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Intervju: Dead When I Found Her 2011

Posted on 09 March 2011

Intervju: Dead When I Found Her 2011

Amerikanska soloprojektet Dead When I Found Her, skapat av Michael Arthur Holloway, släppte sin debutplatta “Harm’s Way” i höstas, en skiva som kritikerrosades i princip överallt, så också på

Vi bestämde oss för att ta reda på hur en 32-årig man från Portland lyckades skapa något av det mest spännande sedan Skinny Puppy och vår egen gästskribent Joakim Holfve gjorde således en intervju. (Publiceras enligt önskemål på originalspråket)

OBS! Missa inte Joakims recension av albumet här.

Hey Michael, thanks for taking your time. First off, what is your own opinion on your debutalbum, “Harm’s Way”?

– I’m very happy with the album overall, mostly because I think it achieves precisely what I set out to do from the start. There was a ‘sound’ I wanted to achieve, and I think songs like “Curtains” and “Lost house” really nailed that sound. To have had an idea in my head originally, and then to hear it realized in a way that meets my own personal standards, well, that is very gratifying, though it was certainly a learning process to get there.

When I listened to “Harm’s way” the first time I’ve immediately thought of Skinny Puppy and I know you’ve mentioned them as one if your inspirations. How do you feel when compared to them?

– Yes, the Skinny Puppy-influence is strong and of course easily apparent in the music. They are my musical idols, needless to say. I have no problem being compared to them because they’ve influenced me so deeply; I think of them as the wise elders of the field I’m working in. They will always be a source of inspiration, though obviously I hope that I take that influence and add my own distinct character and style to those strong roots.

When you released the first songs under Dead When I Found Her, you immediately draw attention to yourself and the reviews of your album is only positive, did you expect this?

– I had no idea what to expect originally. The reaction from the various online forums has been simply awesome, to say the least. Honestly, it was precisely what I hoped for: that other people besides myself would want and embrace a new take on ‘old-school’ industrial music. Aside from my project, Necro Facility and the last Run Level Zero album, I personally don’t know of anyone else doing this style; there’s lots of modern day hard-EBM out there, but not nearly as much horror-industrial in the SP/FLA-vein (Skinny Puppy/Front Line Assembly, reds. anm).

How long have you been working on your debutalbum? Cause from what I’ve understand you are doing everything yourself?

– “Harm’s Way” was created throughout the year of 2009. I’d say “it took a year to make” and that’d be more or less about right. I generate an enormous amount of musical output, obviously not all of which sees release or a state of completion. But I’d say my output is pretty fast, overall; typically a song from start to finish is done in about a week or slightly less. The process is also a bit faster now than with Harm’s Way because when I was writing that album, I was freshly returning to focused music production after a break of a few years, and investing in lots of new software tools (new to me, anyway) and learning about many of them for the first time. So for all the time spent on songwriting, even more time was spent on learning which production tools I liked best and how to use them most effectively. It was a serious education. I’ve got a lot of knowledge and tools under my belt now, thanks to that very productive year.

Any plans on when you are gonna release your second album as DWIFH?

– Regarding the release date, I can’t say, because I don’t know. But early work on the album is underway. I have a lot of ideas going and I need to streamline my approach a bit. But I am very, very excited about working on DWIFH #2.

You’ve said in an earlier interview that the bandname ties together with your songs, is it selfexperienced things you sing about?

– It’s not about any personal experience, no, but rather an interest and attraction to film noir and pulp-noir atmospheres. I think the sound of electro-industrial and the gritty vibes of noir-themed fiction fit together very nicely. The band name came from pulp-noir images and vibes, and it just made sense to carry that theme outward into the songwriting and lyrics.

You’ve been known for remixing old classics like Phil Collins and Prince, are there any particular artists you are gonna do covers or remixes next?

-I will continue to do cover songs of 70’s and 80’s pop songs.I will continue with my usual Facebook voting-rocess to see what I do after that. Regarding remixes; so far I simply do remixes for those who ask me to; but I’d love to do more, especially for some of my favorite bands….

A bit more general question but as a Swede I travelled to the states a while ago and found the industrial scene to be quite small. Why do you think it is like that?

– I can only really speak for Portland, as I haven’t explored the scene in any other cities here in the states. It’s definitely a ‘niche’ scene, and my impression is that it’s small, yes, but also very present and active. But compared to what I hear about the scene in Europe, well…I think there’s no comparison. Industrial is very niche in the states from what I can tell, little pockets of people who really love the music but don’t generate big numbers together.

Is there any chance that we will see you performing in Europe any time soon?

– If the right opportunity arises, I will play in Europe, but there’s a lot of requirements for “right.” I’d love to do it, though, and it seems like there is a lot of interest in industrial and EBM in Scandinavia and Germany in particular.

I sure wouldn’t mind, we’d love to have you over! And regarding that, how do you think the industrial scene will develop over time and in the next coming years?

– Interesting question, and I can only guess. Most likely it will probably stay the same: a small niche-oriented culture of very dedicated fans who like going to the clubs and festivals. But, honestly I think it would be good for the scene if a new NIN emerged, they’ve been the only mainstream breakthrough from our little genre, and not only is it interesting when that happens, but it creates waves within the scene and (though it can be negative in some ways, too) ultimately brings the attention of more people to quality industrial music. After all: I discovered Skinny Puppy through first liking NIN, way back in highschool!


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