#like a lot series will have a set of character art or upcoming book promo pieces stuff like that

[helenofblackthorns]

I like how we know next to nothing about the wicked powers but Cassandra Clare has already shared multiple pieces of official art (some of which is clearly scenes from a book that she hasn't finished writing) and she's so real for that

[adoranymph]

[2:05 pm-ish, April 20, 2019]

Man, there is nothing that puts me in a fouler mood than when I let my own personal procrastination demon get the better of me on a perfectly free Saturday to the point that I don’t start getting any writing done until after 2 in the afternoon. I had planned to get up early and everything, and I even did. Sort of.

I scrolled through a ton of YouTube videos first, and before I knew it, it was nearing ten in the morning and I still needed to eat something. Ugh, so I did that…and then I committed the sin of hibernating on the couch for a couple of hours to catch up on some anime-related stuff. Though it was the sort that always manages to fuel my inspiration and imagination.

[Present Day]

Okay, I know what you’re thinking: that all’s no excuse, every procrastinating writer says that as they convince themselves to turn on Netflix or Hulu to “get inspiration” instead of writing and end up marathoning that show they really just want to finish so they’re caught up with everyone else, and because they love it so much.

Just the same, it did give me what I needed to open up my laptop and start working towards my writing goal for the day working on editing and polishing my manuscript: I finally got around to watching Kara No Kyoukai: Mirai Fukuin – Recalled Out Summer and Recalled Out Summer: Extra Chorus.

Okay, now that probably doesn’t mean a whole lot just by a name-drop, but let me explain. After all, that’s the whole point of this blog post: My love letter to Type-Moon. (And yes, I realize I’m not the first person to express said love in a blog post.)

Saber from the Fate Series and Ryougi Shiki from Kara No Kyoukai: The Garden of Sinners

Type-Moon is a Japanese game company known primarily for their visual novels. Not really a thing here in the West, at least not as much if at all, but when I was first introduced to the concept of visual novels, I thought of them as choose-your-own-adventures played as an electronic game rather than read as a book. As I’ve come to better understand it, it’s kind of like that, you do make certain decisions that can lead to certain endings, but sometimes, as in the case of arguably Type-Moon’s most well-known visual novel, Fate/Stay Night, the point is to play through three different versions of the same story premise: kid gets dragged into ancient battle royale known as the Holy Grail War, and with each version of the story, or “route”, being played through, each featuring a different heroine for our protagonist, Shirou Emiya. One route builds upon the previous, and each route gets subsequently darker in terms of plot points and content.

Fate/Zero, incidentally (and my #1 favorite anime ever), is the prequel to that, and succeeds where most prequels don’t, since it’s a tragedy (I’ll go into more detail on that in my upcoming post about how Fate/Zero succeeds as a prequel). That was written as a light novel (kinda like a YA novel, or well, a shorter novel, so “light” novel) before it was adapted into an anime, and sets up the events of all three routes in Stay Night. So, it confirms that no matter what route you’re in in Stay Night, the events of Zero hold true for each of them. (Which is interesting when you consider the damage some of the characters in Stay Night have been living with since Zero, yet they may or may not come up in Stay Night depending on what route’s being played.)

Cover art for Fate/Zero blu-ray box set 

The co-founders of Type-Moon, writer Kinoko Nasu and illustrator Takashi Takeuchi, have come up with some pretty interesting and awesomely cool material in my opinion, and not only for Stay Night, which ultimately culminated in launching the Fate franchise, which has…a HUGE number of titles, and with the anime adaptations of Zero, the original of Stay Night, and the reboots of Stay Night covering the two subsequent routes that the original couldn’t really cover, a bunch more titles in the franchise have each been getting their own anime adaptations in turn, as though there was suddenly this HUGE frenzy for Fate title after Fate title to be adapted into an anime, demonstrating just how sprawling the lore and fanbase of this franchise is.

Promo art for Fate/Grand Order

And if that weren’t enough, there isn’t just Fate, there are other Type-Moon-developed visual novels whose worlds are connected to that of Fate. The only two I’m aware of for sure are Tsukihime and Kara No Kyoukai. (And then there’s Canaan, which was developed by Type-Moon too and its wonderful little 13-episode series in its own way, though I’ve been unable to verify for sure just how much if at all it’s connected with the aforementioned titles.) While I haven’t been able to get into Tsukihime much at all, since I can’t shell out to get my hands on the original visual novel, translated or not, and the anime is notorious for sucking so much that most deny it even exists, I have been able to get into Kara No Kyoukai, a series of films adapted originally from a seven-series online novel written by Nasu, and are seen by many as primers to the world of the Nasuverse (or the world of Type-Moon), which makes sense since when you see it you can recognize characters and plot points that feel like they were taken and reworked for things like Fate. Despite that though, they still do in fact exist in the same universe all as their own characters with their own stories.

Yeah it’s a lot. And the Kara No Kyoukai films cost a pretty penny, but this year I at long last got my hands on both the bluray box set of both the original seven films, as well as the additional film (Future Gospel and Recalled Out Summer: Prelude), and the extra special (Recalled Out Summer: Extra Chorus) just this year–stories that Nasu had an idea for after the original seven came out, but had not written in novel form. I’ve watched the first seven several times at least, but I was hesitant for the longest time about seeing the eighth film and the extra specials, since the first seven tied together so satisfyingly well, to put it mildly. But I finally gave in because I just love Type-Moon that much. And in the end, I was happy I got it, if only to have more Type-Moon in my life.

And that love compelled me to write out, essentially, a love letter conveying that love to Type-Moon. I’ve developed a lot of plot points for both my novel manuscript, as well as my style and voice as a writer, from the material I’ve seen from Type-Moon.

Cover art for blu ray box set of Kara No Kyoukai: The Garden of Sinners original seven-film series

Fate/Zero was my induction, the jumping off point from which I finally took the plunge (some would argue watching the 2006 adaptation of the first route of Fate/Stay Night first is more prudent, but if I’m being honest, I tried that, and just couldn’t get through it knowing something like Fate/Zero was out there–I just couldn’t wait, though eventually I did end up owning and watching the original 2006 Stay Night, mostly because I was starved for Fate material until more of the anticipated new content came out, and because I was able to get a DVD copy of the series for $10.00–more than worth it, it turned out).

Promo art for Fate/Stay Night (2006)

Anyway, Zero pulled me in not just with eye-candy, godly levels of animation quality unprecedented in an anime TV series (considering how much budgeting goes into animation on the whole in the industry), and not just with its very epic concept of the Holy Grail War and all that that entailed as well, but also with its characters.

I adored Waver Velvet, the underdog student of magecraft who, despite being in over his head as the youngest participant in the War, manages to summon the hero Alexander the Great to act as his Servant, the one who’ll fight the other Masters by proxy with Servants of their own, all of them famous figures plucked from history and legend (with some creative license, in some cases a lot). And throughout the course of the War, they form an admirable friendship.

I despaired over the fate of Kariya Matou, who was basically the character that every show like this has, the one that gets ALL THE CRAP thrown at him, and undeservedly of course, as he tried so hard to win just for the sake of saving a girl from the abuses of her adoptive family, even with the cards stacked against him.

I relished in the development of the villain Kirei Kotomine, who could’ve just come off as your typical priest-that’s-secretly-a-bad-seed, but instead is SO much more than that, and it’s awesome.

Then there’s Gilgamesh, the sort of OP, arrogant villain you love to hate, but also the kind that has the power to back up his boasting being master of the universe.

Then you’ve got Saber, i.e. King Arthur, who despite apparently really being a girl named Arturia, all this time, still lives up to the namesake of the legendary King of the Britons.

And of course, my favorite of all, Kiritsugu Emiya. The relationship he shares with his wife, Irisviel von Einzbern, and their daughter, Illya; the motivations for why he does what he does unfolding as the show progresses, culminating in him finding redemption in at least being able to save the life of his eventual-adopted son, Shirou from the War’s fiery collateral damage at its climax; the epic rivalry between him and Kirei Kotomine; the way his methods clash with Saber’s chivalric values; the fact that he gets all of the best qualities of what I love so much about Takashi Takeuchi’s character designs. (Which is another way of saying he’s drawn so appealingly to me that he’s made it to #1 on my list of husbandos. That’s right, I said it!) The whole story and arc of his character is one of the, if not the, most poignant things I have ever seen in an any form of media. Never has a character made me physically ache at the thought of everything he went through, combined with the bittersweetness of his and Irisviel’s love story, as well as that of his love for Illya.

  It’s basically everything I’ve ever wanted in a story’s emotional core or emotional foundation, and definitely served as a turning point in terms of my own writing, particularly seeing as how it’s a feels dynamic I’ve wanted to write for years. So thank you for that, Type-Moon: somehow, some way, much in the way that the universe miraculously weaves together a human being by a near infinite number of factors, you’ve managed to craft my own personal Holy Grail of an emotional story component.

Indeed, since the discovery of the Kiritsugu x Irisviel ship (an underappreciated gem depending on who you talk to), I haven’t found any ships to exceed that level of emotional perfection. I’ve found ones that come close, even ones that equal it, but thus far, in my eyes, Kiri x Iri is unrivaled, and probably never will be.

  Sadly, this scene was not in the anime. Just in the Realta Nua re-release of the Fate/Stay Night VN game for PSP. 😦

In terms of ones that have equalled it though, one of those came unsurprisingly from another Type-Moon work, the aforementioned Kara No Kyoukai, and its main romantic core of the delightfully darkly complicated relationship of Ryougi Shiki and Kokutou Mikiya. That was another pleasant surprise. I had already fallen hard for Fate/Zero and everything it had to offer, but I’d heard of Kara No Kyoukai before that. It had been on my to-watch list for a while, but I’d say that learning that it takes place in same universe as Fate, the Nasuverse that is, it sort of drove me to get my hands on it a little sooner.

Cover art for Volume IV of the box set for Kara No Kyoukai: The Garden of Sinners VII: …not nothing heart, with Shiki and Mikiya (OMG the feels)

My first copy was, admittedly, one of those many, many bootlegs floating around eBay (hem, hem), but at long last (especially since I got a bluray player (FINALLY) for this past Christmas), I was able to purchase the beautiful bluray boxset release of all seven movies, plus the special edition bluray for the Recalled Out Summer extras, because why not? Sure, again, the latter works basically as a sort of sweet but small desert to a large delicious main course, but that sweetness is worth it regardless, because it’s sweet, especially when you get treated to sweet strawberries in that sweet strawberry Hagan-Dasz ice cream of an extra story of things like seeing that (SPOILERS) Shiki and Mikiya eventually have an adorable little daughter named Mana, who for her limited screen time, does indeed seem to be the perfect blend of her parents. Plus it’s just great to see something so normal yet wondrous result from a romance that if not for a saving grace or two, probably would’ve ended in bloody tragedy.

Cover art for Recalled Out Summer box set featuring Shiki and Mikiya

Cover art for Recalled Out Summer blu ray set featuring Ryougi Mana (Shiki and Kokutou’s daughter, and Mitsuru Kamekura

  So yeah, I’ve come to learn that when it comes to Type-Moon, where romance and personal relationships come in, the writing nine times out of ten shines (with the first true failure to connect with me coming in Fate/Extra Encore, and even then, because of the production studio behind it, it at least benefited me with flashbacks triggered by similar imagery used in another one of my favorite anime, Madoka Magica).

Again, sorry I haven’t been able to get into Tsukihime, but I’m not completely blind. There’s that anime adaptation that doesn’t exist ha, ha. In all seriousness though, I’m familiar with the basic premise, and some of the plot points seem to overlap other Type-Moon works. Plus there’s Wikipedia.

And Carnival Phantasm! Which is a little series Type-Moon produced as a celebration of their ten-year anniversary, something to reward the fans for being fans, and while I was at a disadvantage where a lot of the Tsukihime material came up, I still enjoyed it well enough, going on what I knew. But seeing as how Fate is arguably the most successful Type-Moon franchise, the ratio of Fate to Tsukihime material was almost 2:1. Which was awesome, as I basically got to see Type-Moon not only poke fun at itself and parodize its own characters, but actually give a sunnier if brief existence for some of these characters (because quite a lot of Type-Moon characters’ actual lives are SUCKY to put it lightly).

Screenshot of the Carnival Phantasm OP

For as sprawling as the lore of Type-Moon’s stories have grown, particulary with their Fate/Grand Order online game which seems to explore every single available Heroic Spirit that can be summoned as a Servant for your very own Holy Grail War, and the events of which have also been getting adaptations (the most recent exploring Gilgamesh’s past, and that has me intrigued if I’m being honest), there’re so many buried gems to find in there in terms of character and ideas and thoughts on life. Kara No Kyoukai in particular tends to philosophize quite a bit and contemplate things like reality, time, identity, balance, building a foundation for the world as a whole according to the Nasuverse. A bit like comic books, Fate in particular is one of those things where it’s debatable anymore where one should start, some answers being more correct than others, but once you find a place where you dip your toe in and get accustomed to the water, it’s easy to get wrapped up in what it’s various stories centered around the Holy Grail War are concerned.

I love stuff like that, and I’ve been inspired in my own work not just by Type-Moon on its own, but studio ufotable as well, which seems to be the ultimate Fate adaptation machine. Sure other studios do some of the lesser known titles (again like Extra), but ufotable got the reboot of Fate/Stay Night‘s second route, Unlimited Bladeworks, the adaptation of Fate/Zero before that, the film trilogy adaptation of the final Fate/Stay Night route Heaven’s Feel, and even the lighthearted quasi-AU Today’s Menu for Emiya Family, which is the Stay Night story if it was taken over by a cooking show, almost like Carnival Phantasm but not a parody, and still acknowledging the darker parts of the Fate universe, if distantly. Something about the care ufotable puts into their characterizations, along with the animation and art quality and the awesome voice-acting for the seiyuu and English VAs that end up getting casted (although I’m aware where the English casts are concerned that comes from the western licensing company that picks it up and not actually studio ufotable).

And then with Kara No Kyoukai, also made by ufotable, you get an expanse on this universe and its mechanics. It’s a bit vague on how magic works in both this and Fate, but I’ve actually found the idea of basing fantastic elements in the real word fascinating, not urban fantasy but something more than that. And the concepts it brings up. Like people having these things called “origins”, a certain trait from which their soul or being originated from within the Akashic Record, or “The Route” that once “awakened” in a person causes that trait to consume them. So if a person’s origin is “to consume”, and that’s awakened in that person (this requires a mage and the consent of the person who’s origin is being awakened), then they’ll say…embrace their desire to slaughter people en masse and then literally consume them afterward. Like this guy.

Ryougi Shiki vs. Shirazumi Lio – get him, Shiki, get that crazy S.O.B.!

Yeah, that’s the other thing. Apart from the things like origins and The Root or “Akashic Record” (which from what I’ve gathered is like the source of “everything” with a capital E: life, the universe, everything, and no, it’s not the number 42), Type-Moon’s world is what I like to call “beautifully dark”. Not a particularly unique thing, but either way, Type-Moon pulls it off well. There are moments of levity, but there are also very grotesque and disturbing goings-on underneath all that beauty, and even those things are beautiful in their own way. Sure, there are things like vampires or “dead apostles” floating around, and there’s a fair bit of bloody death, but then you’ve got corrupted Heroic Spirits who steal your heart and drink the blood from it like they’re squeezing the juice from a prickly pear, eye-powers that allow for a person to twist anything they want with their mind (including living human bodies), tentacle monsters crushing small children, souls jammed inside puppet bodies that start to fall apart to reveal their meaty, gear-riddled interiors, and life-sucking, magic-giving worms that consume the bodies of their hosts from within (okay we’ll file that under “beautiful grotesque”). And then there’s the aforementioned bloodthirsty killer whose origin is to consume and thus consumes the corpses of his victims (yeah, that Shirazumi Lio guy, see above, he does that)…when he doesn’t do weird stuff like contort them and mark them with the yin-and-yang symbol.

Just to list a few.

The name for Kara No Kyoukai in English is usually The Garden of Sinners, though Kara No Kyoukai literally translated actually means “The Boundary of Emptiness”. But a garden full of sinners is apt for one of the titles in the Type-Moon universe. In some ways that and things like Fate almost transcend storytelling when adapted well, and with godly animation and music (both Fate/Zero and Kara No Kyoukai‘s OSTs were composed by the incomparable Yuki Kajiura, who’s practically the authority on darkly beautiful and epic themes) to back up the engaging storylines.

And speaking of Yuki Kajiura, I’d like to take this moment to not only give props to her work with Fate adaptations, but Hideyuki Fukusawa as well, the main OST composer for the Unlimited Bladeworks reboot, as well as Kenji Kawai, who composed the OST for the original 2006 Fate–that adaptation might have its drawbacks, but that OST does wonders and is seriously underrated, especially considering this is the guy who composed the OST for the original Ghost in the Shell film.

Nothing is perfect, but nevertheless, this is a fictional world that I have fallen irrevocably in love with, much in the same way I did with Harry Potter, though I’ve grown since then. And I just wanted to extend and express that appreciation and love to something that has inspired me and the way I approach my writing going forward so incredibly.

So, thank you, Type-Moon, for the awesomeness you offer, in all its forms. You have my most sincere and utmost praise and respect. I hope that even when the last of the Fate routes, Heaven’s Feel, has finally received its full and deserved adaptation in the trilogy of films, that this is not the last the world will see of your wonderful content. You have more than earned your loyal and adoring fan base ten times over. You are amazing! ❤

Love Letter to Type-Moon Man, there is nothing that puts me in a fouler mood than when I let my own personal procrastination demon get the better of me on a perfectly free Saturday to the point that I don't start getting any writing done until after 2 in the afternoon.

[cnox]

Interview for Skaventhrone issue two. Copies on the way to Hollow Myths* soon!

S: You were recently featured on Never Stop the Madness - Black Metal Radio and had an impressive line-up of releases for the coming months. How has the exposure been?

C: Eve Skaventhrone, thanx much for this chance to further spin our web. Hails to NZ AC DS! We are psyched by the response from the NSTM - BM Radio Special and thankful to have been featured. This was a grand opportunity to get more airplay for our artists and tell a bit of what is to come from Hollow Myths*. We look forward to doing it again this winter.

S: A fellow conspirator has added that your release schedule for the year is quite evenly paced, what makes this different from your previous approach?

C: That may be a bit of misinformation because we will be like a bat out of hell yet again. Our upcoming releases have been stirring in the pot for some time, so we have had many moons to plot and plan. There will be unexpected surprises as we don’t tend to spell things out nor give away too much. So, please do keep watch. We have also put a new CD-R series into action in which we will be offering even more outsider music. And introducing new artists and their first works. We have a grip of sick releases in our trick bag already for this venture.

S: To talk about the name 'Hollow Myths'; A cynical person could read this as being lacking in substance, what are your feelings towards this?

C: When we say hollow, we mean a dark valley in the forest or hole in an old tree. Our workings should be considered as mythology or folklore that seeps and creeps out of the fog and cries out from the blackest of nights. We bring forth new legends and modern myths. “The Hollow Myth” is also a book I wrote long ago. We have shared some of this story and will be telling this tale over the years to come. The introduction came with the Bestiary Vol. One Compilation and Issue 1 of our zine is first in a series of character guides. Our antics are always subversive, so it should be obvious there is a hidden double meaning to our moniker, one-part existentialism and one-part absurdism.

S: Going back to releases; Your output last year was quite prolific and featured a wide gamut within the established DS scene; What do you look for in an artist?

C: Thank you for the fine words. We shall do the same this time around and then some. For us, it must be unique, sad and true. Unabashed, sinister and the synthesizer is key. We like to work with artists whom are free, patient and have a grasp on the big picture. Loyalty and trust is something we also look for in our creative working relationships.

S: Similarly, each of these releases has a very personalized approach. Is this something you find important to differentiate from other labels or distros?

C: We appreciate you taking notice and set out to do our own thing indeed. The music of our artists is so very personal, as it is to us, so we try and convey this with the presentation. The artwork, packaging and magical extras are all part of the experience we try to give. Sight, sound, smell and even touch. From the vintage cassettes, cases, paper, fabric and tie, to the natural accoutrements, candles, incense and wood - we want our releases to be something to have, hold and cherish. Nearly everything we create has been made by hand. There is art to hang on your wall, jewellery and badges to wear, talismans to take with you about your travels. In this, the music and ideas carry on with the you even when not listening but still in one’s heart and mind's eye.

S: I understand that yourself and your partner also have a project together. It's been described as a cutting of recording errors and artefacts from analog or older technologies.

C: Cristahel and I are Rowen. We make mythical electronic music and use analogue equipment. We record live with synths, drum machines, percussion as well as capture field recordings. We plug in, press record and play, do some mixing and then share these aural documents on our Plexus Station the evening of. We were lucky to have been picked up by Personnel Records, a division of the Black Metal label, Seedstock just after a couple of songs. They released our first demo “Ashen Spirit” on pro-tape and we are now composing a new album. An east coast wing of shows are in the talks for this summer and we are aiming on touring Europa this fall.

S: There seems to be a shift in the scene from those maintaining the traditional nostalgic approach to Dungeon Synth and those moving towards what could be considered a 'Ritual Ambience' in some cases with a stronger focus on minimalism and natural sounds; What are your thoughts to this?

C: We see it in three ways: originators, innovators and imitators. We lean more towards innovation. With experimentation comes inspiration and for us is the most interesting. Of course, we hail the founding fathers and tradition is to be respected. But, we want to hear something different and new. The ritual and ambient approach draws from magic which can manifest at the same time be happenstance. This is pure and exciting.

S: It certainly is, and it's great to see you're encouraging and creating a space for artists to do so.

C: We surely try.

S: In our search through the more historic artists on Hollow Myths, such as Apeiron, Depressive Silence, and Arthur, we get a feeling you've probably had an earlier connection with these composers. When did you first get involved with this area of the black metal underground, and these projects? And how did these interactions eventually lead to the creation of Hollow Myths?

C: In the 80's I was steeped in Heavy Metal music, having gone to countless stadium concerts for legendary acts such as Dio, W.A.S.P., etc., later to shows; Cro-Mags, Suicidal Tendencies, I could ramble on. In the early 90’s I went to a boarding school in the woods of New Hampshire and was cut off from T.V. and the goings on of counter culture. So, we made our own. Being up there, I sort of missed out on the first wave of Black Metal and The X-Files. In turn we took drugs, listened to a lot of Black Sabbath and N.W.O.B.H.M. and spent all our time in the trees. Though already a fan of Celtic Frost and much early Death Metal, it wasn’t until I came off that mountain and ended up back in the cities, did I discover some of what I had been missing. I was given a promo copy of the Gummo soundtrack and that crystalized things for me. Ever since then, I was hooked and dug as far as I could into the Black Metal and Dark Ambient Underground. I used to make a UG BM zine which led to many contacts with bands, labels, distros and made tons trades and orders along the way. Some mail correspondence comrades I have had for two decades now. I also had a dark electronic band and toured the world a few times which broadened my knowledge and network. One day it dawned on me to turn my passions and obsessions into my trade.

S: Dungeon Synth, and its surrounding genres, has a huge online presence through bandcamp, social media, and a large facebook group with over 3000 members, of which you're one of the admins. How has the online world affected the artists 'mystery' or even integrity, in your opinion? And is the responsibility of maintaining civility on the forums a burden at times?

C: I dislike speaking of the internet in printed zine interviews but understand this question cannot be ignored. There was rift a year or so ago that drove a wedge in the Dungeon Synth scene and I was made an admin of the main group to keep the peace as it were. And to save it from an impending doom that it is was facing as some sought to destroy the fortress wall that we had been building for so long. I have been manning it for the past couple of years and worked very hard to instill an ethic of friendship, honor and support. Drama, memes and off topic materials are not tolerated in the attempts to keep it focused and Dungeon - not a trash heap or place of trolls. I never intended to have this role, but it became a necessary evil. Our lands were being raided so, I stormed the castle and seized the kingdom for the preservation of all things DS. This being not unlike the mid-era BM scene where things got ugly, full of posers and rip-offs. But that’s another story. DS is now an entity of its own and I try to promote an atmosphere that is welcoming, and nurturing opposed to jaded sorts dictating how other artists and musicians should create. We are grateful to have a tight knit cast of active members with new folks everyday - things seem to carry on without any trouble. Any problems are just simply removed without much thought - forward march. As far as artists wanting to be anonymous, to each their own, I don’t see the need to hide.  

S: As a collector, I'm sure you have many boxes of rarities hidden away from the public eye, what are some of your most prized and cherished?

C: This is true. Some things, I just don’t share and like to keep very close. All my collection is prized. I don’t do filler or bad condition. I obsess over the most obscure and often the overlooked and discarded. Not as much rare and pricey, rather merely special to me. Some of my favourites are looked down upon by most so, I won’t bother mentioning them here. I’m a stickler for collectability and keep it all mint. From limited 7”’s to etched and coloured LP’s, cult Cassettes to OOP CD’s. I also collect shirts, patches, badges, zines and have an extensive VHS library - mostly horror and sleaze. I am constantly buying, selling and trading. Out with the old in with the new. I only hold onto things I listen to, read, wear and watch over and over.

S: You mentioned a possible Europe tour, are there any particular destinations you're hoping to visit? Any artists you are planning to perform alongside?

C: We want to get back to Germany, then go to places we have yet to; the Scandinavian countries, all Eastern Europe and of course, New Zealand and Australia. We will play anywhere and everywhere though we will focus on night clubs, art galleries and uncommon venues. We also plan to do DJ sets, show our artwork, clothing line and spread our wings as Hollow Myths*.  We hope to perform alongside old and new friends and intend to drag out some of our artists for these occasions.

S: We thank you for your time, and we're looking forward to the upcoming releases! Any parting words for our readers?

C: Art, music, nature, magic. Don't take any wooden nickels, don't play second fiddle, and don't roll over and play dead for anybody. Walk the endless corridor and shatter the Hollow Myth.

Thanx yet again. Dehails!  - Canrith Knox of Rowen from Hollow Myths*