#whatever happened during his birth is now kind of up to our artistic interpretation based off what we know biologically about the na’vi

[eywaseclipse]

Guys the original script for ATWOW is not canon. I repeat it is not canon. The edits and revisions made for the theatrical release happened for a reason. Everything excluded in the final version is because the original script was the original version. Think of it like a rough draft. 🤗

[theseventhhex]

Drab Majesty Interview

Mona D & Deb DeMure

Since the 2015 release of Drab Majesty’s debut ‘Careless’, and the release of the acclaimed sophomore album ‘The Demonstration’ the following year, artist Deb DeMure and collaborator Mona D. have firmly established themselves amongst the pantheon of dark synth-pop greats, establishing a devoted fan base worldwide with their singular hypnotic sound and mysterious, constantly-evolving presence. Following intense and extensive touring in support of the first two albums, Drab Majesty escaped to the inspirational landscapes of Athens, Greece to channel the songs for their most ambitious album creation yet: ‘Modern Mirror’. Blowing the dust off the antiquarian myth of Ovid’s Narcissus, Drab Majesty uses its premise as groundwork for a modern reinterpretation. Fusing the sonic aesthetics of predecessors like New Order and The Cure within the cautious instruction of Greek mythology and modern science fiction, Drab Majesty has birthed a hybrid of dreamy malaise, captured for a future moment… We talk to Deb DeMure about playing live, staying healthy on tour and flat earth…

TSH: With ‘Modern Mirror’, what led you towards re-telling of the story of Narcissus as interpreted through a modern lens…

Deb DeMure: I think we throw around the term narcissist a lot and often forget what we’re referencing - a tale of a man who rejects the true and tangible love of his lover, Echo, to spend his life intoxicated by his own reflection. For me, the “Modern Mirror” is our digital internet identity reflected back at us, distorted yet intoxicating - and the rejection of the tactile world for a curated depiction of who we are. We already wear a mask as it is, but this is another layer, a feedback loop for our identity. At many points, the record speaks about a time before this all happened, what’s happened to us as a result, and a life without the nearly inescapable virtual noise.

TSH: Do you still feel that the intangible personal quality that comes from recording in your bedroom or other domestic spaces is valuable for certain reasons with Drab Majesty’s music?

Deb DeMure: Absolutely. Writing and receiving music is very much a meditation for me. It is deeply relaxing yet also an invigoration process to receive and compose a song. This comfort, for me, can be very difficult to derive when under the pressure of studio deadlines and a ticking money clock. All compositions, whether they be DM, VR SEX, or any other music I’ll make, will ultimately derive from the bedroom or some kind of inspiring peaceful space.

TSH: Was the aspect of folk music structure coming into play too?

Deb DeMure: Yes. It always is. I’m always considering how these songs would sound stripped down to any acoustic guitar.

TSH: Did you also step away from your daily life and put yourself in a meditative space as you readied this release?

Deb DeMure: Composing and demo’ing the record in Athens, Greece was very much that. I got into a wonderful early morning routine of walking the city, taking a coffee in the park, admiring the Parthenon and then retreating to my small workspace in a flat I was renting. It felt very peaceful and the ideas flowed freely and naturally.

TSH: ‘Ellipsis’ is a tremendous song. What do you feel was key in getting this track to sound so refined and concise?

Deb DeMure: Thank you so much. The track kind of just wrote itself - as do most songs. I think structure most definitely plays a role in it. I think the turnarounds before the choruses are an appropriate set up for the chorus to be impactful. The song was nearly complete when I brought it to Mona, but I would have to say that his arpeggiated Fairlight outro melody really tied the whole song together and created a nice new point of interest that you only get a taste of as the song fades out, which I would hope would invite the listener to replay it.

TSH: Furthermore, what’s the backstory with a song like ‘Long Division’?

Deb DeMure: ‘Long Division’ was also composed in Athens. This song is about understanding the nature of a long distance relationship - the ways in which growth and change happens during this distance for the better and also for the worst. It’s about accepting the fact that the person you saw one time may not be the same person the next time you see them - understanding that the moment can be romanticised forever but potentially never relived.

TSH: When you think of arpeggiated guitar styles of the ’80s, which ones do you mostly admire?

Deb DeMure: Maurice Deebank of Felt, Vinny Reilly of Durutti Column, and of course Johnny Marr to name a couple.

TSH: What kind of adjustments do you make when translating this album’s material into a live setting?

Deb DeMure: We try to stay as true to the recordings as possible. The live versions of the songs more often than not end up a little more aggressive and angsty. I like this contrast.

TSH: Knowing you feel very inspired when driving, is there any update on your vision of having a mobile home while someone else drives and you being able to write a record…

Deb DeMure: Ha! Where did you hear this dream of mine? No updates or plans to embark on this trip yet, but it’s still something I would absolutely love to do if granted the means and time.

TSH: Health is big thing for you both on tour, how do you maintain a positive outlook with such extensive touring and little access to exercise and healthy food?

Deb DeMure: Humour in the van and wherever our travels bring us is always a constant thread in Mona and I’s daily banter. We’re always marvelling at the absurdity of the world around us and that I would say creates a great deal of levity in our dynamic. Visiting the sites and seeking out beautiful views also helps maintain mental health and brings more purpose to the voyage rather than just going from one dark box to another and making the show happen. With food, we eat as healthy as we can while still staying very open to all the local delicacies of whatever country we’re in. A diet of chips, coffee, and alcohol can only last so long. I feel like we do a pretty good job of seeking out healthy food opportunities whenever we can.

TSH: Is distancing yourselves from your personalities and making Drab Majesty more about the aesthetic a rewarding and cathartic factor to imply?

Deb DeMure: Absolutely. It’s a very liberating exercise. It diminishes pressure in the moment and helps us achieve a disembodied meditative state on stage. If the show goes off without a hitch, I can say with great certainty that by the time it has ended I will have little to no recollection of how I got there. It’s like inhabiting another brain for an hour, and hopefully that is translated to the crowd.

TSH: Have you discovered any new and interesting stuff with regards to stoicism recently?

Deb DeMure: Nothing more than just the core tenet of maintaining an adaptable personality. Finding solace in discomfort. Organization within the chaos. Being able to peacefully assimilate.

TSH: Which ideas and facts do you think are most compelling to indicate that the earth is actually flat?

Deb DeMure: Obviously the Ice Wall perimeter. I’ve seen it. I’ve climbed it. And I’ve jumped off the edge into pure oblivion.

TSH: How do you both opt to use your downtime when you’re not engaged with music?

Deb DeMure: Walking. Eating. Sleeping. Reading. Thinking. There is really no time I can recall when my mind has not been engaged with music or some kind of art making. I always feel like I’m in a mental studio space.

TSH: Finally, what are the defining motivations and influences that drive you to continuously excel with Drab Majesty?

Deb DeMure: I feel motivated to do it now and then one day I may not. If I’m not motivated by the project at that moment, I’ll choose to not do it. In no way am I trying to make a record for the sake of excelling or building the profile of the band. Selfishly, the records, the process, is for me. I guess to answer your question, the magical practice of translating thought into form is the most motivating force in any art making experience for me.

Drab Majesty - “Ellipsis”

Drab Majesty - “Oxytocin”

Modern Mirror