|
||
|
Music InterviewGlampireby Jett Black
In an age when far more and more people's time on-line dominates over time spent off-line, Glampire manages to be well-read in addition to time spent rehearsing and developing scores upon scores of new songs providing hope and guidance in the midst of social and political decay within the music industry. With four releases available, a new video, a fan-club and perhaps three more releases planned for debut during the year 2000, Glampire stretches and extends crafty hands further into new media opportunities without losing touch with a strong, supportive fan base of avid music enthusiasts via a message board, an extensive list of audio clips and many other resources available on-site at http://www.Glampire.com where Glampire has much to say about new music and future perspectives within a new music industry that is ever evolving in vain attempts to keep up with a myriad of new resources available to independent musicians everywhere. Not so alone now with a vision rapidly encompassing the underground, Glampire gathers close and confidently responds to a detailed and in-depth inquisition... Track-3, Conviction; "…Strength that you spoke of…" - to what is Glampire referring when he is delivering this dagger? Conviction was inspired by a friend who kept running back to a lover who was a horrid person. She would always say how strong she was with conviction, alas… In the end she would fall prey to his charms and be hurt once again. It is tough to have conviction in the face of love, especially when you are weak at the core. Next Track, Peace n' Glitta n' Phasion - Bravo! Excellent on the guitar stylings, which incidentally _rawk_ throughout The Heraldic Universe. Describe how you relate to your music through the guitar workings. In the studio there are no rules. So…whatever works is what stays. I had a zillion different approaches to this song. It manifested itself over a period of about two months. It was a case of wanting an arrangement that built with unexpected changes. The guitar was the foundation of the musesick. It was written on acoustic guitar. All of the other parts were then added. The guitars in the outro are quite a favorite of mine. The solos that accompany the voice are reminiscent of Jonny Marr, at least to me. Passionate Heightened Awareness Intellect Over Negativity (P.H.A.S.I.O.N.). Okay, break it down now, and let us know how you formulated Phasion. Did Glampire find Phasion? Or did Phasion find Glampire? I have been a freak, for lack of a better term, for quite some time. I get a lot of shit based on who I am as a person. The way I look, act, carry myself, etc. I always drew attention. I have known many people who are cool, bothered no one, lived their lives and actually tried to just get on with getting on - still, they got fucked with. I am sure you know people like this. A saint, I am not. However, I know who I have problems with and what those problems are based on. I know who is just prejudging me based on my appearance or based on their fears. Peace n' Glitta n' Phasion is based on this. Peace because we all deserve it. All of us. Even the idiots who are messing with us need the relief of fear. Glitta because we are all beautiful. I know it is in the eye of the beholder. However, we look at ourselves quite a lot - and if we feel beautiful, chances are others will have a better view of us. Phasion because, well, being it is about getting judged on the way one looks. I needed that hook. I did not want to spell it the English way, so I used a ghetto slang version. It was quite some time later that the breakdown by letter came along. It was just another flow of the muse, so to speak. So it found me, then I figured it out. I like to keep the process fun. Peoplee xpressing and searching for their true-selves, or who desperately want to, should be comforted in the fact that they are not alone. They are not weird or perverse. They are fine and are welcome to my party anytime. Age/sex/color/gender/faith/musical likes & dislikes (even my stuff) - some of my dearest friends are perplexed by my music, so be it! As long as people are cool and respectful, it's all good. I have little time for dead end confusion. I consider myself a realist, meaning I base my actions, thoughts and emotions in reality and not on what I hope it will be or "think" it will be. If one is passionately aware and using intellect over negativity, then most likely you will see the truth and through that be set free. Happy? Well, that's a whole different issue. Track-5, My Own God. Immediately, my thoughts drift back to the Vampire Lestat; the glorious, god-like in omnipotence, rock star of the Queen of the Damned by Anne Rice. Aside from my vivid imaginings, please tell us what *is* the vision behind My Own God? What is the context? My Own God, the video. What news? That song immediately filled the room with energy. I had the main guitar riff for the chorus and a groove on the drum machine. As it built, I knew it was going to be a corner stone to the CD. It was again a case of 'later, after the song was done'. I was re-reading The Miller/Durrell letters, "A Private Correspondence." I came across a letter Miller wrote to Durrell about discovering one's self through their art and realizing they were God. That in the end we are afraid to admit that, and that in the end that is our crutch and our best defense. To find one's self is a great and arduous task. Most people give up right after high school or college. The search is life long and of it importance to you. Your plateaus are few and the challenges many. I never read much Anne Rice. Though I did enjoy what I did read. I have much respect for anyone who finds their way in the world through their work, and she obviously has. I am my own God because no has come along to save me yet. I do all the saving myself. Most people have to save themselves in the end anyhow. Our world that exists presently does not show too many places that are 'safe havens.' Schools everywhere are a war zone. The political tentacles of government are plugged in and watching all of us. Money is still the great divider and the great equalizer. Cover-ups and hypocrisy are due course of action in all sectors of society. Church and religions have been shown over the last 2000 years to be nothing more than fear institutions and money laundering fronts. So, if I am against myself and not in control of my life, then who is? The superpowers of the Universe are watching us and they are just as confused as we are. Track-10, All That Glitters. "...Make believe you're someone else long enough, until you are the person you always wanted to be." I remember that Cary Grant said that was how he became the person we (as a society) knew him to be in real life and in film. Comments about his demeanor and personality prior to attaining his ideal perfection tended to paint the picture of weakness and maladroit insecurity. Where is Glampire on your trek of make-believe? Good question. I am as strong as an egg, as I tell my friends. Hahaha! This song is again about the forces that thrive on anything 'special' - which we all are if we really want to be. The ultimate choice belongs to each and every one of us. I always wanted to be the person I am right now. Of course, there are some surprises that sprang up, but all in all I am quite happy with who I am. My discontent comes from the outside world. NYC has a lot of leeches, parasites and out & out jackers. This business I am in is filled with people who are out to take all they can get with as little as possible being done on their part. I am who I am all the time. I do not have a 'performing persona' and a 'street persona.' What you get in the songs is me and visa versa.
Build a Machine is a simple plea for something to come along with what we need as humans. I've read "Love in the Ruins" by Walker Percy a number of times. In that book, the main character builds a machine that massages the soul. It treats all the afflictions medicine cannot reach - self-esteem, love, hate, self-hate, etc... So the basis was around that novel. I highly recommend it. Most important to many of our readers, "Can I dance to the music?" What does Glampire say to these readers? A resounding YES! I like to dance and there are some really great grooves on this disc - My Own God, All that Glitters, Shake Me Take Me Make Me… Glampire gears up next to tap dance through an array of musical endeavors including several new CD releases, remixes, a tour, launching a new fan club, auditioning DJ's and abolishing corporate injustice in the new music industry... A slow week. Did I miss anything? Care to elaborate on any of the above? That is pretty much an average week for me. I do this 24/7 365. What the hell else is really more important? I like to be busy and active. Many people I have known are still talking about putting out a CD years later. Many people I know have had record deals and they are worse off than I am! As far as a tour, it comes down to economics and having all the right factors in place. I have been trying to conceive of a remix CD since The Heraldic Universe was in full swing. The fan club is a good way for people to get a lot of cool stuff at a very good price. People are always suggesting it and wanting MORE! Glampire often refers to "The Game." What is the Game? Games, Chameleons, Make-Believe...a world in which Glampire exists against the sicknesses of society as an anti-hero, perhaps? I live in the same world as everyone else to a degree. However, Gotham City is a very intense place, even the average day. Just going for a walk can be like a movie. My life has had some very comic book moments. Anti-Hero? I don't know about that. I say I am the champion of musesick and if that helps in any way, then I am doing my job. If Glampire were alive in the ink of a comic-book world, describe his interaction. What would the story lines look like? I have touched on this before in an interview when the question arose - 'If your life were a movie, which would it most resemble?' I would say it's a combination of Spiderman, Purple Rain and True Romance. NYC has had an incredible impact on me. I know that I can live in any city on earth after my stint of 11 years here. What's so special about Sign of the Times, by Prince, that Glampire would have us experience and explore? Most people are drawn to Purple Rain, or 1999, which are great. But this double disc is the pinnacle. He really let it all out. It has to be heard to actually be understood. I can not do the recording justice in words other than the trite comment of amazing. Buy it if you like Prince - if you love Prince, steal it! Track-9, Lie of the Land. Where did the sound bytes used to introduce this track appear prior to this recording? "...sifting through the bullshit lies makes life hard to balance..." I love the vocal stylings used in the delivery of this line. Due to legal reasons, I will have to keep part one a secret. As far as the vocal stylings, I just kept singing it 'til I was pleased with the delivery - which was quite important on this track. Some tracks the vocals are easy and done in a short amount of time. These are songs that have finished lyrics and a melody with complete phrasing. Some are not even refined when I go to do the vocals. So the melody and the phrasing are what you get as I am writing it. The refining comes on the spot.
There are really no rules to the proceedings. I just let it flow. I am more curious to see what happens when I just turn it on and GO! There are many songs that are written - verse/chorus/bridge/etc... They exist on the guitar and some make it to the CDs. Other songs are born due to the mood created by the day or my life. Some are born out of the necessity that the recording is breeding. As far as 'tricks' with effects and gear, there are none. It all depends on the mood of the material. It all gets a consideration at some point. I am in a place with my musesick and production. I have a good idea of what I need as the composition grows - either from one note or a riff/groove. Describe some of the processes involved in composing and evolving soundscapes. I am a big fan of ambient music. The whole ideology of beds of sound, waves of noise, tone blankets is all a central part of my sound. Glambient is a way of making pop music be passive aggressive. I have had many people say they can play my musesick all the time regardless of their mood. The Smiths did that to me. That quality is important to the production in order to have a complete cycle of emotion on all of the recordings. What images illustrate your visions of a "New Dark Age?" It is entirely possible that we as a race and as a society could be enveloped in a world of government that exudes passive control and sedates with machines. 'Eon Flux,' '1984,' 'William Gibson' and 'WE,' a novel by Eugene Zamatain, all detail these possibilities in frightening detail. This is how I envision a Dark Age, whereby people are kept in the dark by the misinformation and the guise of a booming economy. How much richer are we as a world than at the turn of the first century? Our natural resources are diminishing at a greater rate than ever. The loss of personal freedom is becoming subtlety apparent. The internet is an amazing tool, though the downfall is that anyone can find you and that may not be a good thing at some point. People are going to have to first have a rise in awareness and consciousness if the world of cyber space is going to take on a real power in the world of communication. How do environmental and social stimuli of New York City influence the developments of Glampire compositions? They have their influence in a lot of ways actually. The place one lives should inevitably be a factor on their muse. City life has paid it's price. As I said, NYC has an incredible energy. The characters are plentiful and the events are so varied. Of course there are the mundane everyday events of humankind, though even those have been eventful. Glambient is a Gotham sound. When you sit still in the middle of this madness you hear a symphony of sound. The cars on 6th Ave. play like waves. The voices of glee, hate and astonishment clang outside my window at all hours of the night. Music rings in the streets with abandon. I record in my living space with the world at the edge of my bed. Yes, living in NYC has had an incredible impact on my writing and on my life. What changes in the music industry have caught Glampire's attention most during the '90s? The two main points of change are in culture as well as commerce. The cultural swings towards the 'grunge' or 'no image' style of rock n' roll was a blow to flamboyant performers all over the world. It happened when Mother Love Bone died with Andrew Wood. Then, Jane's Addiction broke up. It went flannel, jeans, guitars and very testosterone. I was a big fan of Nirvana as well as Alice In Chains. But it was NIN and The Cure that got me through. It was Curve and P.J. Harvey that held my deepest musical interests. I felt a big void in the fashion of rock n' roll. This is what I am bringing to the table, as well as songs and some new harmonics in the way of presentation. The commerce aspect changed greatly when there was a huge merger with Seagrams and BMG - though simultaneously there was a rise in indie bands and a movement of low-fi bands and electronic music. There are really only four major labels and all the others are funded by one of them or distributed by them. So the parallel universe is in sync as usual. People are aware of the business now. Most bands know they are getting screwed and are either succumbing to the industry or going the opposite way. I feel that art and commerce can meet and succeed. It depends on how you hook up with the money. In the end, it is still the crossroads curse. They have the better odds and if they want to they can sleep you for the silliest of reasons. The most minor of things can put a kibosh on your deal. A person being transferred or fired can be the reason your deal falls apart. If business people are really into and understand the music and the core audience of the act, then there will be forward advancement. If not, failure is eminent. When not completely focused upon Glampire, what do you do to support yourself? I am who I am 24/7 365. It is all that I do. It is all that I am. Musesick is my main focus. Almost all else is nothing but a minor inconvenience. In what ways will Glampire's live performances differ from its recordings? That depends on the night. I have been doing shows with live musicians as of late. The versions of the songs with live players have been quite different than what you'll find on the CDs. All of the shows are different. The shows with backing tracks may have the exact musesick, but the delivery of the vocal is live - hence the difference. The solo acoustic shows are also a different take on the presentation. Please compare themes employed on The Heraldic Universe with previous releases such as The Beginning of Terror and Pretty Scary. The main theme of Glampire has always been and will most likely always be the possession of personal power, inner strength and self-love. There are many themes, stories and different ways to delve into the human condition. In the end, we all want power from music. It gives me incredible power. I would hope others would find strength and power in it as well. The Heraldic Universe is what those two recordings were leading to. The next CD will be even further in the exploration of organic and mechanic. The songs are written and the band is set. Pre-production is being done now. How do you relate with the music unleashed for Glampire? There is no separation. I am what you hear. I stand behind every note. What would you like to accomplish through Glampire on the dawning of the new millennium? It would be nice to have wider distribution and a tour on both coasts, as well as Europe. As far as the musesick goes, I will have two, possibly three, full CDs finished by the end of 2000. What other recordings, outside of Glampire, have you released? None to speak of. I just finished doing acoustic guitar tracks on 6 songs for Voltaire's new CD. I also played the guitar on Breakable for Psychotica on Espina when they covered it.
Not really. Always a possibility though. What will you entitle the next release by Glampire, and when will it be available? The current work is entitled The Soft White Ghetto. It will be available for the fan club only. There will be a cyber-single available soon. The actual CD will be released by Halloween 2000 - maybe sooner. Then Popscapade is the CD with a band that will be recorded at some point this year as well. Who will be distributing your next releases? At the moment there are a few companies in consideration. Aside from the fan club CD, I am always looking to widen the distribution ring. Where else might readers find The Heraldic Universe and other Glampire releases available for purchase? Http://www.CDstreet.com and http://www.Glampire.com. There are some interesting developments being considered is all that I can say beyond that. What are you looking for now in terms of new musical influences? Anything that moves me. I have no bias when it comes to the muse. Any and all forms are accepted. Which shows have you seen during the past year that impressed you the most? Rufus Wainwright at CBGB's. The Teenbeaters at Arlene Grocery. Diamanda Galas at Knitting Factory. Robin Black and the Intergalactic Rockstars at Don Hills. What motivates you to continue performing and recording music via Glampire now? Why does one eat, sleep, fall in love, work? Simply because I must. I have no choice. It is all I want to do. Just the simple act of organizing sound keeps me interested. Looking back, what milestones have been most notable for Glampire? Well, hitting the 20,000 visitors mark at http://www.Glampire.com was great, because it means the musesick is getting out there. Playing at Wigstock was great. Getting radio play on stations in Chile with 2 million listeners, Australia with 8 million listeners and Lithuania with 2 million listeners. Plus the fan mail and the constant interest from press makes each day a milestone. Let's say it happens, you Make It Big, and retain complete control of your own music even. What then? How would you describe your music, and your motivation to continue as Glampire? That would be the ultimate, would it not? So few artists retain complete control. That is the big battle for all of us. The motivation would then be the same as now - to infuse the culture with a new sound and a new voice. Could you illuminate any significant details that may have influenced the development of sadness in your music? Life provides all of the events and emotions. We are merely players in the grand sense of the word. Being a song writer, I am interested in elaborating on the most basic and grandiose of feelings. I am eternally sad. It is just in my fabric. I am not a dour person. I laugh. I joke. I even carry on. Underneath it all, I am blue.
The pairing is just a matter of dichotomy and balancing the compositions. It is nice to give the feeling of a sun shower, or a cloudy day with a smile and a laugh. Life is not always happy or sad. Sometimes it is a mixture of both at the same time. My musesick will always reflect the way my life is. As a composer, it is my job to keep it interesting and engaging. So when the opportunity presents itself, I like to mix emotions and moods to create a different atmosphere. I actually notice a great deal of influence in your vocal stylings to David Bowie. Talk a little about how Bowie has influenced your interests and musical developments. From the moment I heard him I was drawn to him. I enjoy a lot of his work. Low, Lodger and Heroes are three big ones. Scary Monsters is superb. I like Tin Machine quite a bit as well. The 2nd CD is my favorite. I have also been covering Ashes to Ashes for the last year or so. His production aesthetic and approach to writing is very unique. He always has a hot guitarist and of course the flamboyant presentation. Redundant question of the day: So you want to sell-out, make a million dollars and blow the whole world away, musically speaking at least. What's the secret plan unveiled? The secret plan is to sound unlike any other from the past, present or future. I am only interested in getting the musesick out on a consistent basis with an ever-growing level of visibility and new directions in quality. My production and composition will inevitably grow, as I am constantly working at that. Work smart and hard as opposed to dumb and slow. So far, I am seeing results far better than some of my contemporaries who have record deals. When touring and dealing with a million-and-one decisions, how do you manage to work and interact with everyone involved off-stage and on-stage long before the lights go down and the crowd cheers? This all depends on the day, the gig and the structure of the show. When I get to the stage all else melts away and it is only musesick that matters. I have had to go from fighting, from being ill, from crazy cab drivers, from being told there will be no money, etc. And then right to the stage. All that matters is you deliver the goods so the people go away happy and interested. Do you rehearse in private? Do you have a gaggle of goths hanging on at your rehearsals? Yes. No. What particular interests (musical, or not) might you explore along the route of this next tour if opportunity permits? If the tour happens I will be looking to sleep and jot down as many musical ideas to the portable 8-track as I can. A tour is hard work. What new opportunities would you seek and develop to advance the music of Glampire? That would include any opportunities that yield high visibility and make sense in the area of commerce. Artistically, anything that yields the most creative and best results for making the musesick grow is what I'm looking for. Any re-mixes from previous releases? Possibly. What changes have been made in Glampire during the last year, or even since the release of The Heraldic Universe? The main change has been in the direction towards even more pop-oriented musesick and making it groove in a danceable way. The organic band is taking on a nice feel and there looks to be more future writing in that format. What songs have been in development since The Heraldic Universe was released last year? A disgustingly vulgar amount of songs. Say 50...maybe more. Considering bands with which you have performed in the past. What experiences seem most memorable for you and what have you been able to draw out of those experiences and into Glampire? The last official "band" I was in taught me I should have become a solo artist from the very beginning! Even though it was the best one, it was still not as functional as doing it all on my own. The SqueezeBox band taught me to just have a good time and to let it all out. When I get up there in front of a room full of people all I want to do is impact them. Bottom line is give em' what they came for - which is to be taken out of their lives for a bit. We all want to be entertained and impressed. Where will you be travelling during the course of your next tour? That is still being decided. Depends on the money... ??$$??$$?? What gear are you using to develop music for Glampire? I am the sort that seeks out what I need and then gets on with using it. I have a Roland VS-1680, VS-880 and a MPC-2000 by Aki - which is my studio band. Also, I have a Yamaha DX21 with a Roland JV880 sound module. I take many sounds from sound discs, pieces of noise, radio and TV. I am not a gear head at all. I only use the manual when the machines aren't doing what I want them to. They make gear very user friendly. As long as one can understand the language, all that really matters what the end results are. I have a cheap bass and three guitars, one of which is a Dan Electro - best guitar for $300 bucks I ever had. The other guitars are a Les Paul and an Epiphone 335 - which is like a BMW! Quite smooth! Though I could really care less what the gear is. It's all in the ears. Which musicians have won your admiration in the music industry and why? There are many for many different reasons. Some I respect for their art. Some I respect for their willingness to be committed to their career. In the areas of business, music is as bad as any other is. The structure that is in place, at any of the four remaining major labels, allows people fresh out of college to get a job and make more at the end of the year than the performers/bands/musicians they represent! For what? If someone gets in and then gets out with control of their masters AND has managed to save enough money to keep their career going AND still be a vital force in culture (IE: Madonna or Queen), then they've really accomplished an almost impossible feat. You have to look at these people and their careers as examples of people who actually made it through. Everyone knows Prince's story by now. When he appeared on the Today Show with 'slave' written on his cheek it was a huge FUCK YOU to the industry. Some would say they treated him fairly and that he should be 'lucky' or that anyone who gets a deal should consider themselves 'lucky.' Only if the people who are supposed to be doing their job get it done and do not jack the musician of money should they be getting paid. I have a great respect for anyone who has the guts and determination to believe in their music and the tenacity to keep it going. So many people just cave and play along. Then they still get fucked and they wonder why.
I am always interested in any venture in media. There are always things being considered. Best to keep em' under wraps so they do not become stale in the rumor mill. What new goals will you focus upon now? The two main goals at the moment are to get the current CD, The Soft White Ghetto, ready for the fan club package and to start the recordings for Popscapade, the CD which will feature the organic band as well as the electronics. Also, the video launch at http://www.Glampire.com… What more would you like to share with our readers? This interview pretty much covers it! The question should be - what other topics would you like to ask about? What other topics would readers like to know about? I will talk about anything. There are no taboo subjects. Lawrence Durrell is quoted within the inserted pages of The Heraldic Universe release... "To have art, you've first got to have a big personality, pass it through the social mincer, get it ready for misery." How does Glampire interpret this commentary? And how are Glampire's interpretations conveyed via lyrics of The Heraldic Universe? Considering the letters of Durrell and Miller were written nearly 30 years ago, they are still so relevant to the world today. Not that much has changed in the venture of art. They had a hell of time getting their art out to people. Tropic of Cancer was first printed in France. It was immediately banned worldwide! Talk about censorship! How many people since Miller wrote books, played music or other forms of art that were shut down or ignored because some suit and tie 'educated' business man could not understand it? Too many to mention. How much have we grown as a world? Durrell was the Henry Miller champion. Miller was deeply hurt that 'the illiteratti' was blowing him off. Durrell was so afraid to give in to his passion of writing a novel that he would write under a pseudonym ...writing travel books or paper backs for the house wives set. So the excerpt you chose to focus on is a consolation to both writers. Durrell is the one who gives the feeling of channeling the muse a name - 'the heraldic universe.' That is where one is in the moment as they say - only space, no time. I myself, some four years ago, gave up the silly notion of time. Many parallels were discovered while I read this book. When you do give in, as Miller did, you know you are a goner yet you carry on. He had a big personality as did Durrell. They knew their calling and despite war, famine and thin pockets, triumphed with dignity. How is art conveyed now in society as prophecy? The artist ultimately decides the direction of their discourse. Looking at the present and predicting the future are the same, no? What is time but an illusion? Everything can be looked at as art and our lives are all prophetic if we choose for them to be. What side are you on? That is one of the great questions. How do you see your creations? Do they fill the world with the light of something new? Or are they the pale mediocre imitations of your influence? This is part of an essay I am working on. It is about the new responsibility of the artist in the 21st Century. Who is sleep walking and who is awake? How does Glampire propose to conceptualize and create the heraldic universe? Well, as I said the book had a big impact. Mainly because I found myself in some parallel situations and experiencing some of the same challenges as an artist/composer. I live in the heraldic universe all the time. Durrell presents ideas such as "duration" and "physical disintegration" both as being falsely conceived ideas and that, "THERE IS ONLY SPACE." What do you believe is meant here? And please elaborate upon your interpretations in terms of how Glampire makes new presentations via messages conveyed within The Heraldic Universe. Durrell was a knowledgeable man in terms of religions and the possibility of being ageless. I am a practitioner of extremely clean health and spirit. I am here to tell you the aging process that most humans undergo is unnecessary and could be reversed or forgone all together if they knew the truth about how to feed themselves. So, with this in mind, I too know that time is a number on the wall. Space is all we have, and there is a lot of it. Describe for our readers music that is "glambient?" It is the combination of pop and ambient scapes as a foundation. The inclusion of tone blankets or waves of constant tonality can expand the pop format to give a new harmonic spectrum. We do not need any more Beatles rip-offs! Espina, issued by Psychotica (1998), includes 9-tracks including Breakable, written by Glampire. Who is the 'speaker' in Breakable? And what does the speaker hope to gain in disclosing this fragility? The speaker is anyone who has felt they were breakable. This song was written in one sitting and fell out almost complete. The second verse was the hard part. Not until the Espina session was that decided on by me - the day of the recording no less! Gain? Well, gain was not the incentive, honesty was. So in that we always find the meaning and the truth of a situation. How can music enthusiast's best contact Glampire for more information? What other resources might be available for avid readers? The website has it all and more! The Heraldic Universe is reviewed by Marcus Pan in Legends #92, November, 1999. |
|
Decades of isolation and social persecution upon the
gothic and the glam rock enthusiast fade now in light of heightened social
awareness of new musical cultures submerged beneath archaic headings such as
alternative. The grey scales, which have characterized gothic music subcultures
quite universally now are gaining color across the spectrum of musical
influences delineating themselves away from compliance to generic titles
well-known above ground only as "Gothic." As Mp3 promoters everywhere predict
the demise of, again archaic, vampiric structures and systems within the
overall music industry, Glampire rises from the ashes of New York City ruins
uniting new music enthusiasts to embrace their individual differences and
recognize special skills and traits defining personality from within. 
Track-12, Build A Machine. A track which
brings the heresy of humanity and deity into focus, and in dark waves of
choir-like intonations, slowly closes the curtain on The Heraldic
Universe. Another apocalyptic vision? Where is Glampire taking us with this
one?
Describe some of the
creative techniques used to achieve specific aspects of Glampire recordings on
The Heraldic Universe.
Any side projects currently being
developed?
What influences you to couple the sadness with
upbeat pop? 
Besides performing live from one gig and tour to
the next, what other forms of media will Glampire explore in the future?
|
|
|