INTERVIEW w/ EDGY 59 of BURNING WITCHIf you are like many out there who are familiar with Stephen O'Malley-associated projects Sunn O))) and Khanate, but don't know about BURNING WITCH, become acquainted. The Witch formed in 1995 after the disintegration of cult death/doom favorites Thorr's Hammer, and in addition to O'Malley and for a brief period Greg Anderson (also of Sunn O))) and Goatsnake) and G. Stuart Dahlquist (of ASVA), the band also included vocalist EDGY 59, who I had the pleasure of doing an interview with-his first ever concerning the band. Never fully appreciated during their existence, the band's legacy has grown over time as its importance in the genre of DOOM cannot be overstated- so read and enjoy!
How did Burning Witch start? What was the previous connection between you and the other band members?
- My involvement with The Witch began when a friend who lived at the end of my block in the Spanish castle (Stuart Dahlquist) asked me about my 1959 Studebaker Hawk which I had just wrecked a little bit and was working on it outside my house. We had spoken before but never breached the subject of music. On this occasion we did and he asked me about my band 'JunkHalo'. He came out to my next show (with Boris and Kirihito at the union pub in 1995) and asked me to try out for Thorr's Hammer after Runehild left. I had no other previous connection with any other band members.
Did you sing in Thorr's Hammer then, before that band dissolved? Or did that band basically turn into Burning Witch?
- No I did not song in Thorr's Hammer. I did rehearse with Stuart, Jamie, Steve, and Greg in the time following Runhild's departure but we did not have a name. The name was decided upon before our first show (Pioneer square theater). Shortly after that show, Greg moved to Los Angeles to do Goatsnake. It was at that point that Burning Witch became tight and solid. Two guitars was too many for a band that was trying to simplify things.I find that there is a very cohesive sound that Burning Witch had between the 2 EPs the band released. Was there an overall sound or theme that was discussed from the beginning-IE 'playing with time'- (something that Stephen O'Malley has mentioned), playing slow, low, etc.
- Definately all of the above. Only the lowest,slowest and most indecipherable ideas would be allowed the light of day in the Witch. I think a better way to explain it is not to say "playing with..." because it is not playing at all. We strived to stretch the perception of the listener in many ways. We were also concerned with breaking our own boundaries of what we, ourselves thought of as convention.What about the overall feel of the music? Was the band consciously trying to distill all the most desperate and terrifying aspects of all doom bands from Sabbath on down?
- Apart from an upside-down poster of Ozzy hanging in the room, we NEVER talked about other bands ideas. I dont think we EVER pre-concieved anything about the music at all except the occasional passing reference to one band or another. Certainly not enough to actually INFLUENCE us at all. I think a way to put it is to say that as artists-our influences helped define who we are-but not where we take it.How did you come up with the unique combination of vocal styles you used in the band? Did you have any notable influences?
- I just do whatever comes naturally for any particular song or idea. I have alot of influences in my life but not musically. I believe that a singer cannot change the sound of their voice without ruining it. I felt the motivation to SING more. At first this did not go over very well with Greg (Anderson). I think he hated my voice. Stuart and Steve kinda championed my cause and encouraged me to do my thing regardless of what Greg thought. They turned out to be right. It's not like I could do anything about it anyway. I just sound however I sound.What about influences in general? Do you come from a heavy music background?
- Not in particular. My first concert was KISS in 1978. As a child I thought Ozzy was talking only to me when he spoke-I loved Black Sabbath. From there it was onto RUSH and Tangerine Dream. There is no such thing as heavy music. People just think its heavy because they relate to it or it scares them or whatever. I believe that if there is such a thing as heavy music at all-then it is heavy for the weight it puts on the listeners mind. Not the overall sonic texture. I mean, is it heavy to imitate others? NO! It is stupid and a waste of time. Right? Right. Then why do all these supposed heavy bands sound like each other?!? Because they are just children imitating what they think would scare themselves if they had children! Listen up idiots---original ideas are heavy!!! Imitating others is NOT! That takes care of at least 80 percent of you.
What are your feelings about art? So much of what O'Malley has been involved with is now so completely linked with artistic intangibles, which has linked this music (which I'll continue to call 'heavy music' for lack of a better term) to an entirely new audience, wouldn't you agree? It's now been picked apart so that the music and lyrics have this higher plane of importance, or a heightened understanding, instead of being about just getting your rocks off so to speak (more the classic rock and roll mentality)- do you think this increased analysis is legitimate? Is there pre-determined intent to be discovered upon listening to those 2 albums?
- My feelings about art for the packaging of recorded sound is that it should express the mentality of the artist and nothing more. In other words it should not sensationalize the work but just support it in the visual medium. The lyrics in music have the HIGHEST plane of importance. Without them the sounds can almost be interpreted in any way you choose. I think the increased analysis is legitimate, however because the genre of drone/doom is a more thought-provoking medium than traditional heavy metal to begin with. It is an endeavor begun by artists who were looking for a deeper sense of meaning and movement. A breaking of tradition in order to forge new avenues of thought. There is definately a pre-determined intent to all of Burning Witch's material and packaging.To relate things on another level, I've observed how bands like Sunn O))) and the Witch by association have become absorbed and incorporated into the artistic community, and in a lot of ways I'd liken it to privileged society taking in country blues music starting in the 40s- the idea of something so pure in intent and emotion was so attractive and interesting but at the same time so dangerous that people had to tame it and mix it with more staid elements...THEREFORE, my question is, do you think in cases such as these that it is a legitimate appreciation the art community has of what the Witch and other bands have done?
- No. Most listeners have no idea what they are percieving. That goes for any genre in any country. When the listeners are so mundane in their understanding, it leaves them open to manipulation and gimmickry. That is why even in the genre of drone/doom bands such as SUNNO))) use gimmicks to draw people in. There is nothing inherently wrong with that, but it does cheapen the music's impact.
Going back to what you said about original ideas--do you think at least some level of premeditation of your intent is important? I know you said the band never discussed influences, but you mentioned simplifying the music, for example- stripping the band down to one guitar. Would you agree that there was at least some end idea in mind there, even if it was brought about by nothing more than blind experimentation?
- Yes. You must premeditate ideas or they are not ideas. Experimentation is the foundation for the expansion of an artists understanding of their craft but it is not the end---but the means to an end.What about your lyrical content? A reviewer in Pitchfork said your lyrics 'plunge into familiar forms of loneliness and self-destruction', albeit with more legitimate delivery. How would you describe the intent of your lyrics?
- Haha that is funny. No comment.
How was Burning Witch received during the time the band existed? Was there a feeling that the band were breaking new ground in extreme music?
- We didn't really think about that shit at all. I can say that hardly anyone actually liked us. We may have played a total of 4 shows that did not get shut down early beacuse everyone in the audience left the venue. haha. As far as the breaking new ground part--only a fucking moron actually thinks they are breaking new ground! If you stop what you are doing to think about that--you become meaningless and everything you do will only rot reality instead of mutate it. We just did what made us feel right on any given day.What led to the band's dissolution?
- Steve O'malley left the band to go do graphic arts in Europe. This was really the second blow to the lineup. A year before Jamie "boggy" Sykes left the country to live in England and we brought B.R.A.D. on to do drums. This was actually the first step in the disintigration of the Witch. Jamie was like the conductor if Burning Witch were an orchestra. Absolutely the most amazing drummer!!! Then when Steve left we decided to call it quits. He really broke up the band. Just last month Tom G. Warrior invited Burning Witch to reunite and play the roadburn festival in 2010!!! Everyone wanted to do it except O'malley. He is afraid everyone will see the truth. And you can take that however you want.ovo je jedan od genijalnijih intervjua koje sam proÄitao, al onako
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