Music: June 2009 Archives

Moby: Wait For Me

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Moby could be described as a reluctant celebrity. He first found his way into the collective consciousness with the 1992 rave anthem "Go." In the faceless world of techno culture success remained within his comfort zone. For the remainder of the decade he released his increasingly hybrid electronic-based music with little fanfare outside of the dance world. His 1999 album Play, barely made a ripple in the ocean of record sales when it first came out.

However, after a series of high profile film, TV and ad licenses, Play was propelled into the mainstream and Moby into the media maelstrom with it. Track 5 from the album, "South Side," a little duet with Gwen Stefani, subsequently gained momentum, becoming an MTV staple for many months. It reached number 14 in the Billboard Hot 100 and number 3 on the Modern Rock singles chart in 2001. Play went on to sell over 10 million copies worldwide.

As film director David Lynch succinctly puts it, "Success is just as dangerous as failure, maybe more." In the years since "South Side" graced the charts, Moby has not exactly been chasing similar commercial success -- far from it -- however many automatically assume he has. After all, money and fame are the goals of every artist right?

Wrong. Back in October of last year, when SuicideGirls last spoke with Moby, he told us he wanted his next album to be "a really emotional, beautiful record." Expanding on the subject, he continued, "I don't know if I will succeed, but my goal is to make something very personal, very melodic, very beautiful. And hopefully interesting at the same time." By these standards, Moby has indeed succeeded, his new album, Wait For Me, being all that and so much more.

But, since contemporary society quantifies success in commercial terms, it's easy for certain areas of the media to talk about Moby and his post-Play music in disparaging terms. It's understandable therefore, that Moby looked upon his looming press day in Los Angeles to promote an "introspective" and "vulnerable" record that's the antithesis of commercial with a high degree of trepidation.

Click HERE to read SuicideGirls exclusive interview.

Daniel Ash: Rock On

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Daniel Ash has had a tumultuous recent past. Having reunited with Peter Murphy, Kevin Haskins and David J in 2005 for a now legendary performance at the Coachella Valley Music and Arts Festival, iconic goth rock band Bauhaus released their first new studio album in 25 years in March 2008. Sadly, the reunion had already faltered by then, with David J citing explosive chemistry as the reason in a SuicideGirls interview published that month. Moving on without Murphy, the trio regrouped under their post-Bauhaus band moniker, Love and Rockets, playing Coachella in April '08 and Lollapalooza the following August. After the last epic chord died down, Ash retreated to his Ojai home, seeking solace on the open road with the one thing he loves more than his guitars: his motorcycles.

All remained quiet for many months, until his friend and sometime manager Christopher Minister (whom Ash affectionately refers to as "The Minister"), persuaded him to come down to Swing House, a rehearsal and recording complex in Hollywood, to participate in a session for a new in-house project. One thing led to another, as things do, and Ash ended up producing (the track, "Rock On," to be released on the Swing House Sessions Vol 1, features vocalist Zak Ambrose).

Reinvigorated by working with a fresh mix of people, Ash is now looking forward to taking on more production work. In the meantime his Swing House buddy, The Minister, has compiled a Love and Rockets tribute album entitled New Tails To Tell, which features covers by The Flaming Lips, The Dandy Warhols and Puscifer, among others.

SuicideGirls caught up with Ash at the studio to talk about his new music, needless to say, the conversation soon turned to motorcycles. One has to wonder if the Swing House recording sessions are merely an excuse for the 160 mile round trip on his bike.

Click HERE to read my interview on


Click HERE to view high res image gallery and HERE to read my interview with Gavin.

Marilyn Manson: The High End of Low

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There's nothing half-hearted about the new album from Marilyn Manson, The High End of Low, which explores love, hate, revenge, loss and despair. Off stage, many find Manson's passion disconcerting, but the singer/songwriter considers anything that veers towards apathy to be inherently "worthless." It's therefore not surprising to hear that during the recording process Manson pushed himself and his band to extremes, the resulting album returning him to the kind of form he's not seen in a decade.

Very personal lyrically, and more melodic than past efforts, the album is the result of the much-anticipated reunion of Manson and Twiggy Ramirez -- the pair's last studio collaboration being the concept album Holy Wood, which came out in 2000. The lineup for the album was rounded out by longtime Manson drummer Ginger Fish and producer/drummer/keyboardist Chris Vrenna of Nine Inch Nails and Tweaker (who joined the band in 2004 when Fish was injured and moved from drums to keyboards upon his return to health).

The reunion with Twiggy wasn't the only emotionally charged ingredient in The High End of Low mix however, the period of recording, from November 2008 to January 2009, also coincided with the very public disintegration of Manson's relationship with Evan Rachel Wood, whom he dated following the failure of his marriage to Dita Von Teese. The 15 tracks on the album, which appear on the finished product in the order they were written, therefore chronicle Manson's emotional journey during this gut-wrenching time.

SuicideGirls caught up with Manson on the eve of a European tour to promote the new release. When asked about the album during our interview, it's hard for Manson to separate the music from the emotions and events that lie behind it. He also talks very candidly about the identity crisis that was sparked by this emotional turmoil, and his battle to figure out exactly who Marilyn Manson is.

Click HERE to read the full interview at