New Interviews  

DJ Mouse – Interview by Aiden

MC:  You are involved in a quite a few events in NC: Hang the DJ, The Clockwork Ball, Retro a Go-Go,Dracula’s Daughter and of course, the Eccentrik festival.  The underground music scene in North Carolina has grown tremendously since I left there. What do you think precipitated this? Was it more people moving into the area, more accessibility to music via the internet? What do you think?  

 Mouse: Well, I produce most of the events that I’m involved with in North Carolina, so I’m not really sure if it’s really grown. I honestly, think all the events that I do, are simply because I can’t sit still. I have been encouraging more active people to move here and start doing their own thing, so there’s definitely some big things on the horizons. DJ Poe from Chicago, DJ Vitae from South Carolina, End: the DJ from Arkansas, have all recently moved here and they’re stepping up to help make the Triangle area an underground mecca.

 MC:   Is Franklin Street in Chapel Hill still the central avenue for underground types?  What are some of the current places and venues that Goths, Punks, etc. hang out in the Chapel Hill/Durham area?

 Mouse: Unfortunately, Franklin Street in Chapel Hill has changed greatly. I remember when I first visited here 10 years ago and I was so happy to see all the “freaks”. But, within the last few years (of course, after I moved here) the area has become really homogenized. I’m finding that most of us are hanging out in Durham, though with the closing of the club that I host most of my events, that may change, as I’m temporarily relocating Dracula’s Daughter and the Clockwork Ball to Hell in Chapel Hill, while we decide where to go from there.

 MC:  I used to hear about a sporadic Goth night in Winston-Salem, but I haven’t heard anything else for a couple of years. Do you know if this still exists?  Besides the nights you’re involved with, what else in going on in NC of interest?

 Mouse: I don’t think the night in Winston-Salem is happening anymore, which is a shame. As for other purely goth events in the state there’s Raleigh Underground (Raleigh, NC), Asylum (Wilmington, NC), The Fifth Circle (Asheville, NC), The Return of the Bats (Charlotte, NC). There’s also a few goth/fetish event throughout NC.

 MC:   How did you get the idea for The Eccentrik Festival?  What were some of the challenges?   What sort of support have you gotten from the Raleigh community?

 Mouse:  It started as a lament to the fact that we didn’t seem to get a lot of live music in the area for Goths, and wouldn’t it be great if we could have a yearly festival to try and encourage bands to come here. Also, since here in the Triangle, we’re 3 cities (Chapel Hill, Durham, Raleigh) within a half-an-hour of each other, we thought a festival might be a good way to help create a better sense of community within the area’s goth scene.

 

One of the biggest challenges has been finding venues that will work with us. For some strange reason (I’m actually playing dumb, as I’m fairly certain what the reason is) there’s a stigma about Goths, and when you mention to a venue that you’d like to put on a gothic event, they start making faces and excuses for why they can’t host it. I find this a bit sad, I have rarely seen a goth event have the problems that say a hip-hop or metal night might have, heck, quite a few of them don’t even have bouncers, because most Goths are pretty subdued.

MC:   Has Eccentrik “evolved” over the years, or does it still have the same focus and/or format?  Will there be anything new for 2008?

 Mouse: Yes, it’s definitely changed and grown over the years, but that was actually the plan all along.  I really want the festival to last for a long time, and the best way to do that, I think, is to change as you go along, experiment with different formats, different styles of artists, etc until you find what works. Plus, this festival is the largest event I organize and it’s been a learning process as I go - I had never done anything like this before, so when we started back in 2004, I was a little nervous, but every year it gets easier and I learn something new, so I hope when we’re up to our 20^th anniversary, it’s a piece of cake.

 

MC:   I was stunned to see the announcements for The Clockwork Ball, since I love the idea of Steampunk, but never thought I’d see an actual event.  On a forum I peruse, Steampunk was dismissed as being nothing but pretentious “Larpers in Top Hats”. As I stated there, I thought this was unfair since the concept of Steampunk has been around a long time. To me, this was akin to defining the Goth culture solely on the basis of “mall Goths”.  What are your views on this?

 Mouse:  Well, first off, I don’t “Larp”, so I find that statement really funny. I do, however, like to dress up, and I’ve always had a bit of an anachronistic feel to my wardrobe, so the idea of surrounding myself with other people who do the same really appealed to me.  It may have started as simply “Larpers in Top Hats”, but I really think it’s changed into it’s own little subculture.

And, a large number of the people that I have meant involved with the Steampunk scene seem to be disillusioned Goths, punks, or whatevers, who are tired of the pretentiousness of their former scene. And, maybe it’s simply because the scene is so new, but I have met some of the friendliest, creative, talented and open people within this particular community and I love it!

Plus, I really love the DIY aesthetic that has kind of disappeared from the goth scene with the birth of so many retail outlets trying to cash in. And, there’s nothing wrong with that, it’s just in a community of people trying to express their uniqueness, it cheapens it a bit by making everyone look the same.

MC:   The articles on Steampunk music on The Clockwork Ball Myspace profile are fascinating.  I had been mulling over the same questions for a long time. I had always thought of music for Steampunk being anything with a Victorian “feel”, sort of like Rasputina, some of The Deadfly Ensemble, etc.  What sort of music do you play at The Clockwork Ball?  The idea of creating a new sound with period instruments is truly innovative. Do you think this will happen?

Mouse:  We play all sorts of music at the Clockwork Ball, it’s actually a bi-monthly event that started because of the weekly radio show, The Clockwork Cabaret, that I deejay with my fellow Dracula’s Daughter DJ, Mephi, that’s why the name is similar. We actually tested it out at the January’s Dracula’s Daughter, and it went over really well that we decided we needed to keep doing it.

So you’ll hear anything from Rasputina, DeVotchKa, Gogol Bordello, Tom Waits, The Damned, Man Man, Unextraordinary Gentlemen, Vernian Process to Gilbert & Sullivan, Mozart, Chopin. I, personally, think Steampunk music should invoke a sense of timelessness or take you back to a bygone era, and we really try to do that by playing new and old artists. Plus, we’ve started having a dance instructor to teach our attendees how to waltz, tango, or perform the mazurka.

 MC:   I was pleasantly surprised to see that at Retro a Go Go, Rockabilly is included along with Goth and New Wave.  How does this work out?  I like this idea, but when I suggested including Rockabilly as part of my a local promoter responded  “NOOOOOOO!!!!”  Why do you think this received such a visceral reaction?  (I don’t think it’s so far-fetched: after all, Rockabilly/Psychobilly fans were a pillar of the early Drop Dead Festivals.)

Mouse:  I’m not really sure why anyone would be upset about it. We play The Stray Cats, The Cramps, and a bunch of other bands, because they were around in the 80’s, and it’s a Retro/Alternative night. We already have a goth night and a new wave night, so we wanted to have an eclectic mix of music. Also, this particular event is kind of a history of music lesson or how all music is interrelated, plus it’s one of my favorite ones to spin, as we’re not really bound by any set genres, simply keep it old.

MC:  Your DJ name is one of my favorites!  How did you decide on “DJ Mouse”?

Mouse:  It actually came about for a couple of reasons… It’s a perfect nickname for me. I’m short (5’2), I love cheese, and 2 characters (Mouse from Reboot & Philippe the Mouse from Ladyhawke), who were childhood favorites of mine. I also, chose it because I wanted a name that if someone were to yell it across a crowded room, I wouldn’t feel embarrassed or sound like a pompous twit.

MC:   Is there anything else you would like to add?  Thanks so much for doing the interview!

Mouse:  I think people need to support their local scenes, to be active in them, and if they’ve got ideas about how to make their scene grow, do something about it – be it talk to a DJ or promoter, start your own event, sponsor an event, write something, etc… How else are we going to keep the scene thriving, if we just keep doing the same old thing?

http://www.eccentrikfestival.com/

http://www.myspace.com/eccentrikfestival 

Plastique Noir:  Airton S. Interviewed by Aiden

 MC: What were some of the challenges of forming Plastique Noir?

PN:   At the beginning, the main trouble was to find band mates who were into goth stuff. It was a quite exclusive reference in the early days but Fortaleza city was (and still is) full of metal, hc and indie bands. It seemed nobody was into 80's but me and Márcio. Our choice for electronic rhythmics but not a real drummer reflect this difficulty to find someone to complete the line-up, it wasn't to sound like other darkwave bands (of course, we realized later the synthetic sound was interesting because it increased the nostalgic element). Since we finally found each other, only after the first year we started to take rounded styles as influence to work on, probably because we were feeling sure of having found an initial identity. Now the hardest challenge is to keep the line-up stable and conclude the recording of the first full-length album. It seems that the introduction of new elements plus some troubles in our personal lives have created an unconfortable situation of constant internal conflicts. Wish us luck…

MC: Plastique Noir is clearly a synthesis of many different dark musical styles. I seem to definitely detect some elements that remind me of Fields of the Nephilim and other classic Goth Rock.  What are some of the crucial influences in your music?

PN:  As I said, we were really into traditional gothic rock and post-punk. When we just raised to the scene, we had two extreme poles where we tried to keep between: The Cure and The Sisters of Mercy. Bit by bit we started to include the lovely sarcastic mood and exaggeration of death rock, we've found a large identification with some bands of this genre since we have a similar way to laugh of disgraces. But nowadays we are trying to undress ourselves of this gothic character. It doesn't mean is the end of our wedding with the obscure culture, as some ones of us are afraid to that may be the general opinion about Plastique Noir in a soon future. We are just trying to explore some eventual fun present in other stuff. And if it can help to expand our audience, such better.

MC: You had mentioned that one of the factors in the creation of Plastique Noir was the static local scene, which had very "limited horizons".   Was the same thing happening in Brazil that happened here: a sort of musical dumbing down to attract more mass appeal?

PN:  Not really. We talked about the limited horizons in Fortaleza rock scene, specifically. Of course the massive "music" is hard to swallow and it happens here, it happens in the entire world, everywhere. But we confess that the things are starting to change for us. Fortaleza has been a great generator basis to the musical career of many ones, in these last years. Several bands are leaving the city to São Paulo. The coolest part of that is that includes any rock/pop genre, even gothic. Some medias mention "Fortaleza invasion". So we're the zombie unity in this invader army (hahaha).

MC:  It seems like that when "underground" music gains a level of popularity and commercial viability, it seems to spell the death of real creativity as people try to "play it safe", and the sense of community is lost as egos and wallets get larger.  Do you think there is any way to avoid this?

PN:  I don't know how exactly happens there at USA, but here in Brazil is worse: it's necessary to the Brazilian underground bands "play it safe" if they want to get the next level. Brazil is a country that doesn't pay fairly for creativity, what probably explains why the social/economic/human development is so slow here despite its fantastic resources. But, answering the question, I simply don't know how to avoid but I really would like to know and do it.

MC:  What are some of your favorite clubs/events in Brazil?

PN:  We have played in some Brazilian cities on tour last year and we could visit amazing places and know cool people, so fans than staff people. Landscape Pub in Brasilia is a small but charming club that presents the best alternative bands from the Brazilian central region. The best-structured Brazilian goth clubs are in São Paulo (for example, Madame Satã), despite the city never have been a great generator of bands (except for some recent examples like Scarlet Leaves, Pecadores and Days Are Nights), it's more a scene for DJs. Here in the northeast, we have Zauber in a historic main square of Salvador, excellent sound and people. About events, Brazil is going to have its first national gothic festival, Wood Gothic, in May/2008 at Minas, as a consequence of the rising of dozens of new professional bands, and we are headline of the first day.

 
MC:  Who are some of your favorite bands you have worked with?

PN:   Montage is a famous Brazilian electro band from our city that we always like to play with. Now they are on America Latina tour after having troubles to start their European tour at the end of last 2007, when the UK immigration have blocked the singer with no reason, so the tour was cancelled. We know how hard is that, because we had to cancel our concert in Wave Gotik Treffen last year for other reasons. Red Run and Fossil are other two nice bands from here that we used to share stage with. The first plays something like stoner punk, and the second does instrumental post-rock music (goth audience should to know them). Joseph K? is interesting too, they are our true brothers. In the gothic scene, we keep friendly affairs with many bands as those I've pointed in the last question plus Escarlatina Obsessiva, Synthetik Form, Elegia, 3 Cold Men, Bells of Soul, Jardim do Silêncio, Orquídeas Francesas, A Banda Invisível and Projeto Renfield.

MC:  Some people in the "scene" like to claim that Goth Rock (and deathrock as well) is "stale" and "boring"., and their day is past.  Plastique Noir and other bands are living proof that this simply isn't so. Do you think that people just want to pretend that they are cutting edge, or they simply don't do the research to discover new bands?

PN:   If you refers to EBM/Industrial fashion, I think it is going on all over the world. At first, I thought it was a bit of both reasons at the same time, but nowadays I have a third opinion. There is something more related to an exaggerated and superficial personifying of the neo-gothic character. More and more, people aren’t visiting the clubs and events for the music, but for a fake glamour, to show themselves as part of a group. Especially for those who are neonates in the gothic culture and follow the current tendency (so musical than visual) just because they had no chance, cause all is result of the contact to the recognizable first signs. It happens often in Brazil. Here people love to comment badly about their own country, so there was a common sense that this trial to look "so gothic than I can even if it means to spend thousands of dollars with clothes" was a local practice,  but isn't. I've been in some famous European events last year and I saw the same. Dress code is a funny part of the gothic culture, it always has been ever but now nobody cares to roots. They have no idea about what is the electronic dark music from.

MC:  What is on the horizon for Plastique Noir?  How can fans get your music?  Will you be touring anytime soon?

PN:  We have to conclude the album and chose the label as soon as possible. We have some propositions and we are analyzing them. The more time goes by with no new release, the worse the things will be among us. Dead Pop (the album) has been very fucking stressing. After we cross these obstacles, we have to sit down to talk about technology, because our tools are getting too old to some conditions of structure that we've found sometimes round away. Especially because we have lots of arranged gigs and they will start yet in May.

MC:  Is there anything else you would like to add?  thanks so much for doing this interview with us!

PN:   We thank you very much for this opportunity to contact the American audience. We have listened a lot about your scene and how amazing it is. We hope to play there someday. To contact us follow myspace.com/plastiquenoir for a while, the new version of the official website (www.plastiquenoir.com) is going out soon. Our acknowledgements for all e-zines and magazines that have dedicated space for Plastique Noir and all the love that we have received since our European, African and Latin-American fans as well.

 Email: plastiquenoir@gmail.com.

Messenger airtonoir@hotmail.com

rafaeldelucena@hotmail.com (production)