{"id":3583,"date":"2023-03-14T13:15:22","date_gmt":"2023-03-14T12:15:22","guid":{"rendered":"http:\/\/elgarajedefrank.es\/?p=3583"},"modified":"2023-03-14T16:47:39","modified_gmt":"2023-03-14T15:47:39","slug":"interview-psyche","status":"publish","type":"post","link":"https:\/\/elgarajedefrank.es\/en\/interview-psyche\/","title":{"rendered":"Interview: Psyche"},"content":{"rendered":"

Pioneers of the dark wave, Psyche is one of the most interesting bands coming from Canada. Getting over all difficulties, they managed to publish eleven records where lies hidden among synths. Darrin Huss accepted to answer our questions without noticing that when your band is called Psyche you can’t expect a normal interview but a psychological test. We will enjoy their music at DarkMad Festival that will take place on the 29th and 30th of April.\u00a0<\/b><\/span><\/p>\n

\"\"\u2014Your first album from 1985 is called Insomnia Theatre<\/em>. Is it your Non-Stop Erotic Cabaret<\/em>? At that time you sounded more like the very first Soft Cell, the one we can see in songs like \u201cThe Girl With the Patent Leather Face\u201d and \u201cMemorabilia.\u201d<\/strong><\/span><\/p>\n

\u2014That\u2019s pretty cool, no one ever said that to me, the Soft Cell<\/strong> comparisons, yes, but not specifically both theirs and our debut album. Insomnia Theatre<\/em> is much darker, though, and there\u2019s no \u201cTainted Love\u201d on it, but \u201cBrain Collapses\u201d was probably our first \u201chit\u201d in Europe. Soft Cell, of course,<\/strong> was always my main influence, but there is also Fad Gadget<\/strong>, Gary Numan<\/strong>, Visage,<\/strong>\u00a0DAF, The Cure<\/strong>, and Bauhaus<\/strong> happening in my world of inspiration at the time.<\/span><\/p>\n

\u2014I also read that thanks to Skinny Puppy, you changed your style, more industrial, as it can be seen in your compilation Tales from the Darkside<\/em> from 1990. Anyway, you returned to this sound for the project Vanishing Heat, right?<\/strong><\/span><\/p>\n

\u2014You are well informed! Skinny Pupp<\/strong>y and Psyche<\/strong> pretty much started this style of music in Canada at the same time, and both bands were approached by Nettwerk Records. As Skinny Puppy<\/strong> ended up being signed and building a following for their style, I realised that I was actually more a singer, and my brother and I wanted to do more with synths than to be trapped in a limited industrial mode. We wanted to develop our Horror Synth sound differently. With Unveiling The Secret<\/em> recorded in Paris for the New Rose record label, we began to carve out our path advancing forward from the labels of EBM, and Industrial towards our own blend. Vanishing Heat<\/strong> was actually started just for fun as everyone seemed to have to have a side project, and Psyche<\/strong> had just released our Synthpop masterpiece Mystery Hotel<\/em>, so I felt like fooling around with the kind of music we might\u2019ve made if we stayed industrial. It was an experiment, and I enjoyed it, but I didn\u2019t take it as seriously as I do Psyche.<\/strong><\/span><\/p>\n

\u2014Fad Gadget and Soft Cell are clear influences, which other bands were you listening to at the time?<\/strong><\/span><\/p>\n

\u2014Also, The Cure, Blancmange, Yazoo, Eurythmics, Joy Division<\/strong>. I was always curious about unique artists that had their own sound like no one else\u2019s. The Doors<\/strong> also were a major influence on Mystery Hotel<\/em>. We always hated radio-friendly Pop. If it got on the Top 40 then it had to be The Flying Lizards<\/strong> \u201cMoney\u201d – a happy accident of chaotic music. I never understood the concept of recording flat out commercial music.<\/span><\/p>\n

\u2014Could you describe your concerts in the eighties? You were famous for performing nude covered in cream, right? Did you have any problems with law? How was your music received back in the eighties in Canada?<\/strong><\/span><\/p>\n

\u2014<\/strong>Well, I covered myself in shaving cream because I saw that Fad Gadget<\/strong> did that at a concert for his song \u201cLady Shave.\u201d I just decided not to wear underwear. I was well covered, though, until at one show I slipped on the floor! ha ha. I was also inspired by Wendy O. Williams<\/strong> from the Plasmatics<\/strong>, but obviously she had more trouble with her antics being a woman. We were not that famous yet so I figure the alternative audience wouldn\u2019t call the police on us. However, we were banned for 6 months of playing concerts in Edmonton because we showed an artsy horror film at a festival sponsored by our university radio station in there. Several people complained about our film, so we learned early on about the price you may pay for being provocative or controversial. We often were proud of having people leave at our concerts. We felt honoured if they couldn\u2019t take our show. Mainly it was because we were the only synth act in our region. Alberta is like Canada\u2019s Texas. The cowboys didn\u2019t like New Wave or Synth Music. The only people who liked and supported us were also fans of music coming out of the UK like Cabaret Voltaire<\/strong>, and Throbbing Gristle<\/strong> at the time. Also, the French part of Canada, Montr\u00e9al and Quebec City was more progressive, and that was our springboard to Europe basically.<\/span><\/p>\n

\u2014Your second album, Unveiling the Secret (1986)<\/b><\/em>, is seen as your masterpiece. What can you tell us about the recording?\"\"<\/strong><\/span><\/p>\n

\u2014I think the first 4 albums are each masterpiece for different reasons, but yes Unveiling The Secret<\/em> set a new standard for what defines the Psyche<\/strong> sound. It has a range of EBM, early Techno, and even a Synthpop ballad all on one album. The album was recorded in Paris at Garage Studio near P\u00e8re Lachaise Cemetery where Jim Morrison lies. \u201cThe Saint Became A Lush\u201d is a combination of our love for Horror film soundtracks, and me doing my best Ian Curtis<\/strong> style vocal reciting a poem over this epic story of Lovecraftian magnitude. Most of the songs including that one had actually been performed live before we even got in the studio. \u201cBlack Panther\u201d was very popular as well. \u201cUnveiling The Secret\u201d was actually written while we were in Paris and was the first new song of that period in the studio. I had to record my lyrics in one take because it was the last day before the budget from New Rose Records allowed before the mix down!<\/span><\/p>\n

\u2014You said that “The Saint Became a Lush” sounds a bit like “Tubular Bells”. Did you like prog rock? Some of those bands were pioneers in the use of synths. And do you like “The Secret”, the tune that took inspiration in yours, made by Joris Voorn?<\/strong><\/span><\/p>\n

\u2014The only prog rock we were aware of at the time was Goblin<\/strong> because of the Dario Argento film soundtracks. Unless you also consider Tangerine Dream<\/strong> and The Doors<\/strong> in that category although I wouldn\u2019t. We weren\u2019t into things like Yes<\/strong>, or Genesis<\/strong>, so the \u201cTubular Bells\u201d comparison comes from being inspired by the theme in The Exorcist which just so happens to be an excerpt from Mike Oldfield<\/strong>\u2019s famous track. It\u2019s not quite the same notes, though, but I know my brother really liked the sequence. Joris Voorn<\/strong> was kind enough to write to me and inform me of making, \u201cThe Secret.\u201d To be honest, if I wasn\u2019t asked, I may never have known about it, as that is a music scene from another planet as far as I\u2019m concerned. Even though I once did a remix for Richie Hawtin<\/strong>\u2019s Plastikman<\/strong> – \u201cI Don\u2019t Know\u201d (Psyche\u2019s Haunted Whisper Remix Featuring Darrin Huss) but these artists are famous in a whole different scene. I\u2019m just glad they found something inspiring from my music<\/a>.<\/span><\/p>\n

\u2014One thing that puzzles me is that although your music still sounds very modern, a lot of the relatively new bands making EBM and synth pop sound more eighties or early nineties than you. Like you tried to do something different, but these bands just want to recreate that sound. Do you agree?<\/strong><\/span><\/p>\n

\u2014Well, I didn\u2019t want to say this, but you did! Our goal has always been to further develop what synthesiser music has to offer. Even so, I have to tell you, when we first made the song \u201cSanctuary\u201d that brought us into a new scene of Cyber Goth, and Techno Body Music was beginning to infiltrate the scene as the 90s were ending, I was told that even that sounds \u201ctoo 80s\u201d by a label we offered it to. If they only knew we\u2019d have artists such as Lebanon Hannover<\/strong>, and Boy Harsher<\/strong> almost 20 years later! To be honest, I prefer the \u201cnew\u201d groups to the Ibiza EBM trend I had to live through in the 2000s. My only problem is that I still believe electronic music needs to grow and bring more surprises than just rehashing all the classic sounds. Still, I won\u2019t deny loving certain synths like the Korg Mono\/Poly or all those early drum machine handclaps. Certain sounds still automatically seem more exciting to me than others, so the more people that use sounds I like, the better the company, ha ha.<\/span><\/p>\n

\"\"\u2014You moved into more synthpop with Mystery Hotel<\/em> (1988) <\/i><\/b>. What were you thinking at the time that led you to make this change?<\/strong><\/span><\/p>\n

\u2014It was a natural progression as we were just continuing to develop our sound and didn\u2019t want to just repeat what we\u2019d done. All the artists I really admire such as Blondie, The Doors, Soft Cell, Eurythmics, Fad Gadget, Grace Jones<\/strong>, and Soft Cell<\/strong> showed me that you could be innovative with your music and yet still be you. If the vocalist was recognisable and the music didn\u2019t suddenly become another genre completely, you still have your sound. Some have said we \u201cchanged too drastically\u201d, but we thought we were just developing our repertoire and defining our own boundaries really. Mystery Hotel<\/em> had everything, synth funk, psychedelic, dark wave, synth pop, and even the unlikely pop song \u201cEternal,\u201d but it was all still pure Psyche<\/strong> style. Just like any album of The Doors.<\/strong> You know it\u2019s them, whether it\u2019s \u201cLight My Fire\u201d or \u201cThe End.\u201d It\u2019s about the range that you bring while still defining your own sound.<\/span><\/p>\n

\u2014Although it\u2019s not part of the initial three records The Influence<\/em> (1989)<\/b> (that should have been called The Influencer), was another important record.\u00a0Was the darker mood of the album a reflection of your life at the moment?<\/strong><\/span><\/p>\n

\u2014Yes, and ironically after all I said about different styles on one album, The Influence<\/em> comes much closer to one unit of sound overall. This was the first album I made without my brother after he was diagnosed with schizophrenia, and I was having trouble deciding what to do about making a future with Psyche<\/strong>. The whole album was made with just the Casio FZ1 sampler by David Kristian. Even though there are some normal sounding bass synth sounds on the record, all of it was created by him. That\u2019s what I am always looking for. I always say that I feel like Psyche<\/strong> is a science experiment, as life is in a way. I want new experiences, I want to hear different things that surprise me. It was a moment of luck and courage to make such an album. The freedom to not know where your next pay<\/span>check is coming from, but believing in your art. The album is dark because even though I was only 24 at the time, I felt like an old man who\u2019d already experienced a lot of pain and sorrow in life, and I was reflecting on all of it. When it was finished, I actually felt a little nausea at first hearing it entirely. \u201cThe Sundial,\u201d made me cry. It\u2019s a very emotional album, and yet that\u2019s why it actually reached a lot of people. I am glad Psyche<\/strong>\u2019s music makes people feel something. That\u2019s all I ever wanted. Loud radio pop just isn\u2019t my business.<\/span><\/p>\n

\u2014Was it difficult to continue without your brother?\"\"<\/strong><\/span><\/p>\n

\u2014I\u2019m assuming you mean after his passing? I had already continued Psyche<\/strong> after his last involvement from 1995 to 2005 so I\u2019ve had his blessing, and his influence is always there no matter who I work with. Performing live right after he died was very difficult, and it did stop me from wanting to write new music for a while as I preferred performing the older Psyche<\/strong> songs to promote the re-releases of the first 3 albums which I mastered myself with added special tracks, and pictures from our archives. Also, when I decided to relocate to Germany in 1994 after we made the Intimacy<\/em> album I hesitated to have a new member in his place until Per-Anders and I met, and started writing for Strange Romance<\/em>. Stephen<\/strong> said it was OK to continue, and I always asked him about the music I created. It\u2019s certainly not easy when you are a duo, and people want to see the original band members on tour 30 years later or whatever, but like many things with Psyche<\/strong>\u2019s unplanned \u201ccareer,\u201d it just continues because it\u2019s the life I chose to live, and it\u2019s what I do. 11 albums so far is pretty good considering I never really compromised what makes Psyche<\/strong> unique. I owe that to Stephen<\/strong>\u2019s original creativity.<\/span><\/p>\n

\u2014How did your gear change from the first albums to now?<\/strong><\/span><\/p>\n

\u2014We don\u2019t have all the old synths that we used, but thanks to new music programs on the computer, we actually are able to use the sounds of the Korg Mono\/Poly and some of our favourite early drum machine samples. The first 3 albums were mainly done with the same synths we had begun collecting, and on Mystery Hotel<\/em> the dreaded Yamaha DX7 joined in as well as a few things such as the Fairlight which was all in the Dan Lacksman (Telex<\/strong>) studio for that session. In the 90s I recorded with Per-Anders Kurenbach and he had a mix of more digital instruments, and plug-ins. However, we also used some things like a Djemb\u00e9, Harmonica, and the occasional acoustic effects. For the period of music between 2001 and 2005 with Remi Szyszka we had mainly computer programming through a midi-control synth, and the dreaded Virus.<\/span><\/p>\n

\u2014I saw your music described as horror electronic, do you enjoy horror movies or literature? I read that some of your songs were inspired by different books and movies.<\/strong><\/span><\/p>\n

\u2014In the beginning we were mainly inspired by Horror. The atmosphere and music of the films by George Romero, John Carpenter, David Cronenberg, Dario Argento, and Lucio Fulci. I was reading a lot of H.P. Lovecraft, \u201cThe Saint Became A Lush\u201d was inspired by The Case Of Charles Dexter Ward<\/em>, and \u201cThe Outsider\u201d by the short story of the same name. We even dedicated the Unveiling The Secret<\/em> album to Lovecraft and Cronenberg. Stephen<\/strong> was very inspired by all the 70s and 80s horror stuff. I prefer the atmosphere of the supernatural elements as opposed to straight ahead slashers. Other authors such as Ramsey Campbell inspired my song \u201cNocturnal Passenger,\u201d and \u201cThe Influence.\u201d Then there\u2019s Shirley Jackson who inspired \u201cThe Sundial\u201d and \u201cHaunted.\u201d We\u2019re also all indebted to the imagination of Stephen King as well.<\/span><\/p>\n

\"\"\u2014After your more famous records, we have Daydream Avenue<\/em> from 1991 and Intimacy<\/em> from 1994. How would you recommend these records to someone who listened only until The Influence?<\/em><\/strong><\/span><\/p>\n

\u2014Well, Intimacy<\/em> has some elements of The Influence<\/em> style such as \u201cBroken Heart\u201d and \u201cLove Is A Winter,\u201d but it\u2019s a little weirder because there are elements of lounge and chill out styles mixed with horror themes such as \u201cFreaks!\u201d It\u2019s like a strange sequel made by my brother as opposed to The Influence<\/em> made by David Kristian. I am very fond of \u201cBlind,\u201d and \u201cThe Cathedral\u201d as well. Daydream Avenue<\/em> has a few highlights, especially \u201cAngel Lies Sleeping\u201d which was a hybrid of Ministry<\/strong>\u2019s Twitch<\/em> album sound, and the more pop side of techno just developing at the beginning of the 90s. As always in between the experimenting with various styles of dance music, there are the dark melancholic songs such as \u201cGhost\u201d and \u201cDestiny.\u201d This is why I say because of my lyrics and vocal style, it still ends up sounding like Psyche<\/strong> even if some of the instrumentation changes. Even the strange hip-hop electro sound on \u201cWhat Sorrow Cannot Say\u201d doesn\u2019t take away from the sombre tone of the song itself.<\/span><\/p>\n

\u2014In Strange Romance (1996)<\/b><\/em>, you include your version of \u201cGoodbye Horses\u201d that was a success. How did you choose to make this song?<\/strong><\/span><\/p>\n

\u2014This is a rather strange accident in that there was a guy who wanted to manage Psyche<\/strong> at the time. Per-Anders Kurenbach and I had just started making demos, and it was suggested that this song would give us a good starting point. When I saw the Silence Of The Lambs movie, I also thought \u201cGoodbye Horses\u201d sounded a bit like Psyche<\/strong> somehow, although I was then busy recording the song \u201cHeaven In Pain\u201d as a solo track that I thought would be a hit. Instead it ended up on Intimacy,<\/em> and suddenly it\u2019s 1995 and I\u2019d forgotten about \u201cGoodbye Horses\u201d until this guy reminded me. Per-Anders and I had a copy of the 7\u201d single to study, and I decided to sing it as if it was written by us, and the music was made to sound more like it does in the film. Echoing through the hallways of the basement. We put it on the \u201cB-Side\u201d of our \u201cYou Ran Away\u201d single, but it ended up being such a massive success in all the goth clubs in Europe, so, of course, it had to be on the album. I actually got the lyrics wrong and sang \u201cLying over you\u201d instead of \u201cFlying,\u201d but as the internet had just begun around this time, my version of the text was on all those lyric sites that came up. I eventually corrected this after I received an email from William Garvey, the songwriter telling me what the song was about and how he created it. The rerecording I did 10 years later is now the most popular Psyche<\/strong> track on the streaming services. Many people think it\u2019s our version in the movie, and we decline to correct them, but if you play ours and the original back to back you can really hear the difference. Recently more people have started covering it, but I still consider us to be the main ambassadors of the song. Of course now you can even see the video for the original Q Lazzarus<\/strong> recording on YouTube. I made a playlist called \u201cAll The Goodbye Horses\u201d with about 40 different versions on my Psyche Channel<\/a>. Subscribe, and enjoy!<\/span><\/p>\n

\u2014I was a big fan of Drum\u2019n bass back in the late nineties. How did you include this sound in Love Among the Ruined (1998)<\/b><\/em>? Also, do I hear a bit of Nine Inch Nails?<\/strong><\/span><\/p>\n

\u2014That was Per-Anders. With Psyche<\/strong>, we tend to absorb what\u2019s happening in electronic music and try to filter it through our style. Love Among The Ruined<\/em> has influence from NIN, Bj\u00f6rk <\/strong>even a little bit from The Prodigy<\/strong>, but it\u2019s still our own take, and includes the usual Melancholy, and Synthpop songwriting we are known for. My favourite song on that album is \u201cExhale\u201d because it was a mixture of experimental electronics, blues, and drum & bass all mixed together to create something new.<\/span><\/p>\n

\"\"\u2014How did working with Remi Szyszka changed Psyche? He first worked with you on Sanctuary<\/em>, was it difficult to have another musician onboard?<\/strong><\/span><\/p>\n

\u2014I\u2019m attempting to avoid talking about the line-up changes with Psyche<\/strong> these days as I don\u2019t like to put too much weight on the outcome of what makes the Psyche<\/strong> sound specific. Madonna<\/strong> works with many different people, but she is still Madonna<\/strong>. Also, sometimes things change that are not on purpose. They may happen for personal reasons or whatever. Remi came at exactly the right time, and \u201cSanctuary\u201d actually created what they call a reboot for movies, but for Psyche in music. The albums The Hiding Place<\/em> and Babylon Deluxe<\/em> are what needed to happen in the 21st century, and so I\u2019ve been very lucky to create all these new songs within the realm of Psyche<\/strong> with musicians who each developed additions to the sound as it continues to grow its own unique library. I\u2019m very choosy, so unless I feel we are within the right vibe I usually won\u2019t record. The song \u201cLooking Glass\u201d was Remi\u2019s idea of what makes a typical Psyche<\/strong> song.<\/span><\/p>\n

\u2014In Endangered Specie<\/em>s (2002) <\/b>for example, we can find some remixes. Do you like to remix yourself? How do you feel when you hear someone\u2019s remix of one of your songs?<\/strong><\/span><\/p>\n

\u2014I have a love\/hate relationship with remixes. I prefer extended mixes of the basic foundation as it was done in the 80s. Occasionally, however, a remix completely recreates the song to the point that something new comes out of it. Those can be really cool. Not too fond of ones that just try to add a different dance beat that I normally wouldn\u2019t approve of in the first place. That\u2019s why we like to remix ourselves. I tried the experiment of different versions for the 20th anniversary of Unveiling The Secret<\/em> in 2006 with the Unveiling The Secret 2.0<\/em> release. On that one I loved the Christian Piotrowski mix so much I added it to some compilations, and even performed that version live a few times. Still, some songs are so powerful in their original, there\u2019s almost no point in changing it. \u201cThe Saint Became A Lush\u201d in the Radical G mix is rather exciting, though, I think it takes all the great elements of the original, but makes an alternative version, also more like a reboot than a remix. It\u2019s like doing the song all over again, keeping the atmosphere and style, but recorded with a different vision. A parallel universe version.<\/span><\/p>\n

\u2014How aware are you of the music of the moment when you make a record? Would you say that in Babylon Deluxe<\/i> (2003) <\/b>is a product of its time?<\/strong><\/span><\/p>\n

\u2014Not really, only the song \u201cSanctuary\u201d was truly a product of its time, but Babylon Deluxe<\/em> is a mixed bag of sounds with some that were popular on the scene, such as the techno sequence in the middle of \u201cGods And Monsters,\u201d but with many very strong Psyche<\/strong> song classics such as \u201cThe Quickening\u201d and \u201cEquinoxe.\u201d Also \u201cSnow Garden\u201d was not inspired by anything happening in the \u201cnoughties.\u201d We had actually started moving our own way forward by 2003. I think the whole album is brilliant with the exception of \u201cFinal Destination,\u201d and \u201cNobody Superstar\u201d although the lyrics still hold true.<\/span><\/p>\n

\u2014Could we say that Brave New Waves Session (A Brave New Waves Session with music from Psyche was released in 2018) is a kind of Canadian Peel Sessions? What\u2019s the period represented there?<\/strong><\/span><\/p>\n

\"\"\u2014Yes, Brave New Waves was a big deal in Canada, and helped inspire many a musician by bringing us alternative music from all over the world. It\u2019s the first place I heard Anne Clark,<\/strong> early Ministry, Tuxedomoon,<\/strong> and the like. Once again Psyche<\/strong>\u2019s trajectory has never been streamlined with a plan and as it happened, the session is more like a lost moment in time. My brother had just performed with me live in Montr\u00e9al for the last time. Since his diagnosis of schizophrenia, it had become too distressing for him to perform. We had a third member Eric Klaver who performed two more shows with me after my brother went home. Unfortunately, this also was in the time that we had received the chance to do this special radio recording session. Other than \u201cUnveiling The Secret\u201d all the songs were written and improvised by Eric Klaver, and myself, with additional help from Kevin Komoda (Rational Youth<\/strong>). So, it\u2019s even beyond a John Peel Session where the songs are also usually on albums before and after. In this case what you hear on \u201cBrave New Waves\u201d was only recorded for that session, and shows once again a range of ideas representing a spontaneous intermezzo in the Psyche<\/strong> repertoire.<\/span><\/p>\n

\u2014The 11th Hour<\/em> (2005)<\/b> is your last record so far. We haven\u2019t spoken yet about your lyrics, how do you write them? Do you think this album is special in that sense?<\/strong><\/span><\/p>\n

\u2014Well, I mentioned my lyrics to some of my favourite songs in the other questions. I think The 11th Hour<\/em> is extremely prophetic as I was writing from a very dark place about everything coming to an end. It\u2019s about getting older, not belonging, watching the world dying, feeling cursed, and trying to find an acceptance of the situation in order to keep going. I don\u2019t know if the lyrics are more special than the others, though. I think the title \u201cBloodcurse,\u201d and \u201cSeptember Moon\u201d are pretty cool, but my favourite lyrics are spread out over all the Psyche<\/strong> albums. I love my lyrics to \u201cThe Hiding Place\u201d title song just as much as \u201cThe Outsider\u201d or \u201cThe Saint Became A Lush.\u201d In the early days, I was inspired by stories I was reading, and some social issues. The middle period of my lyrics became more personal experiences, and some romantic themes. Later there has been an addition to how humanity is dealing with technological advances, and the kind of world problems we are facing.<\/span><\/p>\n

\u2014In 2018, you released the “Ghost of the Past” with the German band NO MORE. What can you please tell us of this collaboration?\"\"<\/strong><\/span><\/p>\n

\u2014One day in 2009, we were invited to play at a festival organized by NO MORE<\/strong> in Kiel and became friends with Andy and Tina.<\/span><\/p>\n

Since that time, we have often toured together, and enjoy each other’s musical creativity very much so that we decided to have a collaboration session together in early 2011. We created a few songs, and they later released one of them, “Desperate Living” on their Return Of German Angst<\/em> EP.<\/span><\/p>\n

As that song seems to suit them well and had Andy as lead vocalist, I decided that our song together “Ghosts of The Past” should also be released as Psyche featuring NO MORE<\/strong> because it combined the best of both our styles, but with my lead vocal. I like to have special releases for Halloween every year, and this one suited the mood of the time. My release preceded their track by 2 years even though all of them were recorded in 2011.<\/span><\/p>\n

\u2014You also made the soundtrack for Stenches. How was the experience?<\/strong><\/span><\/p>\n

\u2014This was a special request by the film maker Rob Barriales after he made our video for our first new song in ages called “Youth of Tomorrow”.<\/span><\/p>\n

My brother and I always wanted to do soundtracks, but unfortunately it took until long after Stephen<\/strong>\u2019s passing away that we had an opportunity to make some music for a borrow film. It\u2019s only a 16-minute short, but we recreated some Psyche tracks<\/strong>, added new music and even some instrumentals from Stephen<\/strong> to the score. Stefan Rabura created the “Stenches Theme”. it was an accident as it was originally a new Psyche<\/strong> concert opening track that became the perfect fit for the film!<\/span><\/p>\n

\u2014Can you please tell us more about Imaginary Life<\/em>? It\u2019s an album created by putting together Endangered Species<\/em> and The Hiding Place<\/em>, right?<\/strong><\/span><\/p>\n

\u2014Yes, it was an exclusive Bandcamp release that I made as I wanted to remaster all the songs that I liked from those releases and make kind of a new album to represent that period of Psyche<\/strong>. I haven\u2019t added it to streaming services yet but may do so for this year’s Halloween.<\/span><\/p>\n

\u2014Spirits of Lockdown<\/em> was your last EP of new material with five covers. How did you choose the songs?<\/strong><\/span><\/p>\n

\u2014I have wanted to do “Cry Little Sister” for the last 20 years, and made a demo in 2006, but was never confident enough until I decided to once again have a special release for Halloween. Then because of COVID-19 and the lockdowns I thought it would be fun to just put together a few songs I have loved forever, and make a little digital EP to represent these moods. I have always wanted to make an electro punk version of “Living In The Real World” from Blondie<\/strong>, so I did that, and also wanted to do “Just One Kiss” from The Cure<\/strong> in the full 12\u201d version as I absolutely love that song, and have it on my mind ever since I first heard it. I was fairly proud of it, so that song and “Security” by Men Without Hats<\/strong> became the streaming single while the other covers just stay exclusive to Bandcamp. “Security” is another one that I just felt fit exactly in our modern times of surveillance, hacking and also the fears that people had about lockdowns etc.<\/span><\/p>\n

\"\"\u2014What can you tell us of Psyche Enterprises? How is it going? You have also released some solo albums and your brother post-albums, any recommendations?<\/strong><\/span><\/p>\n

\u2014It\u2019s just a made-up label for my digital distribution to cover any work by Psyche-<\/strong>related creations. Just to have the family legacy in place. I\u2019m not signing anyone.<\/span><\/p>\n

\u2014You have released two of your albums on vinyl using a Pledge campaign. How was the experience? Are you planning to do something similar in the future?<\/strong><\/span><\/p>\n

\u2014I did. Intimacy<\/em> because it was never on vinyl and wanted to finally try the campaign avenue. I wasn\u2019t really interested in the idea of fans pledging to create an album until I realized that it might be a nice idea for a rerelease that was actually requested by our fans, and Intimacy<\/em> was the best choice for this to take this opportunity. I like the way Bandcamp works and it was great to be able to make a whole new concept for this special Psyche<\/strong> album. I wasn\u2019t sure if I would continue as normally the next choice would also have been an album of the 90s that also had never been on vinyl. However, I chose The Influence<\/em> as it gave me the chance to add the better version of “The Sundial” that was only a bonus track on the CD version at the time. Also, it is considered a definitive milestone in the dark wave scene. It would have been the logical step to release it as the 4th album of our 80s period, so I went for it.\u00a0<\/span><\/p>\n

\u2014Two years ago, Artificial Dance released Galax<\/em>y, a compilation of tracks from your brother Stephen back catalogue. You were involved in the selection of songs. What can you please tell us about this release? It was quite popular among my electro-lover friends. Can we expect more reissues in the future?<\/strong><\/span><\/p>\n

\u2014This album became possible because Artificial Dance chose a previously unreleased instrumental called “Infinity Sign” by my brother for their second compilation. After that it was their idea to make an album of Stephen<\/strong>\u2019s work, and we compiled the choices together. I absolutely love this release as it also contains tracks that were previously only on CD or cassette as well as some cool choices from the label. I do Hope I\u2019ll get an opportunity to make a follow up.\u00a0<\/span><\/p>\n

\u2014When are we going to have the long-promised new album? And the acoustic one?<\/strong><\/span><\/p>\n

\u2014I think by the time I\u2019m ready it may have to be a double album to cover these options, but I can only do this when I\u2019m confident of the new songs and can\u2019t wait to play them live. Sometimes life just happens, and I ended up just making singles, and small musical statements rather than a complete album.\u00a0<\/span><\/p>\n

\u2014What can we expect of you concert at DarkMad? It\u2019s quite curious that in the previous interview you said that you were excited because you were going to play on the same stage as Lene Lovich and The Human League and it\u2019s going to happen again.<\/strong><\/span><\/p>\n

\u2014We are doing a strong 80s oriented show. Mostly our classics, and a few new surprises may also be in store. Oh yes, and we are huge fans of Lene Lovich<\/strong>. Truly one of the most unique artists and performers on the planet.\u00a0<\/span><\/p>\n

 <\/p>\n

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Pioneers of the dark wave, Psyche is one of the most interesting bands coming from…<\/p>\n","protected":false},"author":1,"featured_media":3637,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_lmt_disableupdate":"","_lmt_disable":"","footnotes":""},"categories":[840,30],"tags":[313,319,415],"class_list":["post-3583","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-darkmad-2023-en","category-interviews","tag-darkwave-en","tag-ebm-2-en","tag-synthpop-2-en"],"yoast_head":"\nInterview: Psyche — El Garaje de Frank<\/title>\n<meta name=\"description\" content=\"Interviews — Interview to the Canadian synthpop band Psyche who will play in Madrid at the DarkMad Festival.\" \/>\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-psyche\/\" \/>\n<meta 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