Tim Skold &#8211; SIDE-LINE

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

Love Ghost X Skold present all new single and video: ‘Nightshade And Cocaine’

Bernard - Side-Line Staff — Wed, 28 Aug 2024 15:45:20 +0000

Los Angeles-based indie rock band Love Ghost and Swedish musician Tim Skold have an all new single and video out as Love Ghost X Skold: “Nightshade And Cocaine”. The track is the latest result of an ongoing collaboration between both artists and is taken from a self-titled album to be released in late 2024.

“We are very excited to share this first single from our forthcoming album,” states Skold. “It’s not easy picking singles but this one is a favourite of mine because of the dynamics. It’s like a musical roller coaster, the highs and lows take you for a ride. This is also something that is reflected in the lyrics, which almost lightheartedly deal with some very heavy subjects.”

“This is a sonic journey that touches on many topics such as personal introspection, losing and finding your soul, witchcraft, death, the afterlife, and even politics and war,” adds Bell. “Deadly Nightshade [also known as Belladonna] is a flower that is intrinsically linked to witchcraft, particularly for flying, astral projection and as a symbol for death. This song is about altered states of mind and one’s psychology unravelling at the seams. It is dynamic, unconventional and imaginative and is one of my favourites on the album.”

Below is the video for the new Love Ghost X Skold single.

Love Ghost x Skold sign to Metropolis Records and announce debut album

Bernard - Side-Line Staff — Fri, 09 Aug 2024 11:00:26 +0000

LA music acts Love Ghost and Skold sign to Metropolis Records for their debut album. A lead single, “Nightshade and Cocaine”, will be out August 28. The full album will be out November 22.

2023 already brought the debut single from Love Ghost’s collaboration with Tim Skold (SKOLD, Shotgun Messiah, KMFDM, Marilyn Manson, Motionless in White), “Payback”.

“Metropolis Records is proud to announce the debut collaborative album from Love Ghost and Tim Skold. Metropolis has had a long-standing relationship with Tim Skold, and it has always been a pleasure to work with this very talented person. When Tim brought this project to us, there was no doubt in our mind that we wanted to take it on. This is our first time working with Love Ghost. In welcoming him to the Metropolis family, he has been nothing but an absolute joy to work with,” says Nina Heckman of Metropolis Records.

Love Ghost front woman Finnegan Bell says this about the collaboration: “I met Tim Skold and his wife Erin on Halloween night at the Viper Room in Los Angeles. I was a massive fan of Skold, and I was surprised to see him there. I asked him if I could take a picture with him and was very excited when he said yes. To my surprise, Erin and him reached out about the possibility of us making music together. I was ecstatic about the opportunity. We have an electric synergy together, and Skold’s wisdom and creativity really pushed me to my fullest artistic potential. Creating the album with Skold, was a unique and magical experience.”

Tim Skold adds, “I still remember meeting Finn the first time because of his almost electric energy but it was my wife Erin’s idea that he and I should make music together. I have worked with many different artists by now but this one is still a unique and refreshing experience. We came together with a special chemistry and I really feel that it is well represented in the music. The first single ‘Nightshade and Cocaine’ shows off an almost schizophrenic diversity that is a thread for the entire album.”

You can pre-order the new single on Bandcamp.

Front Line Assembly interview – Catching up with Bill Leeb and Rhys Fulber

Bernard - Side-Line Staff — Tue, 09 Apr 2024 12:17:19 +0000

(Interview by Evan South) In a candid discussion with Side-Line Magazine’s Evan South, Bill Leeb and Rhys Fulber of Delerium and Front Line Assembly shared some insights into their recent tour with Ministry and Gary Numan. The duo also talks about the logistics of sharing resources like lighting and equipment, which contributed to the tour’s success. You’ll further hear more about Matthew Setzer joining the lineup, the revival of Cyberaktif with a new album, “EndGame”, and the potential for a Delerium tour. Lots and lots of info.

SL: It’s the final date of the Ministry/Gary Numan/FLA tour, how has your experience been?

BL: It’s the tour of a lifetime!

RF: It really is, it doesn’t get much better. These kinds of bands and this kind of tour…

BL: It’s almost impossible to get three bands to do a tour like this, because most bands at this level, financially it doesn’t work. But on this tour everyone was willing to make it work, hence all the shows have pretty much sold out.

RF: And there’s a lot of camaraderie. Everyone gets along. It’s what we established on the previous tour just carried over, everyone knows each other. Compared to most tours I’d say it’s a really good group.

BL: It’s a family.

RF: And everyone helps. We get a lot of leeway from Ministry and their crew.

BL: They let us use their stuff, their projector, which is an amazing one! It just doesn’t happen with most bands, you know, everybody’s trying to outdo everybody. But this tour everybody wants everybody else to succeed!

RF: Everyone knows who they are and where they fit in, and it’s great!

SL: So you didn’t have to pack in as much equipment, you were able to share?

RF: They let us dip into their lighting production and things that a lot of times would not happen on package tours. They realize we set the table too, so if we have a good night, they have a good night. It’s a real cool system.

SL: Any of these three bands could headline on a given night. How do you like the supporting role compared to headlining?

BL: There’s no question, both these artists are much bigger than we are, but it’s the perfect hierarchy, right?

RF: You can’t argue with Ministry, Al’s an icon, he’s a national treasure, Ministry established themselves over the years, and we’re not going to get in front of those kind of crowds on our own! And we’re in front of crowds that seem to like what we’re doing, so it’s just great for everybody, it’s like a win/win. I personally like going on playing a quick set of all bangers, I like it! The pressures not on us!

BL: And Gary’s an institution as well! His history and his amount of hits he’s had…

RF: Everybody knows “Cars”! Everyone knows that song. Just to be part of that, it’s hard to believe sometimes. We remember when that record was new. And now we hang out with Gary Numan everyday, it’s wild…

SL: Expanding on what you said about a tight, “banger” type set…

RF: We keep our energy level up, so it hits hard the whole time.

SL: Rhys, during this tour you had your own “Tour within a tour” afterparty DJ sets…

RF: Those were just… Some of them were great, some of them were… eh! (laughs) Sometimes you’re playing on a Tuesday night in the Midwest, so… The weekend ones were all pretty good!

SL: I was hoping there would be an Afterparty tonight, like a “wrap” party, being the last date of the tour!

RF: Honestly, we’re pretty tired… and doing both of those was… yeah.

BL: Gary (Numan) has booked a room in LA for an afterparty for when we play our last show there, it’s going to be a sold out show. So there’s lots going on. For Rhys it made sense to do those afterparty DJ gigs, because we were done at 8pm. So from 8 to midnight what do you do, right? Might as well be spinning…

RF: A couple of parties were really good… Montreal, Toronto…

BL: And a lot of fans came and would talk to us, and all the other bands would come down after. Ministry would come down, Gary Numan’s crew.

RF: Yeah, Ministry’s band and Gary’s band would always be there. I think the first show in Portland even Al was there. Everybody was there, it was great!

BL: It was like an all night exclusive!

SL: You have a new guitarist on this tour, how did Matthew Setzer (Skinny Puppy, London after Midnight) come into the fold with you?

BL: We had Tim Skold for two years and we thought we had built up a really good rapport with him, and then all of a sudden he became unaffordable. Me and Cevin (Skinny Puppy), had been pretty tight and lifelong friends, and we just finished the new Cyberaktif album, so we were talking every day for a full year. Puppy just finished their tour, so it was just natural, “Let’s ask Matthew,” he’s in our family.

RF: He stepped in pretty easily, he’s a great musician.

BL: And all our fans are Puppy fans, and vice versa, so it seemed like a perfect fit. And he’s skilled, right?

RF: I don’t think people realize he’s a very good musician, multi-instrumentalist.

BL: And he’s a tour guy. He goes on his own, he’s got friends everywhere… it’s amazing.

RF: He’s a real infectious, positive personality, and it’s great to have people like that on tour. Matthew hasn’t had a bad day, he’s always upbeat, he’s always ready to go. He’s a good fit for us, he’s working out really well.

SL: Bill, you brought up Cyberaktif. It had only been 33 years!

BL: At least 31 for sure… We go at this rate the next one we’ll be dead! Like Cevin said, the album is called “EndGame”. Doesn’t sound very hopeful for the future, right?

SL: How did the new Cyberaktif come together? Was it a result of the end of Puppy?

RF: When Cyberaktif started (the new one) there was no end of Puppy.

BL: No, that’s true.

RF: We actually kicked stuff around a few years ago, so Puppy was not over at the time. It seems like it now, but when we started it…

BL: It was a lot of back and forth.

RF: Yeah, it wasn’t “Hey, Puppy’s over”, we just started doing it.

BL: And when Cevin sent tracks initially, me and Rhys looked at each other and we’re like “Well…”

RF: At first we had a hard time figuring it out, and then we just kinda isolated certain parts, and then all of a sudden it all came together really quickly!

BL: Rhys made it for me the way we understand each other, and how I know where I can sing, and what I can do, because at first they were these long jams…

RF: Cevin sent all these really interesting grooves and jams and ideas, so it was a question of taking those and giving them some structure so Bill can go “I got this part here and this part here” because I know that’s how Bill works and that’s what he’s comfortable doing, that’s sort of the sound of Front Line. So what we did was put a structure together and then Bill put the vocals on top of that structure.

BL: It was a real three-way collaboration.

RF: Cevin sent these, there were varying degrees of composition, but they’re all unique sounds and drums, then I put them to arrangement. It was Cevin→me→Bill. It was like a filter.

SL: At what point did you decide it was going to be under the Cyberaktif name?

RF: Pretty much right away.

BL: Yeah, it was definitely going to be Cyberaktif. Cevin just loves the project. He even talked about maybe doing it live, if we figure out how, when and what. He said it’s his favorite thing right now.

RF: Cevin’s very big on it right now. Not that we aren’t, but he’s already big on it.

SL: You think Cyberaktif might become a live project?

BL: Maybe one time. Cevin wants to make it interesting. He said “I don’t just want two guys and a keyboard and a mic,” whatever that means. But right now we’re letting the album get out there and we’ll see…

RF: The (live) idea has been discussed. That’s what we can say.

SL: It feels like the Cyberaktif album came together very quickly…

RF: Honestly, the Cyberaktif record we made quicker than any other record in recent memory. It came together really fast. Once we got an idea of what we were doing, we just banged it together. I don’t know why… I think everyone honestly was inspired by just working together. It wasn’t hurried, it just rolled and fell into place. That doesn’t happen very often, but it happened on this one.

SL: Bill, was it surreal for you thinking this was going to be a Cyberaktif record after 3 decades?

BL: I think me and Cevin both felt like we just completed a big circle. We started Puppy 35-40 years ago, and everything that’s happened in-between, it felt like some kind of closure. It just felt right and good and something that we left unfinished now feels finished. If we don’t do another one, if it (Cyberaktif) doesn’t do anything else, it feels like it was the right thing to do at the time. With Puppy calling it quits, for now… I’ve heard so many bands do this now. Front 242 has been doing it for a couple years now. I told Al, and he goes “Richard, he says that every year it’s the last tour.” (laughs) Motley Crue has done 4 of them (final tour) now, and now they have a new singer!

RF: Never say never I say…

BL: It was just the right time at the right place, Cevin had some things, Me and Rhys had time, we were all on the same page. Maybe that will never happen again, but the energy was right, Greg Reely was available… It was like “Silence” (Delerium single), everything had to fall into place. It will probably never be like that again. So it’s a magic record for us, and people love it, and that’s all that matters, right?

SL: Since the Front Line tours have been going so well, what are the chances of another Delerium tour?

RF: A tour is tough, a tour is way more complicated, especially for acts like that.

BL: That first Delerium tour we did was two tour buses, three singers…

RF: It was the right time, too, I don’t know if that’s possible now.

BL: It was kind of a money losing scenario, but the production was great! I just don’t think labels are willing to do that anymore.

RF: No, it’s a different time now.

SL: It’s been 30 years since your monumental releases “Millenium” and Delerium’s “Semantic Spaces.” You took risks in adding guitar to the FLA and vocals to the Delerium. How important were those releases?

BL: When we released “Millenium,” we did an online thing and people were calling in and it was pretty divided. People were going “What, they picked up guitars!” Remember?

RF: Yeah.

BL: But we knew we did the right thing. We felt like we had to change and do some different things, and no regrets, right?

RF: It expanded the fan base. Regardless of what those people had been like… When we did the Hard Wired tour we had double the audience! We got metal coverage, we were on a metal label that knew how to handle that kind of music… Metal and industrial is pretty interlinked now. A lot of metal heads love industrial music, and that maybe wasn’t the case then. It definitely is now. Between Fear Factory and that record…

BL: And now “Millenium” is getting re-released by ArtofFact records! Picture disc, the whole thing, as of yesterday they announced it!

RF: It was the right move, because we had to progress. And like I said, when we did the Hard Wired European tour, especially in the UK, we had significantly more people. Also, I think it’s the biggest selling Front Line record. Again, people that don’t like the record they might not realize that was probably our biggest record! I know a lot of people that maybe wouldn’t have been listening to us that listened to that record, so it’s all good. And it all makes more sense now in the whole repertoire.

SL: What did you think of the changes of Delerium, taking it from old world instrumentals to adding the pop element and blowing things wide open?

RF: You can’t even compare the differences…

BL: We didn’t really plan it, either! The first Delerium was just a home project with a few synths and a tape recorder and Dossier records and I was just happy twiddling away and doing stuff, there was no concept of it ever being… with Puppy and the whole Nettwerk contact and we knew people and they were next door. We couldn’t plan it, and then Kristy (singer) showing up…

RF: Again it was just right time, right place. And then it took Delerium into the mainstream, in Canada at least. It completely changed everything. In Canada it really opened a lot of doors for us. It put us on the video channel, places that we had never been before.

BL: That’s the great thing about music and art. You just don’t know who you’re going to affect, who you’re going to reach. We enjoyed the process of making all that music, and then it just came back like that. We had no expectations. We weren’t trying to make singles or trying to be on a major label, we just had carte blanche on everything, right?

RF: Yeah, and it all came together! Anytime you force something, anytime you go out of your way to make a commercial record or commercial song it usually doesn’t work. It has to be a serendipitous event. That’s another example of that.

SL: So to wrap up, what’s next?

BL: The picture disc re-release of “Millenium” is pretty exciting. Rhys has a solo album coming out, right?

RF: Yeah, more of the techno type stuff. We got some more shows. We got Mexico with Front 242, we have some European festival dates…

BL: We’re playing the Sick New World festival in Las Vegas in 2 weeks… I’m excited about the 2 shows with Front 242 in Mexico!

RF: Yeah, more live shows and then I think we’re not really going to know until we get home and figure out what’s next. But we still have live shows booked even into November in Europe, I think.

SL: Anything as far as upcoming music?

RF: Not yet, we need to get off the road.

BL: I think we want to do a Delerium album.

RF: Yeah, we talked about that.

BL: And again, you always think you have to re-invent the wheel, because just the way the world is, I think we’ll try to find some sort of group, because everything’s been done now. I think when we started Delerium, and with Karma, we were one of the first to do that kind of music. But now, if you go on internet radio, there’s channels with that music, right Rhys?

RF: Oh yeah, chill out music forever…

BL: So hopefully you can find your niche, but our sound, whatever that is, people respect that so we’re good with that.

Side-Line also covered Front Line Assembly’s ‘Molotov’.

Not My God – Obverses (Album – Metropolis Records)

Inferno Sound Diaries — Mon, 11 Sep 2023 07:00:00 +0000

Genre/Influences: Industrial, Cinematic, Electronic.

Format: Digital, CD, Vinyl.

Background/Info: “Obverses” is the third and final album by Not My God. This American project driven by Tim Skold (Marilyn Manson, KMFDM, Motionless In White, FLA, Skold) and Nero Bellum (Psyclon Nine) has announced a live tour for the end of the year to call it quits. This is the band’s second album released by Metropolis Records.

Content: “Obverses” moves on where the previous opus “Simulacra” (2022) stopped. The sound remains a true sonic enigma although clearly infused by Industrial sound components the duo now mixes together with bombastic sound arrangements and then with surprising Ballad style. Deep bass lines, icy sequences and slow rhythms come together in pure minimalism with the unique vocals of Nero Bellum on top.

+ + + : Not My God is one of these bands which has created a very personal sound, kind of Industrial sound DNA bringing different genres and subgenres together. It sounds heavy and bombastic on one side and still subtle and refined and the other side. The atmosphere supporting the work remains cold and even a bit tormented. It’s not exactly the kind of music that makes people happy although Industrial-minded music lovers are going to like it. I’m fascinated by the composition and the style of the band which resulted in a few new masterpieces like “Unwind The Helix” and “Hyacinth”. “Deus Vult” is another masterpiece I want to mention for its more club-minded approach. This band is driven by a true creative spirit which needs a few minutes till you really catch the genius and potential of the composition.

– – – : The sound of Not My God remains a bit of a challenge but it makes me sad such a unique formation finally decided to stop their activities. Marketing wise it’s maybe not the best choice to announce the end of the band while the album is just out.

Conclusion: If “Obverses” will be really the band’s final album it will be for sure part of a great sonic legacy consisting of 3 fantastic albums.

Best songs: “Deus Vult”,“Unwind The Helix”, “Hyacinth”, “Carnations”.

Rate: 8½.

Artist: www.facebook.com/notmygodofficial

Label: www.metropolis-records.com / www.facebook.com/MetropolisRecords

About Not My God

Not My God is the joint project of Tim Skold (ex-Marilyn Manson, Shotgun Messiah, KMFDM) and Nero Bellum (Psyclon Nine). The pair had previously worked as live members in each other’s bands, Skold as guitarist for Psyclon Nine and Bellum as keyboardist for Skold, before writing and recording together for the first time as Not My God. The self-titled debut album followed on 14 February 2020 on Cleopatra Records, including the tracks “Fiction” and “Sowing Discord”. The duo then signed to Metropolis Records for the second album, “Simulacra”, released in 2021, followed in 2023 by “Obverses”, which the duo has described as their third and final album ahead of a farewell tour.

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

UPDATE: Sean Payne of Cyanotic involved in car crash – Crowdfunding campaign launched

Bernard - Side-Line Staff — Sat, 06 May 2023 10:19:11 +0000

Update: In the past days and week, this article surfaced as one of the most visited on Side-Line. As a result we have updated it with the latest news on Payne. All ended well for Sean Payne (Cyanotic) who ended up with four broken ribs and a fractured dominant hand, but “all intact otherwise.” By September 9, 2023, he released a new Cyanotic album, “The After Effect,” dedicated to Staci – who lost her life in the car crash – and his brother, and described the record as part of his recovery process. Through 2024–2025 he resumed producing and collaborating with other acts like Derision Cult.

Payne, the frontman of the Chicago based industrial rock collective Cyanotic, was involved in a car crash on Tuesday night. The incident occurred as Payne and his wife, Anastasia, were returning home from the Skinny Puppy show in Minneapolis.

The collision resulted in severe injuries for Sean, who is currently in the Intensive Care Unit (ICU), while tragically claiming the life of his wife. As the news spread, a crowdfunding campaign has been launched to support the mounting medical bills and provide solace to the grieving family.

The news of the accident began circulating when a concerned friend reached out online seeking confirmation. Subsequently, a link to an article from KAAL TV, a Minnesota news outlet, was provided as evidence of the incident.

According to the Minnesota State Patrol, the accident transpired at 6:25 p.m. when Payne, 40 years old, lost control of the vehicle, causing it to roll several times. Tragically, Anastasia Payne, 51 years old, succumbed to her injuries at the scene, while Sean suffered life-threatening injuries.

Side-Line extends its deepest condolences to the family and friends of the couple affected by this tragic event. Our thoughts are with them during this difficult time. Additionally, we send our well wishes to Sean Payne for a complete and swift recovery.

About Sean Payne

Cyanotic was formed by Sean Payne in 2002, the next year they released their debut demo EP, “Mutual Bonding Through Violation” under their independent label, Glitch Mode Recordings. The band’s first full-length album, “Transhuman” ,was released in mid-2005 and featured collaborations with Jason Novak of Acumen Nation / DJ Acucrack. It was followed by the release of a deluxe edition titled “Transhuman 2.0” and the ‘Hail the Glitch 2k6’ summer tour.

“The Medication Generation”, Cyanotic’s second full-length album, was released in 2010 featuring Jamie Duffy of Acumen Nation. The band embarked on multiple tours across the United States to support the album. The band’s foray into industrial and hip-hop fusion resulted in the release of “Robohop”.

Tragically, the release of “Worst Case Scenario” in 2014 marked the final album with guitarist Chris H and co-producer Jamie Duffy, who passed away in July 2012. Despite this Cyanotic persevered, continuing to perform live while rotating band members.

In 2016, Cyanotic’s guitarist Chris H. Left the band. Adapting their live act, the band incorporated synthesizers and drums by Jordan Davis (Relic) and Dan Dickerscheid (Relic) respectively, omitting guitars from their performances. They embarked on a North American tour with iVardensphere and collaborated with Tim Skold (KMFDM, Marilyn Manson) as a four-piece. This period of evolution led to the creation of their fourth studio album, “Tech Noir”. The album was later re-released as “T2” in 2018, featuring additional tracks.

In 2019, Cyanotic welcomed CONFORMCO drummer Jesse Hunt and Nuclear*Sun’s Tal Kliger on guitar and synths, joining Sean Payne in the studio and on stage resulting in the “Trigger Effect” album.

By September 9, 2023, he released a new Cyanotic album, “The After Effect,” dedicated to Staci and his brother, and described the record as part of his recovery process. Through 2024–2025 he resumed producing and collaborating with other acts like Derision Cult.

The After Effect by Cyanotic

Not My God’s latest album, a collaboration between Tim Skold and Nero Bellum, to be released on May 12th

Bernard - Side-Line Staff — Wed, 03 May 2023 14:31:48 +0000

“Obverses” is the brand new 3rd album by Not My God, the collaboration project of Tim Skold (SKOLD, ex-Marilyn Manson, Shotgun Messiah) and Nero Bellum (Psyclon 9). The album is again blending influences from both artist’s main acts and will be released on May 12th.

The 12 track album will be available on CD and as a limited black vinyl (300 copies worldwide). The vinyl edition will be arriving sometime in June with the same tracks as on the CD.

Not My God was formed in 2020 and so far released 3 albums, “Not My God” (Cleopatra, 2020) and “Simulacra” (Metropolis, 2021) and now “Obverses” (Metropolis, 2023).

Interview with Bill Leeb Of Delerium: ‘Delerium Is A Healing Process, A Perfect Escape From The Aggression In The World’

Inferno Sound Diaries — Wed, 26 Apr 2023 17:00:00 +0000

Bill Leeb and Rhys Fulber have been working together since the late 80s. They got international recognition in the EBM scene with Front Line Assembly. Next to other side-projects they also worked together as Delerium. The first album bring us back to 1988. I remember “Faces, Forms, And Illusions” as a kind of Industrial-Ambient work which also was the band’s main source of inspiration for the next few years. “Semantic Spaces” (1994) and “Karma” (1997) both revealed a different sound becoming more Downtempo-like while driven by sensual, female vocals. “Silence” became a word-wide famous hit while Delerium never stopped releasing new works in a similar style. They this year strike back with “Signs” (Metropolis Records) which is the duo’s first album in seven years. Sensual, mysterious and refined Ambient-Electronics featuring a few new potential hits. I asked a few questions to Bill Leeb.

(Courtesy by Inferno Sound Diaries)

Q: “Signs” is your first new Delerium album in seven years. Why did it take so long to release a new opus and what was the spark to start writing “Signs”?

Bill: We were taking a little breather from Delerium when the complications of Covid extended the giant gap between releases. What ultimately made a difference is that Rhys moved back to Vancouver, Canada, so with him being close by, we were able to start working again. Being in the same room creating together is what provided the spark that we needed.

Q: What are these “Signs” all about and how did you transpose it into songs?

Bill: Well, the title of the album alludes to the sign of the times. So much has happened in the world since we released the last Delerium album “Mythologie” in 2016. Yet with “Signs” the title came last. When we were on tour Front Line Assembly, we were talking about titles for the album, our guitarist Tim Skold threw the title at us and Rhys and I both liked it so it stuck. We gave Tim Skold an actual credit for the title on the album.

Q: What have been the different stages in writing, recording and production of “Signs” you’d to go through? And what have been the main challenges and difficulties you encountered?

Bill: When Rhys moved back to Vancouver (about 40 minutes from my house), it was great to be able to get together in a room and start writing. After 35 years of doing Delerium, that is still the best way. Ideas came up and we were able to the kick them around and work on them with consistency.

It is always a challenge to find the right people to work with. Many artists are working on their own bands and projects, collaborating is a different game these days and many are doing their own thing. I think we found the right balance. Rhys had worked with Kanga in the past, some of the other great vocalists on “Signs,” we’ve worked with before including Emily Haines (from Metric), Mimi Page and Phidel.

Q: That brings me to ask if you handle specific criteria to work with vocalists? And what’s their real input and impact in the lyrical themes and singing?

Bill: I think the thing that differentiates FLA from Delerium is that when we write the music, we think in terms of what voice would work on this or that song. The singers themselves write the lyrics, the magical part is that the instrumental music often drives the vocalists to lean heavily on atmospheric vocals and that is what Delerium is all about. It is collaboration in the truest sense. Mimi Page, contributes in a different way as she often presents song ideas as well.

In general, we always know when we hear something if it is going to work. This is the zone and kind of environment we like Delerium to work in. On “Signs” we found that perfect balance with all of the songs and the singers.

Q: I’m always wondering if you handle specific criteria and/or references when you’re composing your music? Are you perfectionists?

Bill: I definitely hear music and voices that influence the compositions. In the past, I’ve heard singers that I myself have contacted to collaborate on songs.

As for being a perfectionist? When we write something and it’s done, later, I always think I could have done that better or change that. Music is never ending, like painting. Even when it’s done, I think at the end of the day you have to know when to walk away and let other people hear it and hope for the best.

Q: Did you both need a special and/or different mindset when working on Delerium than on one of your other music projects like Frontline Assembly for example? How does it happen?

Bill: That’s really easy, most artists, painters or musicians have two sides. I find when tour with FLA, afterwards, we want to turn off that side of ourselves and become someone else for a while. Delerium is a healing process, a perfect escape from the aggression in the world. Delerium opens the door for us to diversity and brings us to the Trance, Ambient side of things and remix possibilities. That Dance world has created a whole new platform for us to exist on that is very separate from the world of Industrial music. It’s like a great escape.

Q: What does the front cover of “Signs” stand for and how important is the artwork -especially in times people are more into streaming than physical productions?

Bill: Dave McKean created the artwork for “Signs.” We’ve been working with him since the Front Line Assembly album “Millennium“ In 1994. Dave’s first Delerium-album cover was “Mythologie” in 2016 and it blew us away, so it was a no brainer for us to have him do this cover. Dave is somewhat like the singers in Delerium, he collaborates with us. We give him the title, send him some songs to listen to and he sends us image ideas. It is a real collaboration, he then sends us art and it ends up being the ideal cover. Dave does his artwork from scratch. It’s not an AI thing, it is real voices with real art. The bird on the cover of “Signs,” is like a phoenix rising in the face of the way things are in the world these days.

Q: Early Delerium-albums were remastered and re-released in 2022. There’s a gap of nearly thirty five years between your debut album “Faces, Forms, And Illusions” and “Signs” but is there still a deeper sound-connection between both periods? How do you perceive this impressive evolution?

Bill: Well, I wanted to give a shout out to the late Dave Heckman for rereleasing these on Metropolis and presenting them exactly as an artist would want. As far as the evolution of Delerium from those early years, many things came into play. During the first album I was still in Skinny Puppy, so it was really a side project. I was bouncing off things like Ofra Haza, The Orb and even Pink Floyd. I started experimenting with ideas, much of it was organic and made by hand, perhaps using some cassette recorders for sampling. We’ve evolved so much with technology, it was a natural evolution for Delerium.

“Semantic Spaces” in 1994, was the first time we would write songs like that and brought in Kristy Thirsk to sing. We received legitimate radio play and it was quite an evolution from our earlier material. We were able to bridge the two parts later with monks, angelic voices and classical influences with “Silence”, featuring Sarah McLachlan, and evolved even further. Now, with “Signs” it has quickly become one my personal favorite Delerium albums. And the flow continues even after 35 years. If it all ended today with this album I’d be ok with it, full circle, old meets new, keeping all of the elements and the sincerity of the project intact.

Q: What are the plans for Delerium in the next few months?

Bill: As of now, the album is only a few weeks old and we have just released the video with Kanga. We are working on another video, this time for “Coast To Coast” featuring Phildel. Then looking at possible remixes. There’s a lot to work with.

Psyclon Nine – Less To Heaven (Album – Metropolis Records)

Inferno Sound Diaries — Fri, 21 Oct 2022 07:00:00 +0000

Genre/Influences: Industrial-Metal, Cinematic.

Format: Digital, CD, Vinyl.

Background/Info: The last Psyclon Nine-albums haven’t been released on a regular basis so we had to wait another four years to welcome this new opus. Meantime head of the band Nero Bellum however released two solo-albums while setting up together with Tim Skold the project Not My God.

Content: The work takes off with a dark and hell-sounding track moving crescendo till a heavy outburst. Bombastic guitar playing alternated by metal riffs are progressively joining in although the main evolution -and difference with previous work, is the explicit Cinematic format of the songs. The vocals are still expressing the usual rage.

+ + + : The least I can say is that Psyclon Nine don’t repeat themselves. The band already went through several evolutions in style and is now mixing their Industrial-Metal basis together with an obscure and doom-driven Cinematic experiment. It feels like a Soundtrack for hell. The album sounds however varied but the ‘fans’ will be pleased discovering songs like “X’s On Her Eyes” and the already known single “Money And Sex And Death” which are the hardest parts of the work. Because of its Cinematic format the work has a visual appeal so the imagery will be for sure essential during the upcoming live tour.

– – – : I don’t know if the work is less accessible but it’s definitely taking me by surprise. I’m missing the hard side by the menacing guitar riffs and heavy rhythms.

Conclusion: “Less To Heaven” sounds as a requiem for the modern world we’re living in.

Best songs: “X’s On Her Eyes”, “Money And Sex And Death”, “Catastrophic”.

Rate: 7½.

Artist: www.facebook.com/psyclonnineofficial

Label: www.metropolis-records.com / www.facebook.com/MetropolisRecords Read the news on ‘Less To Heaven’.

About Psyclon Nine

Psyclon Nine is the Industrial-Metal project led by Nero Bellum. Between full-length albums, Bellum has released solo material and, together with Tim Skold, set up the project Not My God. Psyclon Nine’s “Less To Heaven” followed a four-year gap since the band’s previous album, released on Metropolis Records. The band later announced the single “I Choose Violence” in December 2024 and “Devil’s Work” in February 2025, and in 2026 toured Europe as “The Infection Divinum Tour” with support from Antania and Devil M.

Death Loves Veronica – Corruption for The Insidious (Album – Death Loves Veronica)

Inferno Sound Diaries — Wed, 15 Jun 2022 07:00:00 +0000

Genre/Influences: Minimal-Electro, Experimental.

Format: Digital, CD.

Background/Info: Texas (USA) based Veronica Campbell strikes back with the fourth full length album of her Death Loves Veronica project. The work has been introduced as ‘inspired by the atrocities of an evil world, told through the eyes of Veronica.’

Content: This female artist moves on composing Minimal-Electronics. Some parts feature guitar riffs (played by Tim Skold) on top while other passages move into Industrial influences. The work sounds cold, and obscure but also sensual because of Campbell’s sexy, whispering timbre of voice.

+ + + : Death Loves Veronica is an intriguing project and that’s because of the sphere she creates. It’s an obscure and freaky sound which is mixed with ghost-like, sensual vocals. I imagine this album being played in dark cellars and dungeon parties. I especially recommend the second half of the album featuring a few great songs but especially “In Hell” featuring guitar play by Bari-Bari.

– – – : I can’t say that the debut tracks of the album are disappointing but they definitely are a level below the second part.

Conclusion: Death Loves Veronica has something atypical and definitely ominous but also fascinating for its global minimalism.

Best songs: “In Hell”, “The Monster”, “It Kills Like God”, “Whore”.

Rate: 7½.

Artist: www.veronicacampbellofficial.com / www.facebook.com/deathlovesveronica

Corruption for the Insidious by Death Loves Veronica

About Death Loves Veronica

Death Loves Veronica is the darkwave and minimal electronic project of Veronica Campbell, who also records as Veronica Stich. She works from San Antonio, Texas, writing, engineering and mixing her own material with analogue, modular and semi-modular synths alongside guitars.

The project debuted with the self-released album “Vampiros Electric” in 2018 and the EP “Concept” in 2019. “Lucid Dreams” followed on Swiss Dark Nights in 2020, and the self-released “Chemical” in 2021. Campbell discussed her background with Side-Line in ‘Click Interview’ with Death Loves Veronica: ‘My Artistic Endeavors Were A Form Of Self-Therapy’, published shortly after the two-track single ‘Deception’.

“Corruption For The Insidious”, the album reviewed here, was self-released on 5 April 2022. Campbell wrote, sang, engineered and mixed the record and produced it with Chris S. Tim Skold composed and performed the guitar part on “When I Was Dead”, Bari-Bari did the same on “In Hell”, Jakob Core contributed engineering to “When I Was Dead”, and Pete Burns mastered the album.

Skold releases ‘lost’ album from 2002, first single from album out now: ‘Don’t Pray For Me’

Bernard - Side-Line Staff — Fri, 08 Apr 2022 07:12:15 +0000

After releasing the self-titled debut album “Skold” in 1996 a new album, “Dead God”, was prepared but never released as Skold was recruited by Marilyn Manson to join his band in 2001, touring and producing several albums and singles up to 2008.

That ‘lost’ album has now been completed mastering the album from the original full resolution mixes and is set for release on April 15. A first track “Don’t Pray For Me” is out now.

‘Click Interview’ with Not My God: There Are Many Challenges And Difficulties On The High Road Of True Art’

Inferno Sound Diaries — Sat, 27 Nov 2021 18:00:00 +0000

Not My God is a project set up by Tim Skold (Marilyn Manson, Kmfdm, Motionless In White, Shotgun Messiah…) and Nero Bellum (Psyclon Nine). They last year released their self-titled debut-album on Cleopatra Records and this year joined hands together with Metropolis to unleash ten new songs. “Simulacra” is hard to label, but clearly revealing a mix of influences; the work sounds Electronic and has been achieved with numerous Industrial sound treatments while the result has something pretty Cinematographic-like with Tim Skold’s passionate vocals on top. I’d a chat with both members.

(Courtesy by Inferno Sound Diaries)

Q: You guys know each other from playing together in your respective bands, but how did you finally come to set up a new music project together? What do you like in each other’s approach of producing music?

Tim: Our differences makes us similar. I know that might sounds a little strange but we are very alike in some of the ways we are different. As humans we do not only exist in a physical sense but also on many other levels and it is in some of those spaces we come together, almost subconsciously, to complement each other. Art is magic, much like a DC Marvel Superhero Universe.

Nero: I think that our individual projects are precious to us so when the prospect of working together came up, a new project was the way to go. An open playground to explore new ideas with no expectations. It almost immediately transitioned from work to ritual.

Q: The sound of Not My God is not easy to define, maybe a mix between Industrial- and Cinematographic music. It however reveals something ‘different’ and maybe ‘visionary’ when compared to other Industrial projects. What can you say about it? Did you have specific references and influences -also lyrical wise?

Tim: We have both done extensive ‘studies’ in the fields you describe above and thought it was time to explore uncharted territory.

Nero: I’m happy to live in an undefined space. To social distance our art from the unexceptional. The further we can step away from convention, the better.

Q: “Simulacra” is an interesting title –and especially considering your sound, as it might stand for ‘the representation or imitation of a person or thing’. What did you try to express by this title? And what do you think about bands, which are just trying to copy others?

Tim: Yes, exactly that and countless other interpretations. It is an ambitious title for a very ambitious collection of music.

Nero: The dead imitate the living. It’s an error in the facsimile. The second coming.

I don’t think about other bands enough to answer the latter half of your question.

Q: How do you manage working together? Is there any specific format and did you notice an evolution from your debut album towards “Simulacra?”

Tim: No! When we start it is a completely open field and it is only when we are on the way we realize what works and what doesn’t. No predefined rules or regulations will be allowed to stunt this development.

Nero: While there is no established format, Not My God has always been about experimentation. There is a subconscious push to do things differently. A song may begin as a patch on my modular system, I might plug a toy piano into a series of guitar pedals and improvise a motif or bow a broken violin through a granular processor. Always recording in the background. What works stays.

Q: What have been the different stages you’d to go through to achieve “Simulacra?” Did you encounter major difficulties and/or challenges?

Tm: Yes, there are many challenges and difficulties on the high road of true art. There is very deep darkness in the unexplored territories of this music.

Nero: The end result is multiple personality disorder. When composing for a specific project I can’t help, but to become the character that lives in that ‘world’, taking on the burdens that character may feel. It can be empowering and it can be devastating.

Q: I can’t get away from the idea your music could be used for a movie soundtrack, which is only accentuated by the different clips you made. Do you’ve specific plans in that direction and tell us a bit more about the clips? Are there new clips in the make for the new album?

Tim: Yes, I think I speak for both of us when I say we completely agree with this. I’d would even say that we know we have created music that will undoubtedly inspire other art including film and that this material will also push the format further and further. We would not mind making clips for every song, but that is of course fiscally impossible for us to do, but we look forward to see what film makers and others do incorporating or at least inspired by our works in the future.

Nero: With film and with music, we both aim to tell a story. It’s a natural marriage. What stories may emerge as an amalgam I’ll leave to the prophets and oracles.

Not My God – Simulacra (Album – Metropolis Records)

Inferno Sound Diaries — Fri, 19 Nov 2021 08:00:00 +0000

Genre/Influences: Industrial, Electro, Cinematographic.

Format: Digital, CD, Vinyl.

Background/Info: “Simulacra” is the second album by the American duo Tim Skold (Marilyn Manson, KMFDM, Motionless In White) and Nero Bellum (Psyclon Nine). They last year released their self-titled debut-album on Cleopatra and now joined hands together with Metropolis to unleash ten new songs.

Content: It’s not an easy thing defining the sound of this formation. It has less in common with the sound of the protagonists’ respective projects. The tracks are however driven by Industrial sound treatments, the tracks remaining driven by slow tempo. The impact of the overwhelming atmospheres is definitely more important than the power of the production. We’re entering an icy universe, which sounds as a darker and icier version of Haujobb. The charismatic vocal parts are sometimes reminding me of David Bowie.

+ + + : It’s fascinating to see how both artists revealed a hidden side of their sonic brain. “Simulacra” is a great piece of music, which is characterized by overwhelming, icy atmospheres. It has something ghost-like and tormented while there’s a lot of emotion emerging from the vocals. Moving in between spooky- and enraged passages, the vocals have a prominent place in this production. Most of the songs have something Cinematographic, but there are a few exceptions. I especially recommend listening to “21 Grams”, which is the hardest piece of the album, but still a true masterpiece.

– – – : The Cinematographic approach of the work makes it maybe a bit less accessible to a wider audience.

Conclusion: Not My god took me by surprise, releasing a real masterpiece. This project has something different in its global approach revealing it’s still possible to compose original music.

Best songs: “21 Grams”, “Mirage Mirage”, “The Underneath”, “Ashes”, “Crisis”.

Rate: 9.

Artist: www.facebook.com/notmygodofficial

Label: www.metropolis-records.com / www.facebook.com/MetropolisRecords Read the news on ‘Simulacra’.

SIMULACRA by Not My God

About Not My God

Not My God is an American industrial duo formed by Swedish musician Tim Skold and Nero Bellum of Psyclon Nine. Skold had earlier worked with Shotgun Messiah, KMFDM, Marilyn Manson and Motionless In White; Bellum founded Psyclon Nine in 2003.

The duo issued the self-titled album “Not My God” in 2020 through Cleopatra Records. “Simulacra”, the second album, followed in 2021 on Metropolis Records and was preceded by the single “Ashes”. Side-Line published a ‘Click Interview’ with Not My God in November 2021.

A third album, “Obverses”, was announced for 12 May 2023 in a collaboration between Tim Skold and Nero Bellum. In July 2023 Not My God announced a farewell tour.

Not My God to release new album ‘Simulacra’ on October 15th

Bernard - Side-Line Staff — Wed, 06 Oct 2021 13:37:46 +0000

As we reported a while back, Tim Skold (Marilyn Manson, Kmfdm, Motionless In White) and Nero Bellum (Psyclon Nine) had joined again to record material for their project, Not My God. The pair were no strangers to working together, having both served as live bandmembers for the other’s projects, but Not My God marked their first artistic collaboration, writing and recording together on a studio album.

Coming up now is an all new album, “Simulacra”, holding ten new songs. The first single and video was “Ashes” (directed by Vicente Cordero / Industrialism Films) and was a good teaser for what to expect next.

“Simulacra” will be released by Metropolis Records and will be available worldwide on CD, a limited edition Vinyl and all major streaming services on October 15th.

Here’s “Ashes”. Read the review of ‘Simulacra’.

‘Ashes’ is the all new single from the second album by Not My God aka Tim Skold and Nero Bellum

Bernard - Side-Line Staff — Mon, 16 Aug 2021 16:03:44 +0000

Out on October 15 via Metropolis Records is “Simulacra”, the forthcoming second album by Not My God aka Tim Skold and Nero Bellum. The album is the follow-up to 2020’s self-titled outing as Not My God (Cleopatra Records).

Just like with their first album, Tim Skold (Marilyn Manson, KMFDM, Motionless In White, Skold) and Nero Bellum (Psyclon Nine) have written and recorded the material together for this second studio album. “Simulacra” will hold 10 new tracks.

The first single from the album is “Ashes” with an accompanying video directed by Vicente Cordero of Industrialism Films.

Skold returns with 5th album focussing more on metal

Bernard - Side-Line Staff — Wed, 10 Feb 2021 18:24:28 +0000

Former Marilyn Manson and Shotgun Messiah member Tim Sköld returns with a 5th album under the Skold moniker: “Dies Irae”. This fifth album, the follow-to to 2019’s “Never Is Now”, showcases Skold’s heavy metal side backed by synths and will be out on March 5 via Cleopatra Records.

Tim Sköld is a Swedish musician and record producer, who in addition to producing solo work, has also collaborated with multiple musical groups including Shotgun Messiah, KMFDM, Marilyn Manson and Motionless in White.

Check already this track, “Goodbye”.

PIG has ‘risen’ back to life with new album expected in June

Bernard - Side-Line Staff — Thu, 08 Mar 2018 14:56:20 +0000

PIG is back in business. Raymond Watts will be releasing the album “Risen” later in June. For this album he collaborated with Ben Christo, Z.Marr, En Esch, Tim Skold, Marc Heal, Phil Barry, Mark Thwaite, Anita Sylph and Emre Ramazanoglu.

The new album is already up for pre-order and will count 14 tracks including 5 remixes.

Watts was an early member and periodic collaborator of KMFDM, and has been a visible part of the industrial music scene since the early 1980s. He has toured with KMFDM, Nine Inch Nails, Schaft, Schwein, and Einstürzende Neubauten and is basically the founding and sole member of the post-industrial music project PIG, sometimes written as as well.

Some trivia you ought to know from Watts in case this is the first time you hear about him:

From 1984 to 1986 Watts was sound engineer for Mona Mur.
From 1985 to 1989 Watts was a sound engineer for Einstürzende Neubauten.
Watts has occasionally collaborated with J. G. Thirlwell, briefly playing bass in Foetus Corruptus and co-writing songs for Steroid
Maximus on the album “Gondwanaland”. Thirlwell, in turn, has cowritten and remixed songs for PIG.
Watts recorded music for ex-girlfriend spoken-word artist Sow (aka Anna Wildsmith)’s 1994 album “Je M’Aime” and again for her
1998 album “Sick” and 2010 album “Dog”. “Je M’aime” was reissued under the name “Pig/Sow” in 1999.
PIG’s 1995 album “Sinsation” was released in the US on Trent Reznor’s label Nothing Records.
Several of his albums were originally released in Japan.
Watts has performed with KMFDM as part of the touring lineup, with the concerts billed as “KMFDM featuring PIG”. The setlists for those shows feature KMFDM songs alongside Pig songs.

Classic KMFDM album ‘Symbols’ reissued as 2LP vinyl set – order it here

Bernard - Side-Line Staff — Tue, 17 Jan 2017 19:30:36 +0000

KMFDM (short for Kein Mehrheit Für Die Mitleid and not Kill Mother Fucking Depeche Mode) has decided to complete a vinyl remaster of their classic 1997 album “Symbols”. You can order this very limited vinyl set right now exclusively from this website.

“Symbols” featured quite an impressive list of contributors who joined Sascha Konietzko. The list included Ogre (Skinny Puppy), Tim Skold (Shotgun Messiah), Raymond Watts (Pig), Bill Rieflin (Ministry), Michel Bassin (Treponem Pal), Nina Hagen and Abby Travis.

The material itself was recorded in Seattle, Washington, and marked the introduction of Tim Skold who would become a full-fledged member for the albums “Adios” and “Attak”. The album track “Stray Bullet” received mainstream media attention for the wrong reasons, namely after the Columbine High School Massacre, because the song’s lyrics were posted on the website of Eric Harris. The song was also in the background of one of the videos posted by Pekka-Eric Auvinen on YouTube prior to the Jokela school shooting.

Check the track “Megalomaniac” below:

Exclusive Skold interview on new ‘The Undoing’ album: ‘At some point you have to let go, and laugh at it, what are you gonna do?’

Bernard - Side-Line Staff — Fri, 13 May 2016 08:42:47 +0000

If it were up to Tim Sköld, you would have seen his new Skold album “The Undoing” released a while back already, but that fell apart when self-releasing didn’t work out. Our correspondent Evan South went talking with Tim, the Swedish multi-instrumentalist who, in addition to producing solo work, has also collaborated with multiple musical groups including Shotgun Messiah, KMFDM, Marilyn Manson and Motionless in White. It turned out to be a very interesting talk and probably the most complete interview ever done with the musician.

For easier lecture, we have spread it over 3 pages.

You can order “The Undoing” right here, it ships immediately!

SL: The new album “The Undoing” is already technically 2 years old. What was the reason for the delay? Were you trying to do a self-release and it fell apart?

Skold: Yeah, that’s what I did. I listened to some people that had some advice, and as we pursued those avenues I came to realize that it was not the way I wanted to go, and many moons later I am very fortunate and happy to be back with Metropolis. The 2 year thing, and I understand that, especially to young people, seems like a very long time, and it can be. I made records for a few different scenarios and setups, and working with major labels, there is no way you deliver a record and it’s going to come out within 6 or 9 months, that’s a minimum setup time for any of those labels. So it’s not unusual at all for them to take a year, or a year and a half, maybe 2 years, it’s not really that strange. Today, with the internet, it seems bizarre, but it’s kind of cool, too. At some point I decided this record was done and I’ve been hanging on to that ever since. It would have been really easy to start poking around, do little tweaks. As time goes along you hear things differently and you figure out different ways to do things but I swore a sacred oath to myself not to do so. The problem with the rabbit hole, once you start doing that, it will never be done again, and you have a Chinese Democracy scenario. I’m kind of proud of that.

SL: You were disciplined enough to not touch the record and leave it alone for the most part?

Skold: Disciplined or pig-headed? There’s a fine line. I was doing other music and working on other things, Motionless in White being one of those things. To me, the piece, it’s like a painting, it’s dried, it’s cured, why should I mess with it? I went back with an inner dialogue debating this a few times, but I decided just to stick to it.

SL: In that time frame, were you able to start on another album?

Skold: No. I was able to work on other music and in other concepts and different formats. I’ve been more or less writing, but I haven’t started work on a follow up or sequel. This record feels very pivotal for me on a personal level, whether this is something I should really be doing. It sounds funny, but I’m pretty serious. I’m not necessarily a youngster. I’ve done it a few times, the weird part about it is it’s still magic to me, it’s still really cool, I really like making and working with music. I understand that’s just fantastic, it’s a blessing! It’s all of those; I don’t even have words for it. To still be able to do that, and I think that’s because I try to treat the whole process with the respect to make it special and keep it special and not go down certain roads that are quick and easy and streamlined and sold or presented to you. I try to avoid all that stuff and go my own little side path down the maze.

SL: All of a sudden with this album you have a tour. How did you come to the conclusion that not only were you going to put this album out but you were going to tour with this?

Skold: I started toying with the idea, and thinking that this actually could translate… I even did so previously with the Anomie album in 2010, thinking that the music I make should work in a live setting. The music I make as Skold should work, at least theoretically in a live setting, and I’ve messed around, I’ve been with people in rehearsal rooms trying out things, and when it really came together was with Tiffany Lowe and Eli James. And we said “We’re going to have to do this!” Do I, at my age, a man of my stature… I’m not here to compete with 21 year olds, I can’t do that, I’m not going to pretend that I can either, I do something else, and I have a bunch of catalog that I hope a bunch of people might want to hear presented again and in a different way but still true to the originals. I have a curious little set I hope people will get off on and I have fun playing the music, and that’s what it comes down to at the end of the whole debate and analytic dissection of the proposal… It is fun to play music!

SL: You mentioned wanting to tour for Anomie, but you did not actually tour for that album, correct?

Skold: Correct.

SL: I had read a lot of interviews around that time that you were really excited to tour. Was it just not the right time, the right album, the right lineup?

Skold: Yeah, not the right people.

SL: That’s a big reason.

Skold: And I know I take ridiculous liberties with these things. I’m in a luxurious position when I can do that. I mean who the fuck can entertain the notion of sitting on a record for two years? So I’m going to do that. It’s not a guilt thing, I owe that to having been given that success, I kind of owe it to the art itself, to treat it with that respect. That it was enough to turn my back on it, and sell-out, so to speak.

SL: How did you come to work with Tiffany Lowe (keyboards) and Eli James (drums)?

Skold: I knew Tiffany socially for some time, we were introduced by mutual friends, and we started talking about it. She provided a lot of fuel for that fire, spurring me on and bringing an enthusiasm. Together we started looking for drummers, and I think she came up with Eli. She told me to check him out. We talked to a few different drummers, then we talked to Eli, and then we stopped talking to other drummers. I make it sound like it’s all complicated and convoluted, and some of it is, at the same time it’s really not. I’m fairly pure when it comes to that stuff. Some people you want to work with and some people you don’t.

SL: How did you determine the band was going to be 3 people, and not your typical 4 or 5?

Skold: I really like to play guitar, and I really like to try to sing… I have a hard time calling myself a singer. I’ve worked with Peter Murphy, what gives me the fucking right to say I’m a singer? I wanted to see if I could do that, if I could play and sing at the same time. And going back to the competing with the 21 year olds, doing things in a different way, what do I have to offer in this big picture? What could I possibly be bringing to the table? And maybe that is some of the chops that you’ve earned over a longer period of time… It also makes the song sound a little different then if you sit down and just play the guitar take, and get that done, and then you stand over there and record the vocal, sometimes it’s a little disconnected, sometimes the disconnection is a really good thing, but sometimes it’s rad to have it feel like it’s connected. There are some fantastic people that have done that stuff very, very well in the past. Jimi Hendrix hated singing, but can you fathom Jimi recording without singing? Sometimes things make sense even though you can’t justify them on a technical level. So that’s my excuse, Jimi fuckin’ Hendrix!