Take My Voice Away

It seems like all of the interesting stories from this era center around touring. That's probably because the touring process was often such a complicated one in terms of coordinating logistics, funds and time that much drama ensued.

In 1995, we received a demo from John Elliott, principal songwriter, vocalist and ringleader of the industrial band Dessau. Dessau had originally released dance/industrial material on the tiny label Carlyle Records. At the the time of this story, this material was being re-issued by Mausoleum, a BMG imprint. Coinciding with this re-issue, John Elliott was circulating a demo for a record that was really an EP, called Details Sketchy. Details featured 6 original songs and 2 remixes and numerous guests that I suppose John had recruited through his position as a carpenter/studio jobby at WarZone Recorders in Chicago. This impressive guest list included Paul Barker of Ministry, Richard Patrick of Nine Inch Nails, Jim Marcus and Van Christie of Die Warzau and many others. As a label guy my thought was - what if Dessau toured? Obviously all of those big names would never tour together but if a band named were Dessau were at least out there playing the music that could mean something.

My wish came true when Martin Atkins, Invisible Records label head and Pigface guru called the label looking for a band to support Pigface. Support meant, performing on stage before Pigface and also paying Invisible a fee for allowing a lesser known act to join them on the bill (otherwise known as taking a dick in the ass). While the label put forth this tour support the band itself would be making $250 a show. A pittance. We were basically paying for exposure and losing money on the deal. Looking at this as a marketing expense we went forward with the tour and crossed our fingers. Perhaps I should've burned a cross or something instead of crossing my fingers because 2 dates into the tour John Elliot called.

His voice was hoarse and he sounded like someone had washed his vocal chords with gravel. His longtime associate and partner in crime, Norm Rau, had left the tour and I assume, the band. He stormed off saying that Pigface sucked and that Dessau was way better than they were (this may have been partly true). He objected to being the opener and refused to continue. Norm bolted and took another bandmember with him. That left John and his drummer and two gaping holes at keyboards/synths and guitar. Basically John was leaving this problem at my feet and asking me to solve it. This drama found its way to Martin Atkins and he was not amused. At times a blowhard and generally very difficult I was dreading talking to Martin but luckily I had Jared from Chemlab on my side as FCR A&R Chief and label frontman. My thought was to just let those two peacocks do the talking.

Following several frantic phone calls and last minute pleas for help we (mostly through Jared's contacts) we were able to find two able substitutes in 2 and a half days. Dessau missed only one show. Ethan Novak, drummer for Acumen another FCR band, agreed to play guitar and we found someone else to play keys/synths.

When I caught up with the tour at the Troc in Philly, Ethan seemed to be trying to fit in and a little uncomfortable without his usual bandmates. John Elliot was all smiles but still painfully hoarse. Dessau's live shows were wildly uneven with this ragtag group and I was afraid that this would be the last time Dessau would tour given that there now seemed to be only one or two full-time band members. Reviews were mediocre at best but at least they were out there.