Plasmata, [melter], and 2 Forks discuss their Imperfect Waves Tour
We chatted with Plasmata, [melter], and 2 Forks about their upcoming Imperfect Waves Tour, their gothic rock and industrial sounds, and of all topics world domination, which was deemed, “a bad idea.” UTM Music Group and the Imperfect Waves Tour supported the production of the Fall 2024 Issue through their advertisements and we give them our thanks.
Michel Rowland at UTM Music Group conducted this interview and sets the scene, “It’s a Wednesday night, the 14th of August 2024, and it’s getting late. Following months of planning and preparation, band members Trent Jeffries of Plasmata, Jax Allos and Robert Hyman of [melter], and Daniel C of 2 Forks, are holding the latest of many Zoom meetings together. The bands are coordinating details of their Imperfect Waves Tour of the US East Coast, scheduled to hit the road in just over a month, when they kick things off in Lake Worth Beach, Florida on September 20th.
As with most of these meetings, the bands are joined from New Zealand via Zoom by their publicist, myself and, earlier in the evening, by the tour’s bookings manager in New Jersey, Caroline Blind, of Sunshine Blind and Hecataea Music. Caroline has to be up again at 3am the next morning, so has by now retired for the night.
Chicago’s Plasmata, helmed by Trent Jeffries, are an industrial rock band with gothic ‘glampire’ aesthetics. Their latest single and video is a glammed-up, dark alt-rock cover of the Blue Öyster Cult classic, ‘Tattoo Vampire’. Until recently, the live band has functioned as a well-oiled four-piece, routinely bringing the house down at Chicago haunts like the Liar’s Club and Reggie’s Rock Bar. One-by-one, however, Trent’s bandmates have all backed out of the upcoming tour, leaving him as the sole touring member of Plasmata. Tonight’s call is the first Danny and Caroline are hearing of this, and Michel has just found out the day before. But despite scrambling to figure out how to make Plasmata work onstage as a one-man show, Trent remains undeterred, and committed to soldiering forward to fulfill his touring commitments. His friends hold every faith in his ability as a consummate showman. And as silver linings go, there are now fewer people’s touring costs for everyone else to worry about…
[melter] are a duo of Jax Allos (vocals, bass, keys) and Rob Hyman (drums, bass, electronics). Like Plasmata, they too hail from Chicago, and likewise draw heavily from the city’s rich heritage of dark industrial music, even if Jax, the youngest member of the Imperfect Waves crew, doesn’t realize that yet. [melter] have an altogether grittier, more jarring and percussive focus: minus the glam, alt rock, and classic rock leanings of Plasmata. [melter]’s latest single and video, ‘blacklist’, has been variously described as ‘raw noise meets darkwave and industrial’, ‘visceral’, ‘soaring’, ‘powerful’, and ‘hot enough to liquify the living’. They have just come home from another tour with Pittsburgh post-punk/art rock duo, Hemlock for Socrates, which took them mainly through the US Midwest, between July and August. Rob and Jax are using the downtime between tours to finish up their next video. In light of Trent’s predicament, the bands are now discussing whether to bump [melter] up as the tour headliner.
From Cleveland, Ohio, 2 Forks is essentially the solo project of Daniel C. alias ‘Danny 2 Forks’, longtime drummer for goth rock legends The Wake. With 2 Forks, Danny combines his love for industrial music, 70s disco, 80s synthpop, and the 90s house, techno, and dance warehouse scenes. With co-producer Gil Singer and guitarist Mark Gamiere in the studio, 2 Forks debuted from out of nowhere in late 2023, with a full-blown concept album, Quanticode, on The Wake’s own label imprint Blaylox Records. The album has yielded four video-singles to date, including the most recent offering, ‘Rip My Hair’, a dark-electro tribute to campy schlock horror. Despite being a seasoned touring drummer since the 1980s, the Imperfect Waves Tour will be Danny’s first tour as a frontperson and sole performer under the 2 Forks moniker. He has meanwhile just volunteered himself to join Plasmata onstage as a live drummer for the tour.”
Having concluded all other business for the night, the meeting moves on to this interview.
How did each of you come to be on the tour together?
Jax Allos: Oh well that’s easy, we’re… how would you call it? PR mates? On the same roster of UTM Music Group… Trent was the reason.
Trent Jeffries: Yeah, I came up with the idea for the tour, and then Michel suggested 2 Forks, and I suggested [melter]. And we’re like, boom, there’s the tour.
Michel Rowland: Caroline was then brought in, shortly after Trent and Michel confirmed the bands, due to her experience booking shows and tours for Sunshine Blind and The Wake, both also on the UTM roster.
Daniel C.: I think it’s also that there’s a narrowing list of artists that are producing music in the genre that we’re doing too, so it made sense for Michel to funnel us all together, I think. Both geography and just the style that we do.
Jax: Yeah, we are in pretty close proximity, two of us are both based in Chicago, Plasmata and [melter]…
Trent: And who knows what the hell Plasmata’s gonna sound like by next year? The sound of one hand clapping! By next year I might sound like Scraping Foetus off the Wheel. Who knows?
Jax: Is that a band?
Trent: Yes.
Jax: Oh God…
Michel: That’s Jim Thirlwell from Australia… early industrial music.
Jax: Oh… I’ve lived under a rock. I’m not goth enough!
Rob Hyman: So here was the major takeaway for Jax and I from the tour, [our recent tour with Hemlock for Socrates}. We confirmed that if we’re ever in any situation talking about the history of goth music, or industrial, Jax is not allowed to speak. [everyone laughs] She knows next-to-nothing about any of those artists. And then, if we’re ever in a situation where we’re talking about Latino, Hispanic music, or you know, South America, Mexico, et cetera, I’m not to speak. [more laughs]
Jax: Yeah, we have to forever hold our peace.
Plasmata live
photo by Savage Ladies of Metal
What are some reference points or points of inspiration for each of you that could give a good idea of the style and feel one could expect from your live show?
Trent: Well I would say, especially now in the new incarnation, my two are Killing Joke and Sisters of Mercy, probably. I would say I’m probably a good fusion of those two.
Danny: A reference point for me would be David Byrne and Brian Eno, My Life in the Bush of Ghosts, which is an early sample record that had a lot of visual effects in the live show, and that’s kind of what I’m going for.
Jax: For me, as far as my stage presence and showmanship is concerned, I would say that I take a lot from Cyndi Lauper. If you’ve ever seen any of her live shows, she is a fucking beast. She commands that stage, she improvs, and it’s something that [melter]… like I never sing it the same every time, and I’m also doing it while I’m doing Jax-ercise… So, it’s an intense, high-energy performance. We go out there to show you a good, compelling live performance.
Rob: I’d say probably for my side, the musical side, it might be Killing Joke and Pigface. Definitely from the Pigface side, a lot of the music is based around the drums, obviously, since it was Martin [Atkins]’s project. But even from a songwriting standpoint, there’s a lot of songs that’s almost like industrial hip hop, there’s drums, there’s vocals, and then there’s just a bunch of sounds. And that’s kind of a compositional concept. But definitely the energy of, certainly the way he played, and the energy that comes from Killing Joke… The Killing Joke [influence] might be more of the tribal, tom-heavy type of drumming, and the bass work as well, that goes with that.
Trent: And the fact that Rob hits the drums really fucking hard. Very Martin Atkins.
With gothic “glampire” aesthetics being important to Plasmata, how will aesthetics, fashion, and style be a part of the shows?
Trent: I think a lot of the glam aesthetic is from the way I present visually. It’s a mix between mid-seventies glam, and Interview with the Vampire and The Lost Boys. I try to be the prettiest vampire that I can be! [laughs] Which is… I dunno if that’s possible! Lots of feathers, lots of glitter…
Michel: You’ve got quite an… elaborate sort of style-aesthetic onstage…
Trent: Somewhere between a peacock and a raven.
[melter] live
photo by Elena Croft, CK Productions
The tour brings together many genres, dark electro, industrial rock, gothic horror, and raw noise, into one live show, this is exciting as seeing scenes come together is good for the overall scene. What are your thoughts on nights, tours, labels, etc. that cover many genres under the goth/industrial and darker genres banner? Why do you think it’s important to bring different sounds within the scene together and not get too specialized?
Rob: I think there’s a tremendous amount of diversity within those scenes in general. So, bringing three artists together that are under that umbrella but have pretty different styles just helps showcase that, helps represent… Well, here you go: come see the show, you’ve got an example of three bands that can all work together and appeal to the same audience but are very different bands, in and of themselves. And that’s just a mere… small tip-of-the-iceberg snapshot of the diversity that does exist within all these genres. And embracing that diversity I think is key. That’s where new music comes from. New music comes from not regurgitating the same thing that’s already existed, or ‘hey, we’re all three bands that sound like Sisters of Mercy’ or something. Y’know, let’s bring some diversity to it, let’s show that, let’s embrace it, let’s celebrate it.
Trent: And I think too within the gothic, industrial, darkwave community, it’s a very open community in the way people think about art and life. So, when divisions of straight goth or straight industrial come up, the people that are under that umbrella, so to speak, are much more open to experiencing bands that are kind of adjacent to what they follow. I think it’s a very welcoming community.
Danny: And my answer is that I think that the internet allows for people to have unlimited experiences of enlightenment and finding whatever they like, and that in general, if you are going to want to experience something from one of the genres that we all represent, that there’s something in our show that will be there for any fan of the genre. And it just makes it really easy for people to experience different things online, and that they should be able to experience different things in person too, and have the same kind of varied interests be piqued in person. Which is harder to do.
Rob: Good point.
Michel: Did you have anything to add to that, Jax?
Jax: No, sir! I think y’all articulated that very well. Couldn’ta said it better myself.
Michel: I might add something too, which is that, while all of the bands do all have their own very distinctive identity, and certain key factors that separate you from one another, one of the reasons that I decided to put you all together was more to do with the commonalities than the differences. So, like, you all have an element of say, industrial rock, to some extent or another within your sound. And you all have an element of dark electro influences within your sound. And one of the commonalities between 2 Forks and Plasmata, and in fact all three, was that horror influence thematically as well. Like with Plasmata it had been stuff like the Jack the Ripper thing, and the vampire thing, and with 2 Forks there’s a whole concept album about a serial killer, and the latest video for “Rip My Hair” is like a tribute to schlocky horror films, and a lot of [melter]’s stuff has got this quite… visceral… that’s a word that I’ve been using often to describe your music, is this certain visceral quality to it… there’s videos that have quite jarring, disturbing imagery and that sort of thing as well. So, like I say, even though each band has its own distinctive identity, there’s a lot more commonalities between the three that made sense to put you all together. That was my thinking on that.
Trent: It’s a great synopsis, actually
Jax: I like that! I didn’t even consider all that. Thank you for that, that’s awesome.
Rob: And we also all have the desire to actually get out there and play in front of people. Do the hard work of actually getting in a van and driving across the country to play to people. Which not all bands are willing to do.
Jax: Right, there’s always an excuse, right? But I’m glad that we’re seizing the day and the time is now. We’re doing the things, man… [laughs] living the fucking dream. Plus, just getting out of our hometowns too, man. We need to play to different audiences, otherwise we’re just in a fuckin’ echo chamber, playing with the same bands, every month, same city, same venues… you know what I mean? But this, this is good, y’know? I want more, you guys!
Trent: Getting out and actually living. Life is about experiences. The experience of being on the road, especially with other bands, changes you, or helps you grow as a band and as a musician too.
Jax: Yeah on this last tour that Rob and I went on with Hemlock for Socrates, I feel like we made friends for life. They are amazing people, and I’m glad that we got to experience their music like that. Every night that we watched them play their sets, I was super inspired. And I feel that I have grown as a person, and musician, and artist in general, just by being around these two amazing beings. It’s also about the experiences, creating those memories, and doing the thing that we love. That’s the thing, for me anyway, that gets me out of bed every day. If it wasn’t for music, I probably would’ve gone postal by now. I mean, that’s my medicine, right?
2 Forks live
photo by Scott Morrison
You all have new music, but I can see this tour bringing some nod-to-the-past vibes, how do you think this tour might connect with tours and nights from the past few decades?
Danny: We’re doing new stuff; we’re not looking back. I mean, we’ve all been around for a long time, but I’m brand new.
Rob: It’s old fashioned for bands to get in a van and drive around the country and play.
Michel: Maybe…
Danny: It is old fashioned.
Jax: Is that what it is?
Rob: Yeah, it’s an old concept. Nobody does that anymore.
Danny: I guess that’s the answer… Come to your town and ask if we can sleep on your floor.
Jax: Actually, yeah! I miss doing all that.
Michel: Perhaps with reference to Plasmata’s latest single and video, “Tattoo Vampire”, a classic 70s rock cover; and the latest 2 Forks video-single, “Rip My Hair”, which is a synthpop-inspired tribute to 80s B-horror.
William Faith of The Bellwether Syndicate, Faith and the Muse, and Rozz Williams, produced for Plasmata and [melter], how has he and other notable and helpful members of the Chicago and Cleveland scenes contributed to and supported the bands on this tour?
Jax: That one’s easy for [melter]. Kudos to Nadia Garofalo from Ganser for helping get [melter] up and running, and kudos to Ivan Russia, for also being instrumental, pardon the pun, to getting [melter] to where it is now. They paved the way for me to be able to step up and be the frontwoman that I’m supposed to be for this project. Obviously, working with William Faith is great, because he understands this kind of music, he understands what we’re trying to do, being that he is in a similar, adjacent genre, right?
Trent: I think Rob will probably agree with me on this. I think the William Faith connection is that he hears the Wax Trax influence in what you and I put together as far as rhythm tracks. And I think if you listen to “blacklist” [by [melter]], and if you listen to “Portraits of Pain” [Plasmata], you can hear the Chicago sound in there. And I think a lot of that is William understanding what we’re trying to do, and sonically how we’re trying to do it.
Rob: Yeah, and I think that William in particular is just… he’s a very recent ally to [melter] but he helps solve the problem of, I like to have someone local who can mix tracks to my satisfaction, and he can do that. But it’s more what I think Jax and Trent have already said. He’s sympathetic, in that he understands it, but he also has the technical skill to be able to deliver on that. So, that helps us solve that problem of mixing stuff that I record.
Jax: He’s a seasoned pro, who has mixed a lot of our friends, so he does a good job, and there’s a reason that a lot of people go to him.
Michel: Danny, what about you? I know you’ve got a relationship with William as well, but in terms of any other notable figures from Cleveland in particular…
Danny: Well, I mean the Cleveland scene is a little bit more… We have two separate things going on, where some of the early industrial, like the band Tapehead came out of Cleveland, which is really, really industrial. And then you’ve got a lot of influences here of the dance scene, where the Detroit house scene and Cleveland’s dance warehouse scene was really intertwined. And it birthed things like Nine Inch Nails, where you now have industrial that’s danceable. Which was sort of the bridge to what made everything accessible, and that whole Hot Topic thing started, where all of a sudden industrial became something that you could see at the mall. So, I guess Cleveland would be infamous for being on the map for creating Nine Inch Nails, and commercialising industrial for the whole world. But our scene here is small, we really do take care of each other, and the Cleveland arts scene is really unbelievable. There’s a lot of resources for artists here in Cleveland. It’s a blown-out industrial town that, unlike Chicago or other places, the ground here is very cheap, and there’s a lot of industrial complexes that’ve been turned into artist collectives, where we have huge places to create artwork, both visually and audibly, and it’s a great place to be an artist. Ohio in general is a great place to be an artist. But as far as William Faith goes, he’s married to a very close friend, and we’ve been in the scene since we were all just barely old enough to drive cars, so… there’s not a whole lot I could really add to the conversation about his input to the scene and his dedication to the scene, his art and his craft… I definitely believe he’s one of the better producers in the scene. I look to achieve a similar respect in the field, in that I do a lot of mixing and producing that hopefully will one day get talked about in the same kind of sentences, where people are mentioning what William’s done or what he’s doing. That’s what I’d like to create, is to be an engineer and producer for the genre where the quality of what I’m trying to do will elevate the whole scene, where we can all enjoy doing what we all love, and not be the redheaded stepchildren to the pop music scene, where that’s supposed to be where all the stuff happens.
Michel: The other guys were talking about the influence of Wax Trax Records, and there is a very distinctive Chicago industrial rock sort of a sound, and you can hear that influence in some of 2 Forks’ stuff as well, right?
Danny: Yeah, for sure, I mean I recorded at Chicago Trax, in fact The Wake and Chemlab were the last two bands to record at the original Belmont studio. And that’s the music I loved since I was a teenager, and what my influences were. Y’know, Keith Fluffy Auerbach, Al [Jourgensen], all those guys. That’s kinda what we were doing, and the Cleveland scene and the Chicago scene was pretty mixed up together as well. And Chicago is like my home away from home. It feels like all that music that came out of Wax Trax… there’s very few labels, there’s Wax Trax and Mute and a few others… that pretty much everything that came out I was like, yeah, I can identify with that.
Michel: Fluffy produced the second Wake album as well, right?”
Danny: That’s correct.
Michel: You also mentioned Nine Inch Nails before, and around the late 80s, The Wake opened for Nine Inch Nails…
Danny: Yeah, it was the Pretty Hate Machine tour, it was really early on, the CD had just come out, they weren’t such a huge band like they were very shortly thereafter. And we were setting up regional shows because they were trying to work out what they were going to do. All this technology was so new, that nobody knew what was going to happen. They actually toured with a two-inch tape machine for their backing tracks. And nobody knew what was gonna happen when you put a two-inch tape machine in a van and drove it around in all kinds of crazy weather and temperatures for a month. They learned very soon after that that’s not gonna work! So, we were part of that early, ‘how are we gonna do this’ thing. It was before we had all of these hard drives and laptops and stuff. It was more like, how are we gonna take this studio environment on the road? And their first idea was, ‘well, we’ll just take the studio on the road!’ And pretty quickly that didn’t work out. So, a lot of us started cheating and just doing two-track stuff, which you’re gonna probably see a lot of on this tour.
Jax: I shouldn’t say anything, because I know nothing about industrial wax tracks.
Trent: That’s alright, you’ll have a lot of time in the van.
Michel: You’ll come home knowing all about it.
Trent: You’ll know the difference between Tackhead and Pailhead…
What were past shows and tours like for each of you and how will this one differ?
Trent: Well mine’s hugely different. The last time I took Plasmata out on the road there were nine of us.
Jax: Woah… Like, nine in your band alone?
Rob: Who are you? Earth Wind and Fire?
Jax: What are you? Like a ska band? Like what the fuck. Get the trombone!
Trent: I was playing chords and doing live percussion, we had a drummer, we had a backing vocalist, we had two violinists, a cellist, a standup bassist, an electric bassist, a guitarist, and a keyboardist. Much more autonomy in my performance.
Rob: And a much humbler catering demand.
Trent: And from a technological standpoint, what was taking nine people to do, I’m doing it with just myself.
Jax: Which you could’ve done to begin with, either way.
Trent: But you can’t beat live strings on stage, it’s amazing.
Jax: Oh… Well, it’s fucking insane.
Danny: Mine’s an easy answer because I’ve been touring as the drummer in a band for about thirty years, and this is the first time I’m gonna be doing multiple shows in a row as a front person. That’s totally new for me. It’s a completely different situation as opposed to having a giant drum set between me and the edge of the stage, and now I have to be right there. And I’ve been told over and over again I have to engage the audience, as opposed to engage the singer’s rump, which is right in front of my face most of the time. So, it’s a completely different situation for me, to have to carry a show and actually perform that way in front of people on a regular basis. Doing it in a studio feels natural for me, but in person feels really weird, because I’m normally the guy in the back that nobody knows is there.
Rob: I’d say for us it’s gonna be just like the tour we just got done doing.
Jax: Oh, it’s gonna be awesome. We’re gonna be with friends, we’re gonna have a great time, play amazing shows… yeah. Well it’s gonna be different, cos… oh. Good question.
Rob: It’s not [going to be different], really, other than we’re touring with different people this time around. Honestly, you know.
Michel: Where’s Danny gone?
Trent: He’s gone to work on his frontman routine…
Danny: [returns] Did you miss me?
Michel: We did.
Danny: Nobody ever misses me. That’s kinda nice actually, I’m gonna do that more often.
Rob: You’re a frontman now.
Jax: Yeah! We’ve taken notice!
Danny: I’m like the Home Alone kid, it takes like a couple hours till someone’s like, ‘Where’s Daniel?’”
What are some of the most memorable moments from past shows?
Jax: Doing crossword puzzles with Heather [Shore, from Hemlock for Socrates] the next day after a show over breakfast at whatever diner that was… There’s so many little memories, it’s not just about the music and performing, you know? It’s also the behind-the-scenes stuff.
Rob: I guess I would just say that when you’re able to connect with people or see that people are responding in a positive way to your music, and then having a chance to talk to them afterwards and they seem to really dig it, just appreciate what you do, y’know.
Jax: Oh yeah, you’re right. People do come and chat with us. And a lot people who were on the other side of the bars, and they would come over to peep their head in, but then they would actually stay and wait to talk to us. So yeah, you’re right, it is nice to have something that resonates with people enough for them to want to even engage with you.
Rob: Yeah, because I myself don’t do that a lot. Local bands, yeah, but if I go to a show by a band I’ve never heard of, I may really dig it or whatever, but I’m not necessarily going to go up and talk to the band afterwards. I don’t personally feel that I need to have a personal connection with them. So, it is nice when people take that initiative to come say hello and say that they appreciate it.
Jax: Yeah, I appreciate that.
Rob: For every person that does that, there’s probably three more that don’t.
Jax: And that’s okay. Let ‘em hate.
Rob: No, it’s not hating, it’s just…
Jax: No, I know! I know… I’m being funny…
Trent: I think for me one of my favorite things is going into a town, getting up on stage and singing, and seeing people in the crowd knowing the words and singing along. That’s one of the coolest feelings in the world as a musician. Someone knows that song well enough to know all the words, and feels good enough about it to wanna sing those words along with you.
Danny: So the most memorable moment from past shows for me was looking out into the audience and seeing a bunch of people that I’d been in bands with before, but I was onstage by myself. And it hit me really hard at that moment that I had made this thing, and that all these people that I’d played in bands with before had sort of been the ‘stone soup’, to get me to where I was. But the only way to convey the sound that I had in my head was to do it myself, and leave those people in the audience. And that was my memory.
What’s each band’s favorite way to stay connected with followers and fans?
Trent: Mine is going out after shows and talking to people in the crowd.
Jax: I usually exchange social media info with people. I’ll keep in touch that way and I’ll follow up and say thank you. You know, every time somebody comes out to a show, and supports us by either following us or talking to us or buying merch, we’ll give them a shout out on our social media. It helps to remember people, and it helps to keep that connection going. I end up having long conversations with people at shows. I’m a bit of a gabber, I guess, once you get me started…
Danny: I connect with people whichever way they feel comfortable with. There’s people that have found my emails and I connect with them that way, there’s people in my socials, I’m out and about all over the world all the time, and generally mix it up with the local population on a regular… I tend to be one of the people that likes to do all the things, so you’ll find me at clubs, you’ll find me at shows, you’ll find me at goth nights, I will fly all around the country just to attend parties, so, in general, I try to do all the things, but because I am so busy it limits the number of social media things I can do. I try to be as up on all of that as I can but at the end of the day, I’m generally the guy in the middle of the dancefloor with 400 people sweating and wondering, how am I gonna post from here?
Rob: Definitely love to chat with people at shows, after shows, certainly locally connect with other people in bands and y’know fans and whatever. And I try to reach out or connect through social media if someone reaches out to us, then to respond to them for sure. And I guess just use email or those platforms to keep people updated on what we’re doing, y’know, announcements and that sort of thing, shows and new music et cetera. I guess the standard stuff.
What can we look forward to from each of you in 2024 after the tour and beyond?
Danny: I have all sorts of new music. It’s actually kinda difficult for me to do what we’re doing now as far as releasing music and touring, because I’m already thinking about all the stuff that I have that’s done. I have two new videos in production, and I’ve been scoring a movie, and that movie will debut in about a week. And then I’m doing more movies. And I’ve written three songs into the movies, and it’s been really exciting to take the things I love to do into new directions, and actually feel a little bit more comfortable in what I’m doing. I’ve done some things vocally that I never would have done before. And I’m starting to write some material that more represents my actual true musical passion, as opposed to this last album that I did. That was a concept album where I used it as a crutch to help me write, because I’d been a drummer all this time, and I had to do lyrics and write melodies and keyboards and guitars and everything I never did before. And now that that’s all done, I found my core being of the sound that is inside my head, and have been able to boil that down to, these are the songs that I wanna put out that represent my sound. And it’s been a very comfortable place, like when you put on a pair of gloves and they fit perfectly. So that’s really exciting for me for beyond the tour.
Trent: Well in light of recent events, I’m not sure what the future holds. But I can tell you that there will be at least two new singles before the end of the year, two new videos… I’m also gonna be working on a solo project where I’m gonna be collaborating with people anywhere from classical to R&B. I’m gonna try to spread my wings and try to find comfortable spots in each of the genres and each of the collaborators I’m working with. I’m also gonna be launching a new collaborative project that’s gonna be sitting somewhere in the darkwave/dark dance genre, so hopefully there might be something out in that regard before the end of the year as well, along with a video.
Jax: Well [melter] is currently working on their next three videos. We have one that we are actually doing everything ourselves from scratch, we were behind the camera, we planned it, directed it, editing it all ourselves. So that’s gonna be one of the next videos before the end of the year. And we’re definitely going back into the studio to record, and that’s all we’ve got for now. Rob, do you have anything to add?
Rob: Yeah, um… Michel, what was the question again?
Danny: World domination, how do you feel about it?
Rob: I think it’s a bad idea.
Find a tour date near you at imperfectwaves.com and check out the latest from Plasmata, [melter], and 2 Forks.
by Jennifer Link Kieffer
Jennifer Link Kieffer is the Editor in Chief and Publisher of Auxiliary Magazine, a fashion and wedding photographer at Jennifer Link Photography, and mama to two littles. FOLLOW
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