Brainterviews
INTERVIEW WITH
SEBASTIAN ELLIOTT OF BRAINDANCE
TRANSCENDING THE MUNDANE MAGAZINE, U.S.A.
OCTOBER, 2001
1) how do you feel about the new disc?
i usually start with a gentle caress along the spine of the jewel box, slowly building tension until the cellophane wrapping is removed, exposing the plastic divide between you and paradise...
2) why did it take so long to be released?
As you may already know, braindance is technically an unsigned act, and thus, progressive darkwave recordings (formerly double edge music) functions as a record label and management in name only. we've had limited dealings with limited companies with limited integrity and limited dealings with limited companies with limited funds, but nothing substantial. except for a number of individuals who lend their talents because they believe in the project, braindance is self-produced – we've been blessed with the learning of this wonderful business as we go.. i feel very fortunate to have had so many people pick up on what we're doing, and purchased our releases, but doing it by yourself takes a strong toll, especially financially. we wrote and subsequently tracked the album over the course of 1998, and into 1999. unfortunately, several tragedies would follow that prevented redemption from being released as scheduled, including parting ways with long-term drummer notorious, keyboardist/backing vocalist robynne naylor, bassist andy calcina, and more than a handful of flaky investors, production houses, and labels for the cd's release. i think we've been extremely fortunate to receive an overwhelmingly positive response to the pre-production material that was sent out over the last year in preparation for the release of redemption. with a self-produced entity that survives primarily through the underground, there can be quite some time between release and reaction. perhaps the disasters that have delayed the release were, in part, a small blessing in disguise, as the buzz has gradually increased in the underground. either that or we're just really, really, really fucking slow..
3) in your opinion, how has braindance grown since fear itself?
i know, personally speaking, i must have put another 1/2" on my biceps of quality muscle. certainly my calves have developed considerably, as well as the entire mid-level trap area...actually, braindance hasn't grown so much as mutated...
4) imagery and artwork appears to be something important to braindance, how would you describe your image?
lots and lots of ice and mad bitches, son.
5) braindance was once a complete band, what happened and why did you decide to continue as a two piece when recording redemption?
we found that we could make our photos on the release larger if we removed everyone else.
6) i have heard a few friends, who i would highly recommend (joe and dave from october thorns and eddie faust) are trying out for braindance – does this mean that you are getting a full line-up and possibly touring?
impressive research, brett, most impressive (now i need you to tell me what i did with my fast times at ridgemont high dvd). i liked david from the moment i met him and thought his attitude, drive, technical approach, and cologne was exactly what we needed. when i asked david if he knew of any drummers that he felt comfortable with, who also had good cologne, he immediately recommended joe. since then, we've had rehearsals that have gone quite well. we'll have to see once the ball starts rolling, and we start rehearsing regularly, whether david and joe can stand us for very long. ed faust, with whom i've spoken to a few times, contacted me about the drummer position after i had already given joe the green light. however, not only does he also seem to fit the bill in ability and attitude, but he has a fantastic array of musky spices at his disposal. currently we're searching for keyboardists and female backing vocalists for live performance in support of redemption. call us right now, our brainoperators are standing by...
7) explain the lyrical concept to redemption.
the latin phrase preceding the title track of redemption essentially means, "as above, so below," and can be interpreted as 'what comes around, goes around,' or karmic intervention, a central theme within the album, although i believe in a good measure of ambiguity when writing lyrics. naturally, the themes have specific meanings for me, but i try not to assign definitive conceptual values to phrases, because i think listening should be somewhat interactive. insofar as everyone's experiences are different, so should their interpretations be. whereas i might see despair and desolation, someone else might see mozzarella sticks.
8) braindance has been hailed as one of the most original bands ever, you effectively combine prog and goth among other styles to near perfection... what led you to take this musical direction?
thanks, brett, although I don't think that we've done anything unbelievably earth shattering. when we first started producing music, we never really knew what it was that we were doing in the sense of categorization – we simply produced music for the small purple gnomes with lobster forks that followed us around. when vora and i first met, i hadn't even listened to contemporary music for four or five years, and didn't exactly know what genre i would have liked to be associated with. i had been completely removed from current musical trends, listening to absolutely no music whatsoever for 3 1/2 years, most likely due to my heavy involvement in music as a youngster and my strong desire to forget (or run from) the misery of that period.
after meeting vora, i knew that i had met someone special that shared the vision to lead me back. after our sessions mainly consisted of writing material, developing lyrical concepts, and committing them to tape, some of which would appear on 1994's shadows ep. after watching an episode of newhart, we sat down and discussed what it was about our music that was important to us how to expand upon it. it was only after receiving press and response from both the goth/industrial/darkwave community and the progressive community, that we came to be familiar with terms such as gothic, darkwave, ambient, industrial, progressive, death, black, doom metal, etc. in fact, i'm still not clear (and have yet to receive a satisfactory explanation) on what those terms and their respective boundaries are. perhaps if i had been clear on those terms and how they are supposed to be communicated musically, we'd be doing something completely different than braindance, something completely identifiable (and non-threatening by industry standards). on the whole, and not surprisingly, i'm a fan of all of the sub-genres that make up braindance – goth, industrial, progressive metal, darkwave, classical, progressive trance, and anchovy fudge – generally, anything with dense programming, multi-layered composition, distinct melody and/or of a darker nature. however, as mentioned, it was the small purple gnomes that lurk under subway platforms that eventually led us to take this wacky trek through progressive darkwave.
9) do you think the music might go over people's heads because it's not easy to classify?
Absolutely. most people experience a certain amount of anxiety when ascribing positive feelings to something that they're not sure others will like. certainly, every musician aims to spread their music to as many people as possible – i would be lying if i told you that i didn't want large quantities of people to hear our music. however, the structure of the industry is based upon financial return, like any other business. i think we've been extremely fortunate to receive an overwhelmingly positive response from the underground press, fans, and radio community. however, in order for a label to dump a heap of cash on you (and subsequently attempt to convince the world's children that you're the niftiest thing around), they've got to be sure that your style of music has an audience and has succeeded in other realms with a competitor. the competitor must have had one of you, and have done rather well with them. otherwise, the aforementioned anxiety translates into business risk.
10) what are your goals for braindance and do you think it is possible to accomplish them in this music scene?
writing music that doesn't make me cringe, writing music that doesn't make everybody else cringe, and having little discomfort whilst urinating. the goal should, at least partially, to please one's self. I think it's important to produce music that you believe in, which represents a unique voice. I think it's also necessary to push the limits of not only what is out there, but also what you've created for yourself. a constant supply of comic book action figures might also be very nice.
11) this album showcases a heavier guitar sound and the vocals are more powerful than ever, how were you able to improve these, among other, aspects of the band on this recording?
the guitar sound and all engineering can be attributed to the fantastical talents of vora vor, who produced the entire release.. the powerful vocals can be attributed to a new power elixir that allows me to fly through sheetrock.
12) any final comments?
sometimes minced garlic is more appropriate than chopped.