1. tell us about the new album "Redemption". Redemption, is by all means, the album I've always wanted to make. The pain that we've accumulated since the release of Fear Itself is represented on Redemption - hostility and bitterness have not only granted us limitless suffering, they have contributed to an album I'm sincerely proud of.... 2. it comes 5 years after the debut "Fear Itself"... considering that we have an EP in 97, don't you consider that it's a big hiatus between the releases? As you may already know, Double Edge Productions functions as a label and management in name only. Aside from a very talented group of artists, designers, street teams, and fans who help us survive as a self-produced entity, Vora and I are completely responsible for production, promotion, publicity, bookings, management, and financial considerations. Out of necessity, we've had to learn as we went, because I believed that we owed it to ourselves to become recording artists. I feel very fortunate to have had so many people pick up on what we're doing, and purchased our releases, but doing it yourself takes a strong toll, especially financially. We wrote and subsequently tracked the album over the course of 1998, and into 1999. Unfortunately, several tragedies would follow that prevented Redemption from being released as scheduled, including parting ways with long-term drummer Notorious, keyboardist/backing vocalist Robynne Naylor, bassist Andy Calcina, and more than a handful of flaky investors, production houses, and labels for the CD's release. I think we've been extremely fortunate to receive an overwhelmingly positive response to the pre-production material that was sent out over the last year in preparation for the release of Redemption. With a self-produced entity that survives primarily through the underground, there can be quite some time between release and reaction. Perhaps the disasters that have delayed the release were, in part, a small blessing in disguise, as the buzz has gradually increased in the underground. 3. what's the differences between the new album "Redemption" and "Fear Itself"? We've taken all the successful elements from Shadows (1994) and Fear Itself (1995), and heightened them tenfold (or perhaps elevenfold). The production, arrangements, melodies, performances, and general songwriting is far superior to anything we're ever done, and the material, is, ebonically speaking, slamming, kid. There are eight singles on redemption, whereas fear itself had perhaps one or two. The final production will be significantly larger - we've streamlined the arrangements, beefed up the instrumentation, and added a myriad of other tasty niblets for your listening displeasure. 4. will there be a concept in the new album? The constant, intangible interplay between olives and the salty strips of pimento that penetrate them... 5. which was the concept in "Fear Itself"? Large intestine - friend or foe? 6. tell us about Double Edge Productions and how is to work with 'em. Being that they are we, I find it increasingly more and more difficult to work with them, especially on those days on which I do not bathe.... 7. so far you have added pre-production mp3 of the new album in the site... how is going the response to them? We're thrilled by the response - it's obvious that there are more misguided individuals out there than we had thought. 8. which are the bands that influenced on Braindance's style? When we first started producing music, we never really knew what it was that we were doing in the sense of categorization - we simply produced tasty nuggets intended to please ourselves and the temperamental amphibians we surround ourselves with. When Vora and I first met, I hadn't even listened to contemporary music for four or five years, and didn't exactly know what genre I would have liked to be associated with. I had been completely removed from current musical trends, listening to absolutely no music whatsoever. It was only after receiving press and response from both the goth/industrial/darkwave community and the progressive community, that we came to be familiar with terms such as gothic, darkwave, ambient, industrial, progressive, death, black, doom metal, etc. In fact, I'm still not clear (and have yet to receive a satisfactory explanation) on what those terms and their respective boundaries are. Perhaps if I had been clear on those terms and how they are supposed to be communicated musically, we'd be doing something completely different than Braindance, something completely identifiable (and non-threatening by industry standards), and probably making more money doing it. On the whole, and not surprisingly, I'm a fan of all of the sub-genres that make up Braindance - goth, industrial, progressive metal, darkwave, classical, progressive trance, and sauerkraut - generally, anything with dense programming, multi-layered composition, distinct melody and/or of a darker nature. Currently I'm listening to a lot of house, progressive trance, and techno, but my tastes have changed over the years, listening to classical, industrial, progressive metal, ambient trance, black metal, and cheese rock.... However, with regards to Braindance comparisons, I've heard everything from Rammstein to Paradise Lost to Tiamat to Depeche Mode to Cradle of Filth to Fear Factory to Sisters of Mercy to Queensryche to Type O Negative to KMFDM..... I think it's more comparable to DMX meets Brittany Spears.... 9. two vocalists were mentioned as influences for your vocal style: Type O Negative's Peter Steele and Queensryche's Geoff Tate. What could you say about these guys and their importance for your style? Naturally, I'm flattered by the comparisons, as I consider them both fantastic performers with unique, identifiable voices that have contributed immensely to the metal genre. Geoff Tate set the standards for progressive metal vocals - technical ability, emotional conveyance, character representation, and lyrical conviction - that continue to transcend the genre in every way. After high singing became unfashionable, many metal singers turned towards cookie monster vocals exclusively to avoid sounding dated. Peter has widened the acceptance of clean bass/baritone communication with power, sensitivity, and personality. 10. what's your opinion on mp3 exposure on the web? helpful or harmful to the bands? The internet has been instrumental in introducing newer listeners to Braindance that wouldn't ordinarily be exposed, given the current structure of the music industry. Insofar as the issue of pirating is concerned (with specific regards to sites like NAPSTER), I would like to believe that consumers take pride in the ownership of an original compact disc as the artist intended. I would like to think that braindance fans are not only discerning consumers that demand an accurate sonic representation of the intended production, but also consumers that cherish the original packaging, artwork, and inserts that we intended to be included in the release. From this perspective, certainly an established and successful international band like Metallica wouldn't necessarily benefit by mp3 exposure as much as a smaller project like ours would. 11. how would you define the music played by Braindance? I'm of the belief that a definitive sound or image is worthless if good songwriting is not present. I don't give a fuck about your technical prowess, your emotional conveyance, your philosophical or political views, your physical appeal, or your attitude if you can't write a good song. Good songwriting transcends any genre, and comes in many formats, whether it's Mariah Carey or Rob Zombie. To answer your question specifically, there are elements of dark metal, progressive hard-edged music, guitar-driven industrial, dark ambient, heavy electronica, and sauerkraut blintzes within Braindance. The music has a dark, cerebral feel that stems from bitterness, hostility, frustration, depression, anxiety and perhaps self-loathing. We utilize technical aptitude that is subtle enough not to overpower the emotive aspects of the song. The constant interplay between the technical, or mechanized soundscape and the stark human element can be used to communicate quite a few lyrical themes, whilst maintaining enough lyrical ambiguity to lend itself to listener interpretation, much like the wonderful 'choose your own adventure' books, so very popular in the mid-80's. However, I think it's the moist filling that leaves you wanting for nothing... 12. have you already entered in tour with Braindance? if yes, could you describe your shows how they are? I normally like to give some importance to the way I act in restaurants. I've been accused of having a theatrical approach to the lobster bisque, but once I'm on it, I melt not unlike a teaspoon of margarine left on the stove. Maybe I'm being overly demanding, but if I'm going to leave my dwelling, shell out cash, and see live music, I should be rewarded with at least some sort of retinal stimulation. Otherwise, I can stay at home and listen to the album whilst regularly visiting the ever-friendly refrigerator. We try to provide herring party snacks and saltines for our listening audience to boost morale... 13. nowadays, how is your degree of involvement with Braindance? do you live exclusively for the band or have other commitments? Our implications certainly tend towards full-time; however, our wallets are significant part-timers. Although Fear Itself did very well, this album has bankrupted us, damaged our credit and reputation, and significantly limited our ability to rent out the plaza weekly for 500 of our closest friends and 50 dancing frogs.... Vora is a reputable studio engineer and web site developer, whilst I toil as a personal trainer, nightclub promoter, and reptilian entertainer. We live exclusively for Bavarian pretzels.... 14. what are your future plans for the band? Future plans include fame, fortune, and the amassing of large quantities of kitchen cleansers...