MONSTER MOVIE OR A LIFE AFTER SLOWDIVE

If you mention a band with a name like Monster Movie you tend to think of something brutal, something like Dwarves or Foetus or whatever ...but Monster Movie are nothing like that.
In fact, dear children, Monster Movie, is a band (they exist for 20 years so nothing new here) which is fronted by one Christian Savill, who used to be in an other galaxy a member from Slowdive.
We all know what happened with them…first there was Mojave 3 and later you got the solo-albums by both Rachel and Neil. How great all these releases might be, apart from the vocals there’s nothing left from that Slowdive-sound.
Monster Movie are not the new Slowdive, absolutely not, but at least it’s a retour to the dreampopscene.
Perhaps first a bit of Sarahpop-history for you.
In the late 80’s both Christian Savill and Sean Hewson decided to form a band called The Geeks. The Geeks later became Eternal who had a release on Sarah Records. As Christian was so keen on joining Slowdive (who wouldn’t?), Eternal
disappeared out of sight.
Ten years later, the duo came back together and had their first album out called “Last night something happened” under the name of Monster Movie.
Another ten years later and they’re back with an other album named “Everyone is a ghost” released on the tiny American indielabel Graveface.
Monster Movie pretend to be making Krautrock, something like Can. This makes me smile, basically because I think it’s an insane thing to say (if Monster Movie are making Krautrock then almost my entire record collection is Krautrock!) but having that said, I see something like David Bowie’s “Low” coming up, enriched with…yes, that was the word…shoegazingguitars!
You see, the world has to live with all these pigeonholing terms but in all honesty if you hear tracks by Monster Movie it’s like you’ve been tracked back in time where the young likes of Slowdive were overwhelming you with godlike songs like “Catch the breeze”.
I know it might not to be fair to say that, but at least back then the music was gracious!
Anyway, everyone has their own idea how Monster Movie sounds like, the most important thing though is that everyone agrees it’s actually great!
All I know is that Monster Movie are like the keykeepers from a gate that hosts genius pop.
Check it out yourself on http://www.myspace.com/monstermovie

THE WONDERFUL AND FRIGHTENED WORLD OF MORC RECORDS

Last Tuesday was a rather special day for me. It wasn't because of the rather lame indiepop by Lake but when I entered the venue a voice said "Hello Didier" and I immediately recognised the face of Wim Lecluyse.
Wim handed me a bag of old Original Sins (when it was on paperform) as my mum incidentally threw them away, but no one can be mad at his mum even if she threw away my lifework. While watching the gig that bag full of zines was on my lap and I became overwhelmed with what people tend to call melancholic feelings.
Now who's that Wim? Well, he's the founder of one of the most gentle labels I ever got in touch with. During the whole gig I was thinking of the old days, it made me almost teary, mopester that I am. At the end Wim handed me the latest Morc-release which is a collection of old works from Drekka.
When listening at the weird noisescapes I was thinking that it'd be better to write something about Morc Records rather than penning down some review that's been lost after a couple of days.
I guess this is my tribute to you, Wim....
The Original Sin is back as some say but not many of you know what this fanzine standed for in those days. It was never important but it was a sort of gathering from people who found it was time that there came an end to the overruling importance of the mainpress.
For young people, it's hard to imagine as now rockjournalism is totally dead simply because everyone writes their own reviews and articles on blogs or self created websites. In the 90's it was different.
Difficult how to say how I ended up being a fanzinewriter but I knew I was totally amazed by the British press (just honest) and when I saw my first fanzine, a German one, I decided to start one too.
It was that different approach which got me into other musical dimensions.
There seemed to be many subcultures from unexplored genres and The Original Sin wanted to follow most of them. I remember labels like Mick Magic, Best Kept Secrets, Plastic Pancake Records, Org Records, 25 Records, Abuse records, Bliss Tapes and so many others. What was great about those DIY-labels was that every "owner" of the label released their fave stuff because they were fed up by the fact that all their preferred music stayed unreleased.
Many people asked me why I never considered starting something like Original Sin Records, simply because it wasn't my passion. Writing was/is my passion and I'm afraid it's the only thing I'm good at, if I'm good at it...
Fanzinewriting also shaped my musical tastes and so it happened that one day I got in touch with Wim from Morc Records. You can lie, you can be honest…I prefer to be honest. Being the musicmaniac I am I was familiar with Brian Eno or someone like Robert Fripp, I even had lots of industrial stuff here at home but I wasn’t aware of bedroom DIY-experimental rock that consist mainly of soundscapes.
How can you be aware of that anyway? You never hear it on the radio, the traditional press don’t even consider to write a word about it…it’s simple : if you’re not into the undergroundpress you can’t know this…
I even would have been considered as a dummy if I talk with those guys, as all I could say was something like…sounds a bit like Coil or Nocturnal Emissions. I am even not a musician so all these complicated technical datasheets that are coming with such releases were (and still are) Chinese to me…and no I even don’t wanna understand it all.
All I wanna do is enjoy it, and just like every “normal” person was something like “What the f**** is that? Is this still music?”. I do consider it now as music but without a label like Morc it would never could happen I think.
In all honesty I must say that from the moment I started reviewing industrial stuff (I hope it’s OK if I name this league of music like that even if I do know that it’s not that correct) I got sent a lot of stuff.
I can’t tell you how many C90’s (in those days it were tapes, TDK preferred!) I listened to in my life, some of them bored them to death but I decided to become a reviewer and you can only review something if you listen to it even if you don’t like it, I know you don’t have to but then you’re not only fooling yourself, but your readership too and then you’re not worth it writing one letter….
I was lead by other fanzines (“Robots and electronic brains” is one that spring to mind and a label like Morc Records).
I remember very well the early days in where Wim was proud to send me his releases, all on tape of course. Just like me, Wim aged too (nah you can’t see it) and if you take a peep on his website it’s rather amazing how many artists that were once on Morc.
Anyone who had progressive fanzines in his hands will recognize artists such as Richie Cunningham, Wio, De Portables (legends in their genre), Minmae, Iditarod, The Ordinary Seaman (click further on our interviewsection and you’ll find a full interview with him) Jessica Bailiff or Drekka (very funny that this band landed on Morc because Wim read about them in The Original Sin…I can’t remember but Wim told me that I wrote in my review from Drekka’s tape that it’d be something for his label).
I am talking about 10 till 15 years ago, but now we have modernization called the internet….in the early days The Original Sin was even handwritten.
If you go to the Morc-website you’ll discover a huge range of mp3 from every artist that was on Morc. It’s damned difficult to pigeonhole Morc as it goes from industrial ambient till bedroomtape-artist (aka the many Daniel Johnstons this world is aware of). And most important of it all…give it a try, no give it several tries…
Just like all the other bedroomlabels Morc releases are always joined with a wonderful artwork (when I opened my Drekka-CD I immediately showed my wife the beautiful inner booklet).
The hardest thing about Morc was reviewing them though….
It was always a pleasure to listen to Wim's releases but the hardest thing in the world was to review them, especially as I always want to write in my own way...from the moment that I write like I'm adding some dull booknotes, please inform and I'll shut up immediately.
Morc Records worked like some filter in the experimental/bedroom scene. (I’m not pretending Morc was the sole label, but this article is about Morc).
So I guess Wim must be the owner of tons of tapes that's been sent from all over the world, but he's the kind of guy who has the perfect ear to filter the stuff...it's like you're getting the cream of the crop from the experimental bedroomscene.
Check out http://www.morctapes.com/

EXPLAINING THE VINI ADDICTION....

If people are asking someone which is their fave band on Factory, the main part will answer Joy Division or New Order (some Britpoppers will eventually come up with Happy Mondays) but I think that The Durutti Column have been played most, and so I think that, in my life, they must be more important than Joy Division.
I know that many people already will think it's a shame to say such things even if they have never heard a sole track by them.
You see, being signed on Factory was a godsend, but all bands were somewhere standing in the shadows of New Order or Joy.
Not that Factory-founder Tony Wilson ever wanted this because even if Vini came in at a much later stage, The Durutti Column were Tony's first band...a punkband they were!
The very first recording came out on the Factory-sampler, which also included Joy Division.
The Durutti Column were really a bunch of people that came and went (some even went to Simply Red!) and it was after some nasty words with the not so always gentle Martin Hannett that the band were disbanded and that there was only one member left : Vini Reilly.
The Durutti Column are fronted by Vini Reilly and Bruce Mitchell on drums. But the very first album which got the very realistic title "The return of Durutti Column" was a colloboration between Vini and Martin Hannett.
It was clear that Vini was a genius guitarplayer and you can play as many guitarsolos if you want, if you can sound like Vini then you're in my eyes a real guitarist! This man handles the instrument so perfectly that every touch of his fingers on the strings provokes emotions, mostly in my brains...
On their second album "LC", which is for me their best one, came the introduction of one Bruce Mitchell on the drums and the two never got seperated after.
Despite low sales, Durutti Column were always part of Factory and such things graces the label, many albums followed (all of them little masterpieces) but the funny thing (well, is funny the word to use anyway?) is that Vini had more success on the albums he played as guestmusician.
Many people who swear they have never heard from Vini will know Vini's guitarplaying without knowing it...among the known releases Vini was part of are "Viva hate" by Morrissey, the debutalbum by Anne Clark or in Belgium the early music by Jo Lemaire.
Once Factory came to an end, Durutti Column had a problem too as : who wants to sign a musiclegend from whom nobody buys albums from? Luckily for him, there were always labels around (Les Disques Du Crepuscule) or in a later stage Factory Too (Tony Wilson's attempt to relaunch Factory).
This day the band are a household name for a handful of people, those who know their music cherish it, those who don't ignore it...normally that's the way things are but in such a case it's a true shame....

MARK LINKOUS : THE DEATH OF ANOTHER TROUBADOUR

Making a musicmag/zine/blog or whatever is funny but the dark side is of course the reporting of sad news. The most sad news is of course telling about the death of persons and 2010 seems to becoming a sad year cos exactly one week after the death from Section 25-singer Larry Cassidy, Sundaymorning arrived with the news that Mark Linkous committed suicide on 6th March 2010.
Mark grew up in a family where everybody seemed to be destinated to find the luck in coal mines but from the 80's on, Mark appeared in several indiebands to find in 1995 his definite destiny : Sparklehorse.
Sparklehorse were there are the right place and the right moment because the world was open for alternative American music and the schizophrenic lo-fi country-influenced indiepop from Sparklehorse found their fans.
Sparklehorse made five albums (from which "Vivadixiesubmarinetransmissionplot" and "Good morning spider" are among my favourites) and luckily for them, there was some honesty left in this world and "Someday I will treat you good" became a minor hit.
The life from Mark was never a straight line with the known fact that he was bounded to a wheelchair for 6 months after an overdose from alcohol during a tour with Radiohead who they supported.
Mark was also known as producer, his best work must certainly included the one he did with Daniel Johnston (the epic "Fear yourself", commented elsewhere on these pages) being a milestone in lo-fi rock.
RIP Mark.

L'UNION FAIT LA FORCE OR THE BELGIAN 80'S IN A NUTSHELL....

There are many reasons why Belgians have to explain why they feel some pride about their country…it’s tiny, some say it’s the country in where things can happen that just can happen here, we come in the news because we think it’s dumb our neighbour speaks French and vice versa, we come in the news because of some disturbed child murder…and yet I think Belgium must be the coolest country ever. Mind you, I haven’t been around the world so I can’t judge… It’s also not my goal to pen down some geographical literature cos in the first place I don’t even wanna write about that…no I write about music…
Please if you’re Belgian, don’t judge this article as I’m not telling anything new and you can’t expect from me that I can write down a detailed history in a nutshell. There are times I’m seriously thinking about writing a book about the Belgian music in the 80’s, who knows one day…who knows I do it in snippets in my blog, who knows…
I know every country has its merits if it comes to music. It’s just very normal, due to different facts, that we know more about the British and the American scene then, let’s say, the Finnish scene. I don’t say it’s fair, but it’s only logic…English being a sort of universal language is already a main factor.
Throughout networks like Facebook I try to ask different musicmaniacs (that are people who breathe 24 hrs music just like I do) from all over the world if they’re aware of the Belgian musicscene and apart from some exceptions who come up with some obscure names, or those who cite regular names like Plastic Bertrand, Deus, Soulwax, Jacques Brel but then it mostly stops….
Again, I think it’s logic, but more than unfair as the Belgian music is genius in many different ways and not that much is known about it outside Belgium. And Belgium used to be always different….take the Eurovision contest for example…we were the first who sent a child and we won, we were the first who sent electronic pioneers (Telex) and we lost, we were the first who sent minimal wave (Pas De Deux) and no one understood, we were the first who sent Clouseau and the world started again laughing with us….
In this article I wanna concentrate on the 80’s (so don’t start being pissed off cuz Ferre Grignard or The Pebbles aren’t mentioned). It’s very difficult do it historicwise as all kind of streams started at the same time….
There was the typical new wave-movement who found their example in the British post-punkheroes and it gaves us bands like Siglo XX, Phantom Limb or Red Zebra. In some way they did nothing new as after all it was based on that typical Peter Hook-bassline that would change the musical world forever, but it gaves us albums and songs to be proud of.
There was a movement which was called by DJ Gust De Coster something like Belpop which was alternative Belgian music with most of the times average albums but strong and genius singles that are till today high wanted items by many collectors. Bands in that league were The Machines, The Bet, Toy, Lavvi Ebbel, Scooter, Won Ton Ton, 2 Belgen, Schmutz, The PopGun, Elisa Waut,…..
The most interesting thing was to be found in the South of Belgium (where they speak French) as one band named Front 242 started what was known as EBM aka Electric Body Music. For that fact I think they must be the most important band in Belgium ever as it started giving inspiration to tons of bands like A Grumh, The Klinik, A Split Second, Absolute Body Control while others like Neon Judgement, Luc Van Acker, Poesie Noire, Flesh and Fell or Company Of State started melting wavemusic with electronic sounds.
Before the EBM-mania there were hundreds of Belgian bands pioneering the minimal synth-route with A Blaze Colour, Snowy Red and PseudoCode being the most known bands.
I’m not saying that Front 242 were responsible for all this (Joy Division aren’t responsible for all post-punkbands too) but their success and influence surely shaped most of these bands.
Another very important fact was the rise of some labels with Les Disques Du Crepuscule and Crammed Discs as the most important ones. Men can write books about these labels so what else can I say that both these labels had an immense influence on the 80’s alternative music in general and bandwise it gave us acts like Soft Verdict, Marine, Isolation Ward, The Names (who later could release a single on Factory) and 50 others…
Apart from all those scenes there were bands who were following their own route like Dole (who had a genius album being produced by Adrian Borland), The Scabs, TC Matic (perhaps the most popular alternative Flemish band ever), Arbeid Adelt, Jo Lemaire (who worked together with Vini Reilly and made some underrated gems in the early 80’s), Aroma Di Amore, De Brassers, Lio, Parade Ground…..
In 1987 a DJ decided to play a 45rpm-track at 33-rpm (“Flesh” by A Split Second) and the biggest dancegenre ever exploded….new beat….there were literally hundreds of new beatbands (Confetti’s, Amnesia, Lords Of Acid, …) and it became the scene that killed itself and before we knew it, the eighties were over but in the corner were already standing persons like Stephen De Waele (Soulwax) and Tom Barman (Deus) who were preparing a 90’s for Belgium, but that’s an other story…
I forgot bands, I think I have forgotten 500 or so, so don’t judge me on that…I just wanted to say to non-Belgians : we do have a scene, we do have a history…I was just fed up by having to read that we only gave this world chocolate and French fries, we even gave you Sandra Kim!

THE SECRET OF KALAMAZOO OR THE WAY TO FIND YOUR FAVE UNKNOWN SHOEGAZEBAND...

The secret of Kalamazoo? Am I talking about some comic or the latest Indiana Jones-sequel? No, not exactly but near Michigan (that’s the US in case you’re dumb) there is a place called Kalamazoo and around 70.000 people are living of there. Among them you can find Joshua Garman and Chris Wahamaki, two shoegazers who unite their talents in a band called Crash City Saints.
So yes, here we are again talking about them. Why not? You read every day about the likes of Christina Aguilera or Lady Gaga and they have no talent, so why not writing (and thus reading) about a band who offers us the most noisy (and melodic) shoegazing stuff you can imagine?
Anyway, after hearing my Rhino Boxset from Jesus & The Mary Chain, I picked up without thinking their “Returner”-EP and it gave me the same vibes. The only thing remains of course that the brothers Reid are known everywhere whereas these two Americans are obscure as fuck. Or is it so then that this is just outside America?
Mind you, not all Americans are banging their heads to the tunes of Sugar or Swervedriver but it’s certainly so that the shoegazingsscene in America means something. In fact, did you even know that there is a shoegazingfestival in the US? If you wanna see it, you’ll have to travel to (here we go again) to Kalamazoo and it’s called Kalamashoegazer and shoegazing bands from different American departments are playing there. I know, it only makes you jealous and in some way it makes you sad not to be a Kalamazoo-inhabitant.
When hearing their “Returner”-EP, critics might think that they’re not original and from a band who claims that they’ve been influenced by watching too much episodes from 120 Minutes circa 1991 you won’t expect anything different, but the thing is that there’s now finally a scene worth following after a decade of nothing, so let’s celebrate that.
Maybe it also becomes the scene that celebrates itself part 2 but who cares about that anyway?
Not everyone I know is happy that bands are taking up old sounds but that’s bullshit. I follow music since the day I was born (well no, actually since I was 6 and I’m now 41, so count) and the list of bands who are trying to do what The Beatles once did is an endless one. And still if someone comes up pretending to be the new Beatles they’re hailed but for a band who tries to refine (or their own interpretations) from bands like Slowdive or Sugar then it’s like they’re tasting the forbidden fruit. At least it looked like this is changing…
Some years ago bands like Editors or Interpol were pointing the public to the fact that there was good music around in the 80’s. The 80’s were more than Cyndi Lauper, there was also something like “Pornography” by The Cure.
You might dislike both Interpol and Editors but these bands provoked a situation in where new bands (take for instance Coldcave) don’t have to be sound like the sons of Nirvana, or 10.000 times worser, the bastards from Red Hot Chilli Peppers.
The same is happening now in the States with the shoegazing scene. The hard truth is of course that ten years ago there were also shoegazing bands around (Vapor Trail, Deardarkhead, Spindle Shanks, Shallow) but no one cared to notice them, simply because the press decided it wasn’t important to write about such things.
Times are definitely changing as now there is something like a My Space Generation and without the help from the traditional press, bands like A Place To Bury Strangers and since recently Veil Veil Vanish are entering the doors of worldwide recognition.
What was caused by Interpol can hopefully be caused by them too, and if that happens then Crash City Saints deserve their piece of fame too.
If you wanna check it out then here you can find ‘em : http://www.myspace.com/crashcitysaints

ANOTHER FACTORY DRAMA (SECTION 25 FRONTMAN LARRY CASSIDY PASSED AWAY)

The older you get, the more you see people passing away. That says something about yourself, getting old yourself is the keyword, but it’s shocking to see people you admire getting away from this globe.
With Factory Records it’s like our economics, one factory closed after another and it all seems like little dramas (from Anthony Wilson to Ian Curtis to Martin Hannett) and Saturday 27th February was another black day when co-founder from Section 25 Larry Cassidy passed away.
It’s perhaps perverse to raise someone’s music after his death but so works the musicindustry and as it, sadly enough, will only be the undergroundpress that will report his death I feel the urge to say some things about Section 25.
If you thought all bands on Factory were from Manchester, you better know that they were from Blackpool. According to journalist and musicencyclopedia John Robb, Section 25 are the best thing from Blackpool ever.
The band was formed by the two brothers Larry and Vincent Cassidy in 1977, later joined by Paul Wiggin.
The band soon got the attention from Factory Records (bear in mind, that even if the label is a household name there weren’t that many bands on the label : A Certain Ratio, Crispy Ambulance, Stockholm Monsters, Tunnelvision, The Wake and of course Joy Division).
They immediately were loved by Joy Division and Ian Curtis would produce their debutsingle “Girls don’t count” in 1980.
You can divide the history from Section 25 in three parts. There is the post-punk sound from the first two albums, the electronic new wave sounds from “From the hip” and the comeback 20 years later.
From the moment Section 25 were signed they got all the “Factory-bonuses” as their debut “Always now” got released in 1981 there wasn’t only the production from Martin Hannett which gave it that typical cold Factorysound but there was as well a sleeve designed by Peter Saville which gave it its typical Factory-look. The yellow sleeve with the marble innersleeve must have been very expensive these days, and as said by John Robb one of the highlights of the Factory-art.
Later followed their 2nd “The key of dreams”. Both albums are examples of genius British post-punk and even if these albums were loved by all die-hard Factoryfans, they also were a bit the victim of the Joy Division-curse cos face it, how genius Wilson’s label was, all signed bands were compared to Joy Division or later to New Order.
A total different sound came with their third album “From the hip” which was produced by Bernard Sumner, and just like Joy Division were becoming the death-discoperformers from New Order , Section 25 also got involved in electronic sounds.
With this, the addition of female vocals came as well (Angela Cassidy and Jenny Ross, who later would become Larry’s wife).
It’s a stupid discussion to say which period was best, simply as it are two different sounds, but “From the hip” must be the most dark electronic sounds from the 80’s and it even gave them a minor hit “Looking from a hilltop” which today can be heard at various new wave partys.
But from then on, it all went backwards with just the 4th album “Love and hate” being released in 1988, but this album was in fact nothing more than a collaboration between Larry and Jenny.
The band had great plans for the new millennium as there would be a comeback being planned but sadly enough it all seemed without sense as in 2004 Jenny passed away.
Anyway, in 2006 the two brothers Larry and Vincent decided to give it a go and Section 25 would become a four-piece band with the addition of both Ian Butterworth (Tunnelvision) and Roger Wikeley.
They also had a new album out “Part-Primitiv” released on LTM, the label that is re-issuing great post-punkalbums from the 80’s (Crepuscule, and recently even a compilation by Belgian coldwave band Isolation Ward).
Some gigs followed and here played Belgium a big role. Organisator Les Nuits Fantastiques organised those famous Factory Nights at Plan K in Brussels.
Joy Division-fans from all over the world will know that Plan K is a very special venue for Factory as not only it was the sole place in Belgium where Joy Division ever played but it was also there that Ian would meet Annick Honoré, rumours say she was even there during the Section 25-reunion.
One year later in 2008 Section returned to Brussels but this time they were joined by Peter Hook who played bass with them (a year before Hook was DJ during the Factory Night), but then again Hookey never has hidden his admiration for the band.
With the death of Larry another drama happened in the Factory-history. A sad fact and all that’s left behind is the wonderful music Section 25 gave us.
Just like with every other death from a musician, people start rediscovering the art, and in the case of Section 25 I hope it won’t be any different as this band should have been more than a footnote, it should have been an institute. Respect is due.
RIP Larry.

VEIL VEIL VANISH OR HOW YOUR MUSICAL WORLD CAN CHANGE IN A MOMENT....

It's 2010 and I'm 41 years old. During all those years I'm walking around on Planet Earth as Simon LeBon would sing, I have some fave bands that change my live forever. Just like so many other soulmates it are bands like The Chameleons, New Order, The Sound, Echo & The Bunnymen, And Also The Trees or Clan Of Xymox that marked my ears forever. I still dig music, in fact I am not ashamed to say that I spend 24hrs to it, it's more important than everything else around...for me it's some sort of oxygen.
Honestly said, I hate people who claim that today in 2010 there's no good music being made as from the moment I hear that (and in fact I hear that too much), I tend to say : go back to your miserable life and keep on living in the past, if it makes you happy to keep on raving about the past...then go back to the past!!!
Having said that, I must also tell that I thought that I couldn't add any new band to the list of the big faves...yup, I thought the list was complete. But, and hey if you're a smart reader you felt it coming, it changed....
If a band decides to name a song after an lp by The Sound (they have a song called "Secondhand daylight") you know it must be something to hear.
And what a sound these Americans have...woooow....
Some say they're like The Cure (they appeared on a Cure-tribute cd), others think they're shoegazers, I think they're like The Chameleons with shoegazingguitars, sometimes it's like Adrian Borland is singing from heaven which is both creepy and great at the same time ...whatever you might think about how they're sounding, it's just a fact that every song grabs you by the neck and they're not ashamed to take the darkwave from the 80's as their example and that they're able to create haunting melodies.
I'm not ashamed to admit that I'm an Anglophiliac and there was even a time in my life in where I despised the American musicscene but you have to blame shitbands like Soundgarden or Audioslave for that. I never would have thought that I once in my life would say that my current faves were coming from the States and for once Obama has nothing to do with it.
Veil Veil Vanish have just launched their album "Change in the neon light" and changes are quite big that they'll be picked up and make it. In my books they are the forthcoming stars of 2010, without any doubt one of the best bands I heard in the last 15 years and for once I am not creating a hype, it's just a statement I said to myself...a song like "The wilderness" faces you with the desolate solitude of the human self, the sound (ooops) speaks for itself. The future's theirs....