If I had to make you a list of music that I listened to the most since I started this fucking insane journey of vacationing in your hell, this album “Melanie Griffith” would be very close to the top of the list. Everything about this works perfectly, the album is brief but accomplishes so much in that span that it will leave a permanent mark in your emotional landscape. What I find so challenging in writing this blog is seeing so many incredibly talented musicians who aren’t getting the recognition they deserve, and others who pimped friends, gamed people and knew how to play the game become sponsored post blog darlings. So, if you see me take the time to conduct an interview with an artist, and format this shit, and do all of the manual computer stuff it requires to make this shit happen, please realize that I am trying to make a statement, that I feel from the pit of my damaged soul that this artist deserves to cut through all of the background noise because they have achieved clarity in their vision for what they create, and have made a fully realized contribution that will be valuable to you and I feel enhance your life. If justice were served this article would kick off a chain of events making this incredible songwriter a nationally recognized part of world of bands who are buzzed about on sites like Pitchfork.com and the like, but I would say lucky for us it is not everyone’s goal to be cool, and parade around like assholes who act like they are better than normal people, and we’re fortunate that some artists just care about making something amazing. This is that rare artist, without career ambitions, who may never put out another album, but the impact it makes on those who hear it, will always remember it and share it with as many people as they can. The album is FUCKING AMAZING AND STILL A FUCKING FREE DOWNLOAD. TAKE MY ADVICE AND GET THIS SHIT NOW!!!






Can you give my readers a brief history of Picobots, and can you tell me a little bit about your digital arts work and projects?

I’ve been writing and recording music since I was a teenager, but I started out using only guitars, piano, and drums. I adopted the name Picobots in my 20s when I bought my first synthesizer and started recording electronic music. At first, I just wrote guitar songs and added electronic elements over the top, but gradually my interests changed and synthesizers became my tool of choice. Picobots is also just a broader umbrella name that I use for all of my solo creative projects, so I also design video games and do graphic design work under that name.

What inspires your sound most, who were your biggest influences when you were writing Melanie Griffith, also, what is the story behind this concept?

The biggest influences on me while I was writing and recording Melanie Griffith were film and film soundtracks. I grew up in the 1980s, so I’ve been lifelong fan of the films from that time period. Everything from John Carpenter to John Hughes. But this album was born specifically out of digging much deeper into the films of that era—deeper than I was capable of going as a kid. Netflix streaming, by the way, is an invaluable tool in this regard.

The seed was planted for Melanie Griffith late one night when I discovered the 1984 Brian De Palma film Body Double, starring Melanie. The movie poster is what initially drew me in; it’s this amazing, quintessential slice of 80s art, with a partially undressed woman being watched by a creepy silhouetted voyeur through mini blinds. I was blown away by the film. It’s such a bizarre, richly passive-aggressive film—De Palma made it as a response to critics who dismissed him as a Hitchcock rip-off—and I fell in love with it. I was inspired almost immediately to write “Mini Blind Silhouette.” But perhaps more importantly, I fell in love with Melanie Griffith’s performance. She’s not the greatest actress in the world, but there’s something undeniably memorable and unique about her, and I think there’s a bit of magic in that. Oddly enough, before I saw Body Double, the only other Melanie Griffith movie I had seen was Pacific Heights. I had never even seen Working Girl or Something Wild. So I decided to dig into her back catalog, and I uncovered a bunch of gems like Fear City, Cherry 2000, and Stormy Monday. These aren’t cinematic masterpieces by any stretch of the imagination, but I had a lot of fun watching them. Cherry 2000 inspired me to write a second track, and it was at that point that I decided maybe that was the beginning of a concept album.

Beyond that, other 1980s films and soundtracks were a big part of my media consumption while I was writing the album, so all of that was definitely an influence on the music too. There are some incredible synth-driven film scores from the 80s that have been totally lost to time. For every soundtrack that has been properly saved and acknowledged, like Escape From New York (John Carpenter) or To Live and Die in L.A. (Wang Chung), there are 20 amazing film scores that are completely out of print or were never even available in the first place.

Can you tell me a little bit about recording the album as well?

I recorded the whole album at home using Ableton Live. The synthesizers are a mix of my Minimoog Voyager and a bunch of other VST plugins that emulate vintage analog synthesizers, like Korg’s PolySix and and Arturia’s Jupiter-8V. The guitar I used is an old Ibanez RT450 that I’ve had since I was 16. The vocals were recorded with a Rode NT1000 and a Shure SM57 using an RME Fireface UC audio interface and preamp. The drums were programmed using samples from vintage drum machines and processed samples from real drums. The descending sound at the beginning of “Someday, Tess” is a circuit bent Speak & Spell. The chorus vocals on “Mini Blind Silhouette” were performed by my wife Haven, and the saxophone solo on “Palache Motor Lodge” was written and recorded by David Erdelyi, a Bay Area saxophonist. I mixed and mastered the album myself, with plenty of patient advice and guidance from Dennis Mortensen (@LSUGproducer316).

Can you tell me about some of your current favorite artists in any medium?

As far contemporary music goes, I absolutely adore John Maus. We Must Become the Pitiless Censors of Ourselves is a masterpiece from start to finish. The Caretaker’s album An Empty Bliss Beyond This World, is one of the most beautiful records I’ve ever heard. Nicolas Jaar’s album Space Is Only Noise is incredible too. I also love Kelley Polar. Love Songs of the Hanging Gardens and I Need You to Hold On While the Sky Is Falling are two of my all-time favorite albums.

If we’re talking about music from any era, then it goes without saying that Depeche Mode (especially pre-Violator) and the Human League are two of my absolute favorites. Likewise Kraftwerk, Giorgio Moroder, and Vangelis. Duran Duran too. My tastes are pretty diverse though. You’re equally likely to find me listening to, say, Love’s Forever Changes or the Zombies’ Odessey and Oracle as you are one of the aforementioned artists. My formative years were spent obsessing over every note on the Beatles’ records, so I definitely have guitar-driven pop running through my veins.

Can you give me an example of a song or piece of art you consider perfect?

Wow, that’s such a difficult question to answer. There are so many perfect songs, it’s basically impossible to choose one. I’ll try. A song that immediately comes to mind is XTC’s “Yacht Dance.” Lyrically perfect, ingeniously constructed from songwriting perspective, masterfully recorded and produced by Hugh Padgham, and one of my favorite bands of all-time operating at the height of their powers. Andy Partridge should be hailed as a songwriting genius on par with Brian Wilson or Lennon and McCartney.

A few other songs I considered, off the top of my head: The Human League’s “Don’t You Want Me” and Cyndi Lauper’s “Girls Just Want to Have Fun.” Grab a pair of headphones and listen to either one of those songs as if you’re hearing it for the first time. You’ll be blown away.

If I were to vacation in your hell what should I expect to find there?

[Laughs.] Good question. Maybe me performing live on-stage. I have terrible stage fright.

Have you had an experience with the supernatural that you’d be willing to share?

Many years ago, my wife and I moved into a beautiful old Victorian house that was built in the 1890s. It was an incredibly well-maintained large 3-bedroom house, and the rent was almost too good to be true. The landlord, who lived on the premises, was a really friendly person—I still count him as a personal friend—but he also had an odd, haunting way of speaking. Imagine a soft-spoken, understated Dracula-esque character. I think his demeanor, combined with the old age of the house, must have put us into a receptive state, because the first night we spent in that house we both sensed of some sort of spiritual presence, even though neither of us typically believe in anything of that sort. In the middle of the night, I awoke with the feeling that there was a young girl standing right beside my bed, and I jolted forward in bed but found nothing. It was disconcerting, but I didn’t think anything of it until the following morning when my wife said that she had felt the exact same presence: a small girl standing in the room.

If you could collaborate with any artist living or dead who would it be?

I would love to have been in Berlin with David Bowie in the late 1970s. I’m not sure it would get much cooler than hanging out in the studio with Bowie and Eno.

What are some of your favorite films, and a favorite line of dialog from a film?

Blade Runner and Alien are science fiction masterpieces that I can re-watch any day of the week. Tran Anh Hung’s The Scent of Green Papaya and Wong Kar-wai’s In the Mood for Love are both pure perfection. Vampire’s Kiss might be the funniest dark comedy I’ve ever seen, so you could pick just about any line of dialogue from that film, especially one of the lines where Nicolas Cage intentionally weaves together that brilliant muddled pseudo-British/California accent. For audio geeks, Coppola’s The Conversation and De Palma’s Blow Out are top notch. More recently, I’ve been incredibly impressed by Kelly Reichardt’s work—Night Moves and Meek’s Cutoff were both phenomenal.

Can you describe your most emotionally moving moment involving music? Or, the moment of live music that has had the greatest impact on you?

I have those moments all the time with recorded music, but transcendent live music experiences are more rare for me. That being said, I do remember one live show in particular that really left an imprint on me. I saw Pan Sonic, the since-disbanded Finnish experimental electronic duo, in Chicago back in 2006 on one of their rare US tours. If I’m not mistaken, as it turned out, that was their final US tour. I was absolutely destroyed by their live set. For anyone with an interest in electronic music—or even just sound in general—experiencing Pan Sonic live is a must. I hope they reunite and tour again one day. There was one moment in particular where the most powerful low frequency sine wave I’ve ever heard was coursing through the room, and it created this indescribable vibration that everyone just became a part of. It was a magical moment, among many at that show.

Some are saying this is the greatest era to exist as a musician, others say it’s the worst, what has your experience been like?

That’s an interesting question. I think I have to come down on the side of this being the greatest era for musicians, because of the democratizing nature of technology. After all, I wouldn’t be having this conversation with you if it weren’t for the relatively recent ability to put together a reasonably polished album in the comfort of our own homes; Melanie Griffith, in spite of its 1980s sound, is largely the result of modern technological advances. We no longer need a pile of money to record in a studio to create something that sounds pretty good. The Internet has also enabled us to share our creations with the world without the need for a larger record label and/or distributor. So it’s easier to create music now, and it’s easier to share music, and I think those are both good things.

Of course, the flip side is that, because of digital distribution, the market is more saturated than ever, which makes it difficult to stand out. And you could also say that the quality of recordings has dropped because of home recording techniques. Additionally, musicians who really want to earn a living making music seem to be finding it more difficult than ever. I’m not personally interested in making money from my music, so that doesn’t affect me, but I empathize with the people it does affect. Still, ultimately, I think everyone should be creating and sharing things all the time, whether it’s music or film or mathematics or design or engineering or whatever, and the digital age is making it easier for everyone to do those things, so I think that’s pretty awesome.

Have you ever been to a psychic, would you be willing to share that experience if so?

I’ve never been. But there was a place in my old neighborhood in San Francisco that always caught my eye when I walked past it. It was open late, and the proprietor was always burning candles and incense outside of her open door even at 11 p.m. or midnight. I’ve since moved away from San Francisco, but next time I visit I should pop in and ask if I’m destined to move back there one day. I miss it a lot.

Do you feel things happen for a reason, do you have an experience that would be evidence of this?

I don’t. I think there are too many horrific things in this world for me to accept that there’s some reason for any of it.

If you could revisit one place you’ve already visited in your life, where would it be and why?

Definitely Tokyo. It’s an incredible place where I found something interesting everywhere I looked.

For More Info Visit: www.MountainFighting.com

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Brandy Kills /// The Veil /// NEW ALBUM Violent but silent pain

Another amazing track from Brandy Kills, I don’t know if I need to remind you of how amazing his shit is, but listen to “Undressed” again right the fuck now:

GET Brandy Kills NEW ALBUM – Violent but silent pain [2015] HERE:


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Hot Sugar /// Your Nails Look So Pretty

All I can say about this video is good for you buddy, to get this many hits on noodling with some strange visuals. I don’t know, do I even want to bother shitting on this? I know what you’re thinking I drink hateraid, I suck hate dick, why you hating’ SITEMASTER, when are you gonna put out your creative masterpiece to give something fucking useful back to the world rather than just fucking shit on other people trying to do something cool? That’s not cool. Guess what dipshit, it’s never going to happen, because I figured out I don’t have a unique thought in my body, and I realized before I made a record that I’m not a musician, just like sample king is barely a tune-smith with a loop and a half of a musical idea that only wanders into itself over and over again that never resolves into being… all this is good for is making me feel like the world is fucking stuck when I’m stuck down a hole you don’t want to mentally process. I want more for people than to just approximate being cool, if that’s all you strive for then you wasted your time. Being cool is so fucking less than nothing and has only become everything in the last 3o years of children hyping it the fuck up. I wish music was made by old unattractive people again who you never had to look at, yeah I may not have been born more than 25 years ago, but I can still tell you that shit was way the fuck better, even when shit was worse. I don’t need you to give me classical but give me GODDAMNED SOMETHING. I will never be a musician because I never took the time to learn the skill that is fucking songcraft, I spent my time developing what I was good at and that was learning how to spot and call BULLSHIT, so that is what I do. I know in the world of the internet everyone hates trolls, anyone who doesn’t bring the love is a fucking troll, well this troll says fuck all of you standard lowering whores who want to glorify being fucking cool. Sometimes you need another whore to spot one for you, and even if you hate me for it now, your children will thank me in the future. My apologies to this guy who happened to be in the wrong place at the wrong time, I’m sure in 2o more minutes something is going to underwhelm me ten times worse, but I say live and let live, but when I have to do my job  life sometimes makes lemons and you don’t always feel like making a glass of lemonade, sometimes you just want to crack open that processed chemically enriched bottle of haterade and masterbate and cry yourself to sleep alone.

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Obviously I FUCKING LOVE SEAPUNK (which clearly has only just begun to explore itself) of which we were schooled in DIRECTLY by ULTRADEMON himself , but I am very pleased to announce the arrival of some FUCKING GORGEOUS POST-SEAPUNK, IT DROPS FIRST HERE BITCHEZxzzxxZZZ huge thanks to ZOMBELLE for allowing us to offer this amazing track as A FUCKING FREE DOWNLOAD, GET THISSSSS INCREDIBLE SHITTTTT NOWWWWWWWWWWWW:





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ExD New Poster Landscape

I DON’T EVEN KNOW WHERE THE FUCK TO START, but I have to say I’m impressed AS HELL with what I’ve seen of this film so far, and the incredible score NOKO has crafted for it, REALLY FUCKING BEAUTIFUL STUFF. After getting some of the tracks sent to me, all I have to say is HOLY SHIT, sorry my hands are tied I can’t post them for you, but you can pre-order the score now and it will hit your inbox when they wrap their Indiegogo Campaign Here: http://igg.me/at/ex-dominatrix. Obviously, I have some vested interest in seeing a REAL FUCKING FILM about BDSM hit the big screen, but this story sounds incredibly cool, about the most FIERCE DOMINATRIX in Europe, and a life-changing event that I won’t spoil here, but shit gets dark, you hear all her war stories and follow her through the transformation she undergoes. I was given the opportunity to discuss this film further with the EYES & THE EARS of this project NOKO (Apollo 44o, Luxuria, The Cure, Pigface) and director DARREN CAVANAGH. Before I let you on to the interview I’m going to make YOU DO FOUR THINGS:





SITEMASTER: Noko, can you tell me a bit about the influencing factors that inspired your score for Ex-DOMINATRIX? 

NOKO: Fundamentally, it’s the same as any scoring : there’s a story to be told and my job is to enhance moments that go beyond the words and images onscreen and then stay the hell of of the way when I’m not needed.!John Barry once referred to himself as a ‘musical dramatist’ – I like that – I enjoy being part of the theatrical team, telling the yarn!

The story here is a big one – it’s all about consensuality and double-standards. There has been a great injustice here in the way that Ira was treated by the authorities and the media and I feel compelled to be a part of telling that story as directly as it deserves to be told.

One of the most poignant scenes in Darren’s film is where Ira’s daughter Charlotte surveys for the first time, the rubble of their once grand and beautiful home – the metaphor for what has been lost through a set of circumstances beyond her control is blindingly obvious. This, of course, needed no music. If a few well placed notes of mine can go some way to redressing the balance and exploring this complex subject without judgement or blame and a mature moral compass, then so be it.

I’ve known Darren for years – we’ve shot the breeze on films and music we share and lots more for decades and I relish wholeheartedly the chance to help him tell this story.

SM: Can you tell me a little bit about recording it as well?

N: Most of the recording was done in my home studio (I’m blessed with a large space in an old industrial building that simply sounds great for acoustic instruments without much effort or the need for much remedial treatment), but a lot of the percussion I recorded in Apollo Control Studios in Kings Cross – I built up orchestral layers using drums tuned artificially lower than usual, played one instrument at a time by myself. Someone told me that Stevie Wonder did a lot of his ’70s stuff that way, so I thought I’d give it a try – with some unique results, I might add (as well as having a lot of fun!). On a technical level, I used phase-coherent Blumlein configured stereo ribbon microphones to maintain a ‘real’ stereo image throughoutApart from some gorgeous breathy vocals by Gaynor Perry. I played everything myself. Lots of electric and acoustic guitar textures, layered mandolin sections etc. There may be some other collaborators as the project nears it’s conclusion.


SM: I’m a very big fan of Luxuria, can you tell the audience a bit about your project with Howard Devoto and how it came about?

N: I’d been a huge Magazine fan – it’s true to say that band really changed my life : both the incredible wordplay of Howard and the amazing musicians he surrounded himself with. John McGeoch was a huge influence on my guitar playing – his elegant use of dissonance is a cornerstone of my musical world – power through tension/release and the left-hand-path through the least obvious notes (much the same non-rocky road Robert Fripp had mapped out a few years earlier in King Crimson). I started out as a bass player (stints with The Cure and Pete Shelley’s post-Buzzcocks band amongst others) and Barry Adamson, who I replaced in Pete’s band when he left to join Nick Cave’s Bad Seeds in ’84, was also a massive influence on that side of my musical coin. Peter was managed bt Raf Edmunds, who had managed Magazine earlier – that’s how the connection was made and I eventually met Howard, who was getting itchy fingers again after his second ‘retirement’ following his solo LP in 1983, and wanted to ‘burn again’, to use his own metaphor.We started working together writing songs in 1986, that would ultimately become “Unanswerable Lust”, the first Luxuria LP which was released in 1988 by Beggars’ Banquet. We put a live band together and toured both sides of the Atlantic that year. A second LP, “Beastbox” followed in 1990 and then Howard ‘retired’ for a third time, at which point I formed Apollo 440 with the Gray brothers Howard and Trevor and synthesiser prodigy James Gardner, whom I’d known since schooldays in Liverpool. I felt at the time that I’d had enough of where guitar music was going and decided to throw myself headlong into the new minimal electronic dance music that was emerging both in UK and America. In Luxuria, we’d based our core songwriting around the Sequential Circuits Studio 440 sampler/sequencer and Howard Gray had one too, so that’s the origin of that part of the name Apollo 440.

SM: Noko, can you tell me a bit about your first music project?

N: There are kinda two answers to that question :

Almost before I was a musician as such or knew any actual chords, I’d messed around with an old Akai 4000DS 4-track reel-to-reel tape recorder and was already fascinated by the recording and production process – myself and a few friends used to make ‘solo LPs’ in the school holidays. My first band Alvin The Aardark And The Fuzzy Ants was an outgrowth of that. Our first gig was supporting Sheffield electronic pioneers Cabaret Voltaire at an amazing avant-garde ‘happening’ club in Liverpool called Plato’s Ballroom (like a cross between Warhol’s Factory and the original Cabaret Voltaire in 1916!), hosted by Nathan McGough, who would eventually manage Happy Mondays. The club has sort of been forgotten about, but was as radical and influential to the Liverpool scene of that time as clubs like The Blitz etc in London and featured a lot of the Factory Records acts due to Nathan’s strong Manchester connections – anyone who was anyone in the Liverpool music/arts scene at the time went. A true epiphany for me.

The second answer  to the question : that band at various times included the Gray bothers and James Gardner, whom I eventually formed Apollo 440 with, so in a way that was effectively my first musical project – albeit separated by almost a decade! James now lectures in electronic music at Aukland University in New Zealand.

Can you tell me about some of your current favorite artists, local or elsewhere?

N: Lots of stuff (in no particular oder) : The Irrepressibles, Lightning Bolt, Deap Vally, Royal Blood, Bishi….

SM: What inspired you to want to be in a band? 

N: Simple – that funny tingle that went throughout my whole body when I saw Marc Bolan on Top Of The Pops ( UK TV chart show) in 1972 followed by Roxy Music doing “Virgina Plain” 5 minutes later on the same show. Powerful times.

SM: Can you tell me about a song you consider perect, and what makes it special? 

N: From my own stuff – It’s never really a question of a song being ‘perfect’ as such – more a case of the original vision coming out unscathed and uncorrupted from the rigours and compromises seemingly inherent in the process, however, the one thing I’ve done in my life on which I really wouldn’t change a thing in hindsight, is the song “Pain In Any Language” from the 2nd Apollo 440 LP “Electroglide In Blue” featuring the heart-wrenchingly raw vocal of the late Billy MacKenzie. It was the last thing he finished before his tragic suicide a few weeks later. I played all the instruments on that track and I wouldn’t change a thing.

Of other people’s music, there are simply too many (and for very different reasons) – “Metal Guru” by T-Rex, “Montagu Terrace In Blue” by Scott Walker”, “Lady Grinning Soul” by Bowie, “In Every Dreamhome A Heartache” by Roxy, “Easy’s Getting Harder Every Day” by Iris DeMent, “I’d Rather Jack (Than Fleetwood Mac)” by The Reynolds Girls….

SM: What was it like working with Robert Smith? 

N: I was pretty young when I played with those guys.They were already pretty big in UK and Europe so it was quite intense (though the self-belief of youth holds you in good stead for such things!). I had (and still have) a great respect for Mr Smith – the Cure at that time were very much a one-man operation, with Robert writing and playing almost everything.

The feeling of coming in with the bassline to “A Forest” to 3000 ecstatic Germans whilst being filmed for TV after only a few hours rehearsal will stay with me for life! (Though “100 Years” still remains my fave Cure tune).

It was a privilege and definitely an education to be around in the studio when the LP that ultimately became The Top (1985) was taking shape. (SM NOTE: MY FAVORITE CURE ALBUM)

I saw Robert for the first time in over 25 years last year backstage at the Cure’s mammoth 3 hour show at Royal Albert Hall in London (I really don’t know where he gets the stamina!) and he hasn’t changed at bit.

SM: What was it like working with Howard Devoto? 

N: I’ve now known Howard for nearly 30 years so we’ve been through a lot together. When I heard on the grapevine that Magazine were going to be reforming, I felt that I was uniquely qualified for the gtr slot as I’d worked with all the remaining members in various capacities over the years and the aesthetic was ingrained in my very soul – McGeoch had died in 2004 so someone was going to have to do it and I would have been very disappointed had someone else got the gig! Kinda unfinished business. Playing a rip-roaring version of “Give Me Everything”, “Parade” or “Motorcade” onstage with those guys was certainly closure on that one. More great times.

Much has been written of the ‘intellectual’ aspect of Howard’s words without giving him his due credit for the great seam of humour that runs through the work as well as the bleakness – much in the same way they miss it in Morrissey or Samuel Beckett! On that note, I saw an amazing Robert Wilson production of “Krapp’s Last Tape” a couple of days ago and it reminded me that Howard had wanted to start the Luxuria stage shows in a similar way, with him alone on a stage with a reel-to-reel having a dialogue with an earlier self – it could have been amazingly theatrical, but alas, we never got round to it.

SM: Some are saying this is the greatest era to exist as a musician, others say it’s the worst, what has your experience been like?

N: People have always said both! – I guess they’re right.

SM: What has been your favorite moment from being a musician?

N: Oh, you want a David Bowie anecdote?!!……There have been so many great moments (a few of which I’ve already touched on). Recording Billy MacKenzie’s voice on “Pain in Any Language”, in the vocal booth with him with us both on headphones with me conducting the ups and downs of his immaculately controlled voice. R.I.P.Listening to the chart-rundown in 1995 and hearing that “Astral America” by @440 had just gone in the charts at #36 was up there, as was getting to be on Top Of The Pops with subsequent Apollo singles.Having the greatest living guitarist, Jeff Beck round our studio every day for a week while we were working on co-writing and producing tracks for his “Jeff” LP was a bit special.

Seeing my first scored feature film “Une Affaire D’Etat” on the big-screen at the premiere in Paris.

Playing onstage to over 100,000 people on Bastile Day ’98 with Jean Michel-Jarre as a million pounds worth of firworks went off on the Eiffel Tower immedioately behind the stage.(France had won the World Cup the day before, so people were still out on the streets and there was so much joy in the air).Seeing Van Halen open for Black Sabbath in Southport in 1978 and realizing that playing guitar was never really going to be quite the same again!

Darren and Ira - EX-DOMINATRIX

SM: How did “Ex-DOMINATRIX: A True Story” come about?

DARREN CAVANAGH: I met Ira and was immediately taken by her style, presence and great story telling capabilities. I wanted to make a film about her life. At the time she was still a dominatrix but I could tell she wasn’t enjoying the process anymore and longed to do something else. The incident in 2010 changed everything for her and she gave up the work after that and started on a new life journey. This is where the real idea of film came about.

SM: What is your perception of the BDSM scene in the UK?

DC: It is still very active even although a lot of people who part take it (including lots of people in authority or government I may add) would deny it. The fetish club scene is still very popular and people love to do kinky stuff in the UK. It’s kinda part of our tradition.

SM: What is the message of this film, what do you want people to take away after they see it?

DC: Explore your creativity to the max in all that you do and when just when you think life has you whipped get back up and follow your vision even more.

SM: For those who you want to help finish funding the movie how would you describe the project, and why is this project going to be different from every other movie this year?

DC: It’s been a labour of love for everyone involved and challenging at times to get the best footage on a very small budget. The film has been shot in the UK, Europe, Goa, Antwerp, Amsterdam, Belgium and the US. It’s a truly international production and we need the funds now to finish it in style and actually pay dedicated members of the crew, including myself who have worked very hard on it. I quit my job of 20 years last year to make this film so I have no other form of income right now until I finish and sell the film. It’s a specialised genre but the message in the film is truly universal and Ira’s story is totally fascinating, entertaining, shocking at times but ultimately very inspiring. I think people will be truly surprised after they see it.

SM: What is your idea of a perfect movie?

DC: ‘Badlands’, ‘ The Wizard of Oz’, ‘ ulp Fiction’, ‘ melie’, ‘ was , ‘Taxi Driver’,  Any one of the ‘ The Three Colours Trilogy’, ‘Le Reine Margot’, ‘ Searching for Sugar man’, Watching any one of these film with my darling wife.

SM: What is your favorite scene from a documentary?

DC: In ‘ Man on Wire’ when Philippe Petit describes walking across the wire between the twins towers and his friends cry recalling the majesty of the moment, beautifully accompanied by classical music.

SM: What inspired you to want to make films?

DC: My father inspired me by taking me to the cinema constantly. Sitting in the dark for probably a quarter of my life being transformed by images., music and the craft of film making. I was hooked at 7 always and have been since.

SM: What has been your favorite moment from being a filmmaker?

DC: Being in the moments pure and simple. The process is made up of them but creating them with people is the magic of film making.

SM:Have you started to consider your next project, can you give us a hint about what it’s going to be like?

DC: Lots of ideas and a documentary on my family from Liverpool and one about Edison and cylinder music from early last century.

SM: What is a perfect moment that music and film come together that you could spotlight?

DC: Ext – The ocean, dum dum dum dum.  It doesn’t get any simpler. John Williams masterstroke at pure cinematic perfection for drama and music to create a terror we can’t even see.

SM: Do you have any strange addictions? (biscuits, latex, tv shows?)

DC: Too many to name and the older I get the more I let them go.

N: Those sour blue and pink fizzy jelly worms (3 packs for £1) – I go all crazy-hyperactive at the thought!

SM: If I were to vacation in your hell what should I expect to find there?

DC: Myself thinking I’m actually in heaven.

N: Wasn’t it Jean-Paul Sartre who said it best : “Hell is other people”

SM: Have you had an experience with the supernatural that you’d be willing to share?

DC: I saw a ghost on a school trip when I was 14. It was pitch dark and it hovered in front of the window and looked at me. I was happy it was outside in the forest not in the room.

SM: If you could collaborate with any artist living or dead who would it be?

DC: J.S. Bach – I’d just put a bit of compression and reverb on his church organ and take half of the credit for his genius (like all producers do!!)

It saddens me to say but recently deceased film composer James Horner who tragically died in a plane crash on June 22nd. I finally got to meet him this year for 2 hours and he was as gentle, kind and as creative as his music. I would have loved to have him score an inspiring documentary of mine.

SM: What are some of your favorite films, and a favorite line of dialog from a film?

DC: I can only do recent as there are too many. I loved ‘The Wolf of Wall Street’ and ‘Boyhood’ last year and “You’re gonna need a bigger boat” and “Go get the gimp” Almost every line from the scene where Fred MacMurray and Barbara Stanwick start flirting in Phyllis Deitrichson’s house in “Double Indemnity.”Almost every line of Eddie Murphy’s cheeky back-chat in “Beverley Hills Cop”.

SM: Can you describe your most emotionally moving moment involving music/film? Or, the moment of live music/film that has had the greatest impact on you?

DC: The end of ‘ he Double Life of Veronique’ when Znigniew Preisner unleashes the film symphony by the dead composer in the film and the end of E.T. No words just lots of tears and a 80 piece symphony sending us into the heavens and ending on a boy’s face without a father.

N: The first movie I ever saw in a cinema (with actual loud music!) was “You Only Live Twice”. The first time John Barry’s amazing “Space March” started it’s ascent, near the beginning of the film, the course of my life was set.

SM: Have you ever been to a psychic, would you be willing to share that experience if so?

DC: My wife reads me better than any psychic better ask her.

N: “No” and “Yes”.

SM: Do you feel things happen for a reason, do you have an experience that would be evidence of this?

DC: Life is as it and every moment is trying to wake us up to our true selves. Notice this and be in the moment and nothing else matters.As Bob Dylan put it ” The highway is for gamblers you’d better use your sense, take whatever you’ve gathered from coincidence”



 Here’s more info on their website: http://www.ex-movie.com

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Screen Shot 2015-07-02 at 6.11.46 PM

It’s that fucking time again, get ready to dump out your wallet on the crystal castles offerings alter, again I’m constantly embarrassed to say that it is FUCKING WORTH IT. How does this dude continue to do it? I have no fucking clue, but well worth you time. I’m be a twat here and say DECIDE TO LISTEN TO THIS SHIT:


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D e p r e s s e d 0 4 0 // deathcvlt


You probably think you are depressed, but wait until you hear this shit. You are in for one wicked roller-coaster ride in the dark. You know I don’t lie when it comes to the sanctity of the music I present here on this alter for your soul’s nourishment. The oscillators are at full max, the amazing samples are all over the fucking amazing map. This one is in full overdrive and I am loving every second as it continuously punches me in the chest. It may be a hot summer day here in the Northern hemisphere on the edge of this forest that I call home, but this Swedish artist takes me to a place much colder and ventilates some darkened melancholy.

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Prison for Kids // Revived Divine

prison for kids

The Kids are one of my all-time favorite artists doing what they are doing today in the modern shit fest which is the post apocalyptic days of the dead music industry. When I say “artist” I mean that shit in big amounts too! Call it the highest form of flattery around. Real artists are the types that are constantly pushing the boundaries of creativity. I have not heard a Prison For Kids album yet that sounds anything like a previous release. And…they are not going off and making unpalatable garbage either. Every album is a gift to my hungry ears and I am all over that shit as fast as they release it. I like to dabble my deep dark dives with experimental dreamy gaze and this is where “Revived Divine” fits in to my best laid plans. Take the opener “On Night” which teases the soundtrack of my darkened slumbers. Then wash it away with embracing pop structures which is all-together abandoned song after song for warped experimental soundscapes. I believe it is the crystalline notes that ultimately leads this black cat down a path of unique propulsive experimentation. Get this shit today!

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Dead Dreamer // Ночь Молода


The already shaky FREE Wi-Fi at the Burger King gets turned off around midnight so it took me a while to find this release by Phantasma. Dead Dreamer releases Ночь Молода and it is just purely surreal. In my world that’s a good sign and it shows that the artist is tapping some majorly deep cuts from the darkness abound. By the time the track “Mystical Sparks” rolls around I know the album has me as its prisoner in an infinite loop of repeat plays. This is one of my favorites of the year thus far and you will entirely agree once you play this bad boy.

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