My questions are in WHITE, Romell's answers are in PURPLE

BOUNCYSKULL- <IN>TERVIEW

Is there a theme to the new album? What are some of the messages/ideas in the songs?
Music has always served as an outlet for me to let loose emotions or bring to the surface dirty thoughts in my mind I fear to speak out loud. Like drugs serves it's purpose to a 'druggie', music does the same for me. An escape, the inner reality. No new definition to most song writers I guess. Art is _expression. An artist's work is usually an extension of the person inside. So basically, much of the new album expresses much of what's deep down in me - those still struggling to scar over. Have yet to title the record, but some track titles: "Share This Poison", "There Goes My Head", "I'll Damage You". Honestly, I don't think much of the end result until it is complete. A theme happens by chance for me, if there is even one. Somehow though tracks turn out purely sexual - go figure.

I've noticed as of late that Razed In Black is sporting less guitars and getting a more trance-y edge to it, while Transmutator is getting more vocals. It seems to me that the two projects are merging stylistically. Is this something that just sort-of happened? Is this merging the result of your search for a particular sound you want in your music? If the two end up sounding more alike, will you have a need for transmutator as a side project?

The merge is something that simply happened. No intentions there. The trancier edge probably stems from my hands behind the tables these days and my fondness of the style. It's actually inevitable considering the amount of dance music surrounding my skin lately. I love guitar. Don't get me wrong. Less guitars in my music has nothing to do with leaning towards a particular side. When I write it turns out the way it does. I go crazy getting the right mix - insane crazy. But many times the results of the songs surprise even myself. The excess of vocals in TRANSMUTATOR "Colony of Sluts" was intentional however. At the time I wanted to stray away from the endless formulas of most dance music and give the tracks more of a structure. It seems to work in my eyes, but I feel tragically many don't know where to sit with it. So much for pushing the envelope a tad. Those who 'got it', I appreciate their comments. Nothing against the dance formulas though. I'm actually quite fond, especially when I'm spinning. As far as new TRANSMUTATOR tracks, there are a few - some I've performed live and spun at raves. Actually received quite well in fact. My focus at the moment though is the new RAZED IN BLACK album. I'll tackle the next TRANSMUTATOR after.

I've been getting an increase in response from UK fans on my RIB survey, thanks to your distribution on cryonica I'm sure. The british fans are anxious to see you live. While I assume that your next tour will only be the US, when do you think it would be feasible for Razed in Black to tour the UK?

There's some serious talk of Europe during the latter part of 2002. Currently coordinating efforts with Cryonica with this endeavor. I receive quite a bit of mail from RiB fans out there. Very, very cool people from what I can remember. I'm really anxious and nervously curious though about the response RiB live in the UK. I really have no idea what to expect.

How would you say your music has evolved, sound and content-wise, from the days of "Lost Souls"?

The sound has definitely evolved since the the days of "Lost Souls." Sonically and technically more sophistcated in my opinion and hopefully in the opinion of others. I've since been able to afford more gear which would release the limitations of my ideas. I'd still have to 'McGyver" things once in a while. Software never really fully meets my requirements. My poor Mac gets abused for it. 'Sorry baby!' I must say though, technology is pretty difficult to keep up with. There's always something new or some new way to something. Always opening a new book with the learning process. Thinking back to the ole days, the lyrical content has remained fairly similar. No surprise.

Is there a song of yours that you are particularly pleased with? Likewise, is there a song that you are displeased with and you would rework if given the chance?

"Oh My Goth!" has treated me well since it's creation. On the surface it's easily viewed a mockery of the term, but it's deeper than that for me personally. The song in particular now strangely has sentimental vibes due to it's domination on past tours and the island scene. It's hard to say if I'm particularly pleased with a single song. Each song written is accompanied with an emotion for me. Depending upon my mood, this opinion could change.

I did a remix for Birmingham 6 a few years ago called "Accept Reality". I believe it's available on the US version of that Ep. Somehow even though it's been a few years, I give myself a nudge on the shoulder. Don't ask me why. I think it turned out way cool. I'd put the remix I did for Soil & Eclipse called "Poetry of Angels" second to this. A comfortable bliss. Great group of guys too. They make an appearance on the next album.

People always seem to be interested in your gear. Can you give us some info on what you use?

With the state of the electronic music producing scene these days, I'm considered 'old school' with my methods of music making. I know a lot of people out there have these beefcake computers who will wipe your ass if you tell it to. I'm still a hands-on midi sequencing, ivory-pounding, knob-twisting guy. In a nutshell: Nord, Indigo, Prophecy, Roland JV synths, Ensoniq Samplers, a mess of outboard gear and effects, and a few Macs. I use this unknown sequencing software called "Metro" on my ancient Powerbook. No one's ever heard of it, but I've been using it for years and I know it well. I've experimented with other "major" software, but "Metro" to me makes more sense with what I'm doing. I sync up the laptop to another Mac with the audio recording software, and/or ADATs (sometimes it just feels more solid). Even then, it's straight up dry. I process everything externally. Everything, EVERYTHING, has a midi connection to it! My coffee machine would be hooked up to it too if it were equipped.

You had a very awesome light display for Hallowed 1 in 2001.
What can we expect to see in your live show the next time around?

Much of the Hallowed show was a coordinated effort with the light guys there. We've invested in a midi-lighting rig to coincide with our set. We're all slave to the digital sources when we perform live and I'm already running midi passes and sequences to racks and effects anyway. It was a simple task to add lights to the formula. At present, we really have a minimal set up, but the accuracy makes quite a difference in the show as a whole. We're hoping to invest in a bigger lighting rig for out next tour.

Can you expound on the current climate of the electro/industrial/goth music scene? How do you fit yourself into the scheme of things and how do you make yourself stand apart from others?

I can't really expand on the current climate of the scene. I don't really know where it is at this point. One thing for certain (and I'm happy about this) is that the scene itself, though musically transmutated into such a undefinable mix of electronic styles, has never died. It may rise here and there with the popularity of bands like Manson and Orgy, club nights here and there lose their sardine attendance, but the scene still thrives. As it was back in the day, Gothic and Industrial were very distinguishable genres. There are so many subcategories these days, I don't even try. Where would I fit RAZED IN BLACK in all this? - I don't know - I guess I don't (fit myself in a particular scene). I'll leave it up to the scene to put it where they feel it fits. I just write what comes to me, and hope people dig the results.

Where do you think Razed In Black is headed as a musical project?
What would you like to do with it in the future?

Razed In Black has always been my baby. I plan to take it as far as I can.

Date: Wed Aug 7, 2002 11:53 am
Subject: The meaning behind the 'sutures' in Razed In Black | Sacrificed

So Callanladyblack asked about the suture tracks on
SACRIFICED. Realized many don't really `get it,' so I thought I'd
let you all know if you're interested. Basically they're there to tie
in the tracks and the theme of the album. SACRIFICED has
many, if not all, personal emotions expressed. Didn't expect
everyone who hears it to understand completely. Thank you to
those who are able to relate.

"Snooze" - even though it's a humorous situation most people go
through sometimes on a daily basis, it's really kind of a
depressing thing for me. The alarm clock represents the voices
in my head and the advice from friends telling me to 'wake up to
reality.' Even the song playing on the alarm has meaning -
Razed In Black "Control (frustrating mix)." My destroying the
alarm clock and going back to bed is sort of my ultimate answer
- to rather live in denial. The song after "Snooze" is "Nightmare,"
which ties in to the content of the track.

"Guilty" - a solemn tune with sounds of sex played backward.
Backwards like going back in time to where it started ... "Guilty".
The song the ties it together is called "Lust." - make sense to you?

"Whipped" - the opening track, me literally being whipped.
Whipping is usually associated with pleasure or punishment. In
this case it's both. The song following is called "Caught." - make sense?

"Are You There?" - completes the album, Sacrificed. All the
questions, regrets, realizations, realities, etc. in the songs will
eventually come to a point where you step outside of yourself
and ask, "What the f*ck?" The phone call is obviously to a higher
being. No one picks up.

There's a little more to it for me personally, but I hope that helps.

Take care,

Romell
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