EERIE VON

EERIE VON
Musician, Artist, Photographer, and Fiend
interview by Jason Walsh

The birth of horror punk, with bands like The Misfits and Rosemary's Babies, emerged from one of the most unlikely places. No, not Hell, but Lodi, New Jersey. It was the late 70's when names like Glenn Danzig, Doyle, Steve Zing, and Jerry Only rose in the post-punk era to form a new brand of dark and ghoulish, aggressive music inspired by comic books, B-movies, and 50's rock 'n roll. Among those in this grim company was none other than Eerie Von.

Following his stint as a drummer in Rosemary's Babies, Eerie Von took to the bass and went on to form Samhain with Glenn Danzig, and later and more notably, Danzig. After a six-year stretch, drummer Chuck Biscuits left the band in 1994, and guitarist John Christ departed the following year. That same day Christ left, Eerie Von also stepped away from the group and Glenn has continued the Danzig project with all new members and an ever-changing lineup.

Eerie Von continued his passion for art and photography, which began at a very early age, while pursuing other musical projects as well. He has released five solo records and started Ghastly Records with former Rosemary's Babies bandmate Bob Montena: a label they began "for bands who have something new to offer to the world." I had the opportunity to discuss his craft, artistic endeavors, and what the future holds for one of the most recognizable icons from the fiendish underground movement.

JW: First, how are you doing? What are you looking towards coming into 2009? Any New Year's resolutions or revelations, or plans for the upcoming year?

EERIE VON: I don't usually do resolutions and I don't make plans. I have a new record coming out and I'd like to tour in support of it, do some more Horror/Comic cons, and continue to paint. Maybe do another movie, if I get the chance. I'm in with a huge cast of underground cult figures, in "It Came from Trafalgar," a 50's-style black-and-white Sci-Fi film, that should be out this year, I hope.

JW: I read that you were drawn to photography and painting at an early age. What led you to these two passions?

EERIE VON: Dad got a Nikon from Japan when I was eight and he showed me how to use it and taught me what he knew, just the basics, which I still rely on 'til this day. I didn't take it up full time until 13, when I had a friend who had a darkroom and learned how to process film and make prints there as well as in school. Then in High School, I shot everything for the yearbook from day one. I started drawing at probably five or six and painted all through high school. I don't know why I started doing it but I learned early that I could copy anything I wanted, but wasn't too great on my own. I was into sports and music, so I did portraits of baseball players, Elvis, and the Beatles. That's when I got good at it.

JW: Both photography and painting rely on composition and filling the space. Have you found that one tends to compliment the other and has your experience shooting helped to make you a better painter?

EERIE VON: You can't compose a photo as easily as a painting. You have to work with what you have most of the time, unless it's a studio set up or you have the money to put your subject in any situation you like, like Annie Leibowitz. I don't think my photographic eye has influenced my painting because I don't really have a set way of doing it. I kind of "wing it" every time.

JW: Asking the question with a seemingly obvious answer, why do you call your style Fiend Art?

EERIE VON: It's art for the Fiends out there. What I like and what they like. I usually figure if I would buy it, then it's cool. I would like to keep the best ones, sometimes I do, but I like it better when someone buys one and puts it on their wall.

JW: When did you start taking your art more seriously and concentrate on it more? You seem to have a pretty large body of work now.

EERIE VON: About ten years ago in Florida. At one point I was doing three to four a month. This year my output was only two-and-a-half a month. I don't take it too seriously. It's just something I do.

JW: Many of your works are available through your website and auctions. Tell me about that and also, have you done any art shows or events of that nature?

EERIE VON: I don't care for galleries and art shows. People put their stuff in galleries to sell it. I've sold almost every painting I've ever done. Hundreds. I have no need to make a big deal out of them or display them in such a way. I will do a gallery show if it means more people will get to see the paintings, but I'm not into the whole "artist" thing. It's too pretentious.

JW: Talk to me about the young kid from Lodi who discovered art and music at a young age.

EERIE VON: In the beginning, where I lived had nothing to do with discovering music. It was all my family's influence. Mom and Dad grew up in the 40's and 50's, so I heard their music. I grew up in the 60's and 70's, so I heard what was on the radio and on TV. My Aunts and Uncles and cousins influenced me as well. Not until 8th grade did I meet Doyle (Misfits) and then the whole Lodi thing, became an influence. There were a few punk rock guys in high school as well, so they turned me on to stuff. My sister played me a lot of punk stuff. She was a big influence.
Finding out from the Misfits that you could put out your own records was a big revelation. Once I found that out, I was determined to take that path.

JW: Initially you played drums and had a successful audition with the Misfits but declined. Why was that and why did you end up forming Rosemary's Babies after declining the spot with the Misfits?

EERIE VON: Rosemary's Babies was already a band, when the Misfits thing came up. I did start playing drums again, just in case they ever needed a new drummer. I was meant to be in that band, so it made sense. Personally it wasn't the right time for me to join, so I declined. I got the chance again later, but Glenn (Danzig) told me Doyle didn't like the way I was looking at his girlfriend, so it didn't work out again, and they got Robo.

JW: What was the Rosemary's Babies experience like?

EERIE VON: It was great learning how to write songs and perform in front of people, figuring out how to be part of a band and getting along with others. I also enjoyed getting to know others doing the same from around the country. Knowing there were kids who felt like I did was a big comfort during those unsteady high school years.

JW: When Glenn and you formed Samhain you began playing drums. What was the reason for their disbanding and why did you decide to start Samhain?

EERIE VON: Rosemary's Babies had run its course. We weren't going anywhere and Glenn was a serious musician. I wanted to play with the best people I could and Glenn was the best around so I decided to go with him. It's the only way you'll get better. I knew I could learn from him and I have.

JW: Early into the band's existence you switched from drums to bass, which would become your trademark in music for the next two decades. Why this switch? Had you had much experience playing bass and what about it kept you playing it?

EERIE VON: I had never played bass before. I wasn't a good drummer. I still suck. I have no ego when it comes to being in a band. If you can play it better, go ahead. So in order to make the band as good as possible, we agreed to have a real drummer come in. I'd just have to fake it on bass. I was also a terrible bass player, but I got a little better.

JW: After Samhain, you guys went on to a pretty successful run with Danzig. After Chuck dropped out in '94, you and John left the following year. Why? Had it seem to run its course for you?

EERIE VON: It was time to go. I would have preferred to stay with the original four guys and if we could have ironed out the problems within the band, I'm sure we'd still be together today. Once Chuck left, it was over for me. John hadn't been into it for years. It was no longer a vital, living, growing thing. It was dead.

JW: Do you still keep in touch with Chuck and John? What are they up to these days?

EERIE VON: Haven't heard from John in ten years. I'm still friends with Chuck and hear from him a few times a year.

JW: What about Glenn? Are you still in touch with him?

EERIE VON: No

JW: Following Danzig, you released some solo work and moved around a bit? Have you enjoyed experimenting with different types of music and living in different places? Have these experiences helped with your art and music?

EERIE VON: I've done five records since leaving Danzig. One in each place I lived. The environment and the circumstances surrounding my being there all contributed to the sound and feel of each record. When I did my second one, "The Blood and the Body," all I had was a microphone, an acoustic guitar, a fuzz box, and a Casio keyboard I bought at Toys 'R Us. That record sounds like it does because of the limitations I had to work under. I'm fine with that. That's what every record should be. Like a snapshot of who and where you were at that time.

JW: Eerie Von's Spider Cider "That's All There Is" was the last solo record you released in 2006. That was recorded while you were living in Indiana, right? What was that record about and what was your process with its inception?

EERIE VON: I was going through a divorce and was very depressed. It was like my mid-life crisis record. I cut my hair and suddenly, I felt 18 again, and with that feeling came the anger and youthful aggression I felt back then, so I just did what came naturally and that's why it's a punk rock record.

JW: You also did some work on a record you've dubbed "Kinda Country." Are you still working on that or have you finished it?

EERIE VON: My new record is kinda country, so that's why I called it that. Plain and simple. I've been writing songs for 25 years now and have gotten pretty good at it. I've paid attention and learned from all the greats who came before me and from contemporaries as well. So, if I wrote a Blues song, I'd put it away until I needed it. If I was doing a spooky record and a country song came out, I would file that away for a later date. I have lots of songs, in all different styles.
I just write them. Some I might do demos of, then I go on to the next one. When you have about twelve good ones and you decide they should be put together as a collection, you make a record.

JW: Talk to me about Ghastly Records label you started with your former Rosemary's Babies cohort. Has it been a rewarding experience running an independent label, which is a home for your solo work? You have also re-released some stuff from that first band as well.

EERIE VON: We had no label back in '83, so we had to start our own to put out our first record.
We revived the label to put out a 25th anniversary CD, but I have nothing to do with the day-to-day running of it really. Bob has put out my last two records because he had the means to. It's his thing.

JW: Lastly, a new year. Where does Eerie Von go from here, musically, artistically, and just as a person. What does the future hold for you?

EERIE VON: I have no idea. I'd like to go back on the road and stay there. Stopping long enough only to record. If I can figure out how to paint, on the run, I'll do that too. I've been waking up in the same bed for too long. I've gotta get out of here. Thanks to all the Fiends out there, for their loyal support and kind words of encouragement. I hope to see you all very soon.


www.eerievon.com

www.myspace.com/eerievonart

www.myspace.com/itcamefromtrafalgar