haloblack

There will always be a strained bond between the Internet and the musical community. Whether it's the file sharing issue or the questionable degree of accuracy to message board content, Internet denizens haven't always generated the most enthusiastic responses from musicians themselves. But one who has learned to use the web to his advantage is Bryan Black. With connections to seemingly everyone who's anyone in the industrial community, Bryan is probably best known for critically acclaimed work with haloblack. Currently on the verge of releasing an album from electro side project XLOVER, Bryan speaks with Rock Star Journalism about his work, using the web to promote it, and why he might just have a future in erotic filmmaking...

You once described one of your earliest projects, working with Prince's live shows, as a learning experience. What would you say was the most important thing you took away from it?

A great appreciation for dedication to one's work. Prince lives and breathes music. What he does is not calculated and not solely based on furthering his career. There are very few artists left with integrity of this kind.

I've also read that you worked with George Clinton. In what capacity was this?

A friend of mine was recording a new album for George at Paisley Park Studios. He asked if I could layer some sounds onto his tracks to give the mixing engineer more options to choose from when mixing. I think a few beeps ended up on the record. I didn't even tell him about my music as I was still finding my sound then.

Critics seem to focus on the hard, cold side of your work that was displayed on much of funky:hell. But some of the tracks on throb have a more warm, seductive vibe. Was that something you consciously worked for when creating your most recent album?

Over the past few years, I've explored melody and different instrumentation with my music, so it was only natural to incorporate this into haloblack. I will always produce music that is stripped down and raw. With :funkyhell: I think I explored the mechanical industrial rock sound to full effect. At the time, I was listening to the jittery, robotic sounds of Autechre and longed to hear this kind of aesthetic applied to industrial rock. For the new album, it was all about conveying emotion.

What would you say is the biggest change in your music since you first released decay?

Melody. On the first album, I tried to avoid 4-note progressions (Pretty Hate Machine), in favour of 1-2 note melodies (MBM). I liked to keep things monochrome. Melody adds so much colour to a song, and I didn't want to distract the attention away from the robotic pulse of drums and synths.

You've been through your share of labels. How has it been working with Dark Cell Digital music as an Internet distributor for throb?

This is my 3rd haloblack album, and the first not released through a major distributor. Ironically, it's been the best received release. It's easier to find as it's available all over the Internet. Also, working with a small, independent label who were passionate about the music meant the album was presented to the world in the best way possible.

Is getting some sort of US distribution, other than the Internet, something that you're interested in?

Yes. Right now we've been doing lots and lots of press for UK and Europe. I haven't done any press in the US. In the past, my records were all over the US and ignored in Europe. Now, it's the opposite. I'm not sure what the scene is in America, but I know I've got lots of fans there who like the new album. Trying to convince the music press to check us out is much more difficult now that I'm based in London.

The Internet seems to have been useful for you to provide information about your music. However, the Internet is also a place where a lot of misinformation gets spread. In what ways has actively participating in the very outspoken Sick City message board been a positive or negative experience?

All positive. I like the fact that the people on thesickcity.com are honest and very passionate about their beliefs. It's like a relationship; you need to give, in order to get. If ignored, their wrath is something comparable to a woman scorned.

When you first moved to London, what was the biggest difference you saw in the European musical community?

Appreciation for electronic and dance music. On TV, you have car advertisements with Aphex Twin's music in the background. In America at the time, dance music was only for "ravers." In Europe it is part of society in the way R&B is in the US. It's no wonder the UK have produced labels such as Warp, Mute, 4AD, etc.

Being based out of England now, how closely do you stay in touch with what's happening in the US music scene?

Only through the Internet. I occasionally check up on Prince's movements and check out Rolling Stone if I'm incredibly bored with time to kill at the airport. Otherwise, I'm clueless. I've no interest in the nu metal or indie rock that's on MTV. I like some of the Outkast album. But for me, no one, not even Prince, can touch Prince circa 1980-1988.

To a certain extent, the US industrial scene seems to be sliding toward the EBM/synth-pop area. Is this something that interests you, given that you've spoken about the need to move away from guitar-driven industrial?

I like industrial rock. I don't care for industrial metal or EBM that much. There's something about the sound of early NIN, Ministry, Meat Beat Manifesto and Nitzer Ebb that is missing in the current scene. I'd rather just skip the aggro element and listen to pure electro if I had to choose. Not because I don't appreciate aggressive music. I just don't like the way it's being incorporated at the moment.

What would you like to see happen with the current industrial scene?

A return to innovation and more bands with the songwriting talents to help the scene grow. I always like albums that challenge the listener in new ways.