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The following interview with Justin Curfman, frontman for Feeding Fingers, is the English transcipt taken from the original Italian interview from Darkroom Magazine (Italy) in 2009. The original interview, in Italian, may be found here.

FEEDING FINGERS

Just(in) the mirror

 

You are mostly unknown in Italy, why don’t you introduce your band?

I am Justin Curfman, vocalist and multi-instrumentalist for the group, Feeding Fingers. I am supported by multi-instrumentalist, Todd Caras and by percussionist, Daniel Hunt.

 

How did you meet and how did you decide to start this project together?

The creation of Feeding Fingers developed around my psychological need to purge out of my mind a collection of music that I had been writing off and on since age 16 that I had originally intended to be used as the soundtrack for an animated film project that I had in mind as a teenager, which I eventually lost interest in and abandoned.

In 2005 I began production on a different feature-length stop-motion puppet animated film titled "TICKS", which I am working on to this day, and found myself with nearly twenty pieces of complimentary music in my sketchbooks, on cassette-tapes and hard-drives spanning nearly ten years.

I decided that "TICKS" was going to be a film unto itself, in which I was going to abandon all of my previous ideas and start from the ground up. I tucked this older music away in my studio and decided to never re-visit it.

Several months later, I purchased a home in a suburb of Atlanta, GA (USA) which had a large performance/studio space spanning the entire lower level of the house. The original intent of purchasing the house was to allow for me to have the space required to work on animation and music projects and I initially devoted most of my time to working on "TICKS". But, seeing the space and thinking about the abandoned music filled me with the desire to start a band and to perform this music for a live audience, just as a temporary experiment - so that I could get the urge out of my mind.

I had never started a band. I had played with people through my teen years and have written music since I was a child, but this was a new and exciting beginning for me.

I submitted advertisements in music papers, internet networking sites, etc., etc. calling for a bass player and a drummer interested in playing in a group similar to Joy Division, Cocteau Twins, Echo & the Bunnymen, and on and on. A few days later, phone calls and emails started trickling in and everything fell into place very easily.

The first phone call was from a bass player named Todd Caras. I was staying evenings at a hospice with my dying grandmother at the time of his call. I took the call on the back patio of the hospice. His voice was loud and confident. Todd knows his history and knew EXACTLY what I was looking for.

Todd asked that I make a CD for him with as much music that I had ready to perform and to pass it along to him right away.

I made a disc with ten songs and we met at a bar near the hospice. Neither one of us had any idea of what the other looked like, but for some reason as soon as I walked into the bar he called my name, "Justin!" And we chatted for the next three hours. We've been joined at the hip ever since.

Finding a drummer was a bit more difficult. I went through at least a dozen phone calls from very well-intentioned people, but they all had too many outside obligations to be able to take my seemingly temporary project as seriously as I would have liked.

One afternoon I took a call from Danny and I asked when he would be available to come to my place for a try-out and he said, "How about tonight?"

Danny is a veteran percussionist of any style that you can imagine. He offers to the group a certain finesse and professionalism through his experience that you don't often hear anymore. After learning a little about his history with the many national touring acts that he has performed with over many years, I was a little intimidated by him initially and was a little afraid to have him involved in the project, for fear of his just abandoning us eventually for someone with a little more experience and financial sway, but the man has found a comfortable home with Todd and I.

The three of us have been together and unchanged since 2006. The idea of a fourth member on keys has been discussed off and on for a year or so, but at the moment I think that there is a certain something from the group that would be lost if a fourth member were involved.

Also, given the temperament of the three of us and the amount of time that we have spent together to be able to deal with one another's eccentricities, I do not think that I would feel comfortable subjecting a fourth person to dealing with the three of us.

I have my own passive, nice-guy, workaholic, O.C.D., nature that my guys have to deal with from day to day. Todd has a legendary temper which is known both here in America and abroad. And Danny… he scares people.

 

How did you choose the name “Feeding Fingers”?

The name of the band comes from the lyrics of the song, "Feeding Fingers", on our first album, "Wound in Wall".

I once dreamt that I was exploring a section of woods behind my childhood home. I came upon a little girl, wearing a white dress. She was faceless and she sat on a high-chair. She had a xylophone across her lap. She couldn't speak, but I knew that in my brain, literally, was a piece of music that she wanted to play on her xylophone. She telepathically commanded that I sit under her xylophone and under her feet. She reached into a pocket on her dress and she removed a knife from it. She then reached down and sawed the top of my head off, exposing my brain. She then took off her socks and shoes and placed her feet into my brain, as if soaking and massaging her feet in a warm tub of water. She felt the wrinkles in my brain between her toes, and she absorbed the piece of music through her feet by osmosis. She then proceeded to play the song.

I woke up from the dream and hummed the tune to myself all day, and finally recorded it. That song is recorded note for note on "Wound in Wall" in the song "Feeding Fingers", but the lyrics themselves are about the girl being duplicated into a dozen or so and showing up in another dream that came not long after her first appearance. All of the girls stand single-file and wait to put their fingers into small holes drilled into a perfect white wall in a perfectly white room, where behind the wall is a starving man waiting to eat their fingers. In this room, in this dream, I was a victim too.
This girl makes an appearance in most of my work, for some reason. I am not sure what significance there is. She just is.

 

 


Which are your musical tastes?

I most often listen to avant-garde and modernist composers, like Karlheinz Stockhausen, Witold Lutoslawski, Steve Reich, and Krystof Penderecki. I also like a lot of the proto-industrial/minimal work that surfaced from the late 1970s through the 1980s from bands like Einsturzende Neubauten, S.P.K., D.A.F., Fad Gadget, Suicide and the like. But it seems that I tend to reflect most of my influences from bands closer to the post-punk spectrum, like Wire, Joy Division, Echo & the Bunnymen, The Chameleons, Lowlife, etc., which oddly enough, I listen to less often.

Your leadership is obvious, you are so eclectic, explain us your musical imprinting on FF.

Feeding Fingers is my musical baby. Most of what you hear from Feeding Fingers is the culmination of work that has been sculpted from an obsession of mine over certain tones, structures, and themes since age 14. I take what we for the labour or love that it is, but I am also very dedicated and offer to the work and the group the greatest amount of sincerity that I have.

Do you always compose your lyrics?

Yes. But, I think that "compose" should be taken as a very loose description of the process from which the lyrics find their way into our music. I never sit down with the intention to "write" lyrics. Words and images come to me through some trance state that I put myself in after writing and recording the music first. I listen to the music and think about it and a sort of illustrative and melodic "word soup" comes to me. I write the phrases phonetically and find words and form in them much later. Everything is a puzzle for me. It is not often that I write subjective lyrics from anything concrete that I am trying to say. The closest that I ever get to that is when I write something inspired from a dream - a sort of dream-logic narrative. I am not able to write subjective lyrics. It makes me feel like a fraud. If I had something to communicate through straight-forward language, I wouldn't waste my time putting it to music and making the message cryptic. I would just tell you bluntly. This is what I find so imbecilic about songs about politics and world affairs. For the most part, I think to waste your creative talents on something like this is just childish. You are not going to change anything. If your ideals are so grand and you want to change the world, don't waste your life writing music about it in your mother's basement. Educate yourself on the issues that are sticking in your ass and become an activist, a terrorist, or a politician - the qualifications for all three are essentially the same. Like the painter, Francis Bacon said, "It's always hopeless to talk about painting – one never does anything but talk around it." This is how I feel about direct communication with lyrical songwriting. I know that my lyrics frustrate some people. I get emails often from people asking me to explain things and I tell them to interpret it for themselves. What the words and phrases mean for you, may mean something totally different for me. But, there is something being said. Also, my work is a work as a whole. The music corresponds to my film work and my prose. It all relates to one another. You will see where the line about laminated scrambled eggs in the song, "Manufactured Missing Children" comes from. Just wait for "TICKS".

Where do you find inspiration?

I am inspired by everything from stuttering children to dirty windows.

You are also involved in little but interesting projects, can you speak about them?

I am also working on a feature-length stop-motion puppet/CG "hybrid" film titled, "TICKS". This is to be my fourth film in this discipline, and my first feature. I hope to have it finished by the end of 2010.

Along with the film, I will be releasing a soundtrack to accompany it. When "TICKS" is released into the festival circuit and as a stand-alone release in art-houses, music venues, and small independent theatres, Feeding Fingers as a group will accompany the screenings of the film and perform the soundtrack to it live. I am very much looking forward to this.

We are also working on the third album right now. I have no idea what it is to be titled yet. I can tell you that it will be complimentary to "Wound in Wall" and "Baby Teeth", but it will sound markedly different in production and in arrangement.

I am also an inventor, closer to the "Chindogu" school of thought, where I love to create impractical devices, such as my assisted-eating device, known as the Lepidopteraphagiator, which is essentially a cervical collar with an adjustable incandescent light, which one can attach to their throat, turn on the light, open one's mouth, and draw insects to their face for dinner. There is a video demonstrating the invention available on YouTube and on my personal site, featuring Patrick A. from the American Jewish punk band, Can Can, Sharron Von Hoene from the band Cinetrope, model Stephanie Roman, and Stickfigure Records associate, Devon Stawkowski. Take a look, if you're interested.

I have also published a graphic novel titled, "Expiration Date", illustrated by Niki Foscarini. And I have a chapbook available titled, "The Catalog of Absurdity".

I love working in any medium.

I know that you love to try several different arts, tell us…

Yes… but it can get to be a bit much. I get stretched a little too thin sometimes, but I am just never satisfied with one thing. I remember as a child, I only enjoyed writing. I wrote fiction and observational pieces often, but branched out into everything else all at once around twelve or thirteen years old. I remember skipping school once in middle school so that I could stay at my home, draw a black and white checkerboard-style design on piece of poster-board, and glue cashew shells on it with rubber cement. For some reason, at that moment, that was more important to me than watching a teacher baby-sit hundreds of pre-teen children for 9 hours that day. Sometimes, I wish that I had just kept with writing. It is so much cheaper. I do have an idea for a novel that I hope to publish in 2011. Who knows, maybe I'll dissolve off into that world.

How much s important for you to grow in the homeland of R.E.M. and B52’s?

I am not sure. As much as I love the guys from R.E.M. (they really are some of the most humble people that you could ever meet, especially considering their success) and understand the legacy and history of that movement that burst out of Athens, Georgia (and Atlanta to some extent) with R.E.M. and The B52's in the forefront, I just don't know if Feeding Fingers' location here is really very relevant. As it stands now, Feeding Fingers has appealed to that audience about as much as a Monday night football game would appeal to Liberace. It's a very different clique. But, if Feeding Fingers can add at least one more layer to the onion here, albeit a very small and thin one I am sure, then I would be very honoured to be thought of as such in any capacity.

If I’m right I know about a sort of Georgian gothic “band coop”, can you explain us better?

That would be the Medusa Collective. Several months ago, Moxy, from the band, Promise December, approached several of us sort of complimentary groups here in the South-eastern U.S.A. and asked if we might all be interested in collaborating and coordinating different shows and promotional opportunities in the area, considering that the mainstream media here in our hometown largely ignores this genre, and will continue to do so until I start wearing ironic thrift-store t-shirts, have a girl play keyboard, write songs about partying, and play only barre chords. I'm working on it. Not really. We may live here, but America is not Feeding Fingers' home.

Are there any other bands that you can suggest us in order to open new “channels” for the European public?

There are too many to mention all of them, to be honest with you. One thing about this city is that you can go to almost any club, any night of the week and just be astounded at the amount of talent that basically lives in your backyard. This is why I almost never go to national/international touring band shows. You don't have to. There is no reason to spend nearly $100 to feed some rock star's ego that just happened to score a good deal with a corporately sponsored manager or agent, when you can go to a place called The Druken Unicorn or The Earl, here in Atlanta, anytime, for less than $10 and hear a band that makes most of what you hear in the mainstream or read about it magazines sound very unremarkable.

There are bands here just on the East Coast like Entertainment, The Prids, Misfortune 500, Tenth to the Moon, Can Can, Jeffrey Butzer & the Midwives, Cinetrope, The Liverhearts, Lions & Scissors, and on and on and on… and I am sure that I am going to piss off a lot of people for not mentioning them, but they all know who they are.

Isn’t it frustrating playing a typical “dark” music in a country dominated by hip-hop, pop, country music or at best electro-goth for the dancefloor? How do you feel about that? Have you any satisfaction?

This can be a little frustrating, but it becomes so less and less to me as time goes on. In the beginning I would feel discouraged and a little disappointed in the general ignorance of the American music market, but thankfully, because of the internet and the international co-operation between our record labels over the past year or so, things have been getting much better for Feeding Fingers.

I think that it would be pretentious and a little arrogant and presumptuous to blame the public here, really, for a lack of response. The truth is that this sort of music has never really been embraced here. It just, for some reason, has very little cultural appeal to Americans. But, then again, I think that marketing and advertising conglomerates have sold this genre to Americans in a very stupid way. In this country, everything is packed with clichés. Here, this music is always associated with silly vampiric overtones and other overtly melodramatic and uber-romantic clichés that generally appeal only to teenagers. Advertising people just drench this stuff with selling points that just absolutely sever the credibility and longevity of this genre. It all becomes a commodity and brand/social identification for teenagers, and later gets tossed into the garbage by the time the kids get into college and think that they are the only people that have ever heard of The Smiths all of a sudden.

This music has been embraced in Europe, largely, I think because there is a better understanding and more varied exposure and understanding of art, literature, music, and culture in a general sense than there is in America. But, this is because in America the cost of living is absurd now, that the educational system teaches its youth to only worry about the trade of goods, services, and capital. Art is, for the most part, for America… a waste of time. It's the unnerving truth. It's a shame too, because this country is filled with brilliant, loving, and peaceful people. But since WWII we've been encouraged to be fragile, politically correct, professional consumers.

 

Do you feel European public closer to your sound?

Yes, absolutely. The fact that this interview exists at all is indicative of this. I can comfortably say that 90% of our listeners live on your continent.

 

I find your music so close to band like the Cure but also the Swans or Wolfgang Press, memorable bands from two continents: who else has inspired you to create your personal style?

I love Angelo Badalamenti - some of those piano lines and synth/pad arrangements make me jealous. I don't know that music really inspires me as much as literature, painting, and life in general really. There are painters like Anselm Kiefer that just destroy me sometimes - in a good way. I can look at some work from Hans Bellmer or read something from Alfred Kubin, Georg Trakl, Gottfried Benn, or something from the expressionist school that seems so much more immediate and contemporary than anything that can be found in some very sterile "modern" art arrangement or display gallery. I wonder what everyone in this generation is so afraid of .

 

Let’s talk about “Baby Teeth”, which is the meaning of this title?

I think that the album's name, "Baby Teeth", is both a reference to the lyrics of the title track:

"I would rather watch you up
On a silent stage
With baby teeth still in
Still inside your
Mouth…"

These lyrics were inspired by a dream that I had about a beautiful female singer singing to me on a stage. She finished her song, smiled, and I noticed that she still had her baby teeth, making her gums appear grotesquely enormous. And for some reason this sexually aroused me enormously.

And I believe it is a reference to just the place of the album in its relation to Feeding Fingers', as of now, relatively short career.

The cover art work is symbolic and scary: which kind of concept does it hide under?

The image is also a reference to the concept of "Manufactured Missing Children", which will be explained in "TICKS". I also have a near-fetishist fascination with vintage photo-booth imagery.

In “Baby Teeth” you play with two basses without the guitar and this solution creates more rhythmic pattern, do you think to repeat it again in future?

I would like to explore dual basses a little more, yes. It may be something we re-visit on the third album. Who knows what will happen. I recorded a song a week or so with a ukulele. Anything can happen.

Your sound is obscure and gloomy but the guitar played in a classical way gives it sweetness: could it be a good way to work?

I always approach guitar as a textural instrument. Chord-driven guitar rock songs just are never interesting to me. I typically write with bass and drums first and guitar provides the splashes of light in the often claustrophobic rhythm section. This is my favourite way to write, but much of that will change with the third album. There needs to be some growth.

If I have the possibility to choose a track I will choose “Is Heaven All That You Hear” because it’s a bridge between today and all those sounds that made great the “dark-wave” music. It’s so 80’s and it can be compared to Cure’s “Charlotte Sometimes” or “The Killing Moon” from Echo & The Bunnyman. Tell me about this song and about other similar moments that you propose.

"Is Heaven All That You Hear" was a closely worked collaborative effort between the three of us. One evening Todd gave me a resume of sorts when the band started. This "resume" was a CD with a collection of instrumental song sketches that Todd had complied for me to listen to for his consideration of being the bass player for the group when we first met one another.

On this disc was this bass beautiful progression, cyclic drum pattern, and some very minimal synth chord work that just stuck with me over a period of some months. The music was not structured very tightly as a song, but the skeletal works were there, and I fell in love with it.

I poured over the material for several weeks, arranged the parts, wrote a guitar leads, and started to sing a melody that fit well within the music. We made a definite decision to include it on "Baby Teeth".

I think that another closely related song to "Is Heaven All That You Hear" is "She Hides Disease". I wrote "She Hides Disease" around the descending piano lead that repeats throughout the song. For years I struggled with that lead, loving it, but not knowing what to do with it or how to use it. So, rather than using the lead as an element to a song, I wrote a song around it. I think it's a fair compliment to that track. I think that you will be seeing a music video for that track this year or next.

Is it possible a European tour in a next future?

That is the all-important question. There have been a series of promotional parties through Europe and Asia through March and will probably extend into April to try to get Feeding Fingers a little more into the light for the European public.

As of now, everything is a matter of finance. Would it be a profitable investment to send Feeding Fingers to Europe? We would like to think so, but considering the world economic melt-down that is bubbling on the horizon, it has been a tough sale to record labels and promotional companies to support an effort to send us to you.

Honestly, our appearing in your country and in Europe is general is absolutely dependent upon people like you and your readers. If there is not enough support or interest that is apparent to venues, club owners, record labels, etc. there will be no European tour for Feeding Fingers. So, every time you go to a club, talk to the DJ. Tell him to spin the album. If he doesn't have it, tell him to get it. Every time to you go to a shop and don't see Feeding Fingers represented on a shelf, tell the owner to get it. When you see a national or international touring band that you like that are coming to your town, find out who their manager or producer is, write to them, and tell them that Feeding Fingers should be an opening act for them. Little things like this are more important than I think that most people understand. This is most especially true for bands such as this, which fly under the radar generally anyhow. It's up to you.

I know there is a project that will involve Italy too to present your full-length: tell our public about dates, locations and so on to arouse our curiosity…

There will be a CD release party in Milan on March 28 at Shelter Club as part of an "Ascension" party, where you can go to the event and get a free copy of "Baby Teeth" and talk it up with the DJ and the club-goers while they spin and talk about the group. Please go out, bring your friends, and tell the promoters and club owners that you want Feeding Fingers live at Shelter Club - unless you hate us, of course.

I’ve listened to your recent live unplugged, (and I thank you for that!): is it a solution you can apply also in studio?

Thanks for listening to that! That National Public Radio show is also being broadcasted on television in the U.S.A. for the next week or so. But, after that, it will be available online somewhere in its entirety and will be available on YouTube and other online sources in segments.

As far as the possibility of performing acoustic sessions for studio applications… the answer is "yes". The song, "A Bag of Broken Hands" from the album, "Wound in Wall" was an acoustic performance recording that turned out suitably for that piece, I think. I don't see that song really working in any other way. There are some videos of Feeding Fingers floating around online performing that one modified for the stage show with electric guitar, keyboard, drums, and vocals which sounds okay… but I think that the album version is superior to that.

The song, "Your Name in a Stolen Book" from the album, "Baby Teeth", is also an acoustic performance in studio with a real Hammond organ behind it as well - no synths. I don’t see that song working in any other way either.

I definitely see us using some acoustic textures in the third album.

I will say that capturing an acoustic performance and making it aesthetically correct is difficult. Because of the super availability of technology and the tendency that everyone has toward excess in production when it comes to effects processing and over-compensation of equalization, having a nice, simple acoustic recording can be a hard thing to swallow and deal with when you have imperfections. You have to just psychologically accept the fact that the purpose of recording something in an acoustic setting is to allow for errors in performance in some spots - your humanness is supposed to show through just as much as the notes are. Not too many people remember this when they record acoustic sessions, which is why most of them are so very dull.

Have you any new songs for a new album already?

Yes. I know that as it stands right now, we have about eight solid ideas that need to be worked out in live settings and then recorded soon.

We have two songs right now that are written, recorded, and absolutely ready to go on the third album. But, they are being used right now exclusively as demo songs and being solicited to various record labels and producers to help generate some serious label, management, and producer support to back the production and promotion of the third album toward a wider and more general audience that we just do not have the resources to reach right now.

But, if nothing happens, despite my best efforts, Feeding Fingers' third album will be produced by yours truly, just like the first two albums were, in my studio in Atlanta, Georgia and we will team up with Stickfigure Recordings, NetMangement Musik Verlag, and all of their co-operatives to keep Feeding Fingers moving along as best as we can, with the same small, but dedicated resources that we have - business as usual. I won't keep myself from release something just because of a lack of funding or promotional support. Ask anyone, music is first and foremost a labor of love. The people that are providential enough to earn a living at making music are extremely rare. And despite any ideas that a lot of people might have that aren't directly involved in the music industry… even when you see some "rockstar" on television that seems to be living the high life, most of the time it is a fabrication. The majority of those guys get funding ONLY for touring and promoting an album. They have to take a leave-of-absence from their day-job (or just quit or simply get fired) and go on the road to promote and keep their fingers crossed, hoping that enough money is made off of admission sales of merchandise sales to at least buy their next meal or gallon of fuel.

People always seem so shocked when they find out that some celebrity musician is bankrupt. The truth is, most of these people get a cash advance to record an album, which is usually just enough to compensate them for about a year or two worth of pay that they would have received from a regular day-job, just so that they can afford to spend the time writing and recording and not being distracted by the joe-job.

Then, they record the album and tour it, and by the time the shows are over… they are broke. Then, back into the studio they go to repeat the cycle. It is not the sensational life that the media (and the promoters/PR/marketing people) expect for the listener to believe it is.

In Europe decadence in music usually means decadence in European culture: is it the same in U.S.A or has the decadence other references?

Hmmm… this is an interesting question.

I think that the idea of decadence in music for most Americans is immensely different from that of most Europeans. I think that the ordinary American's idea of decadence in general isn't at all the same as the general European idea.

From my perspective (which is a literary, art, and historical one) the idea of decadence in music comes from a music combination of aesthetical values that is in referral to and attempts the conjuration of, among many other things:

1) A sort of reverence for Dionysian ideals rooted classical Romanesque admiration of and appreciation for self-indulgence.

2) The ideals of self-determination, will, and the concept of living life as a journey of self-discovery and personal-achievement by any means necessary (though in a compassionate and civilized manner) all the way from Nietzsche to other more contemporary thinkers such as Bataille. I would even include the ideas of ethical-egoism/individualist-anarchism that originated from people such as Max Stirner (though much less famous) to fit this aesthetic.

3) Something of a fetishist pleasure taken in from something akin to the revitalization of those ideals that was brought about from literary figures and artists from the likes of the fin de siècle of the 19th century in France (Huysmans, etc.)

4) The monomania and general anxiety associated with the German Expressionist movement, with a fear and distrust of the industrial revolution, and the reluctant embracement of the idea of becoming an anonymous cog in the machinery of government and economic bureaucracy.

I think that the re-visitation and cultural spotlight gets turned on and off these ideals during the ebb and flow of war and peace in Western culture. And the music, art, and literature is reflective of the times we live in.


I think that we see the revitalization of dark, escapist, and maniacal art when the collective consciousness knows that there is severe trouble and conflict waiting in the wings of the near future. We get tired of the oppressiveness of waiting for it and it shows.

This "genre" of music hit its peak in the 1980s, I think, as a result of the fact that the western world was tired of the nuclear threat, and just embraced the idea that if we were all going to be turned into powdered glass anyway, we might as well live a life of decadent indulgence while we are able to breathe. And the escapist imagery and textures show through in the music of the time.

The same thing occurred in music during both World War I and World War II. But, it didn't occur so much in pop music. Those conflicts gave birth of modernist and avant-garde composers, who assumed the same thing;

"If we are all going to die anyway, who cares if what I do is accessible to the masses. Soon, there will be no masses."

In light of conflict and catastrophe always comes a great explosion of self-exploration and escapist artwork. And, to be honest with you, I think that that is what you are witnessing right now from all corners of the Earth. We all instinctively know that something disastrous is waiting for us in the very near future. We don't know what it is specifically, but it's waiting.

I think that the common European idea of decadence is one rooted in art, literature, and a general aesthetic, probably more akin to what I just described.

I think that the general American idea is not so complex or sophisticated, to be perfectly honest with you. The general idea of American decadence is one that is very safe and very sterile. I believe that when most Americans think of "decadence", they think of something like eating a Big Mac followed by some chocolate ice cream with hot fudge drizzled over it. I believe that the idea of decadence is to most Americans is really limited to something closer to having too much candy, chocolate, ice cream, alcohol, ground beef, or sex (maybe), or drugs (maybe). The American idea of decadence is really just synonymous with excess. I don't think that most Americans understand the difference. And, I am not trying to be insulting to my fellow citizens; I am just being as matter-of-fact as I can be.

Decadence in American music… I am not so sure. I think that a lot of American musicians and artists make blatant attempts to embrace some sense of European decadence in their work, without trying to discover something of their own voice and but it usually comes across as a more of a paltry tribute or farce and very tongue-in-cheek.

I see album covers and poster with images of people with long, dyed black hair, glued-on porcelain vampire teeth, and well-manicured fingernails on fingers wrapped around rhinestone-encrusted, plastic wine goblets with department store candles burning safely in front of artificial velvet curtains, that say things like, "A Sip of Misery" or something like that… and it just makes me laugh. But, the frustrating thing about the American marketing and advertising machine is that Feeding Fingers typically gets lumped into this market here in the States… and we're a massive disappointment to that audience. We don't have that problem in Europe at all.


A certain thought states that the death of Europe was-and still is-caused by U.S.A, do you know darkfolk and the subjects concerning the cultural death of our continent?

I think that the decline of European power and influence was a direct result of the combination of WWI & WWII in close succession of one another.

The United States was not a super-power, or even a real contender for that title before those two conflicts. The United States was just in a fortunate geographical location at those times and avoided being bombed into submission and culturally and economically assimilated into its neighbours, creditors, and debtors.

Europe had years and years of cultural equity built up into creating their societies, just to have it all destroyed and started from scratch, which gave the United States (a fairly young country) a head start in the race to become a super-power.

But, this is the nature of man and country, no matter what man or country it might be. The power and influence from one political and military collective has highs and lows of influence throughout its life-cycle. The status-quo always changes. It is all a matter of time. There is no permanence. Research the history of any country.

I also believe that the death of all native cultures of all countries is ultimately inevitable. But, I do not think that this is because of something purposeful or with malicious intent. I think that the simple ease and speed of transport of people, goods, services, currency, and (most importantly) information is going to, in the end, homogenize society at large. This is going to be the end result of "Globalization". We all know this. We've already gotten a taste to this since the recent economic disaster. The world is getting smaller and smaller everyday. I don't know that it will be our generation, or the next one, but I would bet money on the third generation, that they will either see the fruition of, or the beginnings of an interlinked world government and standard international currency. I am not saying that I welcome the idea or that I am an advocate of this, but I think that it is the manifest destiny of man and his love affair with information. National sovereignty will be an antiquated idea.


How do you see the future with Obama? Will something change?

Personally, I am not an admirer of party politics. I think that the destruction of America will be the end result of the two-party polarization of the United States between the Democrat Party and the Republican Party. They are both in the manipulation game together. Americans are by and large similar to apathetic children with an entitlement mentality, and the political system here takes advantage of that on a daily basis. And they feed that idea as well. Bush did it, and Obama does it. I believe in the goodness of people. I do not believe in politicians. Presidential elections in this country are beauty pageants meant to sell tabloids and broadcast air times. The office of president is occupied, usually, by a man that is meant to keep Americans distracted from the Congress, the Senate, and their local government while they rape them of their money and freedom in exchange for dead-end social programs and the illusion of security. The two-party system here never seeks co-operation or logical conclusions. It's a game, and I stopped playing it a long time ago. I don't know that this is the correct forum for this. If anyone wants to further know my opinion on American politics or President Obama give me a call, email me, or have some political magazine or journal contact me. I don't affiliate myself with political parties. I am an individualist. I believe that the tribal mentality of party politics is infantile. It seems to me that people are always on this constant quest to find someone to replace the role of their mother, father, or Santa Claus. And unfortunately, I think, they typically look toward Washington, D.C. to get that fix. Grow up, take care of yourself, and be good to one another.