For our season finale, I could think of no one finer to conclude our musical meanderings than Ian Stone of À Rebours [ah reh boor]. I discovered his music in 2007 and I have endeavored to keep in touch with him through the years. It was a real treat to be able to tap him for the finale.
Of the band itself, Ian is “the founder, singer, guitarist, programmer, and songwriter. Ryan Holmes is the bassist, and John Cole is the drummer. Ryan and John both bring that outside viewpoint along with an expert-level of musicianship to the mix. I write the songs from start to finish and I present them with pretty much a finished product, with a bass part and drum part already written. Although I’m proud of what I create, I’m still insulated in my little creative cocoon. Ryan and John generally play what I’ve written, but when either one tweaks something or suggests a change it’s always fantastic. Both of them are outstanding and we all like textures and unexpected left turns, so their perspectives are welcome. They’re really the first ones I’ve felt comfortable letting in to the creative process in that respect. I’ve had such bad experiences with band mates before that I always had the idea that À Rebours wasn’t going to be a democracy. Haha! Thankfully I am privileged to work with a couple of guys that will add taste and texture instead of cliché and mediocrity.”
His debut album, Vanish, is always in my listening rotation (not just around Halloween) and the songs are deep, sometimes playful, always hauntingly beautiful pieces. It was difficult for me to choose one song to feature on Horror Addicts. In the end, I picked the song that seems the most Poe-inspired to me, which is “Cardiac Thanatosis”.
What was the inspiration for this song? “Naturally heartbreak is the general theme, but I wanted something that took the feeling in a different direction. At the time the music was starting to take shape, I was reading The Villain’s Guide to Better Living by Neil Zawacki and there was a section in there about how important it was to get rid of your heart before someone got to it. The book suggested cutting it out and hiding it so that good guys couldn’t poison you with things like regret, sympathy, kindness and those types of things that would kill your evil mojo. I thought, ‘There we go. How do you protect yourself against heartache? You’ve got to make sure there’s nothing to break!’ I was reading this in early 2005 or so, I think, or early 2006. It wrote itself from there. My songwriting tends to go like that: once a seed idea has germinated the whole song just kind of unfurls out of itself.”
He added, “Incidentally I’ve had many late night, alcohol-saturated discussions with friends and fans about whether or not the song is figurative or literal. I like for the listener to derive some of his or her own meaning from it, but if you ask me I suppose my response depends on my mood. I’ve defended both sides. The sketch animation video I did for that song ends with an image of a screaming guy with a massive suture on his chest. Is it symbolic, or literal? Hmmmm…”
I first discovered you about the time you packed up and left Phoenix, AZ, for the “bright lights” of New York. How has NY treated you since then? “Haha well let’s clarify that I went to upstate NY, not New York City. Going to NYC would’ve been a significantly different experience—better or worse, I’m not sure. But I would say that as far as the band goes it was a setback. I built up the beginnings of a solid fan base in Phoenix, and then I left it behind and never really built something as good here. The decision to move had nothing to do with music, and in the long run it’s been overall good for my life…not easy, but good in the end. I met my new wife out here after all. For my music, though, it’s been difficult, and may very well have been a blow À Rebours won’t bounce back from. That’s depressing. I have a lot of music still inside clawing at the walls to be let out. I have some stories to tell about the things that happened to me in New York and about the things I’ve discovered about myself. You can’t, however, spend too much time dwelling on the whole ‘coulda-shoulda-woulda’ thing, or playing ‘what if?’ all the time because it’s pointless. It just causes emotional unrest, you know? So I suppose now I just need to get to making lemonade, if you know what I mean. I just need to release my music and keep trudging forward.”
Where are some of the places you have toured/played? “Played all over Phoenix before I left. In the North East I’ve played all over the Southern Tier, Buffalo, Rochester, Syracuse, Binghamton, some places in PA, all the way down to Ohio, Connecticut and over to Michigan.”
Where would you love to play that you haven’t yet? “I haven’t gotten to play in NYC yet, which I’d like to. I really want to play in Europe, too; I think audiences there are more in tune with À Rebours’ musical style and I’ve just fallen in love with Europe every time I’ve traveled there.”
Do you have any stories of any gigs that stand out? “Haha not any good ones! Any band will tell you that there are more clusterfucks on stage than visits from angels, so lets just say that we have our share of those! But, to answer you, I guess one that stands out in my mind was when we played Mohawk Place in Buffalo alongside Tearwave, who at the time was on the Projekt label, and Woven, who were from LA and touring. Overall the show was an epic dud because, like, five people came. Total bust—and Tearwave were hometown heroes there. It kind of baffled all of us. Bad timing, I guess. It happens. But each band setup nevertheless, played like we were playing to a stadium and were cheered on by the other two bands. It was kinda cool. The energy from fellow musicians and the enthusiasm and support for what each band stood for was just awesome. We played so great that night, haha of COURSE!”
I know that “À Rebours” is French for “against the grain”, but what does it mean to you, and why the evolution of name from “Maxwell’s Demon”? “À Rebours stands for being fiercely unique and independent. To me it means not only trying to find an oblique way of doing things, but also making a point to do things differently. It’s about existing on a level apart from the everyday ignorance, mediocrity, and herd mentality. It’s about being an outsider by choice and savoring the delicious experience that offers.
“I switched from Maxwell’s Demon because À Rebours just resonated with me and more accurately described what I was aiming for. I figured I’d have one shot—my fifteen minutes—to say what I wanted to say to people so I’d better make it count. Or at least be as accurate as possible.
“About that time, oh I’d say 2005 I think, I was also submitting an early version of ‘This Winter’ to Projekt for their unsigned band compilation. Again, I wanted a name that cast the light I wanted cast on the music I was presenting. It was the first time I was putting my music out there. That compilation never materialized, but it was the thing that solidified the name. In retrospect, Maxwell’s Demon probably would’ve been easier for people to pronounce!”
It may be hard to choose, but which of your songs is your favorite and why? “On Vanish, I’d say my favorite is ‘Dust‘. Amongst the newer songs, my favorite is ‘The Parliament of Rooks.’ That tune is split into two parts and bookend the album, but as a whole I’d say it comes the closest to capturing the bleak, melancholy sound I’m always trying to create. There’s a live version of the second part on YouTube, if one is interested in hearing it.”
Outside of the usual labels describing music, how do you describe your music? “Way back on MySpace I used to describe it as ‘deliciously melancholy rock.’ On our Facebook it says ‘If Edgar Allan Poe had a rock band, this would be it.’ It’s a collision of rock, shoegaze, goth, progressive, and probably a few other things in the mix. Sometimes it’s bleak and introspective, sometimes it’s dense and defiant. Put equal parts haunting, Tesla experiment, postmodern romance, and message from space into a shaker with ice, strain into a chilled soul and garnish with loud amps.”
Who are your favorite bands, and who has influenced your music? “Oh my God that’s asking for an encyclopedia recital! My favorite band of all time is the prog band Fates Warning. I grew up on them, learned so much from trying to play their music and they still capture that same vibe lyrically and atmospherically that resonates with me. I have everything they’ve done and just about every side project from the members.
“Outside of that I could name a ton of artists that inform my style: AFI, Bethany Curve, Jean-Michel Jarre, Peter Murphy’s Carver Combo, Trivium to start. I’ve had stages where I couldn’t get enough of things as widely different as Jack White, Iron Maiden, or VNV Nation. I’ve got a huge music collection. Real honestly, anything that I hear that I like is a potential influence. It all enters some kind of mental cauldron and bubbles back up somewhere.
“I know Ryan and John are both big fans of Dream Theater, Queensrÿche, Iron Maiden and Rush (as am I). Ryan has a Jazz degree so there’s that side of his playing that figures in. John is a high school band teacher so he naturally has to command a ridiculously huge repertoire and that kind of knowledge naturally informs his playing.”
What other styles of music do you like? “Classical. Middle Eastern. Ambient and atmospheric. Electronic, Industrial and Dance. All kinds of rock and metal. I’ve been getting into sick and sleazy blues—not like Stevie Ray Vaughan or Eric Clapton kind of blues, I mean like chilly, raw, remote, bar on the edge of town at 4 in the morning kind of blues. Just to name a few things.”
What type of music turns you off? “I just CANNOT get into contemporary country. Old C&W has some valid merit and of course great musicians; I still don’t much care for it though. The stuff nowadays we call country just completely turns me off. Induces nausea, even. Most contemporary R&B and pop music kills me a little inside, too. Outside of those I can usually find something I like in just about every genre.”
Is there a style that you haven’t worked in that you would like to? “As far as genres that I’d like to explore, I’d like to go in a couple of different directions. One, I’d like to do more electronic. There are more keyboards and sequenced parts in The Parliament of Rooks album than in Vanish, but it’d be fun someday to go full on industrial-EBM or something. Second, I’d love to do something totally and unapologetically heavy metal. Something like Trivium or In Flames. Now, I don’t believe À Rebours is the medium to explore those avenues, so there might be side projects in the future, or perhaps a revival of Maxwell’s Demon outside of À Rebours. I need to get Parliament of Rooks out and the third album done as well, though, before I even entertain those ideas!”
Speaking of, how soon can we expect to have The Parliament of Rooks available? “Well that, my friend, is the million dollar question, LOL! 2013 at the earliest, hopefully not 2014 or beyond. I’m trying to balance optimism with realism. At this point that’s the best I can offer.”
How has producing The Parliament of Rooks been different than Vanish? “Compared to this, Vanish was a breeze. With all of the times that files have been lost or corrupted, that life has gotten in the way and shut me down, and now of course factoring in the physical distance from my label and their resources…it’s been very frustrating. The songwriting aspect is always the most time consuming because I obsess over so many aspects of a song. That being said, writing definitely went faster for POR than for Vanish. However, once Vanish got the green light to produce, it went fairly quickly. This album has been anything BUT quick or smooth. It’s been terribly frustrating. The music was all written three years ago!”
Do you listen to podcasts, and if so what kind and which ones? “I have listened to some, but I just don’t feel like I have the time to subscribe to them. I’ve tried before, and iTunes just ends up full of podcasts I never listen to. Then I get so fed up I just delete the whole lot. I feel lucky to have time to read a book for crying out loud.”
When you aren’t creating or playing music, do you have any other creative outlets? “Absolutely!! Music is actually my second avocation. I am a freelance illustrator/designer and I run a business called Moulin Diesel. I did all the artwork for Vanish from the tray card and J-card to the disc. Moulin Diesel did À Rebours’ website and graphics, too. Art is really the thing that feeds my soul. Music is a side dish. I’m passionate about both, don’t mistake me, but my art definitely takes precedence over my music, especially at this point in my life where the music is caught in a swamp and my art is doing well. Not to mention art actually creates an income, whereas the music most definitely does not. But alas, we don’t do creative things for the money, only for the enjoyment. Nevertheless, one has to eat, n’est-ce pas?”
Indeed, so what’s next for you and the band? “Finish recording and release The Parliament of Rooks. That is job number one. And then, of course, play shows to support it. Given Ryan and John’s schedules, however, that second piece is tentative. Ryan’s in Connecticut playing with the band Echo & Drake which is dong fantastically well. I’m really proud of him. John, as I said, is a high school teacher so he’s really only free during the summer. I need—NEED—to release this album though and tell the story of the third album, of which I’ve already been writing for. We’ll see what the live schedule looks like, but one way or the other I need to keep sharing the music I write.”
What advice do you have to new bands? “The ‘music business’ is a sham designed to grind you up and package you as a money-making commodity for the people running the business. Avoid it. Be your own boss, learn some business practices and run your band like a business. It won’t be any harder work and you’ll be happier in the long run. And when I say treat it like a job, that means full time at the very least. It’ll require that much and more to make it into something. I think that’s why À Rebours hasn’t done better: life got in the way and I never put the 110% it took to make it. When I tried, other things suffered and cost me emotionally. For better or worse, I believe the band could’ve been more and probably still could be. But I’ve come to terms with the fact that presently it’s not and shouldn’t be my main focus in life.”
You can download their music from iTunes and Spotify, or purchase the physical CD directly from CD Baby or from their website in a merch bundle. Merchandise is available at their website: maurautius.com, as well as some other stuff on Cafépress. They are also on ReverbNation and MySpace. You can follow them on Facebook and Twitter as well.
This is a hand made game, all on heavy wood, and packaged in a charming burlap sack. Durable, and packable, the game includes:
Penny Dreadful’s 
The cover of Anima shows just a glimpse of the coolness you will find inside the book. Anima features crisp, clean art in a steampunk setting. On a ship like the Titanic, a beautiful love story ensues between a gorgeous writer and an angel-like ballet dancer. The beautiful android dancer, Danya, is injected with “Anima” to allow him to feel human emotions, but what his creator doesn’t realize is that the injection also allows him to fall in love. Patrick, a cynical journalist and admirer of Danya, just happens to be there as Danya’s emotions are released. They fall in love, but Patrick doesn’t know Danya is an android. Though Patrick is an android sympathizer, will he be able to over look the fact that his new love is one? And once Danya’s creator finds he loves another, will he be able to let him go?
HorrorAddicts.net 