Interview: Skinjob

Putting boot to rubber...

"I remember being given a mix tape with Nitzer Ebb, Skinny Puppy etc. and being blown away. My background was a normal upbringing with no alternative kids. All I knew was that in the root of my veins I did not like mainstream, whatever it was I hated it."

A rising rhythm of dark electronica emerges from the smoke, followed by a heavy vice beat. Boots hit and caress the hard floor; arms glide and get lost amongst the rhythm. This is SkinJob, a one man project / two person live set. With two releases gone by and a recent tour with Icon of Coil, SkinJob are making their way through the gothic-electro scene with black luminance.

Backstage latex is being pulled off after performing at the Classic Grand, Glasgow. Fitz writer and founder of the group, takes a towel to a shiny chest and gives a glimpse of what lies beneath the electronic rhythm of Skinjob.

Intravenous Magazine: What is Skin Job?

Fitz: We started this in 1992 back when we were in college, about the time 'Pretty Hate Machine' by Nine Inch Nails came out. What we wanted to do was make post-modern industrial dance and that was the key concept, as we thought that nobody is doing this. What we wanted to accomplish is what modern EBM has become today.

We came up with very cool avant-garde ideas though we were poor students and we couldn’t afford to record. I shelved it for a few years and once I saw what computers could do and what also you can do yourself with your own music software I could see viability of bringing SkinJob back from the shadows, it could work now.

IVM: Why did you choose to bring political opinion into your music?

Fitz: In a lot of my music there are political opinions and statements. I write about things that affect me and this is one area that affects me greatly.

IVM: So do you want to use this as a way of bringing change, or just an expression of opinion?

Fitz: I haven’t really thought about it in that way, I just want to express my opinion. If people become inspired by bringing change through my compositions this is fine.

IVM: Your influences?

Fitz: I was influenced by a lot of amazing music. I remember being given a mix tape with Nitzer Ebb, Skinny Puppy etc. and being blown away. My background was a normal upbringing with no alternative kids. All I knew was that in the root of my veins I did not like mainstream, whatever it was I hated it.

IVM: Going into the present day of SkinJob where is it now?

Fitz: We don’t know frankly, we take it as it comes. Two years ago the first album came into being and then I and Susana were in a car crash which knocked us down for a while and it was only recently I started writing music again and its now in a new direction. What I don’t want to be is a carbon copy club writer on profitability. I do it for the art of production, if it works fantastic, if not I don’t care.

IVM: How has it been on the tour so far?

Fitz: Well the guys from Icon Of Coil and Terrolokaust are really great! Icon is one of my favourite artists, so to be offered a place on the tour was fantastic.

IVM: Name two Desert Island tracks?

Fitz: 

Depeche Mode - 'Never Let Me Down Again',

Nitzer Ebb - 'Godhead'.

IVM: With the advancements of music feedback such as Soundcloud do you use them?

Fitz: I definitely love the idea of tools such as Soundcloud, as an artist you would write your album, get some reviews and find out whether it was bad a few years later. Whereas now I can write a song, put it up on Soundcloud see likes and comments, the same goes for Facebook.

IVM: Would it though govern how your music is created?

Fitz: It’s a balancing act, yes I do listen to what people may not like in a track and I’ll maybe tweak it a bit, though I am not going to do a complete overhaul as at the same time it is my material.

IVM: When music artist drama occurs in the scene, what do you think about it?

Fitz: As a music artist I am a firm believer in that once in the public eye you lose all rights to opinion… in order to become successful. If you do make an opinion, then it will instantly be dissected by anyone, for their own agenda. Then again this can work towards publicity, as any drama within the scene, causes attention; any publicity is good publicity. Whether it is good for the scene or not is another matter.

Skinjob's 'Selfish Discipline' is available to buy now via the band's bandcamp page. For more information on the band, please visit their official website.

By Dominic Lynch (LX-E)

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Review: Skinjob - 'Selfish Discipline'

SKINJOB 
'Selfish Discipline' 
SELF-RELEASED 

Once described as Elitist Obscura Electronica, Skinjob is a one man design, two live project. Previous to their début album Selfish discipline, the EP 'Insects & Metephors' received warm acceptance by the alternative charts. The band a palate of appetising frequencies applied for dance compulsion followed with a dessert of seducing undertones.

We begin this album with ‘Hate’. A build-up of electronic substance abuse which flows out to the rhythm in an explosion of 137 beat penetrations a minute. As evil erodes into the skin of the mind and up through the song’s Viscera, sliced up in red light, you will not be sitting down any-time soon I assure you...

‘We are the Noise’ slows things down slightly, as the dark voice of Skin Fitz gets cosy inside the bassline of light tempo electro-noise. The end brings a build of warm steel-rubber rhythm before coming to a close in the next 60 seconds.

‘Beauty is Your Toy’ is a combination of the speed seen in ‘Hate’ and the shaming flow of ‘We are the Noise’. A scrapping of electronics brings the speed onto dance floor. As lights blind and the rhythm infects your ears, everything else becomes irrelevant & blocked.

Blasting ones veins with industrial trance, it will  languish the mind, distort and make you beg for 'Control' amongst the boots grinding into the dance floor. Seek its tarnished pleasure in muscle acid still, and you will continue to 'Move'; smiling in the Stygian night at your refusal to allow the mind time to question its actions.

Suffocating into chemicals of past minutes, the intoxication stays in the lungs as red light comes back with a vengeance in ‘The Reality of Decay’. Slowing the pulse, toxicity levels pollute the overused mind. There is ‘Nothing Left’ in this drained skeleton of tissue amongst lead.

Skinjob has produced an album for the dance floor and miscellaneous spectrum of the scene, where beat to speed is necessary within dark corners. The bleeding of pulse torture to the bones is an obligation with these tracks, not a choice.

Review by Dominic Lynch  (DJ LX-E)

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