1: Can you introduce yourself and describe
us the main steps of your musical career?
Lee Saunders, born in Hammersmith, London
on the 2nd of August 1962. Attended school at St.Pauls and Holland
Park, London. Moving to Brighton in 1979, attended Varndean college,
then on to study music and visual art at Brighton University.
Although I was interested in music at St.Pauls,
it wasn't until I was at Holland Park that the interest turned
into a burning passion. Apart from the fact that the school was
one of the first schools to have synthesizers in the music department,
but it encouraged experimentation. I was at Holland Park between
'73 -'79, and with hindsight it was a very exciting time. Playing
truant from school, we would go to Portobello Road and hang around
cafes and bars. We would scrounge cups of tea from Pop stars like
David Bowie, Mark Bolan or harass Lemmy playing space invaders.
Bowie and Bolan I knew were pop stars,
they were on TV but Lemmy was with Hawkwind at the time, so not
a well known act yet. I think seeing Hawkwind for the first time
was my first step without knowing it. This was just before Punk,
nothing really stood out for me, I didn't think there was much
of a choice. Bowie, The Stones, Bay City Rollers, or shit like
'Middle of the Road' with Chirpy, Chirpy Cheap Cheap.
We were so young, you had to rely on your
best friends older brother to buy the records and you listened
to the band you liked. In my case that was Hawkwind. Everyone
has a favourite album, you know changes your life, so to speak.
Mine was Quark, Strangeness and Charm by Hawkwind. This was the
album that decided for me to get a band together and be a musician.
I must have played that album so much, it wore out all the grooves.
Also living across the road from the Hammersmith
Odeon, London, we would see most bands that played there for free.
This just fuelled the ambition to get a band together.
When Punk exploded on the scene, West London
was really buzzing. Bands were popping up everywhere, Arri Up
from The Slits was in my class, her mum, I think, was dating Johnny
Rotten and couple of girls in my class were seeing members from
The Stranglers and The Boomtown Rats. I watched The Jam support
The Clash at the 100 club in Oxford Street, and a few years later
they were massive. I wasn't a punk, I just liked music and you
seemed to go anywhere to get a live band.
I moved to Brighton and while getting a
band together at college I worked with Nik Turner (Ex-Hawkwind)
and his band Inner City Unit (ICU). Escaping arrest at Trafalgar
Square, with ICU playing on the back of a open truck at a massive
CND march. Then being chased down Whitehall with the police chasing,
still playing. I then went on to study music at Brighton University.
My studies were interrupted by the death
of my Parents in the mid-80's. Leaving me at the age of 22 the
care of my younger brother age 9. This was the main step in my
musical career. Before they died I wanted to get a good fun exciting
rock band together, but after, everything changed. Turned completely
upside down. Your whole outlook on life changes with a the death
of a loved one, but two in a short period is devastating.
When my band, Crystal Void, emerged to
play live, we just seemed to sell out every time we played. We
got great press and in 1987, we supported Hawkwind at the Brighton
Centre in the World Sci-fi convention. Everything seemed to have
come full circle. In 1988 we had a fire that destroyed most of
our effects, so I had a rethink and decided to use lasers.
When using lasers we seemed to get great
press for the show, but it got harder to find venues to let us
play. We changed our name to The Void, but Bad publicity regarding
Acid house and Raves seemed to drag us in with the sub-drug culture,
not surprising playing Space Rock with 3 or 4 Lasers going mental
in the hall. But still we pulled 1000-2000 a show, getting a reputation
for a full blown multimedia event. Our last show was a open air
venue on the south coast in a old castle. Ships at sea reported
weird sights and Gatwick Airport had reports of strange lights
in the sky. What with a full blown fireworks display during the
show everything came to a head, we got banned.
Not having a record company behind us,
we couldn't ride out the administration and financial restraints
placed upon us, and getting other gigs was impossible. A year
later I tried to reform The Void using new musicians, but it only
got as far a rehearsing for the live show.
It was about six months after the band
finished I decided to do a solo project. After the band, I didn't
know if I wanted to carry on writing music. I definitely did not
want to get another band together, and having to put up with 'In-band'
politics again. Most of the musicians in The Void are now working
on the solo project, apart from a few new comers, and everything
is, as it should be. The main steps were definitely my parents
dying and deciding to go solo. I think these two events create
the mood, style and direction of 'A Promise Of Peace', and what
is to follow in other projects.
2: For which reason(s) have you made
the decision to write a concept album dedicated to the second
I've always had themes (concepts), when
writing music. I see it like writing a book, painting a picture
or making a film. Pieces of music, songs, and lyrics linking and
cross referencing, like chapters in a book or scenes in a film.
When I had the band I wrote this show 'The Wasteland', the build
up and the aftermath of a third world war. Which was great for
a Sci-fi rock band, but not for a solo project. When the band
had finished, I wanted to leave all that near future stuff out
and move into a more serious area. Fact rather than fiction. So
I suppose that was reason number 1.
Before I started writing 'A Promise Of
Peace', I had decided that whatever I was to write, would be a
springboard for the rest of the projects. The end of the first
album would trigger the start of the second, and so on (i.e.;
film sequels etc...). Maybe release some EP's that would slot
in between the albums, tying up any loose ends. I penned about
five or six ideas, then I had to decide what event could be a
As most of my music is about people, the
best place to get raw material on people would be in a conflict.
Human Beings are at their best, or at their most evil in war.
So you have just moved the goal posts by choosing war, in a way
that you have the two main extremes of the human condition, good
and evil, and that leaves everything else that festers in the
middle. Reason number 2.
What war? The First world war was too distant,
and the Gulf war to near, but the Second world war was just right.
Everything we know now, was due to the out come of that war. It
changed completely the political, economic and social map of the
world. It was a war that united the good verses the evil that
Nazi Germany had to offer. It was the first war that more civilians
died than soldiers on the battlefield. Where devastated cities
bore the brunt of heavy aerial bombardments night after night.
A war that effected nearly every country
in the world, and by the end, was the catalyst for the demise
of the British Empire, the formation of the Soviet Union, the
Iron Curtain, the Berlin Wall, the Arms and Space race, the Cold
War and the dawning of the atomic age. Reason number 4.
Like a good book or film, you have a theme
or story line. Personally my favourites have excellent subplots
and twists, that follow the main story and rears it's ugly head
every now and then. The subplot for 'A Promise Of Peace' was the
increasing rise of nazism and fascism as a whole, throughout the
world. So the album is set in WW 2, and the predominant theme
is one of people, ideals and struggle, but focuses on what is
"Those who do not learn
from history are doomed to repeat it"
50 years on we celebrate the end of world
war 2, but before our very eyes certain events are happening again.
Europe and America are experiencing flashpoints now that could
escalate to a considerable level.
The rise of fascism in Europe, the black
v white question and right wing paranoia in the United States.
Innocent women and children killed in Rwanda, and in the former
Yugoslavia, in acts of genocide and ethnic cleansing. Jew baiting
in Eastern Europe, and a trade war looming between Japan and America.
"Don't rejoice in his
defeat you men, for though the World stood up and stopped the
bastard, the bitch that bore him is in heat again".
At the end of the day, I couldn't choose
just any social or historical event, I had to think of a subject
that would be of an interest to people now. With the 50th anniversary
of the war being celebrated, it seemed logical that WW2 would
be the first album, and the options it gave for further projects,
as a springboard.
If I could choose a particular event, it
would have been the French Revolution, as its a favourite of mine,
but who would have bought it as a debut album and where would
you go after that. You would have to have a understanding and
established following to take a chance on that particular subject
matter. It would have been a bit ambiguous for me as a debut album.
3: Do you think that rock artists have
the duty to adopt a definite position on social or historic problems
rather than just to sing the same eternal songs?
No. I have never worried what other people
do, I really don't care what they write and sing about, it's up
to them. I do what I want to do, and it's up to the listener to
decide what they want to buy and hear. There is a market for everything,
it so happens the "eternal love songs" are the most popular. People
being people want to make a quick pound, dollar or franc, so even
more pop pap is turned out.
You have to be motivated to write music.
The motivation is money, or you believe in what you are saying.
I believe in what I'm saying. Surely people that write love songs
can't always be in that permanent state of love, where they feel
they must release that particular emotion, to show us how they
feel. Songs+Love= Sales=Money.
Most people use music, like films and books,
to escape for a few moments from the cold harsh reality of every
day life, and don't want reminders in their face's all the time.
Some might just like to forget these things happened and sweep
it under the carpet, or just don't care.
Music is a very powerful weapon. In Germany
the album has not been released yet. Its not because its about
the war, or it has a Union Jack sleeve. But in the first track
I use a Hitler speech, a soldiers oath to Hitler and the words
'Sieg Heil'. This is illegal in Germany, even though it is a anti-nazi
album. I don't know what's more dangerous, the words used in the
first track to set the mood for the album, or the Government dictating
the banning of these words, ignoring the events ever happened.
It seems to me the sensible thing to do is remember, pass it on
to other generations, in the hope it does not happen again.
The album is already being sold around
the world. Its not patronizing anyone like it's got a new message
or something, but people from different countries know what you
are trying to say, it doesn't matter what language you speak,
WAR SUCKS! Lets not do it.
Politicians and business men make war.
They tell you where to go and what to do. They play chess and
we die. Fuck that for a game of soldiers, I'd rather play the
other team in a game of football.
I don't want to come over like some TV
evangelist preaching and banging his book. I hope people that
listen to the album don't think that I'm taking a "definite position".
I think of myself as observing, rather than ramming my own politics
down people's throats. Opening debate, letting them think for
themselves, instead of getting everyone to tow a party line.
4: Has it been difficult to work on
such a gigantic project as an independent artist? Who has helped
you? Have you come into contact with big labels, (if so, what
have been their reactions to your project?), or have you made,
from the beginning, the clear decision to work totally independently
(if so, for which reasons?) ?
I wouldn't say difficult, I suppose I was
used to the workload because of The Void. Writing the music and
then recording it was intense, but what was difficult was trying
to sell the album, being a relatively new artist. Getting reviews
and distribution on a national and world-wide scale was the most
difficult. Of course, if I had been with a label, (large or small),
the press and the distribution machinery would have immediately
When I started Crystal Music Int., the
idea was to make The Void totally independent. The band would
not have to rely on anyone, except from the parts in its own machine.
I always included friends in the company, because there was a
sense of longing and loyalty, a sense of family, which is something
I lacked. So this became my surrogate family. Any one who let
us down badly, was dealt with accordingly.
This way it felt that if anyone was in
a tight spot, you could rely on the back up, because they were
great at their job. It was a very tight and professional outfit.
We had office staff, caterers, security,
road crew, laser crews, sound crew, lighting crews, designers,
photographers, stage builders, drivers, computer boffins. Um!
I don't think I have forgotten anyone, ah yeah, musicians.
So when the band stopped playing live,
for the usual in-band politics, most of the machine stayed in
tact. Of course I didn't need what we used live, but the rest
was just what this project needed, and future projects will need,
to keep it going.
I recorded the album at O.P.D. Studios
(Worthing/U.K.), who were great, they supplied everything I needed.
We used to rehearse there as a band, so it was like home from
home, and after 9 months it became home. It also made it easy
for the musicians to get there, as we all live nearby.
I suppose having a label would have made
things a lot easier, finance etc...But there was a need to do
the first album myself, so I could have full control. Full control
of the music, the content, the lyrics and even the way you present
it i.e. the artwork in the sleeve. Present the whole project,
so if later a record company became involved, they would trust
you to carry on in your own style. I've always thought that a
musician today, should be a total multimedia person.
If he, or she, writes a "concept", then
that person would be the only person who understands what is going
around inside their own head, and what they want to get across.
That's not to say they should not listen to other people's advice,
and be so blind that they feel there way is the only, and the
best way. I personally took loads of advice, listened to the idea,
if it was good, I went with it. Lets face it these musicians know
their instruments, whether its a guitar, or a voice, and I think
my album, the finished product, is better for it.
If you go with a independent record company
you have a better chance of keeping control of your project, especially
if you have proved you know what you are doing. No A/R, or changing
your style to what they think you should sound like. One company,
I hear, likes to see your lyrics before you record to approve
them. If they don't like them or there meaning they won't let
you record them. They must be on drugs!
As far as the major labels are concerned,
we gave up after a couple of companies, even after 3 to 4 months
hadn't even listened to it. By the time this interview is published,
it would have been about 7 to 8 months and still no telephone
call. In this country I think the majors are a waste of time,
I would like to be proved wrong. In this country chart music rules,
so if your doing anything else "take a run and jump". Most chart
music is crap anyway.
Years ago popular music (pop) meant popular
music, but today, chart music is for the minority. You can't tell
me today's pop bands sell as many records, as say The Beatles
did, to get to number 1. Major companies will tell you rock is
dead, what a load of bullshit! Rock bands fill stadiums around
the world, because that's what people want to hear. It sounds
like it's different in Europe, but in England forget it.
I had a conversation with a person at EMI,
who told me that "Pink Floyd had done a whole album on world war
II, so why bother?" I must have missed that album, or he might
have meant 'The Wall', so he missed the point, as far as that
album was concerned. As Philippe and Bertrand kindly pointed out
when they reviewed 'A Promise Of Peace' for Harmonie No.27. "
'The Wall', in which the 1939-45 conflict was the pretext that
allowed Roger Waters to conduct a psychoanalytical introspection
on the theme of the "missing father".
All I want to do is keep on writing and
recording and releasing albums. If the finance is there to carry
on with other projects I'll be happy, regardless if I'm on my
own, with an independent, or a major label.
5: Tell us all about the making of "A
Promise Of Peace".
I first got the idea around Nov-Dec '93
and just ran through some ideas, and developed a plan. If it was
to be a concept/story, like a book it should have a beginning,
middle and a end. Nothing rigid, just something to work too.
It was about Feb'94 that I actually started
writing for it, when I was happy with the final game plan. As
there were many events that had happened within the war, I had
to choose what events I would focus on and what viewpoint. The
viewpoint had to be through the eyes of an Englishman. For no
other reason than the fact that I was English, it would not have
been so convincing if I would have done it as a German or Frenchman.
Factually or emotionally, I could have got it wrong.
Leaving certain events out was the hardest
issue to face. By not including them it could have been considered
that I felt they were unimportant. This was definitely not the
The build up and six years of war crammed
into 77 minutes on a CD. In those 77 minutes the whole thing had
to flow. Choosing events that were considered turning points:
The rise of Nazism (track 1/2), declaring war on Germany (3),
Northern France/Dunkirk/capitulation of France/Britain stands
alone (4/5/6), Battle of Britain (7), The Blitz (8), America enters
(9), Striking back at the heart of Germany (10), D-day (11), Northern
France and the Low countries revisited (12/13), the cast, the
people involved (14/15), the end of the war (16).
All though the above tracks, were the tracks
that finished on the album, many were dropped, as we found it
went over the time allocated. To make the time would have to make
the album into a double. This would have increased the production
costs right across the board, including the price in the shop.
We could not take the risk of people buying a double album from
an unknown artist.
During the summer of '94 I watched TV documentaries,
old films, finding suitable samples to link up songs etc. Reading
books, researching dates, anything that I could do to avoid any
chance of making a very bad mistake. Once I had the album mapped
out I could concentrate on the emotional content of the music
By Aug'94, the album had been written,
researched, samples collected, the musicians invited. I had worked
with all the musicians before in various line-ups of The Void,
except for the female vocalist. This would be the first time that
they would all play together, so to speak. The only person I didn't
have was a sax player, he came in at a later date.
I went into the studio in August '94. We
decided to work on blocks of songs rather than at random, also
working on them in order as they appear on the album. The blocks
would be of 5 tracks. We started on track 1 on the first day,
and after 4 weeks we had the building blocks on every track, within
this section. The musicians would come in as they were needed,
i.e.; week of guitars, day of vocals or solo's etc. As one track
moved to another level, we changed the board and put another track
When the first block was finished, we decided
not to mix them, but mix all 3 blocks together at the end. Again
mixing the tracks in order as to their position on the album.
The idea was that the album itself would benefit from this. The
whole album seems to flow, each song blending into another naturally.
The mix down was an utter nightmare, at
times wondering if the album would ever get finished within the
deadline. After the mix down we then had to edit all the tracks
together, which I found really enjoyable. I suppose it was the
first time that, what was in my head, was now all out and laid
out for all to hear. All I can remember of the end, was we had
about 5 hours sleep in seven days, and the album was finally completed
on the night of the Oklahoma city bombing.
6: What are your methods of composition?
I write it in my head first, then Pen,
paper and an acoustic guitar.
7: Can you introduce briefly the different
musicians you have worked with? Do you form a real band or has
it been a pontcual collaboration?
I don't think we make a real band, as the
musicians all came into the studio at different times to play
their parts. That is not to say we could not become a real band.
Some of the musicians had played together in The Void. All of
them have played within different line ups of The Void, with exception
of two, Sharon Woolf (vocals) and Rob Boyce (sax). We could become
a band, if say we had the money and time to rehearse. The musicians
did not hear, or know what it would sound like until it was finished.
They may know their own parts, but the songs, no.
Ponctual collaboration? No, I hope to use
the same musicians for the next album. Those who can't, or don't
want too do it, I would replace. In fact I do have a couple of
new players for the next album and hopefully a choir. But everyone
wants to be involved in the next one.
Rob Boyce (Sax). Rob never played
in The Void, and joined the album half way through, around Christmas
'94. He is a songwriter/performer and I met him one day when he
came into the studio to pick up his masters for his demo. Nik
who is a excellent guitarist, and very handy with his midi-synth
guitar playing sax, refused to play sax on the album. So when
Rob came into the studio, Nik persuaded me to ask Rob. Well I
had no choice, Nik was not going to play the sax on his synth
guitar Rob was well into the idea, and the album benefits from
it. Rob is in New Zealand at the moment promoting the album, then
onto Australia and the USA, back in June '96 to work on the second
Jon Harris (Bass), joined
The Void in 1988, replacing the original bass player and has been
involved in nearly everything I've done since. Gets little credit
in reviews, if any. But is tight as shit, making a solid foundation
to hangs things on. Also able to give you various bass lines to
chose from. Experienced and excellent producer/engineer who is
at the moment working on his own band called 'Bent'. One of my
best friends, one of the best bass players I've played with, and
would always be first choice on any future projects.
Chris Harvey (Keyboards), was involved
with The Void 91/92. His music knowledge/playing is second to
none. Does great impersonations of people, really funny! Just
finished his first solo/synth album.
Mark 'Rath' Rathbone (Drums). Rath
was in the last Void line up, a great back beat drummer. Played
with the punk band Chelsea in the 80's, lived with Lemmy (Motorhead)
and now has joined Neil in his band.
Neil Sherwood (Vocals). Was the
last and best vocalist The Void had (93). Played in 'Canis Major',
toured with 'Squeeze' with 'Beyond the Wire', and now has his
own band with Rath on drums. As a mate, would have me say he is
a great midfield player in the mould of Bobby Charlton, with more
hair of course. Great for me as a writer, knows what you are trying
to get across musically, lyrical, always hits the goal.....Which
is something he can't do with a ball.
Nik 'Fox' Smith (Guitars/synths).
I've known Nik from about 1989, became the Void guitarist '90-'92.
Excellent guitarist/engineer who put in months of hard work on
this project. Working and nearly completed his own project. Again
would always be first choice on the team.
Mark Worden (Guitars). Mark was
the guitarist in the last Void set up, replacing Nik in 1993.
So this was the first time I had a choice between two guitarists,
with two different styles. Picking the right player for the right
songs and solos. Mark at present is waiting for a operation on
his back, and hopefully will be fit enough for the next album.
Sharon Woolf (Vocals). I always
wanted a female singer in The Void, but when put to a vote, I
always lost. The solo album was to have all the things you have
always wanted to do, no voting. I knew exactly what I wanted,
and put the word around. A friend of mine had used Sharon on one
of his records, and highly recommended her. Sharon came round
my house one day, I played some of the songs on guitar, as soon
as she opened her mouth the glove fitted. Sharon has her own project,
and a single out next year.
8: The influence of Pink Floyd (The
Wall) appears clearly at the listening of your album. Is this
influence real or just accidental? More generally, what are the
main influences you recognize?
This is a hard question. What ever way
I answer, I don't want to offend, dispel, or alienate other people's
opinions. If I explain first. Pink Floyd's 'The Wall' played no
part in the influence of 'A Promise Of Peace'. I did not at any
time think, "I want this to sound like 'The Wall'". I think because
of the length of the album and it's light and shade, people that
listen to it need a reference point in which they can categorize
it. You know when they try and explain the album to someone else,
or liken it to something they already have and like or at first
listening it reminds people of 'The Wall', who knows?
It is a huge compliment to have my debut
album compared with one of the biggest bands and most successful
album of all time. Not everyone compares it to 'The Wall' though,
but depending on the listener and their perspective. It has been
said it sounds like 'The Final Cut' or 'Dark Side Of The Moon'.
But what ever you think it sounds like at first, after you get
to know the album, the Floyd tag fades and it stands on its own.
It is true to say that my music has not
been compared with any other band apart from Pink Floyd/Roger
Waters, but it is accidental and there is nothing I can do about
it. I do think we are different, but in the same market. We do
have different styles in music and lyrics, but I would say that
if you like Pink Floyd/Roger Waters there is a good chance you'll
like my music. But try and see it as a separate entity, but easily
placed together in your CD collection.
Maybe after I have released several albums,
people will see that the Pink Floyd influence was accidental.
That this musician does have his own style, and it will only be
established after I have released more material. I would like
all my albums to be closely related musically, lyrically and the
subject matter. I think once I have achieved several album releases
you will see a 'Saunders' style.
My musical background was not Floyd, but
I was weaned on a diet of Hawkwind. When I was younger Floyd were
not musically 'hard enough' for me. So Hawkwind was the influence
for The Void, but as I got older and I mellowed, so did my music.
It is here where I now fall into the Floyd area. Its hard to believe
there was a Hawkwind influence for my music, but those who have
followed my music, knows that they were the trigger.
The main influences for my music now, since
I've been solo, are not music influences, but day to day life.
TV, news, politics, people, war, want, waste, money, death etc....There
is so much around us to draw from. Maybe that's another factor
that draws comparison between Pink Floyd/Roger Waters and myself.
9: Do you consider yourself as a "progressive"
artist? Which look do you cast on the progressive rock movement?
No. That's not because I don't like "progressive"
music or don't want the tag of a "progressive" artist. Its just
that I'm an "observer" and music is just my medium. I could have
been a writer or a film maker, it just so happens I transpose
my ideas and thoughts into music.
Not having a musical tag allows me to use
whatever I want within the music, i.e.; Rock, classical, funk,
electronic etc..in a 'Saunders' style. It just so happens that
people into "progressive" music like the idea and the music.
I didn't even know there was a "progressive"
scene in England until this album came out. The scene seems to
be a bigger concern in Europe than here in England. This country,
(England), seems preoccupied with fashionable music, as we discussed
in question 3.....Fast money.
I think the problem is that bands that
get really popular, like Floyd and Genesis, seem to lose their
"progressive" tag. They become mainstream, but musically they
don't. They are just marketed for the mainstream.
So the "progressive" scene does not seem
to benefit. It would seem that if you have bands with massive
popular appeal, then surely bands in the same scene would get
the same coverage, and get a chance to share in mass appeal.
Far be it for me to criticize, as I'm a
new comer, on the outside looking in. But what I have noticed
within the "progressive" scene, is division. Although everyone
I have spoken to has been nice and helpful, there is still division
among the ranks.
Bands against bands, labels against labels,
distribution companies against distribution companies and shops
against shops. I know its business, but if everyone helped everyone
else, the "progressive" scene would benefit as a whole. Which
would mean more business in the long run. With division the scene
would stay small, but if everyone worked together, unity would
mean strength. You don't really get radio and TV exposure unless
it is considered popular. Increase exposure and you increase record
At the moment the "progressive" movement,
is underground. But very much alive.
10: What are your main projects for
the future? Do you intend to play 'A Promise Of Peace' live?
I have really given up playing live, I
want to concentrate recording more albums. It would be a financial
nightmare touring with a 'A Promise Of Peace' show. I would have
to pull all the musicians off their personal projects, rehearse
and I would have to perform it with all The Void's laser/light
show and computer screens. The show would have to be better than
the last Void show. But I'm not saying I will not definitely not
play live with it, just leave a door open. I would like to make
a film/video for it, using old footage to compliment the music.
I finished 'A Promise Of Peace' may '95
and started writing the second album about August '95. The writing
is finished and I hope to start recording some time in early '96,
for a autumn '96 release. I have also been working on two EPs,
that will link the two albums together. They will around 30-40
minutes in length and covering certain subjects in more detail
than the albums.
The first EP is about Japan/America 50
years on, with multi-million dollar corporations in bed with each
other, (Sony/IBM), and Coke Cola rules the world. 50 years ago
the Americans just wanted to wipe them of the face of the Earth.
But now it seems they are the 51st state of America. It then links
to the second album.
The second album is based 50 years on from
'A Promise Of Peace'. Its about people in a different kind of
warfare, economic and disinformation and covert actions from governments.
Fear, TV, greed, media sensationalism, big corporations etc....against
the small fish. The overall theme is of a show, Circus and games,
and how the powers that be play with the people. They control
what we say, watch, think, feel, fear, eat. "Things are never
what they seem, they're the ones who really run the show."
The second EP spins off the 2nd album,
is about money, media, OJ and the black verses white question.
The theme of bigotry, racism and the impending rise of fascism
all over the world, links to the first album 'A Promise Of Peace'.
Also the album sleeve's will link as well as the themes and the
music. At this point it may be conceivable to do a live show,
picking the best material from the two albums and EPs for a two
hour live show.
I have started writing a third album in
my spare time, just pulling the ideas together nothing more. I
know what the theme is going to be, it will link with the two
albums and the two EPs, but it should take everyone by surprise.
There are subtle clues in the interview, I think. But I won't
start that to at least October '96, release date is about Nov-Dec.
'97. I'm really looking forward to working on that one.
On ending, I would like to thank everyone
who has written to me from France, all are welcomed. Merci for
your support, it's very much appreciated.
Until next time! Au revoir.