixes. Its kinda like you use songs and samples just like you do notes from a synthesizer like colors on a painters palette.

    LR: My music is about a lot of things. Dreams, nightmares, mental illness, love, loss, confusion, anxiety, feeling like an alien, drugs, addiction, trying to hold onto youth. Mostly, just stuff that I have gone through in my own life. Self expression, you know? I think that’s the goal of any artist; to find a way to translate how you feel inside into a music language. I hope I do a good job about that, because I know there are other people who feel the same feelings I do, and know how nice it is to be able to find music that you can relate to. I feel like an alien most of the time, and I hope that people from the same planet as me are able to relate. I think that’s what my music is about more than anything; putting my innermost feelings and fears out there and hoping people vibe on that and connect with that on a level other than “oh, this sounds cool”. I’m a lot less worried about something sounding cool than I am something sounding authentic and true to how I feel.

    I think that today, where all of recorded music is at our fingertips, it’s only natural for an artist to want to use anything they can get their hands on. Especially for someone who is my age and was raised on the internet and has always had all of culture and recorded media accessible to them thanks to the internet. I was raised on the internet, and I get just as many of my “notes” or “colors” from the internet as I do from the real world.

    I’ll find bits of music or sound that I feel connect with on a deep level and listen to it pretty obsessively. In the case of “Waiting In Heaven,” my song where I sampled “In Heaven” from Eraserhead; I didn’t even intend on making that a song. I heard the little song and wanted to listen to it on a loop for a while and vibe out to it, so I plopped it into Ableton and looped it. After a while, I started adding all these other elements to it in my head — the drums and the lyrics I added and the bass line, etc. The same happened with the song Always, where I sampled a line from a  Vashti Bunyan song (I’ll always think of you/ and all the hope we knew). I dropped that into Ableton, looped that part, put on some headphones and laid in bed in the dark listening to that for a while. There’s a power in repetition and loops, for sure. It puts you in a trance. A friend criticized my music as “being 80% bullshit” because it’s pretty repetitive, which is fair I suppose, but I really honestly think in order to ‘get’ a lot of my stuff, you need to put on some headphones, close your eyes, get under some overs and really feel the repetition. Maybe that’s what my music is about, too: introspection. I don’t see extroverts really connecting with my music on a deep level. I don’t see my music really resonating when played at a house party.

    I’m glad my mashups and mixes feel personal, too, because I don’t like using songs that I don’t connect with in those.

    EA: Wow, you do get a of of criticism, but that seems to be balanced well by the fanbase you have.

    LR: I don’t mind criticism! I think its an inevitable part of putting yourself out there as an artist, and is totally healthy. I don’t pay much attention to it unless I respect the person who is doing the criticizing, though. And I’m very happy to have people who connect with my work. There’s more than I ever could have imagined, even though I am not the most popular artist with the most soundcloud plays or whatever. I’m not too concerned with that. I ultimately make music for myself.

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    EA: In your latest track, “666,” and also in your recent mix for CXB7 Radio on WFKU you have a lot of psych vibes. Why this direction?

    LR: I love psychedelic music! Heavy Ghost, my old band, was very heavily into psych stuff and we really dug deep into some obscure stuff. There is so much of it out there. On a superficial level, I think I just really like how guitar sounds recorded to cheap tape.

    For 666, I sampled an outsider downer folk artist named Dave Bixby. His story is really interesting. His story is really interesting. He is a guy from Grand Rapids who was involved in a cult, did too much acid, and recorded an album about it after he lost his mind. It’s beautiful. It’s really sad and mellow, and produced beautifully. It’s a perfect album, and everyone should listen to it. He is an older gentleman now, and has been recently discovered again and started making music once again, which is awesome.

    In a way I sort of aspire to be one of those kinds of musicians; one that has a small following, but in 20 or 30 years, the cool kids will discover my stuff and get really hyped on it. Theres something really romantic about that.

    But about my song — I made it as a demo beat for my friend Sam to rap over, she is so talented and I want to make a whole album with her. I love the idea of using obscure psych and folk samples for hip hop instrumentals. I put the 666 on soundcloud for her to listen to, and wasn’t really thinking about other people listening to it, but I am glad people are liking it!

    EA: Do you perform a lot live? What is the live Lake Radio experience like?

    LR: I recently played my first show in over a year and it was so fun. I was very sick with a cold, and showed up five minutes before I had to go on. My laptop is broken, so I had to bring my huge desktop IMac, which looks kind of silly on stage, but oh well. I was all hopped up on DayQuil and coffee so that show was high energy, even when I was playing a slower song.

    I’m not sure what my shows are like from an audience’s perspective, but I try to create an intimate experience. I have the venue turn off as many lights as possible, so it’s dark and spooky. I don’t use any lights on stage either, just my projector that I trigger manipulated video with while I play. I don’t use any sort of midi controller – just a mouse and a keyboard, but that doesn’t mean I’m just pressing “play”. I try and make every show different.

    My video projector is really the star of the show, I think. I’ve started filming my own stuff, manipulating it, and using that for projections rather than using found footage. I do use a great deal of found footage, though, just not the kind nerdy electronic musicians usually use. I stay away from archive.org. I like ripping stuff from youube and manipulating it beyond recognition. I was sampling a full house episode for a while as my intro, actually.

    Just like the samples I use in my music, I like to use videos that I connect with. Sometimes, my music samples are from a YouTube video, which is cool because then I can project that and it will match up.

    I am not a great singer, but I love singing on stage. I performed “Ghost For You at my last show and felt like a singer in a Lynch movie.

    EA: You’re a very busy guy. You’re working on 3 albums for release this year?

    LR: Yes! Three albums! I feel like jm back into the swing of things since I got out of a deep depression. I made an EP that short of chronicled my depression and where I was at called Dreams Are Gone. I released that early  last spring, and I haven’t put anything out in any official capacity since then. A year is a long time for me not to put something out, so releasing three full lengths is sort of my way to make up for that.

    The first one I am going to release is called Spooked Out and is not going to be electronic at all — I already released a song and a video for it called Ghost For You, and if you watch the video or listen to the song, you’ll get what kind of vibe I’m going for on Spooked Out. Doo wop chord progressions, spooky vibes, vocals, guitars, saxophone by Jonathon Freund who is killing it right now with his project JTF. I love collaborating with him. We speak the same musical language. We’ve been collaborating since we were in Heavy Ghost together. He has showed up on some of my songs over the years — We Were Psychics/I Want You Here, Community College (ft. Pixel Grip), YR LOVE; those were all collaborations with Jon. I’m very excited about Spooked Out. It’s like nothing I’ve ever done before, musically and it’s fun to figure out how to get the sounds I want.

    The second album I’m gonna finally put out Bedroom Dies, which is something I’ve been working on for years, which is gonna be more electronic and sample based. A return to something like Planet Earth About To Be Recycled or The Weather, in terms of sampling. It’s interesting to work that way again because I am a pretty different person than I was when I put those albums out. I’m more grown up now and I think that comes through in the music I’m working in for Bedroom Dies.

    The third album is going to be a collaboration with my friend Sam, who is a great rapper. I love hip hop, especially female MCs, but never have properly dove into that genre. The songs I’m sampling for that are old folky psych records. I’m very hyped on it.

    I’m always busy, especially with recording music. I record almost every day, but I don’t release about 90 percent of it.

    EA: Thank you so much for taking the time to chat with the NVR MND blog!








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