What are your musical influences towards producing your album
focussing on The Club Kids?
simply the satori group looked at when Michael
Alig was ruling the New York Club scene - 1990 - 1996, we listened to the
music of the time, used that as a departure point. We didn't want to reproduce
anything that was actually happening back then (it did happen in another
century…) simply get the groove…
looked towards Roni Size and the whole drum n bass scene; Optical was another.
(Lambert) was listening to big beats stuff, film soundtracks, Gomez and even
Unkle; whilst Dave (King) was revisiting Leftfield and, as always his guitar
hero, Joe Satriani! We know it sounds kinda bizarre, but that's why the album
works; it's the eclecticism of it all!
David, when interviewing MA was there any point in which you felt
intimidated facing a killer described as a 'twisted monster'?
been working on the project for two years, writing the words, hooking up with
Tommie and Dave, loosing weeks of my life in recording studios, talking,
breathing Michael Alig and the Club Kids and then in January 2000 I received
this letter from him at Clinton Correctional Facility! Well, I thought
the guy's pissed off, heard about the project and is going to tell me to keep
well clear. Infact, the letter went on about how he had heard about the project
from a friend in Los Angeles and was basically offering his services in any way
I thought best!
the next six months we wrote weekly and got to know each other; Blueprint
Productions began the monumental task of getting the US Correctional System to
agree for me to interview Michael
Alig! Which they finally did. So On 28 June 2000 I flew to Montreal, picked
up a car and drove across the US border into upstate New York to meet Michael
Alig. I can say I felt very weird driving through that wondrous countryside.
Going to see, as some see it a 'twisted monster', although his letters didn't
portray such a person, but he had not become the toast of New York without being
manipulative….So I got to Dannemora and saw this massive prison, I'm telling
you , it took twenty minutes to walk one side of it, and I asked myself what the
hell was I doing here!
actual interview was great. It took a while to get going, and the ever present
guard was off-putting. But I set up two video cameras and a small recording
studio right there in the middle of that prison and hung out with Michael
Alig for five hours. Four thousand miles for five hours!
Your album is due out in March, but have you considered playing the set
was never the intention to play live as the concept was dance focused, but just
as Prodigy and Moby produced stuff out of their bedrooms with no intention to do
it on stage, so as the album progressed the tunes took on a more live feel, if
that makes sense? Things evolved and we now feel that if we found the right
musicians it could be an option.
about to embark on a lecture
tour where he shows Party Monster, a 55 minute video all about Michael Alig
and talks about the whole process of making the album. There's that amazing
video footage he's captured at the prison, plus one or two freaky things he's
not letting on to!
How does your previous music compare with the most recent album?
Tommie's into drum n bass, although he'll point out that although the styles are
different, the production used is much the same approach. He also goes under the
moniker of Weaver. Check out his stuff on Wide Open Music.
King is a rocker, always has been, always will be, and there's no one on the
live circuit that can play a guitar like that man! Sorry to embarrass you Dave,
but a fact is a fact.
Lambert's stuff is all about getting words juxtaposed with music. He's had a limited
edition EP produced of a book he had published in 1991 (los angeles, you
ain't that far from hell…); the EP had Ry Cooder guitar, with big beats,
live bass and David's poetry and prose. The EP nodded to Kerouac and Bukowski,
and even Jim Morrison. As we said ECLECTIC IS OUR GAME!
Do you have any plans for promoting the album? Where will it be available to
we don't want to promote the album at all, we wanted to spend three and a half
years of our lives in a recording studio and then , in a stance to
post-modernism burn every copy of the CD, but we were talked around to actually
trying to sell a few copies if we didn't want Blueprint to sue our asses!
are doing something we're really into; they've devised a totally on-line
marketing campaign. The only way you can get
the CD is to go to the website and give over you credit card details or send
a cheque. It's the 21st century and we like the idea of not having to
leave the comfort of your room to get 'a
Where do you want to go from here? Are you planning a follow up album or are
you moving onto a different project?
you buy the CD you'll see that the blurb goes on about a trilogy, and that's the
plan. Lambert has hours of amazing footage of the now bespectacled Alig and the
stuff he's got on mini disc, stuff about the murder and all that, will blow you
away, so to speak!
a track on the album The Epoch Of Belief, which has
to be heard to be believed, as it has Michael Alig reading the first
paragraph to Charles Dickens' A Tale of Two Cities to a pumping trance
track! You know the words…It was the best of times, it was the worst of
times….' There's loads more of that stuff to come, and we've learned so
much along the way.
How did you go about starting 'a
terrible beauty….' And how long has it taken to produce?
read an article in the Guardian on 17 April 1997 entitled DEATH BY DECADENCE
about Michael Alig and the Club Kids and began writing poems and prose pieces.
Six months later he hooked up with Tommie and Dave King and from then until late
2000 the satori group have been researching, making the contacts,
hitting the internet (put Michael Alig into a search engine and see what comes
up), helping with the video and book (maybe we can come back some time and talk
about that), and liaising with Blueprint on the production of the CD.
What the craziest thing that happened to you in the making of the CD?
opened up his email in the Summer of 2000 to find that someone had sent him the hand-written
confession of Freez, the guy who was sentenced to 20 years alongside Michael
Alig for the murder of Angel Melendez! There it was, five whole pages of it,
straight from the 64th Street Police Precinct, New York! the
satori group used it as the lyric for My Miranda Rights, the trip
hop track of the album. (The confession can be found on the enhanced CD).
amazing how many sites and pages are out there talking about Michael Alig! the
satori group are getting literally thousands of emails from people who
want to know more about 'a
terrible beauty…'. We go on line, we find a site that's going on about
Alig, we post a few words and then it just goes wild!
were finishing off what we call our 'country and western meets two step' track
OLD SKOOL and were looking for a live feel; Blueprint were so pleased with what
we had done so far that they gave us tickets to Morocco! Told us to take some
gear over there and find a bar and record the vocals and get some atmosphere. So
we flew to Tangiers, hung out in the Medina, pretending to be Burroughs and
Ginsberg and Brion Gysin and found this fantastic café explained we were
British troubadours and asked if we could play. And play we did right there in
the middle of the Medina in Tangier, with all these old guys sipping mint tea
and puffing on their pipes looking vaguely amused!
What do you say to those that accuse you of cashing in on the killing of
satori group are not exactly doing anything new or revolutionary here.
Artists have be inspired by life from the beginning. We don't want to sound
pretentious about such matters, but our art is our art and we have been
motivated by a terrible mess, an American Beauty, a terrible beauty.