[2.2.05]

When I purchased Flesh Field's Belief Control a couple years ago based upon the recommendations of a friend, I was struck by two things: the intricacies and originality of the programming as well as the dichotomous male and female vocals. It was a unique mixture of elements that made them stand out in the crowd full of Wumpscut clones and Futurepop wannabes. Ever since then, I've kept an eye out for the next release by this promising band.

As fortune would have it, Metropolis Records recognized the talent of the group and offered to release their latest CD Strain. Even a precursory listen reveals a new intensity and accessibility that is sure to catch the attention of club goers and electronic music fans everywhere.

We caught up with Ian Ross and new vocalist Wendy Yanko on the cusp of their mini-tour with Imperative Reaction:

[CATCHING UP WITH FLESH FIELD]

[Mr Drum Machine]: Ian, thanks for taking the time to talk with us about your new album and upcoming tour.

[Ian Ross]: Thanks for taking the time to do an interview with us.

[DM]: There seems to be a lot of positive feedback concerning Flesh Field on a variety of electronic music forums I frequent. What do you think it is about Strain that has captured people's attention?

[IR]: I’m not sure exactly. I think that while it has its flaws, it’s not quite like the majority of new releases that people have to choose from these days. I’m not going to pretend that “Strain” is original, as everything I did with it has been done before. But it’s not harsh EBM/electro, and it’s not club oriented “future pop,” which seem to be the only choices you have these days when it comes to the “scene.” Granted, you’ve got noise/rhythmic noise, IDM, ambient, etc, but if you’re looking for something with vocals with more of a traditional structure, all you’ve got to choose from are harsh electro and synthpop. There’s not much in between. It’s like going to a restaurant where there are only two dishes on the menu. It’s nice when they give you some variety. I think that might have something to do with it.

[DM]: Recently you signed with Metropolis, which is arguably the biggest and highest profile industrial label today. What are you hopes for the band with this newfound visibility?

[IR]: Signing with Metropolis definitely gave us more exposure, as it’s easier to find our albums. The higher level of visibility is nice, but it also means more work. My main hope is that someone in the video game or film industry will hear it and say, “This is kinda cool. Maybe we should have this guy do some soundtrack work for us.” It’s really just an unrealistic pipe dream, but hey, we all need something to hope for.

[DM]: Another band-altering event you experienced recently was the replacement of female vocalist Rian Miller with Wendy Yanko. To anyone who listens, there are some obvious stylistic differences between the two. What do you believe Wendy brings to the table in this incarnation of the band?

[IR]: Wendy brings more of an attitude. Instead of just doing the same “gothy,” diva-like vocals on every track, she mixes things up a bit. She did some nice aggressive vocals, some soft and vulnerable vocals, and some nice middle of the road stuff. She even rapped on “Reflect the Enemy.” While there’s a consistency in her voice, I think she showed off a nice range of abilities, whereas Rian pretty much sang the same way on every track.

[THE LIVE EXPERIENCE]

[DM]: What is the impetus for the two date mini-tour with Imperative Reaction?

[IR]: Ted and I have been friends for a while, and we both really respect each other’s work. We played a show here in Dayton a few years ago, and we really wanted to do it again, as it was a great time. The mini tour was actually Ted’s idea, and he got the ball rolling with it. There were originally supposed to be a few more dates, thus officially constituting a mini-tour, but the other show opportunities didn’t work out. One of the promoters in LA refused to have us play because we started using guitars. I don’t think people like that are really fans of music. They’re fans of trying to look cool by saying, “the music I listen to is cooler than what you listen to for the following reasons:”

[DM]: What sort of live setup can we expect on this tour?

[IR]: We’ve got Wendy and I on vocals, and two friends of Ted’s doing guitars and keys. We couldn’t afford to bring our own keyboardist and guitarist, unfortunately, but I’ve seen these guys play, and they’ll do a great job. We don’t have much in the way of live gimmicks. It’s just Wendy and I jumping around and yelling a lot. Not exactly the most interesting live show, but it’s all we’ve got. We do have a good amount of energy onstage. I’m not a fan of playing live, since I have horrible stage fright, and I don’t think the music comes across as well as it could live. I jump around so much that I lose my breath, and can barely sing. Every single time I get off the stage, I can barely move. My entire body burns from the workout, and occasionally I throw up due to over-exertion. I stomp around so much that my feet and knees end up with bruises. On our European tour, I had to literally be carried offstage after the last few shows by our keyboardist because I just couldn’t walk. My feet and knees had to be iced down in the dressing room.

[DM]: Industrial tends to be a genre difficult to portray in an interesting way due to the pre-programmed nature of it and the lack of organic instrumentation. What are some strategies that bands like yours can use to overcome this?

[IR]: Simply add organics, and realize that imperfection is something that adds a tremendous amount to the music, rather than detracts from it. I used to only listen to fully electronic music. I thought electronics were limitless, but they ended up being limiting instead. I like electronics, but when I hear a fully electronic track I think to myself, “This might be better if they had some organic elements to keep it interesting.” When I hear something that’s fully organic, I think it needs some electronics. I think the mixture of the two is the most interesting type of music there is. Something that is 100% electronic, or 100% organic always seems to be missing something when I listen to it. Some people want the cold, fully electronic sound. I can’t really get into it anymore. It’s too limited, and I think it detracts from the human side of music, which is extremely important to me. I think that’s one of the reasons that I just can’t get much out of glitchy, computer driven IDM. Sure it’s got an element of randomness, but it’s synthetic. I like the human imperfection and randomness of acoustics. I like it when it’s blended with the perfection of electronics. It takes more skill to write as well as to listen to. If I could, I’d use a live symphony, and real choirs in my tracks. They just sound much better. But I don’t have the means to do that.

[DM]: If you had an unlimited budget, what sort of stage presentation would you implement to enhance the live experience?

[IR]: I’d definitely make it a lot more “live.” I’d love to have a small symphony onstage to do the orchestral parts. I’d have two drummers, one on an acoustic set, and one on an electronic kit. I’d use two guitarists, two or three keyboardists, and one hell of a light show. Multimedia would be cool, but a lot of the time big multimedia productions divert attention from the band itself. It almost seems that if you’re live show is boring, you think you can solve that by setting up big projectors and giving the audience something else to watch instead. The bands that have cool multimedia productions AND a good stage show by the band themselves are always the best live acts. Nine Inch Nails is a good example of this. VNV Nation realized that the monotony of two men onstage who aren’t really doing anything substantial could really be avoided if they had good crowd interaction and a cool multimedia setup. So VNV’s show is really good despite the fact that it’s only two guys and a computer. Ronan’s witty, and the crowd interaction really brings a lot to the show. I’m not witty. I’m not good at crowd interaction, as I’m afraid of the audience, and I feel guilty about sucking live and making them pay to see it. I can’t afford a big multimedia show. I can’t afford to have more musicians onstage, and neither can the promoters. So I have to make due with what I’ve got; beating the hell out of myself onstage solely for the purpose of entertaining the audience.

[DM]: In a prior interview, you mentioned you had the opportunity to open for Jean Luc De Meyer of C-Tec (and Front 242 fame). What did you come away with from that experience getting to rub shoulders with one of the pioneers and veterans of industrial? Do you learn anything new about performing a live show?

[IR]: The main thing I learned from watching Jean Luc was that a good stage presence makes a lot of difference. He looks great up there, and it’s really intense. I’ve seen bands that just stand there like a deer in headlights, and even though the music may be great, the show is boring. I learned that Jean Luc doesn’t listen to anything “EBM” related at all. While they were setting up, he was listening to his Walkman, and when we asked what he was listening to, he told us “animal sounds.” Apparently he really likes to listen to recordings of birds, whales, and deer. I didn’t even know deer made sounds.

[SOUND AND FURY]

[DM]: Your first CD Viral Extinction was released in 1999. Despite being a recent recording, its sound is very much in the vein of old school EBM bands during the halcyon days of Wax Trax!  (For example, the track "The Plague" sounds almost like a collaboration between Leatherstrip and Front 242). Was this a conscious decision or simply part of the learning process towards cultivating a more modern sound?

[IR]: I think nearly all bands start by imitating their influences. It’s to be expected. And on “Viral” I was definitely imitating. But that’s part of the learning process. You have to start somewhere, and imitation is the usually the best place. Once you’re comfortable with what you’re doing, then you can start really experimenting and building your own sound. I don’t blame bands whose first releases sound like what they were listening to at the time. I do blame them when their third or fourth album does. However, when you’re adding new elements, you tend to imitate your influences on those as well. When I decided to throw some guitar into the mix, it ended up sounding a lot like Nine Inch Nails, who is my main guitar influence. As I learn the instrument, and progress, hopefully I’ll end up with my own sound on that.

[DM]: Your newest CD Strain features what many in industrial circles consider the "G" word—GUITAR. Purists may decry their use in industrial, but the truth of the matter is some of the genre's biggest bands have put out at least one guitar-centric album (Frontline Assembly's Millennium or Skinny Puppy's The Process) while some bands like Ministry have all but abandoned their keyboards in favor of cock-rocking guitars. What are you thoughts on guitar usage and their crossover appeal?

[IR]: It’s just another instrument. Why be afraid of it? I used French horns, tubas, trumpets, and all kinds of strings on “Strain,” but no one is complaining that I got “wussy symphony” in their “bad-ass industrial.” Some people genuinely don’t like the sound of guitar. That’s cool. I don’t like harmonica, and if I hear one, I cringe. So some people just truly don’t like it. But I’d be willing to bet that the majority of those who rail against guitar in this kind of music are only doing so for some kind of pretentious, “I’m too cool for this ‘rock’ music shit” reason. They think they’re above it. Some fans of metal will instantly hate a band when they can confirm that yes, they did in fact hear a keyboard in this track, and rattle on about how synthesizers require no real musical talent. Some fans of this kind of music will do the same once they hear a guitar. Each genre has its taboos. Fuck taboos. If you adhere to them, you’re only limiting yourself, and moreover, selling out to what others think you should or should not be doing. Letting a “scene” dictate to me what I can and can’t use is something I’ll never do. Guitars have indeed been a part of this genre since the beginning. Yes, Throbbing Gristle used them. It’s not so much the use of guitar, though, as it is the use of metal/rock guitar. People in this scene don’t want to be associated with that scene, as they feel it’s inferior. I say, lose the pretension. The type of music you do or don’t listen to has no effect on how “cool” you are. If you’re a boring person, music will not help to alleviate that. Listening to pure electronic noise does not compensate and make you seem more intellectual if you can’t get a girl, or if you’re afraid that your penis is too small. But to be fair, people listen to music for different reasons.
In terms of crossover appeal, I think blending genres can help make people more open-minded to other genres. It’s not as big of a deal to many these days when a rock band uses a keyboard, thanks to certain bands that have pioneered the meshing of the two sounds. So why is it still a big deal when a synth band uses a guitar? Is our genre more stubbornly arrogant? In some respect, yes. But I think that it’s starting to change. Most people have forgotten that the mid 90’s coldwave bands aren’t the “cool” thing anymore, and hopefully they’re willing to accept other genres infiltrating their own. Without combining genres and experimenting with different things, music will die.

[DM]: Is the usage of guitars on Strain a one-off experiment or do you see them becoming more prominent in future albums?

[IR]: I’m not sure what the next album will sound like yet, but I do anticipate the guitars to remain. I had fun with them, and there’s still a lot I can do with them that I haven’t done yet. I don’t want to go back to the pure synth sound. I’ve done that already. I just bought a new guitar, as my old one was a cheap piece of crap, so if nothing else, I gotta’ get my money’s worth of work out of it. I’ve been messing around with an acoustic guitar lately, as I’m learning how to actually play. I’ve found that I like the sound of the acoustic guitar, so there will probably be a bit of that in the new album as well, although I’m not going to be turning FF into a folk band. The guitar won’t take over as the driving force in the tracks, though. I don’t consider “Strain” to be guitar oriented, and I really doubt the next one will be either. I really don’t want a single instrument becoming the defining characteristic of my music, and that includes synths. On “Strain,” most of the tracks are rather ambiguous in terms of the lead instrument from track to track. The meat of the track isn’t the synths, it isn’t the guitar, it isn’t the choir, it isn’t the noise, and it isn’t the symphony…so what is it? I think percussion plays more of a dominant role than anything else. It’s the only thing that’s consistently there in the forefront.

[DM]: Flesh Field's sounds has always had grandiose and anthemic quality to it. I get the same vibe listening to you as I would listening to bands like VNV Nation and Laibach. What is it about this larger-than-life orchestral quality that you find aesthetically pleasing?

[IR]: The emotional quality, mainly. I like buildups, break downs, peaks and valleys…almost like the music is an aural sculpture. I like the release you feel when an anthemic chorus kicks in after a buildup. It adds an element of intensity, and really evokes a reaction out of the listener, which good music is supposed to do. As for the symphony, I think it’s the same thing. Symphonics really evoke all kinds of emotions, and the heavy, bombastic stuff is something that I really think does a good job with that. Symphonics are perfect for film scores, where an emotion has to be communicated by sound. I think this is because of symphony’s dynamic emotional range, which is why it’s so appealing to me.

[DM]: Have you ever considered doing a side-project that explores a more subtle and atmospheric approach to music-making?

[IR]: I actually did have a side project that was kind of this noisy, technoid, percussion oriented thing. I wrote about five tracks, but gave up because it really didn’t challenge me that much. I wrote two of the tracks in one day, after about 5 or 6 hours of work. If I could come up with the music that quickly, there was something wrong. I have considered doing a fully orchestral side project, as I think it would be really challenging, but I haven’t had time. I like beats too much to make something that’s really ambient or atmospheric. But it might be fun to try.

[DM]: Now that Wendy is part of the band, do you find yourself changing your writing style to play to her strengths?

[IR]: All of the music for “Strain” was written well before we recorded any vocals, so none of that was written to complement her strengths. I haven’t written anything else since, other than a few remixes, so I don’t know if that would be something I’ll be focusing on or not. I doubt it. I’d rather both she and I adjust our vocals to match the music than the other way around. It would help to keep the sound from becoming too formulaic.

[DM]: Many musicians claim not to listen to their peers or contemporaries within the genre they generally inhabit. Do you like to create music in a vacuum like this, or are you open to listening to different electronic artists to keep abreast of what's popular—and perhaps allowing their influence to affect what you write?

[IR]: A lot of artists do this, as they’re either not challenged by listening to the kind of music they create, or because they don’t want to be influenced by their peers. I tend to listen to just about anything short of country or R&B. There are plenty of acts in this genre that may be able to give me ideas for my own stuff, so why shut them out? I still like a fair amount of the music from this genre, and I’m not going to stop listening to something I enjoy. I’m not concerned with what’s popular, and what’s not. I’d rather worry about Flesh Field’s music as it pertains to Flesh Field, rather than as it pertains to the “scene.” People can tell me, “Man, guitars have been done before. This type of percussion, this type of synthline…Ive heard it all before.” That’s fine. But I haven’t done it before, and that’s what matters. Just because another band has done something doesn’t mean I’ll forgo trying it if I haven’t done it. I’m not interested in helping to change and do new things for “the scene.” I’m interested in changing and doing new things with Flesh Field.

[TWO THINGS YOU NEVER TALK ABOUT]

[DM]: Although most of your lyrics seem based around relationships, songs like "Voice of Dissent" have a decidedly political slant. When you write a song like this, are you hoping to educate, change some minds or is this just mainly a cathartic thing for you?

[IR]: I don’t think it’s my place to change any minds, or preach to people. If I did that, I’d be just as bad as those I’m referring to in the lyrics. And the album certainly isn’t educational, as it only states what I think, but not why I think it. It’s mainly just a way to release how I feel. That’s all it’s ever been.

[DM]: What do you think the re-election of George Bush says about our country?

[IR]: Now we’re getting into the opinion realm. You asked for it...

Personally, I think it reflects a lack of priorities, and an ignorance of the broader picture. It shows that people are still paranoid about terrorism, and feel that the country is in grave danger. In fact, the country is safer than it’s ever been, even with the threat of terrorism. Terrorism isn’t the threat that many believe, or would have us believe. Sure, it’s a problem, and it’s a concern. But there are bigger problems and bigger concerns. People should be far more worried about others dying in a car accident, or from diseases, or from lightning strikes than from an act of terrorism. Statistically, these things kill far more people per year. I think people want something to be afraid of, even if it’s the tiniest thing. It gives them something to do. The only way terrorism can change the fundamental way of life in the U.S. is through our reaction to it. When we start to take away freedoms, search for terrorism behind every accident, even when it isn’t there, and alienate others due to our ridiculous paranoia, we change our way of life on our own. Our reaction is more of a problem than the initial terrorist act itself.

I don’t think Bush’s reelection does not show realignment with “traditional, moral values” as so many would have us believe. It shows that many are confusing morality with religion, which are certainly not synonymous. Is it moral to write discrimination into law, as Bush wants to do with a constitutional amendment banning gay marriage? Is it moral to impose your own beliefs on others, and turn it into policy, which is more a quality of fascism and dictatorship than of democracy? Morality is subjective. You can’t legislate it. Those who consider themselves “moral” are usually hypocritical. They say it’s wrong to kill, and then say they believe in capital punishment, or killing an enemy in times of war. So is killing only wrong some of the time, or all of the time? Does it matter whether or not the victim is “innocent?” This is the very essence of subjectivity, and all “morality” falls within its confines. And subjectivity can’t be legislated because it denies a certain portion of the population their rights to believe in what they believe in. This country is supposed to be all-inclusive, but it tends to exclude a vast portion of its population. How is that “freedom and justice for all?” And Iraq…well, maybe I shouldn’t even get started there.

[DM]: In many of your songs you use religious allusions (i.e. The Eucharist). What are you thoughts regarding spirituality and the effectiveness of using those terms and ideas in writing songs?

[IR]: I’m not really out to hit any nerves. I discuss religion because it’s interesting, and frustrating to me at the same time. I don’t hate religion. I don’t even hate organized religion, as many of the pseudo-intellectual college kids claim to. Organize all you want. Institutionalization isn’t the problem. Too much power, influence, and control is the problem. Basically, just don’t force it on me, and don’t pretend that you’re better. Spirituality and religiosity can be two different things. Personally, I’m neither, but I do see the good in it. I also see the bad. And a lot of people tend to ignore the bad, and refuse to question anything out of fear. I think it’s healthy to question. I think it’s intelligent to question, no matter what you decide. Blindly following is dangerous, and shows a lack of self-understanding. If you don’t question, and you don’t search for your own truth, you lend yourself to those who would manipulate and take advantage of you.

[DM]: You mentioned on your messageboard that you are currently going to school. What are you studying and does it tie into your interest in music at all?

[IR]: I’m a political science major at OSU, focusing mostly on U.S. foreign policy. I’m a senior, and should be graduating this summer. It certainly gives me an understanding of the broader picture, which in turn becomes fodder for lyrics.

[DM]: What inspires you most lyrically?

[IR]: Anger and frustration. On “Strain,” nearly all of the lyrics were written to have two meanings, one personal, and one political. Both realms inspire me, and I felt it would be challenging to write lyrics with dual meanings. It keeps things relevant on two levels, and lets me express two feelings in a single track. So I was killing two birds with one stone, to coin a cliché. But it always comes back to anger and frustration. Flesh Field is a release for that. I get it out both in the music and in the lyrics. Without being able to do that, I wouldn’t be as laid back of a person as I am. I’d probably be pretty volatile. So it’s a healthy way to get things out, and it’s made me a better, happier, nicer person because I’ve provided myself an outlet.

[AND ON THAT NOTE...]

[DM]: In the liner notes of the latest CD, you give shout-outs to Worf of Star Trek and The Predator. It seems that many artists of the industrial persuasion are sci-fi geeks at heart (just listen to the samples that inhabit their music!) Do you see a connection between love of sci-fi and love of "futuristic"music?

[IR]: I think electronic music and science fiction go together nicely, for obvious reasons. I am indeed a sci-fi geek. I’ve got every single season of Star Trek: The Next Generation on DVD. I think that show paints a very positive picture of the future. Sure, there are battles, but the majority of problems in that show are solved by diplomatic means, by talking things out. There’s very little loss of life on that show. I think it’s a model for U.S. foreign policy. Plus, you’ve got everyone in the future basically working for free. All of their needs are met by technology and the Federation. They work and explore to better themselves and humanity instead of for financial or social gain. There are no poor people, and no rich people. There’s no established religion, so people are free to worship however they see fit. There’s no discrimination based on race or ethnicity. Does this sound eerily familiar to any of my fellow poly sci majors out there? Communism in its ideal form, perhaps?

[DM]: Why does every industrial band start their album with an apocalyptic
instrumental?

[IR]: HA! I’m not sure. The first tracks on all of my albums have never been instrumental, although the intros are usually pretty long, and they tend to build up. I think bands that do that see things in kind of cinematic terms…these are the opening credits before the substance.

[DM]: Why do industrial artists refuse to be classified as such?

[IR]: Because no one wants to be classified, and no one wants to admit that their sound isn’t original. Most bands, if asked, will say, “I don’t pigeonhole my music. It sounds like this, but I’m not going to classify it because classification is bad, blah, blah, blah.” A lot of bands don’t want the stigma attached when being referred to as “industrial.” That term today doesn’t mean what it once did. Some bands realize that what they do has very little in common with what the original “industrial” bands were doing, and don’t feel that they fit. If I look at our music in terms of what “industrial” was intended to be, then no, we’re not industrial. And I have no problem with that. I’ve never really liked true “industrial” music to begin with. But it’s a blanket term these days, and what it refers to encompasses a wider scope of diversity. And diversity is good. Who cares what people call it, anyway? The bottom line is, “is it good, or bad?”

[A FEW QUESTIONS FOR THE NEWBIE]

[Mr Drum Machine]: How did you meet Ian and what drew you to work with him in Flesh Field?

[Wendy]: I met Ian about 2 years ago on his last tour with Flesh Field. We were at a show in Cleveland, I was playing keys in the opening band. It was at that point that we both realized that we lived in the same city, but we didn't get to know each other until a few months later. He eventually told me about the problems he was having with Rian, and I told him that I would be more than willing to take her place.

[DM]: What are your influences as a vocalist?

[W]: With my vocals, I tried to really do my own thing. But I've always really loved the female vocalist in Tapping the Vein. That girl is amazing. I wish I could sing like that.  I also really like Gen from the Genitortures' vocals. She does the sexy thing better than anyone else I can think of.

[DM]: How do you think your style is different than Rian, the previous female lead?

[W]: Rian and I are pretty much opposites in regards to everything. She was more about singing pretty and conventionally. I never thought her vocal style worked well for Flesh Field at all.  I'm a little more unconventional and angry than Rian ever was. But I think my vocals are better suited for the overall tone that Ian is going for.

[DM]: What do you think of the current industrial scene?

[W]: Honestly I don't listen to that many of the current industrial releases anymore. I think I'm just frustrated as a result of my disappointment in the last few cds I have bought. It still all sounds the same to me. Harsh electro is back in the spotlight now, and do like some of it. But ultimately it all gets so monotonous, none of it is catchy because the vocals are always sung at the same pitch. 

[DM]: What's currently in your CD changer?

[W]: I've been listening to some of my old favorite CDs lately since I've been so unhappy with newer releases. Recently I've been listening to NIN, Arcturus, Slayer, Carbon 12, and Arzt+Pfusch. The last thing I listened to this morning was the new Icon of Coil disc.  It's the most recent CD I've heard in a while. It's so dance-tastic.

[DM]: Since the liner notes of vague on this topic, what is your contributions to the song writing process?  Do you do any of the lyric writing or programming? If not, do you expect to become more involved in this aspect in the future?

[W]: I wrote some of the lyrics for the parts that I sing, but other than that, I don't plan on becoming too much more involved. I'm more adamant now than ever about what I do and don't like about Ian's songwriting, so it's very likely that the next album will be more Wendy-approved. I also try to help out Ian with ideas for the direction and overall feel of the next album.  But I'm not going to help actually write or program anything. Ian likes to work solo, and I'm sure that if I were any more involved, we'd be fighting constantly. It's hard to work together in electronic music. I think that explains the excessive amount of solo acts in our genre.

[DM]: How do it feel to be co-fronting a band based in a very male-dominated genre like industrial? Do you feel this adds to the uniqueness of the band or gives you an advantage of any kind?

[W]: I don't think that this scene is totally male dominated. It seems almost trendy to have a chick in your electro band these days. But I think it makes us unique to some extent. It breaks up the sound a little and makes the tracks less monotonous. I think that singing/screaming in the same tone constantly is totally boring. So the vocal diversity makes the music a little more interesting, if nothing else.

[DM]: On Flesh Field's messageboard you mentioned your love of Final Fantasy. Do you cop to your geekiness or is this an easily-explained away aberration?

[W]: I am a total loser; I play tons of video games and have no friends. I'll admit it. But I don't think video games in general are as geeky as they used to be. I'm pretty sure that the video game industry has grossed more than the film industry for the past couple of years. So being a total video game nerd is more socially acceptable than it used to be. Or maybe I'm just trying to make myself feel better about my lack of a social life.

[CLICK FOR A REVIEW OF STRAIN] Catch Flesh Field on tour with Imperative Reaction. 3.2.05 // Portland Oregon // Sabala's 3.3.05 // Seattle Washington // The Vogue Comments? Contribute to the Messageboard Topic