Sep 2012 19

Having already risen from the depths of obscurity to become one of the top up-and-coming acts in the underground scene, Vancouver’s Left Spine Down joins industrial funk masters My Life with the Thrill Kill Kult on the Back from Beyond! tour, taking the time to let ReGen’s readers in on just how crazy their world can get.

An InterView with kAINE D3L4Y of Left Spine Down

By: Ilker Yücel

In a few short years, Left Spine Down has become one of the most exciting up and coming acts in the industrial/rock scene. With roots firmly established in punk and electronic music, formulating a sound that is as raucously aggressive as it is deceptively melodic, the Vancouver quartet has earned no small amount of respect for their well balanced mix of intricate programming, scathing guitar assaults, and lyrics that range from the intensely political to the emotionally introspective. Working with such luminaries of the underground as Chris Petersen and Dave “Rave” Ogilvie, the band has built up its cred as an incendiary live act touring with the likes of of 16volt, Chemlab, Revolting Cocks and Front Line Assembly. With two albums, three remix releases, and a future as bright as an atomic bomb, Left Spine Down adds My Life with the Thrill Kill Kult to its resume, joining the masters of industrialized funk and danceable sleaze on their 25th anniversary Back from Beyond! tour, taking them all across North America. Vocalist kAINE D3L4Y took some time to let ReGen into the band’s working dynamic on the road and in the studio, with just a few hints at what is to come in the future for Left Spine Down.

Is the quartet of kAINE D3L4Y, Jeremy Inkel, Matt Girvan, and Galen Waling still going for this tour? How has the dynamic among the four of you strengthened since the last time you toured, especially as you’ve done other things in the interim (Galen touring with other bands, Front Line Assembly, etc.)?

D3L4Y: The lineup is still the same. Dynamically, we have been able to play around with different ideas and techniques to try and replicate that kind of dynamic you hear on album, which can be difficult in a live setting. The rest of the projects, well…I’m not in any other major projects that may prove to be tiring and/or time-consuming when the candle is burnt at both ends, but I can say that we as a band work around that despite the number of nervous breakdowns and energy drinks we go through. ‘Suffer for your art, that’s my motto’ kind of has become my motto; that and really annoying noises from all kinds of things from electronic key chains to jingling birthday cards.

LSD has in a few short years performed with quite a few of the scene’s longtime heavy hitters like RevCo, 16volt, and now TKK. How would you say the band has evolved as a live unit since you first started?

D3L4Y: Well we’ve stopped throwing bottles of urine at one another. I’d say that’s a hell of an improvement. We are definitely more aware of what we bring into the stage and our livers. There are less fights, but more bickering – under our breaths, behind the others’ backs. We’re worse than a sewing circle. I hope to replace that on this tour with a Rolodex of practical jokes and pranks of which I will unleash on the rest of the group as we go.


Touring with these veteran bands, what would you say are the most important things you’ve learned from them? Similarly, how do you feel that they are taking after your example?

D3L4Y: To take it in stride is probably the one best piece of advice I got and is something I hope to carry throughout this tour. I think we have seen many adversaries in the past and have overcome them so I don’t imagine this one to be different.

The band had released two remix companions to the first album, one featuring a slew of well established artists, while the other was a two-disc set with lesser known up-and-coming acts. Are there any plans to do a remix companion for Caution? As remixes are now exceedingly common in music – both in the mainstream and the underground – with many even being known exclusively as remixers, what are your thoughts on the remix has allowed other artists to achieve recognition in music?

D3L4Y: That’s kind of difficult to answer without coming across as arrogant or unappreciative. I love remixes. I love ‘em to death. I go and buy remix albums from my favorite artists as soon as they get released. But some of us felt the remix was a bit overdone last time (three discs of remixes for one album? Really?) and we were hoping we could try something new where we commission remixes out to personal friends and fellow underground folk we know and maybe add like five or six original songs in the same vein, sonically, while getting some fresh blood to have a crack at it. My buddy DJ Kasey Riot has been bugging me all year to get a remix for ‘X-Ray’ done, so you might see her name on the next release somewhere.

In what ways do you feel it has diminished the value of music, if at all?

D3L4Y: There have been far worse abominations to music than a remix. Look no further than MTV.

In our last interview, it was stated that other musicians contributed to the music – piano and strings and such – and that ‘working with different people can change the flavor.’ On that note, what sorts of new flavors do you find yourself working with now, and how do you feel they will be incorporated into the new material?

D3L4Y: I’m currently obsessed with science fiction, like moreso than ever before, so you’ll probably hear a lot more sound effects and noises that you would normally hear on a sci-fi series than on a record in our upcoming material. However, I don’t think I’d sing about majors and ground control towers talking to each other. More like crossing dimensions and reversing polarities to reach the ultimate party.

Your first record touched on a great deal of sociopolitical themes, while the second was much more personal (along with all the references to driving fast). Bands that you’ve toured with like RevCo and TKK (and Chemlab to some extent) are much more sexually driven, while 16volt is perhaps more introspective, FLA more apocalyptic, etc. As people often have their own interpretations of lyrics, what are some of the most interesting that you’ve heard from people outside the band?

D3L4Y: A lot of people seem to be quite imaginative and fascinating when it comes to interpreting our music. Some can be spot on; others have been able to find their own meaning through their own experiences and creativity. I think the most interesting one was from a friend of mine in the States. I hope they don’t mind that I’m about to quote them:

A ‘crippling porno addiction’ is an amusing expression for one’s compulsion holding over three quarters of a terabyte hard drive in its dominion of ‘moral decay’ and debauch. This induces 18-30 hour masturbation/marathon sex binge with none, one, or multiple participants. It can also be conceived as another kind of fictitious biological organ comparable to a stomach, a la David Cronenberg.

My relationship with porn is definitely intense and I experience a very unique sense of honesty and symbiosis whenever we achieve our intriguing connection, the media, my perception, and its physical reformation, and quite literal physical effects on my body and its sensory apparatus.

It sees straight through to my ego and all quite clearly. My monitor is looking straight into me and seeing everything via its ray. I cannot conceal myself from the X. Resistance is indeed futile and beyond that, likely defeatist.

It’s an intimacy one cannot experience with another human.

Its X-Ray does not blink and I do not endeavor to conceal or resist; a very unique intercourse. The X shares spaces with Freud’s ‘id.’ Yeah, I like to think about the ‘X-Ray’ lyrics from the pleasure circuit paradigm.

I welcome things like these. The inspiration I derive from it alone is worth it. ‘Tell me what you think of
your favorite LSD song’ may be a new tweet today.

What sorts of themes or topics will you be exploring on the new material?

D3L4Y: Probably something regarding the above thesis. I hope to explore indulgence, sex, violence, introspection and even religion on this record; and not religion towards a deity but another human being.

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