{"id":17163,"date":"2020-02-14T11:49:51","date_gmt":"2020-02-14T10:49:51","guid":{"rendered":"https:\/\/elgarajedefrank.es\/?p=17163"},"modified":"2022-10-17T21:44:36","modified_gmt":"2022-10-17T19:44:36","slug":"interview-mark-e-moon","status":"publish","type":"post","link":"https:\/\/elgarajedefrank.es\/en\/interview-mark-e-moon\/","title":{"rendered":"Interview: Mark E Moon"},"content":{"rendered":"

Mark E Moon, from the Isle of Man, is the new Dystopian post punk\/wave music project of two veteran musicians that clearly deserve a bit more of fame. A few months ago, they have released their first album, the fantastic Refer<\/em>, and we will see them live at he W-Fest on Thursday 21st of May. Let’s fall into the arms of Entropy.<\/span><\/strong><\/p>\n

\"\"\u2014Why did you choose the name Mark E Moon for the band? Is it a pun on the name of Television\u2019s most famous LP?<\/span><\/strong><\/span><\/p>\n

\u2014Mark:<\/span><\/strong> Haha. Yes. But also a little nod to Mark E. Smith<\/span><\/strong> of The Fall<\/span><\/strong>.<\/span><\/p>\n

\u2014The Coldtransmission web states that both of you met 30 years ago, can you please tell us how and where?<\/span><\/strong><\/span><\/p>\n

\u2014Phil<\/span><\/strong>: I genuinely can\u2019t remember where we first met. Probably Bushy\u2019s, a pub we both used to drink in. It\u2019s all so long ago. We were younger and thinner.<\/span><\/p>\n

\u2014Mark E Moon is the first band I interview that comes from the Isle of Man, how is having a band there? The population density is quite low, it must be a nice and quiet place to live.<\/span><\/strong><\/span><\/p>\n

\u2014Phil<\/span><\/strong>: It is quiet, but that\u2019s not always a good thing. Sometimes it is, but sometimes you want a bit more excitement \u2026 it\u2019s fair to say I\u2019m not a fan of the place.<\/span><\/p>\n

\u2014Phil, you first played in Suicide Highlife (who released only an EP in 1988) and Colon (with a 12″ in 1990 and a John Peel Session). Can you please tell us more about these two bands?<\/span><\/strong><\/span><\/p>\n

\u2014Phil<\/span><\/strong>: Suicide Highlife<\/span><\/strong> was an indie band when the word \u201cIndie\u201d still meant something. We were heavily influenced by The Wedding Present, The McKenzies<\/span><\/strong>, The Room<\/span><\/strong>, all of that post-C-86 stuff. I wasn\u2019t much of a guitarist when we formed, so I had to learn quickly as the rest of the band were much better musicians than me. We managed to get quite a few songs recorded in demo form or whatever \u2014 as well as the 12\u201d, so it\u2019s nice that people can hear what we sounded like. The live shows were frantic, all played at 100 kph. You can find some of our stuff here: https:\/\/suicidehighlife.bandcamp.com\/<\/span><\/a> <\/span><\/p>\n

Colon<\/span><\/strong> came after Suicide Highlife<\/span><\/strong>, and formed because myself and Selwyn, the guitarist from SH<\/span><\/strong> were \"\"mightily pissed off with having to deal with drummers. We\u2019d started listening to Big Black<\/span><\/strong> and Sonic Youth<\/span><\/strong>, and thought, \u201cLet\u2019s have a bit of that!\u201d So we started making horrible noises with our pal Colin. Later on, Smizz joined the band and we fully went over to the dark side, with atonal, lunatic blasts of noise. People always wondered why we were so angry, but we were really just having loads of fun. The Peel Session was an amazing experience, and one I\u2019ll always treasure. I put a fairly bad-sounding version of it up on Soundcloud here: https:\/\/soundcloud.com\/phil-reynolds-8\/colon-peel-session-first-broadcast-1990<\/span><\/a><\/span><\/p>\n

\u2014I guess that interviewing both of you, we can have a pretty idea of how was the underground scene of the Isle of Man. After these two bands, you, Phil formed Tea during the \u201990s and Phil Reynolds And The Dearly Departed\u00a0around ten years ago. Again, can you please tell us more about these bands?<\/span><\/strong><\/span><\/p>\n

\u2014Phil:<\/span><\/strong> Tea<\/span><\/strong> actually followed a similar path to MEM<\/span><\/strong>, in that I was making music in my bedroom with a pal, Pete, and a lovely German guy called Ulrich Hoffmann who runs the wonderful A Turntable Friend record label picked us up and encouraged us. We released two eps in the 1990s before the label folded, and then, when Uli resurrected the label a couple of years ago, he put our unreleased album out, which was absolutely amazing of him. We were a real example of ambition over ability. The album\u2019s a schizophrenic collection of all sorts of things. You can find it here: https:\/\/tea-of-man.bandcamp.com\/<\/span><\/a><\/span><\/p>\n

Phil & The Dead<\/span><\/strong> came about because, for the first time in my life, I\u2019d started writing whole songs and it just carried on from there. I haven\u2019t written anything for a while, because Mark E Moon<\/span><\/strong> seems to be taking up a lot of my time at the moment, but I\u2019m sure there will be much more stuff to come at some point.<\/span><\/p>\n

\"\"\u2014Instead, Mark has formed the bands Circus WorlD (with three EPs released a couple of years ago), Bikini Conflict Rumour (I could not find anything about the band) and the punk band Poison Hearts (that ended in 2016). Now it\u2019s your turn to tell us about these bands.<\/span><\/strong><\/span><\/p>\n

\u2014Mark: Circus worlD<\/span><\/strong> formed in 1998 if I recall correctly, from the ashes of the cover band Dis: enchanted<\/span><\/strong>. We\u2019ve had many line-ups but the core of the band was always myself and Mikie Daugherty. Circus worlD<\/span><\/strong> is a dark alternative rock band but is currently on hiatus. We have an album waiting to be released, though, so maybe in the next year we\u2019ll see a new release. (In the interim: https:\/\/www.youtube.com\/watch?v=HfaHObrYCuI<\/span><\/a>.)<\/span><\/p>\n

Bikini Conflict Rumour<\/span><\/strong> was a short-lived (about a year and a half) art rock project formed by myself on lead guitar, Steve Halsall (who was rhythm guitarist in Circus worlD<\/span><\/strong> and would later join Poison Hearts<\/span><\/strong>) on vocals and rhythm guitar, Matt Gell (the drummer in Circus worlD<\/span><\/strong>) on drums and Paul \u201cWishy\u201d Williamson on bass. There are probably some tunes still hanging around on MySpace lol. Poison Hearts were a punk rock \u2019n\u2019 roll band I sang in. There were two incarnations of Poison Hearts<\/span><\/strong>, both of which I really enjoyed but only one album released which is a shame.<\/span><\/p>\n

\u2014How did you get signed by Cold Transmission Music? I have just seen that they have released an album by a band from Madrid, called Dilk\u00a0and in the roster, they have Elz and the Cult, a band that we would also like to interview.<\/span><\/strong><\/span><\/p>\n

\u2014Mark<\/span><\/strong>: I sent Cold Transmission a couple of songs from my other current band Slow Decay.<\/span><\/strong> The reply to the email came back, which was a pleasant surprise, saying that Slow Decay<\/span><\/strong> wasn\u2019t what CT was looking for at the moment, which was a bit of a disappointment, but they asked if Mark E Moon<\/span><\/strong> would like to work with them, which was amazing.<\/span><\/p>\n

\u2014I saw some pictures of the gear that the band is using. Which synths did you use during the recording of Refer<\/em>?\"\"<\/span><\/strong><\/span><\/p>\n

\u2014Phil<\/span><\/strong>: If I\u2019m being honest, Refer<\/em> was recorded as demos, so we didn\u2019t really worry too much about using real synths and things while we made it \u2014 meaning there\u2019s not much very exciting on it in terms of hardware. Drums are pretty much all from Superior Drummer 3 or Hollow Sun\u2019s amazing \u201cDrumbox\u201d library for Kontakt. The main synths\u2014which were pretty much all VST instruments\u2014were XILS Labs\u2019 Polymoog and Sonic Academy\u2019s absolutely amazing ANA2\u2014the best VSTi synth I\u2019ve ever heard. There\u2019s a lovely Bechstein grand piano on \u201cHollow Eyes,\u201d and apart from that, I think the only hardware synth we used was my ancient Casio CT202, which makes a few appearances. The next album will be different, though. We\u2019ve already bought a bunch of new synths to use, and I plan on buying more. Behringer is making me spend lots of money! We\u2019ve already bought an Odyssey, a K2 and a Korg Monologue. Next on the list are a Behringer Pro 1 and Cat and hopefully a Poly D. Mark\u2019s also bringing his Casio CZ3000 into the studio, so that\u2019ll become one of our main Polysynths, along with the amazing Yamaha CS1x I got given by a pal, which does a flawless Polymoog impersonation (I used to own a Polymoog, so I feel confident saying that) and I\u2019ve dug my Korg Poly 800 out of the attic, along with an ever-expanding collection of awful Casio home keyboards from the \u201980s.<\/span><\/p>\n

\u2014The band finds inspiration in a lot of late 70s and early 80s bands, like The Sisters of Mercy, Joy Division and The Chameleons. What do you like about this period that spawned some many great bands?<\/span><\/strong><\/span><\/p>\n

\u2014Phil:<\/span><\/strong> I think that\u2019s a question that answers itself. For me, it\u2019s simply that they were fucking great bands. They aspired to be something bigger than their world was supposed to let them be. You can add bands like the Wild Swans<\/span><\/strong>, Ultravox<\/span><\/strong> and Simple Minds<\/span><\/strong> into that list \u2014 there was an almost desperate romanticism about what they did.<\/span><\/p>\n

\u2014Mark<\/span><\/strong>: There was just so much great music written around that time. Most of my formative years have been spent listening to bands from this era.<\/span><\/p>\n

\"\"\u2014Can you please tell us some details about the recording of the album?<\/span><\/strong><\/span><\/p>\n

\u2014Phil:<\/span><\/strong> There\u2019s not really a deliberate process \u2014 Mark will come in with the ideas, we\u2019ll bang them down and I\u2019ll try and produce them a bit. It\u2019s really easy, everything flows naturally, and we don\u2019t have to think about anything too much. We know each other\u2019s strengths and weaknesses, and we know we complement each other \u2014 which leads to MEM<\/span><\/strong> being simply one of the most fun and enjoyable projects I\u2019ve ever been involved in. And that\u2019s how the album happened; just a couple of old pals having fun.<\/span><\/p>\n

\u2014The first video of the album was for the \u201cInto the Arms of Entropy\u201d and you said that it was done with no budget. Can you please tell us how was the recording of the video?<\/span><\/strong><\/span><\/p>\n

\u2014Phil<\/span><\/strong>: It\u2019s a secret, but there are actually two versions of the video. The first was made after \u201cone or two\u201d drinks the night we signed the CT contract. It\u2019s unreleasable, but the ideas were good, so we thought we\u2019d have another go at it. There are actually one or two shots from the first version in the released one, but not many. My wife filmed it in our living room.<\/span><\/p>\n

\u2014The band plays \u201cDystopian post punk\/wave music.\u201d Do you think that Humanity is moving towards a dystopian future?<\/span><\/strong><\/span><\/p>\n

\u2014Phil<\/span><\/strong>: Unequivocally, yes. Lunatic idiocy like Brexit and Trump\u2019s America says to me that the world is becoming more intolerant and less intelligent. I hate it. I grew up in the \u201980s with the \u00a0feeling that not everything was perfect, but that we were beginning to fix it. Now we live in a world of stupidity and hate, where ignorance is prized over empathy, and it\u2019s fucking horrible. My grandson is 5 months old, and he\u2019s the most beautiful, happy child and I think, \u201cwhat sort of fucking awful world am I leaving him? How did I fail so completely?\u201d It\u2019s horrible, and I can\u2019t see that it\u2019s going to get any better.<\/span><\/p>\n

\u2014Where did you find the inspiration for a song like \u201cElectronic,\u201d about the relation between cam girls and their viewers? I guess it\u2019s a topic never dealt in rock before.<\/span><\/strong><\/span><\/p>\n

\u2014Mark<\/span><\/strong>: I honestly don\u2019t know that I consciously thought about it. It was just an idea that occurred to me. Who in those \u201crelationships\u201d has the money and who has the power. The answer is not an easy or obvious one<\/span><\/p>\n

\u2014I guess that the song \u201cDelta Of Venus\u201d is a reference to Ana\u00efs Nin. Her works present a lot of different approaches to sex relations. Is literature an important source of inspiration for the lyrics?<\/span><\/strong><\/span><\/p>\n

\u2014Mark<\/span><\/strong>: Literature directly or indirectly influenced a lot of the songs on Refer.<\/span><\/em> From the title \u201cTime Enough For Love\u201d (IMHO Robert Heinlein\u2019s greatest work) to the thematic content of \u201cDelta of Venus\u201d to the modern day reworking of Ophelia\u2019s death in Hamlet (\u201cAmanda\u201d).<\/span><\/p>\n

\u2014The longest song of the album is the epic\u00a0\u201cAbandon,\u201d reaches 10 minutes 29 seconds, and has been considered the best one of the album by many fans. Can you please tell us something about how was written? Was it supposed to be that long?\"\"<\/span><\/strong><\/span><\/p>\n

\u2014Mark<\/span><\/strong>: When I write songs I just let them go on until they\u2019ve told the \u201cwhole story.\u201d \u201cAbandon\u201d is just a longer story than most of the other tracks on the album. It was originally written for Slow Decay<\/span><\/strong> but never played by the band.<\/span><\/p>\n

\u2014The last song, called Strange Fruit, made me think of Billie Holiday.\u00a0Were you thinking about her song when naming it or was it just coincidence?<\/span><\/strong><\/span><\/p>\n

\u2014Mark<\/span><\/strong>: It\u2019s definitely a reference to the Billie Holiday<\/span><\/strong> song. The story of \u201cStrange fruit hanging from the trees\u201d retold as an aftermath of the event and the reaction of those left behind to deal with it. It\u2019s set at the end of the American Civil War or possibly during the reconstruction.<\/span><\/p>\n

\u2014Phil<\/span><\/strong>: It feels horribly relevant today. We\u2019re both fairly Left-leaning, politically, and sometimes you have to nail your colours to the mast. Our recent material is definitely becoming more explicitly political.<\/span><\/p>\n

\u2014The two of you are also in a band called Slow Decay. Can you tell us more about it?<\/span><\/strong><\/span><\/p>\n

\u2014Mark<\/span><\/strong>: Slow Decay<\/span><\/strong> is a post punk\/goth rock\/dark alternative act that I play lead guitar in and Phil plays bass. We released an album last year titled Pre-Dawn Light that\u2019s available digitally on Bandcamp. https:\/\/slow-decay.bandcamp.com\/album\/pre-dawn-light<\/span><\/a>\u00a0<\/span><\/p>\n

\u2014Phil: Slow Decay<\/span><\/strong> is a great band to be in. I\u2019ve played some of the best gigs of my life with this lot, and it\u2019s helped get my bass-playing back up to speed.<\/span><\/p>\n

\u2014Kieran Ball is the new member of the band, right? Can you please tell us more about him? Phil, you already worked with him in Postcode, didn\u2019t you?<\/span><\/strong><\/span><\/p>\n

\u2014Phil<\/span><\/strong>: I met Kieran on the night he played a gig he thought it was so bad that he was giving up music. My wife, Marie, asked him to join Postcode<\/span><\/strong> and we became great friends. Closer than friends. I look on him as my more-talented younger brother. He\u2019s one of the most exceptional people I\u2019ve ever met. And he\u2019s shorter than me, which not many people are.<\/span><\/p>\n

\"\"\u2014What are the band\u2019s plans for 2020 (apart from the gig at W-Fest, that\u2019s the last question)?<\/span><\/strong><\/span><\/p>\n

\u2014Mark<\/span><\/strong>: We are recording demos currently for our next album which will be released on Cold Transmission this year. The album is largely written now, we just need to whittle it down to about 8 great songs and focus on producing them to the best of our abilities.<\/span><\/p>\n

\u2014Phil, you\u2019re one of the bosses of Small Bear Records, right? What can you tell us about this label and future releases? The label published the first albums of Vukovar, a band we really like at El Garaje.<\/span><\/strong><\/span><\/p>\n

\u2014Vukovar<\/span><\/strong> and I have an interesting and intense relationship, to put it mildly \u2026 and I\u2019m sure they\u2019d agree with that. They came to us via the Bordellos<\/span><\/strong>, Dan Shea\u2019s family band. Dan was also occasionally in The Longdrone Flowers<\/span><\/strong>, who we released an EP by, and who were, essentially a very early version of Vukovar.<\/span><\/strong> They came to the Island to record \u201cEmperor\u201d (which Mark actually appears on) and then, I think, the next four albums \u2014 all involving various different levels of absolute lunacy. It\u2019s been a ride, that\u2019s for sure, and I think we encourage each other\u2019s best creative endeavours although it\u2019s sometimes not an easy process. I like to think that the records we\u2019ve done together, from \u201cEmperor\u201d through to \u201cCremator\u201d speak for themselves. The only band I can think of who were able to meld transgression and beauty in the same way as Vukovar<\/span><\/strong> are Cindytalk<\/span><\/strong>.<\/span><\/p>\n

\u2014What can we expect of your future concert at W-Fest? You also played in the final announce party. We could not attend it, as we are living in Spain, how was it? Was it your first concert?<\/span><\/strong><\/span><\/p>\n

\u2014Phil:<\/span><\/strong>\u00a0 It was. And it was terrifying! We had to use a very stripped-down setup, due to baggage restrictions, but we got through it. It was fun, we went down well and we were very well looked after. Plus we got to spend time with Andreas & Suzy Hermann, who run Cold Transmission, which was fantastic. Hopefully W-Fest will be a bit more of a showy affair\u2014I\u2019ll be playing more bass, rather than having to stare at a tiny synth in terror, and Kieran will be playing guitar and keyboards, whilst Mark may even flex his fingers. We\u2019re hoping to have Marie singing with us as a guest vocalist and we\u2019re working on projections. Much more of a rock show and a performance!<\/span><\/p>\n

Photos: Patrice Hoerner<\/span><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Mark E Moon, from the Isle of Man, is the new Dystopian post punk\/wave music…<\/p>\n","protected":false},"author":1,"featured_media":14059,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_lmt_disableupdate":"","_lmt_disable":"","footnotes":""},"categories":[30],"tags":[391,419],"class_list":["post-17163","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","tag-post-punk-en","tag-w-fest-en"],"yoast_head":"\nInterview: Mark E Moon — El Garaje de Frank<\/title>\n<meta name=\"description\" content=\"Interviews — Interview with Post-punk band Mark E Moon that will be playing at W-Fest.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/elgarajedefrank.es\/en\/interview-mark-e-moon\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" 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