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|_ Interview with Biomechanic
By Gerard Bumanglag a.k.a. Abortedlife
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Jul 07, 2008 08:55 am
Edited : Jul 13, 2008 04:31 pm

abortedlife
Posts : 496

MyGothicHeart.Com Interview with Biomechanic by Abortedlife

MGH: What drove you to become involved with yet another musical project later on in your career?

I needed to branch out and explore other music. My roots are Goth (Oxygen Law), but I can't just do one kind of anything. There is a side of me that loves Dark Cabaret and Dance music, and Biomechanic allows me to do that, including throwing a little bit of Goth in every now and then. I wanted to do something completely different musically and visually from anything I'd done in the past.

MGH: Please update us on the current line-up of your new outfit known as Biomechanic.

Biomechanic's current core line-up is Dana Sol on lead and backing vocals, myself on keyboards, samples and electro percussion. EJ Emmons (producer) and Vaughn Michael do occasional backup vocals. We would have used Vaughn on "Get Up" (he's got a great voice) but he moved back to Pennsylvania. There is a well-founded rumor that he may be moving back to Southern California. If so, he will be part of Biomechanic on a solid basis.

MGH: What happened to your former band called Oxygen Law?

Oxygen Law is on hiatus while we do Biomechanic. I still record ideas for O2L and have every intention of continuing on with the project.

MGH: What are your most recent influences musicwise?

The most "recent" bands that are heavy influences for Biomechanic are Skinny Puppy, Front 242, and Front Line Assembly. Much of Thrill Kill Kult's pre-1990 discography has been a major influence as well. "Kick" was particularly influenced by sample-driven songs like "A Daisy Chain 4 Satan" and "A Girl Doesn't Get Killed By A Make Believe Lover 'Cause It's Hot." TKK was the only Industrial band that used sampling creatively. All the other Industrial bands were merely clever with sampling, not creative. The genius of Laurie Anderson, Visage, Gary Numan, Wendy Carlos, Vangelis, Grace Jones, Fad Gadget (Frank Tovey) and even Manhattan Transfer are also major influences. "Fembots in Las Vegas" was influenced by the pioneering synthesizer-driven work by Giorgio Moroder and other progenitors of epic 8 minute Disco tracks. I try not to be "influenced." Inspired, yes. Influenced, no.

MGH: Have there ever been any tell-tale signs of disaccord among the members?

Not really, no. The current line up is very cordial. Everyone plays well with others.

MGH: What obvious changes have you implemented in terms of the lyrical aspect and recording methods used?

There is very little difference regarding the songwriting and recording methods as I tend to record (put down tracks) as I'm writing. I write in-studio. An idea for a melody comes, then I play it into Logic Platinum [we have since moved to Nuendo] and work from there. It's a complex layering process. One track gets layered onto another; one idea gets layered on top of another and a song is born. To date I write and play all of the music. It's laborious and tedious. A hell of a lot of work. Not at all recommended and not at all how music was intended to be written or performed.

MGH: How would you describe the ongoing progression of your trademark style?

Biomechanic's trademark sound is…"unexpected." Biomechanic is completely electronics- and sample-driven so our sound can be anything we want it to be. We do everything from Dance, Dark Cabaret to Vangelis-inspired Blade Runneresque music noir. I never want people to know what to expect from us from song to song or from project to project. Biomechanic is uncompromising, experimental electronic music with an edge, and (hopefully) that comes through in the music.

MGH: Does the track "Missed" indicate more mellow pieces to come, as opposed to your otherwise upbeat electronic side?

"Missed" is evidence of what Biomechanic is really all about. We're not about dance; we're not about comedy although what we've put out so far could be construed as exhibiting elements of both genres.

One day during an intensive rehearsal, Dana went to lie down and recharge. In the interim I sat down at the piano and played a free form Arabian/Middle Eastern song off the top of my head. The next thing I know Dana's in front of the mic improvising the most beautiful East Indian and Middle Eastern vocalise. It was discovered that we both have a deep love, ability and appreciation for darker, other-worldly music. We will definitely be bringing that to Biomechanic in future.

We consciously released two dance singles back-to-back for the sole purpose of getting people's attention. We wanted something radio-playable and dance club-playable right out of the gate. The adage that you have to hit people over the head for them to notice you is basically and unfortunately true. At the same time this doesn't mean you have to go about music, or any Art for that matter, in a blatantly juvenile or imbecilic fashion. We're taking Biomechanic into ethereal and experimental realms. It's really just a natural progression of how artists work. Everyone involved in the project, including EJ, is too evolved to stay in the quagmire of mindless Pop forever, and I really don't understand people who do that sort of thing at all. It's inconceivable. Sellouts may be millionaires but they're mindless, soulless cardboard cutouts posing as human beings playing to mindless, soulless cardboard cutouts posing as human beings. And they'll have to make up for it in their next life, so they're not getting away with anything in this one [laughs]. Biomechanic will still do dance music, no question about that, but Biomechanic is not exclusively a dance entity.

MGH: How very important or significant is this latest incarnation to you?

This new incarnation is extremely important to me. We want to tour. We would like to take Biomechanic to Japan and to Europe. We want to put together an actual show, not just a boring concert where idiots in t-shirts and blue jeans stand on stage and slog through a set. Anyone can do that. We want to do a live show that is strong in story, performance and visual imagery.

MGH: People would undoubtedly interpret the lyrics of "Kick" as highly political. What can you say regarding this sensitive issue?

"Kick" is strictly a political song, very uncharacteristic of what I've done in the past. "Kick" is an anomaly, artistically speaking. Biomechanic is not a political band. We do not subscribe to any particular political faction. None of its members are politically-minded. We're very aware and hyper-conscious of what's going on in the world but we're certainly not a politically-oriented band. "Kick" was probably not the best kind of single to debut with as it might give people the impression we're politically focused. In the simplest terms, "Kick's" subject matter is time-sensitive and that time-sensitivity mandated the song to be our first single. In all actuality "Get Up" is Biomechanic's first single.

MGH: How much time do you normally allocate for your creative process and some other related activities?

It depends completely on the song. It can take anywhere from 1-3 days to get a draft down which can, and is, worked on intensively to produce a finalized version. It takes an exorbitant amount of time to do even one song, and if anyone tells you differently they're lying. Anyone involved in true recording knows what it takes to put out just one song. The work is excruciating. The time and effort is unimaginable. The experience can be, and usually is, hell. Nothing ever goes as planned and nothing ever gets released on time. It can take anywhere from 3-4 weeks to 3-4 months to do one song. Again, it varies from song to song, but realistically that's the timeline.

MGH: From where do you prefer to extract your underlying themes and ideas?

The underlying themes for the songs are always mandated by the music. The music always comes first. The lyrics come later. Once the music is written, I listen to the song over and over and lyrics and themes develop out of that process. The music drives an emotional response and that response drives lyrical themes. The politically-minded theme and imagery for "Kick" developed during the listening and relistening process. I had no idea what the subject matter of the song was going to be while writing the music.

MGH: Are you satisfied with the overall turnout of your musicality thus far?

We are very happy with the turnout of the music so far, but again, the kind of music we've done to date is not really representative of the direction we're taking the project now and into the future. The unit is still very much in the process of finding itself. Biomechanic is moving into uncharted territory and the process is quite exciting. Everything is process. Everything is development. Everything is evolution.

MGH: Noting how you used to do the main vocals in your older projects, is there a likelihood of doing a duet with Dana Sol?

I may be doing some backup vocals on "Missed," but that remains to be seen. Dana's got that ground covered. Her voice is so strong she would totally drown me out [laughs]. Dana doesn't need me to sing with her [laughs]. And I'm not at all sure the song needs my vocals. Although I'm the lead singer for Oxygen Law, the fact of the matter is I'm not a very good singer. Dana's been classically trained in voice and can sing anything from Broadway, to Pop, to Jazz, to Opera. There are some hints of operatic elements in the vocalise sections for "Fembots" and "Missed." We intend to explore more (much more) in that direction, putting strong operatic female vocals over heavy amorphous, etheric synth orchestrations, which is very different from the material exhibited on our first two singles. We actually can't wait to start experimenting with a more unstructured, fluid dynamic. EJ certainly can't wait. He really wants Biomechanic to move in that direction and has been a prime instigator for that from the very beginning.

MGH: When can we expect from your debut album soon to be available in the market?

We were initially trying to get Exogenesis, the first Biomechanic album, out for 2007, but it's going to come out in 2008. There's still a tremendous amount of material to go through (another CD single with remixes etcetera and the rest of the album) and as we're making considerable progress, there's still a ways to go. We don't want to release half-assed work. We want to do the best job possible. EJ has a saying, "Are you going to be able to listen to your music 10 years later and like it? If the answer is yes, then you're on the right track. If the answer is no, you're in trouble." It's the quality of the music that counts, not the quantity. Quality music lives forever. Music done for money only always gets forgotten.

MGH: Is there anything on that new record that will come as a complete surprise to your loyal fans and devotees alike?

Now if I told you that it wouldn't be a surprise would it? [laughs]. There will be some tracks on the album that may raise a few eyebrows. I have a feeling Biomechanic is the type of project that people will either love or hate. They'll either go home talking about one of our live shows or they'll lynch us in the parking lot [laughs]. I don't think people will be apathetic. The material certainly isn't middle of the road. We intend to push boundaries and strive to bring to light material never heard before.

MGH: Do you already have plans being laid for an upcoming tour?

We have definite plans to tour. We're discussing concepts for live shows as we speak. Biomechanic has had two concrete offers to play live, one for Club Party Monster, Pennsylvania and The California Institute of Abnormal Arts, North Hollywood, California, and there is a tentative third option for a Halloween bash in downtown Los Angeles (of which I am not holding my breath). Budgeting for the entire CPM Pennsylvania event disintegrated, and we had to respectfully decline (postpone) the CIA venture as we're simply not "there" yet as a cohesive live entity. We would love to play CIA. The California Institute of Abnormal Arts is a beautifully disturbing venue, right up our alley so to speak.

MGH: What other bands out there would you be interested in sharing the stage with?

We would love to play with Burnt Fur. They're an exceptional band and their approach to music is very much in concert and in tune with (puns intended) the kind of music that Biomechanic does. I've been conversing with Patrik of Burnt Fur and we have actually discussed playing live. The general consensus is that both bands would complement each other nicely. Other bands…who knows. We'll play with anyone who is serious about music--real music written and performed well and played by human beings.

MGH: Any more cues on the future direction of your music?

Etheric stream of consciousness vocals and music is definitely where we're going. We'd like to do some experimental Jazz, electronically-oriented of course, and I'd really like to seriously move into Dark Cabaret. That's always been in the running for Biomechanic, Dark Cabaret and Electro Jazz. Experimentation is the operative word here. We never want to do anything "usual" or "expected." Nothing bores me more than the usual and the expected.

MGH: How much of your life are you willing to sacrifice in order to achieve your artistic goals?

I am willing to sacrifice everything to achieve my goals. Now I don't know about everyone else involved with the project [laughs]. The band comes first, even before personal relationships. I've fired people for not putting the band first and I'll do it again. That may sound severe. It's reality. I've had multiple-day 12 hour sessions in the studio. As that kind of program is extreme, I'll do it and do it gladly, and I expect everyone else involved in the project to do the same. The flipside of that coin is I would never ask anyone to do something I wouldn't do myself. It's a Scorpio thing. I'll do whatever it takes to get the job done and get the music out there, short of prostituting myself [laughs]. There are plenty of users out there doing that but their "music" is crap and they never get anywhere. I take care of my crew and will do anything for them—anything—if I like someone, I love them. The flipside of that is that if anyone gets in the way of the project I will totally destroy them and will wait years to do so, which is also very Scorpio [laughs]. We're willing to tour, live on the road, do videos, and travel anywhere. The only real way to get the music out there is to play live, or of course by doing industry-level professional videos.

MGH: Does the journey end with Biomechanic in your own opinion?

I have a side project called Isotta-Fraschini that does music from 1899-1949. The car the entity is named after was in production during that time, and the songs the entity does were written in that timeframe. Isotta-Fraschini essentially takes Jazz, Ragtime and Tin Pan Alley songs and puts them into the current, up to date Electro arena. I've discussed the project with Dana as well and she's more than excited about it. I've also got an extreme dark experimental musique concrete project called Rotwang on the horizon, but that's all I'm going to say about that for now.

MGH: Your parting words. Thank you very much!

Thank you, Gerard, for a wonderful interview. Enjoyed it very much. All the best with MyGothicHeart and the rest of your myriad Web-based projects. (Do you ever rest?) Peace.

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