Perfect Sound Forever

Easter


Interview by Billy Hell
(December 2012)


If I was arrogant enough to think I'd heard every band in Manchester, I'd see fit to herald Easter as the band near the start of their trip most likely to gain much greater mass appeal. Having seen them play too many gigs to count, for the most part increasing in intensity and passion each time, I would certainly recommend them to anyone who loves great rock music that takes influence from the past, perhaps most obviously Red House Painters, Neil Young and the Velvet Underground, and pushes it into new shapes that spark imminent urgency. Their first album Innocence Man shows off Thomas Long's lovelorn lyricism against a backdrop of wild guitar shredding from Manchester's most exciting axeman since Magazine's John McGeoch, Danny Saul. Unfortunately, soon after the album release, Danny left the band, primarily to compose elctroacoustic music, although he still makes ears bleed, blasting six strings of hellfire for black metal onslaught Wode and runs the label White Box label. Tom is no stranger to such adversity; he'd already lost the first line up of the band before asking Danny, Lonelady drummer Andrew Cheetham and bassist Gavin Clarke to form the second incarnation of Easter. As the album's reflective fourth song suggests, he knows how to "Begin Again" and Gavin moved to guitar bringing in his brother Richard to play bass. Easter Mark III debuted in Manchester's finest pub, The Castle, at the Carefully Planned two day festival in late October 2012 and any doubts that Danny's departure may have slowed them down were quickly dispelled as Tom's sweat flew and more great new songs were unleashed. In fact, Danny might just have made one of the biggest mistakes of his life!



PSF: You erased your first recording session. Was that just a loss of initial recordings of the six songs on Innocence Man?

Tom Long: We booked in for two nights for the album then went in and did most of it on the first night and came in on the second night to find that Dom had erased it by mistake. We had to just do it in one night because of that.

PSF: So you didn't drop any songs because of that?

TL: No, we just recorded them all. We didn't have a fixed plan. We were going to do five and then Danny suggested we put "Never Me" down as well and we did that in one take.

PSF: Six is a better number because it's more mini-album whereas five is a long EP.

TL: Five definitely wasn't enough, but for a while we only had the five. I'd not heard "Begin Again" for ages because Danny hadn't mixed it because it had the cello on it. With five, it felt like we needed more tracks and with six it felt like an album.

PSF: My only criticism of your album is that I'd like it to be longer; rather than six songs, maybe ten songs.

TL: Maybe in an ideal world, but I'm happy with the way it came out.

PSF: You'd define it as an album, not an EP?

TL: It's definitely an album.

PSF: That vindicates my assertion that Mission of Burma's Signals, Calls and Marches counts as an album.

TL: I saw them once at All Tomorrow's Parties.

PSF: I first saw them there as well. They're coming back for Shellac's Nightmare Before Christmas. You've been playing several new songs not on Innocence Man. One of them reminds me of the Velvet Underground, maybe "Black Angels Death Song" or "European Son."

TL: It's called "Can't Write." Danny does a kind of guitar like that, he calls it infinity shredding.

PSF: I think you played it when you supported Last Harbour at Band on the Wall.

TL: And we played it at the album launch. We're working on a handful of new songs, about six. We've only played four live, but two went on the back burner.

PSF: What are the new songs called?

TL: The one we played live, that one you were talking about, is called "Can't Write." The more poppy one we played at the album launch might be called "Rooftops" but will probably end up being called something else.

PSF: So you agree that song has a very Velvet Underground guitar sound?

TL: Not so much my part but Danny's part- he calls it infinity shredding. He's just doing crazy shredding over it. It's got a kind of drone because the bassline is just one note, so that might be it as well.

(Danny Saul elucidated later by e-mail)

DS: I think the similarity between the Velvets songs you mention and "Can't Write," is more in the guitar tone - clean and abrasive - certainly for the first half of the track anyway. I use the term 'infinity shredding' to define an improvised solo which pretty much lasts for the duration of the song. Nowadays, in order for me to maintain my own interest whilst playing rock music with fixed structure, I need to apply a strong element of improvisation in order to keep things interesting. A song like "Can't Write" is ideal for infinity shredding as the bulk of the track centres around one cyclic riff, which comfortably allows me the space to run wild over the top of it every time we play it. Other infinity shreds would be for example, Keiji Haino's contribution to the Imikuzushi album (with Jim O'Rourke and Oren Ambarchi), Comets on Fire do a decent infinity shred, even Nile border on infinity shredding from time to time, about three hundred billion improv-psych bands all infinity shred to one degree or another, and Albert Ayler is the master of infinity shredding.

PSF: Can I rewind to your past and ask about all the other bands you've played in? I saw Sonar Yen a few times and I recall you played keyboards for Lonelady at one point. You played guitar in Sonar Yen, right?

TL: Yeah, lead guitar.

PSF:You weren't in Sonar Yen from the beginning of the band though?

TL: I joined them before the album Slow Picture. You could say the first Yen is an album, the EP, because it's thirty-five minutes and five tracks.

PSF: Were you in any other bands before Sonar Yen?

TL: I was in my own band Barabbas, with my mates. We played with Sonar Yen and Tsuji Giri (recently departed Easter guitarist Danny Saul's old band) a few times at the Castle in Oldham but we didn't last that long. It was a kind of Sonic Youth/Hood sound.

PSF: Sonic Youth are an obvious influence! What's your favourite Sonic Youth album?

TL: Washing Machine.

Andrew Cheetham (drums): Daydream Nation or NYC Ghosts and Flowers.

TL: Nice to hear NYC Ghosts and Flowers is one Andrew's faves. I highly rate that one too, but many people slag it.

Gavin (bass): Washing Machine followed by Goo.

DS: Sister followed very closely by Bad Moon Rising.

PSF: Sister is also my favourite. Lee Ranaldo told me they were planning to remix it for a two disc remaster. What was the first music you heard that made you want to play music yourself?

TL: I suppose it was Oasis but that was very early on, when I was thirteen. Very quickly I got turned on to Nirvana and from that, Sebadoh and Dinosaur Jr and Sonic Youth. Those bands were the core of what I was into when I was fourteen. I saw Sebadoh in 1999, which was my first proper gig and then Pavement and the year after, Yo La Tengo and Sonic Youth.

PSF: Real "Gimme Indie Rock" heroes!

TL: Yeah, that was the main thing I was into, so Oasis went out the window.

PSF: They'd pale into insignificance next to those bands. I had a similar experience with British punk when I got into all the SST bands like Husker Du, Minuteman and Black Flag and lots of Dischord and Touch and Go albums. I had a massive record cull and exchanged nearly all my late seventies British punk and post-punk records, except Wire, Magazine, Killing Joke, The Fall and the Banshees. Even Metal Box went! I've bought it again three times since then and hearing it again after a few years was a revelation. Have you ever covered any other bands' music?

TL: No, I haven't actually.

PSF: Would you consider it?

TL: I thought of maybe doing a Chameleons cover at some stage, maybe "Nostalgia." I've had that thought at the back of my mind for a while. It'd be a good Manchester connection.

PSF: It'd probably get a few more people interested. A Chameleons cover would be a great idea for the flipside of a seven inch single.

TL: Recently, I was thinking of a Red House Painters cover, but some of our songs are probably too obviously influenced by them. I'd also like to cover "Backstreets" by Bruce Springsteen.

PSF: Are there any bands you'd consider it an honour to support?

TL: Red House Painters or any of the other bands I've mentioned.

PSF: Even Oasis? The singer would probably hit you for writing cleverer lyrics than him!

TL: We probably wouldn't go down well with their crowd! Anything to do with Sonic Youth or Pavement would be big, or Mogwai.

PSF: Going back to the past again, I'm familiar with Danny's music in his previous band Tsuji Giri, and his solo recordings and his White Box label and the metal onslaught of Wode, for whom he plays guitar. Andrew also drums for Lonelady and Desmadrados de Soldados Ventura and improvises with guitarist Dave Birchall, but I know nothing about bassist Gavin. Has he been in other bands?

TL: Gavin came out of the blue really to join Easter. Andrew knew him from art school. Gavin was Andrew's friend from university, so he is more of an artist I suppose, but he's always played guitar. We gave him a call and it worked out.

PSF: Has the fact that he is an artist got a connection to Beth Ward who painted the cover of Innocence Man?

TL: Andrew knew her and suggested we should use Beth's artwork. Beth is Andrew's friend.

PSF: I've been listening to a lot of Bob Mould albums recently as his new one out on October the first is great, and the sleeve reminds me of his Black Sheets of Rain album, or maybe something on 4AD or Touch.

TL: I think that's the angle Andrew was coming at it from, a Red House Painters kind of vibe.

PSF: Do you prefer digipacks to jewel cases?

TL: Yeah.

PSF: The album hasn't been released on vinyl, has it?

TL: It would have been nice to have done vinyl but it's too expensive. Maybe one day. The next thing we're thinking of is a 7" single.

PSF: That could be a good place for that Chameleons cover.

TL: Yeah, it could work well as the B-side.

PSF: When did you start playing guitar?

TL: The first year of high school, so when I was eleven or twelve.

PSF: Did you have any guitar lessons?

TL: A few when I was in school, just basic chords and stuff. That was with my mate Mat when I was about twelve. I then went on to form my first band with him, Barabbas. It was only beginners' lessons so he'd only show us the basic chords. One guy came in and showed us bar chords.

PSF: That's what you need; a lot easier! It's even easier when you start using different tunings, isn't it?

TL: Yeah, we worked that out later. The tunings I use are really for that, to make it simpler: one finger or two finger chords.

PSF: How many different tunings do you use?

TL: There are only about three kicking around at the moment but there is one main one. There are two on the album.

PSF: Does Danny use the same tunings?

TL: His is a little different. He drops the E down to a D.

PSF: Metal!

TL: His is DADGAD and mine is DADADD. There is another tuning I use on "Begin Again" and a few more on the new songs.

PSF: So you're using more than one guitar?

TL: I've managed to resurrect my old Mustang with a better pick up on it. At the album launch at Kraak Gallery, I used three; I borrowed Gavin's Jazzmaster.

PSF: My favourite song on Innocence Man is "Holy Island" and I suspect it will be a lot of other people's favourite. Do you think the guitar drone ending could have been longer?

TL: It would have if Danny had had his way! It could have been but we wanted to keep it at a logical point when we were mixing it. I didn't really want it to go on for twenty minutes.

PSF: I would have loved that! If people didn't want to listen to it they could just stop the disc as it is the last track. When you play gigs, it often seems they are rather short because of the songs stretching out and not seeming as long as they are.

TL: "Never Me" could have gone on longer too, with the feedback thing at the end, but we didn't want it dragging on too long.

PSF: Some people wouldn't like an extended feedback coda, but they might get used to it.

TL: I hope when people put it on, they want to put it on again.

PSF: I've been listening to Holy Island usually two or three times consecutively, and the same goes for the last song on Bob Mould's new album, First Time Joy.

TL: I need to hear more of his music. The only Husker Du album I've got is New Day Rising.

PSF: You need them all, especially Zen Arcade. Most of Bob Mould's are very good too. Anyway, Holy Island may well not be about ghosts but I got an impression that you could be singing about a ghost?

TL: The lyrics are a series of haikus I wrote and pieced together. The holy island in question is Arran in Scotland. I went on this retreat with a load of writers and poets on Arran and Holy Island is a tiny island just off it. That's where it comes from. There's a monastery there. I didn't actually go on the island, I was just looking over from Arran, across the water, and writing.

PSF: So it's like a report on your holiday?

TL: Yeah, this is it! (laughter)

PSF: A lot of your lyrics seem to be concerned with denying other peoples' perception of you. Someone you're involved with romantically hasn't seen you the way you'd like them to; "None of this was ever me" and "You haven't seen the best of me" are two examples.

TL: I guess that's a theme. Unrequited love is what it is I suppose; communication in a way.

PSF: Miscommunication?

TL: Feeling that you've not represented yourself well really.

PSF: Apart from "Holy Island," all the songs on the album seem to me to be about a romantic yearning or disaster.

TL: "Damp Patch" is more of a positive one. That came from some poetry. My girlfriend Lauren Bolger is a poet and we sometimes workshop ideas, and some of those lyrics came from bouncing around ideas which was quite cool.

PSF: Like "Crumpsall Pipe Dreams?"

TL: Yeah, I suppose. Come to think of it, it's not just romantic dialogues. "Never Me" is all about realising that a kind of crazed social scene I found myself in wasn't me at all. And I think when you grow up and live in one place your whole life, you carry peoples' perceptions of you with you, family, friends, ex-band members, they're all still around, and there's a dialogue there I think that often finds its way into the lyrics. When you move to another city, you get the chance to re-invent yourself a bit or at least leave some things behind, but I haven't.

PSF: When I first heard that line, I kept thinking he can't be singing Crumpsall can he? When I read the press release which stated you came from Crumpsall, I stopped trying to hear other words, like "comes from pipe dreams." It all made sense in context. Another line I was curious about in that song is, "You'll need some solvent."

TL: No, it's "You'll need some salt with that." It's about when people say they are going to do things but nothing ever happens, so you'll need a bit of salt with that.

PSF: Taken with a pinch of salt.

TL: It's not supposed to be too much of a dig. The whole thing could have been a pipe dream so it's sort of about me as well.

PSF: "Begin Again" is another romantic one. Is it about a girlfriend going away?

TL: No, it's more like beginning again with the same girl in a relationship. That's one of the more recent lyrics.

PSF: Is that the most recently written song on the album?

TL: That and "Holy Island." It's more like in the relationship I'm in now, refreshing and going again.

PSF: Do you base the romantic lyrics on your relationships?

TL: Yeah, it's always real to me I suppose!

PSF: Do you like the Wedding Present?

TL: I haven't heard too much by them but I like the song that goes, "Lost your love of life, too much apple pie."

PSF: I think that's called "Kennedy" but I was only really paying them much attention up to the George Best album. The one gig I saw them play was very enjoyable. I only asked because you have quite a similar voice to David Gedge and he is a notoriously romantic lyricist.

TL: People have mentioned David Gedge actually. I've not listened to them a lot but my brother likes them.

PSF: Neil Young, Bob Dylan and Sonic Youth are heavy influences though; Neil Young and Crazy Horse seem to be a common comparison made to Easter.

TL: In what way?

PSF: More the Crazy Horse style guitars, not so much the drumming in my opinion.

TL: We're getting into that Crazy Horse jam stuff. We've got this new one we've been working on that's a total "Cortez the Killer" vibe. Again, Danny wants it to go on for half an hour.

PSF: That sounds like a good idea.

TL: We'll see... that's an exciting one. It's an On the Beach/"Cortez the Killer" vibe. More than anything, it comes from listening to the Red House Painters. Auite a lot of their jammy bits are very Neil Young-like, and even with Dinosaur Jr., there's that Neil Young thing.

PSF: Why did you call the album Innocence Man?

TL: Again, it's an influence from Lauren. She's really into William Blake. It's just this view of refreshing everything. The album process took so long it's this idea of making things fresh and new.

PSF: Begin again, again.

TL: Lauren instilled that attitude.

PSF: Julie Campbell (Lonelady) played cello on "Begin Again" but until that I didn't know she played cello.

TL: Yeah, she played cello on "Hob Talk," but she isn't credited. She's the only person to play on both records apart from me.

PSF: What was the Easter line up for Hob Talk?

TL: It was me, Rich Couser on guitar, Ste Couser on drums and Lewis Calvert, who was in Nursing Home, on bass.

PSF: What is hob talk?

TL: It's an Irish thing. My friend's uncles live out in the west of Ireland, they're old blokes who are not married and they sit around drinking and talking absolute rubbish. That's hob talk, the rubbish they talk when they're drunk and not making any sense. It's an Irish saying.

PSF: You played guitar for one song with Lauren's band Sea Man at the Bay Horse recently and Warm Widow played later and when Martin broke a guitar string he had to borrow your guitar, which he obviously wasn't used to. Have you had any gig disasters like that?

TL: I've not had too many Easter ones, but Barabbas was always a nightmare. We were notorious for having terrible leads. We were young, fifteen or sixteen. We used to call these completely dodgy leads 'dube leads' as in 'dubious.' We didn't have much equipment so we'd be swapping not just guitars but delay pedals, so we'd be passing leads across. You could go to the loo, have a pint and a game of pool before we'd started the next song.

PSF: Jeff the bassist of Bratan was having lead problems at Anson Corner and I joked that he had too many pedals! So, why is Somethin' American titled thus?

TL: It came from a guitar I bought. It was an American made acoustic guitar. I wrote a bunch of songs on it, "Never Me" and "Somethin' American." The full line of the song is supposed to be, "Now I've got somethin' American, all I want is you." It's like you want this American guitar, but you just want this girl really. In a broader sense, it's not getting too much into the idealised view of American culture, not getting too obsessed with wanting to be this American thing. People do get caught up in that.

PSF: Well, you like a lot of American bands but you don't put on a fake American accent. A British band Danny could be accused of ripping off on "Never Me" is My Bloody Valentine.

TL: You reckon? We've got this new one that we've been working on and he's got his Nels Cline bit which is quite cool. It's all different styles. He's got his Richard Thompson bit.

DS: I think comparisons to MBV are entirely fair given that we make loud, alternative rock music with a strong element of feedback, but I also think that it's an easy (note I didn't say lazy in this instance!) comparison to make. To my mind, there are several other bands and musicians we rip off to a greater degree which results in the Easter sound. My primary influences now are in electroacoustic and experimental music forms, and truth be told, I haven't really been listening to any popular forms of guitar music for at least twelve months now, except for the odd Shellac blast here and the occasional Richard Thompson outing there. I guess within that, when I pick up the guitar in the practice room, I have something of an urge to let rip with a bunch of rock influences, which don't really get an outing in the other music I make.

PSF: A fellow needs an odd Shellac blast every so often!

DS: Indeed they do, or they certainly should. In rock music terms Shellac are kind of a barometer to measure folks by: you don't like Shellac? Hmm, not sure we'll fully understand each other. It's like my distrust of people who don't like Motown.

PSF: Is there a song that can make you cry?

TL: When I was at college and I was feeling a little bit depressed I used to play "Everything Must Go" by the Weakerthans off Left and Leaving over and over. Even when I hear it now, I think back to that.

DS: Absolutely! I was brought to tears traveling through Berlin in a cab a few years back, when Barry Manilow's "Mandy" came on the radio. It was entirely overwhelming! Tons of music makes me cry; Judee Sill's Heart Food album, specifically the tracks 'The Kiss", and "The Donor," they slay me every time. I have very little emotional control when something musical moves me in that way, I'm a complete soft sod. The various musical themes from John Williams' soundtrack to E.T. crush me too. I have to stop thinking about this now, I'll set off crying any minute!

PSF: "Off to One Side" by Come made cry at one of the gigs I saw on the tour where they supported Dinosaur Jr. Later, I told Thalia Zedek and she said, "Wow!"

TL: She was glad about that?

PSF: Glad to make an emotional connection with music, I suppose. She's a really commercially under-rated singer and songwriter. So, whatever happened to Mike, the singer of Sonar Yen?

TL: After the Yen, I was involved in a project with him called Hollaran. That lasted a few years and it took years before we played a gig but when we did that was it. He pulled the rug out from under that and that's when I started Easter. That's why it was a while between the Yen and me doing anything. Then he did this thing called Femme Rock which was almost like a TV on the Radio/hip hop sort of thing. They played a gig at Kraak but then again he knocked it on the head. He's still doing music but not playing live. I've been trying to coax him out a little bit. He gave me this tape of acoustic songs that are really good, pretty bleak but really melodic. I'm trying to get him to play a gig at In Your Front Room, the night I put on downstairs in the Star and Garter sometimes before Smile (a long running Saturday night disco).

PSF: Have you been doing any music with other bands?

TL: I've been playing acoustic a little bit here and there. I'd like to maybe start by pushing that acoustic side of things because Easter works pretty slowly.

PSF: What was the last album you bought?

TL: I just bought the Grimes album actually. Took me a bit of getting into but I really like it. We saw her live and it was really inspiring. It felt refreshing to watch that kind of gig; I get tired of watching noise bands all the time. I'm going to get the new Swans album though as soon as it's out. I look forward to hearing that.

PSF: It is extremely excellent, as you'd expect. Swans are beyond comparison to any other phenomenon I know. What was you favourite album released so far this year?

DS: Maybe Jim O Rourke's Old News 7. I loved the others in the "Old News" series too. I seem to be having a period of listening to older material now. I anticipate that Swans The Seer will be a favourite of this year, although I haven't had time to sit and listen to it yet.

TL: I would have said Lee Ranaldo's album, until recently I watched EL-P live and that's made me go back to his album Cancer 4 Cure and realise how good it is. He played the full album live, and encored with "Deep Space 9mm," it was immense, I'm pretty sure that'll be gig of the year too. For me, EL-P is where hip-hop's at really, alongside people like (MF) Doom and Aesop Rock. I like the Death Grips album too Money Store, it's a bit of a head-fuck but it's good.

PSF: Lee Ranaldo is one of mine, along with Killing Joke, Swans, Bob Mould, Mission of Burma, Innocence Man and Plank! What was your favourite from 2011?

DS: That's a really tough one given I bought considerably less music last year than I have in previous years. Prurient's Bermuda Drain was a nice surprise, but I struggle to name a favourite album from 2011 because most of the records I discovered last year were not made in 2011; Denis Smalley's Sources/Scenes from 2000 blew my mind, lots of Francis Dhomont, Francois Bayle, etc. In short, 2011 for me was about discovering a whole bunch of incredible electroacoustic music, most of which I had no awareness of before.

PSF: Francis Dhomont is great- any particular favourite recordings you could mention?

DS: "Sous le regard d'un soleil noir" is an absolute masterpiece of narrative work which depicts a journey into madness and schizophrenia. It's one of the most compelling electroacoustic works that I've heard so far, great use of the voice too.

TL: Probably Gillian Welch, The Harrow and the Harvest. It's real rootsy folk. She has this way of of writing songs that sound like they were written in the 1930's. And the guitar playing's brilliant. I've been listening to a lot of folk over the last few years. Martin Simpson is a really good guitar player; Steve Tilston; a little bit of Richard Thompson, Fairport Convention, Sandy Denny.

PSF: I know Richard Thompson's music primarily from Bob Mould covering "Shoot Out the Lights" on the See a Little Light EP.

TL: I'll have to check that out.

PSF: What's the biggest risk you've ever taken?

TL: I think putting so much of my life into music is a risk really, there could well be very little reward at the end of it. But I guess I don't see any other way.

PSF: What do you fear?

TL: Recently, I've been fearing becoming uncreative, fearing that the songs will just dry up. I feel every time I write a song I've done it but how did I do it? Where did it come from? It seems to be a new challenge each time really. I fear that might just peter out.

PSF: Do you tend to write the tunes before the words?

TL: Either way really. I might write a tune and go to my notebook and it might be that I already have some lyrics there. It may be that I do the tune and then the lyrics, but either or.

PSF: Not at the same time?

TL: Sometimes. I'm pretty sure "Begin Again" happened at the same time pretty much.

PSF: What was the first album you bought?

TL: It was quite a cool one, Incesticide by Nirvana.

PSF: That's quite a strange Nirvana album to begin with.

TL: That's because I have older brothers, so I bought an album they didn't have. Before that, I just bought Oasis singles.

DS: It was two albums actually, Slayer South of Heaven, and Skid Row Slave to the Grind, on vinyl from WH Smiths, just to date that shit!

PSF: Has a there ever been a record that changed your life?

DS: There are three records that changed my life; my dad used to play me these records when I was a small child taking afternoon naps, and perhaps unsurprisingly, they became so ingrained in me that I can hear elements of one, two or all three of these albums in everything musical I've ever done. I am positive they are the reason I am a musician and composer: Kraftwerk Autobahn, The Who Tommy, and the biggest of all, Mike Oldfield Tubular Bells.

TL: Sonic Youth A Thousand Leaves maybe, but I wouldn't put it down to one moment.

PSF: How did it change your life?

TL: I remember asking my brother what Sonic Youth albums I should check out and he told me Daydream Nation or Goo, but not to try that one yet! So I did eventually. When I put it on, I just couldn't get it at all.

PSF: It sounds like Kim sang one album and Lee and Thurston another and they spliced them together as alternate tracks on a double album.

TL: I never thought of it like that actually. It was pretty challenging but I listened to it a lot and really got into it. I guess that shows the way I was thinking. It's freeform really, "Wildflower Soul" and "Hits of Sunshine." The change in "Female Mechanic Now on Duty" is an amazing change. It just opened doors for me, especially in terms of structure. After that, the thought of doing anything straight just wasn't interesting, though I feel slightly differently now.

PSF: Lee's two songs are brilliant. Lee and Thurston's are quite mellow by Sonic Youth standards, but Kim's are really spiky. The name Easter was nothing to do with the Patti Smith album was it?

TL: No, but I have bought the Patti Smith album recently and it's pretty good. I wanted something bold and powerful and I guess the religious imagery has always been in my head from school and family. I went to Catholic school. My first band was called Barabbas so that imagery has stayed in my head. More than anything, the word 'Easter' stuck in my head, and depending on the music, the imagery could be refracted light or dark.


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