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| Side Line Interview Issue #55 By: Dan Koven August 5th 2006 |
Little needs to be said about the prolific nature of Texas' electronic-dance darlings, Provision.
Constantly evolving, refusing to conform to societal set boundaries and adopting a take-no-
prisoners approach to self marketing and promotion is the way they operate. Love 'em or hate
'em, Breye (B), Carlos (C) and Jen (J) are the cyberpunk entrepreneurs of your nightmares. The
hardworking trio is proud to present their newest masterpiece, 'The Consequence,' and hope
their devoted worldwide fan base enjoys the record as much as they had making it. After a
bumpy landing in Houston, I met with the band for some beers and posed my usual hard-nosed
questions.
By: Dan Koven
1.) Since we last interviewed the band, there's been a
departure of a significant member and personnel
changes. Is the current line-up finalized? Describe
the current atmosphere and chemistry between the three
of you.
Breye: I’d say the current line up has been finalized since Carlos Covarrubias returned to the
band in October of last year. Carlos took 2 breaks since our 2nd album Visualize, to concentrate
on college and life issues. But his return, has really solidified the trio of Provision with Jen Foxx
and I. We’ve even joked how he’s the Simon Gallup (The Cure) of Provision, having left 2 times
on his own accord and now returned to stay for good. The departure of founding member Leslie
Hyman was the toughest thing the band has endured, and I even questioned the future of the
band in September of 2005 when she left. Honestly I didn’t know if it was possible to continue on
without her. Leslie’s life goals and priorities changed since encouraging me to form the band in
2000. And her current career and lifestyle demands no longer allow her to be a part of the magic
she helped create. But since Jen Foxx came on board as a live member for our Visualize U.S. Tour,
she’s written and contributed to Provision is a way that hasn’t been seen in the band since Leslie’
s contributions on our first album Evaporate. We’ve always stated, Provision will always be
comprised of who is in the band; and with Jen and Carlos I can tell you that this is the strongest
line up we’ve ever had. The chemistry in this trio is intense, and the atmosphere of the band is
the best it’s ever been. We’ve been in talks with former touring member Chares M. (Randon
Harris) and he’s very interested in coming back to Provision for upcoming tours and also possibly
as a full time contributing member. Only the future can tell what happens with us on these talks.
Carlos: Nothing is ever forever, but I see myself and Jen and Breye working together for a long
time. I am not going anywhere any time soon. I am afraid they are quite stuck with me haha!
When you a have dynamic mix of creation, people will come and go at times. As a whole, all of
you do your best to keep it all together so that the group can continue as a whole and make
great music. At the same time, you have to allow and encourage some of these people to move
forward and pursue other goals and dreams. This happened with a few Provision members. I
left and took a break from the band two different times. One time was to pursue what I thought
was one-of-a kind-hopeless-romantic love and the other was for work on my college marketing
degree.
The joke with us is that I am the ”Simon Gallop” (bass player of the Cure) because I have been
allowed to join, leave, and rejoin so many times!!!J The three of us get along wonderfully. There
is a certain kind of magic that sparks between us when we go into to “lab”. Breye and Jen are
great. I am so fortunate to be working with so much talent. We get along like family and good
things happen when ever we are around each other whether we are working or not.
2.) Let's discuss the genesis of 'The Consequence.'
Describe the album's initial conceptualization and
composition goals.
Breye: We don’t ever create a concept ahead of writing or producing an album, it’s just become
ironic how our albums come out to be very conceptual in the end.
I predicted this would be the album that everyone would hate because I knew it was coming out
darker and the mid tempo range might disappoint our fans afer having Visualize be such a fast
record. But in the end it seems that I was wrong as the reviews and fans keep telling us it’s our
best work ever. I really wanted to branch out on this one as far as sound design and our
dynamics in the programming. We tried new things with tracks like “Attraction”, and “Fade”.
Taking the BPM’s down on this album and expanding the boundaries of sampling (which has
always been integral to the Provision sound) became a strong goal for us. Going back to my roots
as a percussionist, I explored more latin percussion, as well as intensifying the synthetic
percussion by really thickening the layers that went into their design this time around. As Jen
Foxx moved from live member to contributing member for this album I envisioned very early on,
to have as many parts performed live as possible during the sessions. Trent Reznor attributed the
sound of NIN’s Broken E.P. to his live touring band as the inspiration for it’s sound, which I
always admired, and I felt that Jen and I performing live on The Consequence would strengthen
the band as unit even more. After performing our live C.D. release in Houston, Texas recently, I
can tell you my theory was correct.
Carlos: During the last part of the Visualize sessions when we were completing the LP and the
single “Could Have Had It All”, the first beats and songs began to emerge for later use. We did
not know what they would be for or where the songs would appear. Hell, at that point we didn’t
even know which ones would make the cut. While we were reviewing all the wonderful remix
submissions for the Visualize disc 2 LTD. and for remix tracks to appear on the single we began to
play around with these rough ideas. The initial inspirations actually came from life. Many of the
things that finally appeared on the finished album came from people’s everyday life struggles
around us.
The original goals were to do make something a bit slower as we were coming off ‘Visualize’,
which had so many fast songs. Having fast songs is not necessarily bad, but we wanted to try to
focus on mood and meaning with out so much speed. Some of the tracks like “Could Have Had It
All “ and “Obvious” are racing in at 140BPM. Many other tracks were also quite fast as like
“Flood of Emotion” and “Visualize” were at 130BPM. The band wanted to try to express moods
and feelings about things happing to people around us and I would say some of them have to do
with losing our founding member/ lead keyboard player Leslie Hymen. We would be in a session
like for “Fade” and at times I would suggest things. I wanted Breye to try a bit of spoken lyrics
on other songs as well like “Attraction”.
In the end I feel we came out with a very dancy Provision type set of songs that continue our
aggressive signature sound.
3.) What lessons were learned and recording techniques
improved upon since the release of your 2nd record,
'Visualize'?
Breye: We changed microphone preamps on this album, and for the first time ever recorded the
vocals dry with no effects. Our first 2 albums were recorded with vocal effects before post
production, which are sometimes referred to as “dirty vocals” by remixers. With Visualize, we
used a lot of thick reverb and relied very heavily on precise timed delays to create backup’s of the
vocals. Everything was very timed and strategic on Visualize. I don’t regret the sound or way it
was produced because it very much fit the sound and became our “Disintegration” (The Cure) as
I’d call it. We only kept the best vocal tracks and did a lot of copy and pasting in Cubase SX, so
you could say The Consequence was treated more like a remix as it was produced. With Visualize
we spent months recording every single vocal track, and it was very time consuming, but was
worth it at the time. As The Consequence developed, it’s sound didn’t fit the thick processing that
we’d used on Visualize. Mark Reynolds of Red Flag suggested techniques to me before the
Visualize sessions before he passed away. I didn’t use them until we recorded The Consequence
but a lot of them were things he learned from Paul Robb (Information Society) and from years of
perfecting his craft. And I wanted to perform every backup myself this time around, taking tips
from Brian Hazard (11th Records / Color Theory) on vocal processing techniques; and really
utilized the information he passed on.
Carlos: ‘Visualize’ was our first digital recording. Before I was in the band, Breye and Leslie and
the rest of the Provision lineup bought studio time and recorded on a large analog console in real
time. That can very tedious because several people are recording at the same time to punch in or
fade in a part and they must do it correctly on cue for the duration of the song. If anyone one
person messes up, the whole take must be rerecorded. So we turned to digital recording. We
recorded the ‘Visualize’ vocals in Cubase SX. By the time we were recording 'The Consequence'
vocals we had learned more about the software and fine-tuning our sound even more. We tried
new things learned how to send a better LP for mastering on 'The Consequence.'
4.) Why does the band insist upon self-production?
Wouldn't hiring a fresh ear enhance the quality and/or
direction of the album?
Breye: We’re definitely not against having a producer, and would love to work with Ted Phelps,
Clint Carney, Tom Shear, Flood, Alan Wilder, or Paul Robb, among others. In electronic music
though, I think producers do most of the actual programming of an album as in the case with
Depeche Mode, Pet Shop Boys, or The Human League. I know some modern bands in the scene
like De/Vision, Mesh, Apoptygma Berzerk, & Melotron have used producers to an extent. But
Provision will always be comprised of individuals who program and write. And because we
involve ourselves in the recording process itself, I don’t really see us using an outside producer
as being a reality. Having to travel to record, or having to fly in a producer for recording might
not be possible, but you never know.
I’ve always believed the members of Provision have chosen the direction of our sound as it
evolves. Evaporate was very much a result of mine and Leslie’s synthpop and progressive dance
influences, and Mark Reynolds (Red Flag) guidance. Visualize was very different, as Carlos is
influenced by guitar / synth bands like The Cure and New Order and comes from a more rock
influenced background. The Consequence being the culmination of all our talents and
backgrounds is in my opinion our best work ever.
Carlos: At this time, we feel that we would like to enjoy as much of the creative process
ourselves, while insuring that our project is not driven too far off course.
We went to Brian Hazard at 11th Records for mastering again because he does beautiful work.
5.) Speaking of the new album, let's discuss lyrical
substance. Can we surmise that it's a conceptual
record or does each song focus on a separate
storyline?
Breye: As the writing for The Consequence developed into it’s namesake, we could tell these
were stories of how the actions in our lives affect an end result. It became conceptual in how
karma and consequences play out in our lives. All 3 Provision albums ironically evolved around a
common conceptual goal, but honestly it’s completely unintentional. We never planned them that
way, but every release has come out beautifully as a whole. In writing this album, I felt the
sounds and lyrics I contributed, were darker and more emotional than any previous release;
which also fit the title and in turn influenced the design and hot colors of the artwork and design
of the finished product. Each song is definitely separate from one another in it’s storyline. They’
ve always been individual. They’re all very much my children. I’ve watched them grow and
mature to become what they are, as they venture out in the world to the fans like little soldiers.
Carlos: I feel that the LP is the best of both worlds. What I mean is that many songs have an
individual storyline that can be applied to many people’s lives. We try to make songs that we
would want to hear if we were buying this music. It can also be seen as an entire unit with one
main conceptual theme. Breye and Jen wrote the words so they are better people to ask.
6.) How does the partnering with indie label Section
44 Records affect the future of Provision?
Breye: It gives the band the option to do everything we’ve been doing already such as our own
booking, promotion, production, and full creative control, without being constrained by a label
with walls that hold independent artists back. I am also part label owner of Section 44, so it
allows me to be in the control seat and oversee things first hand that affect Provision. I get to do
the things I’ve always wanted to such as search out new artists, and give them a chance to get
heard. I want to educate others on everything I have learned in the past 12 years in the
Industrial / EBM / and Synthpop scenes, while asking for nothing in return except that they
believe in themselves like I’ve always done. My partner Randall Erkelens (Tristraum / Eloquent)
created Section 44 Records with the idea of everyone bringing their individual experience to the
table, as opposed to a label being run by one person; who may get bogged down in having to do
the many things a label does to run itself efficiently. Section 44 gives Provision the best possible
chance for growth at this point in our career as a band.
Carlos: We are very happy to be associated with Section
44 Records. It is not exactly a traditional label. Instead it is more of a collective of several
talented acts that have tried representation with other independent labels. These bands have
come together with similar goals of growth and distribution. The collective enjoys the benefits of
collective ad buying power and other improved distribution and representation without control
demands of a label. All the bands support each other and each is free to move forward for its
own goals when ever necessary.
7.) Finally, now that the album is released, what
plans does the band have in store, touring or
otherwise, for the remainder of 2006?
Breye: The next release will be our first Dual Single “Ideal Warfare” featuring the tracks Ideal,
and Perversions of Conventional Warfare. We have some great friends providing remixes for us
including Rename, Syrian, Tristraum, Blind Faith & Envy, Asmodeus X, Cloudless, Null Device, and
others. It’s 2 singles for the price of an E.P. and we’re very excited about getting it out there. We’
re already booking C.D. release shows regionally, and have 5 out of state offers with previously
booked cities; so the demand is growing. We’re discussing a full U.S. Tour for The Consequence,
and in talks with Charles M. (Randon Harris) about touring as our live percussionist again. Jen
Foxx is already writing new material and I have a few songs in the works. I’ll be contributing
guest vocals to a track called “Solarchaser” to be on the next Syrian album, as well as Guest
Vocals on the 2nd Brand New Day album. I have a handful of remixes I have to do, and we’re still
working on the Provision DVD to be released this summer. Beyond that I want to spend time with
my son who will turn 5 this year and also work on music videos for other bands, and finally
produce my first short film. I also have some offers for side projects on the table, so I can tell
you I’ll stay busy.
Carlos: We are currently discussing the options of a possible full US tour later this year. We may
also do a small set of Texas dates or nearby shows in new cities that we have not played in
before. Texas is really large, as big as 4 small US states. This would also include considering ideas
for possible college towns and other faraway Texas cities we have not been to.
*Please Note!!! This is the FULL Un-edited Interview before it was passed on to Side Line*
Constantly evolving, refusing to conform to societal set boundaries and adopting a take-no-
prisoners approach to self marketing and promotion is the way they operate. Love 'em or hate
'em, Breye (B), Carlos (C) and Jen (J) are the cyberpunk entrepreneurs of your nightmares. The
hardworking trio is proud to present their newest masterpiece, 'The Consequence,' and hope
their devoted worldwide fan base enjoys the record as much as they had making it. After a
bumpy landing in Houston, I met with the band for some beers and posed my usual hard-nosed
questions.
By: Dan Koven
1.) Since we last interviewed the band, there's been a
departure of a significant member and personnel
changes. Is the current line-up finalized? Describe
the current atmosphere and chemistry between the three
of you.
Breye: I’d say the current line up has been finalized since Carlos Covarrubias returned to the
band in October of last year. Carlos took 2 breaks since our 2nd album Visualize, to concentrate
on college and life issues. But his return, has really solidified the trio of Provision with Jen Foxx
and I. We’ve even joked how he’s the Simon Gallup (The Cure) of Provision, having left 2 times
on his own accord and now returned to stay for good. The departure of founding member Leslie
Hyman was the toughest thing the band has endured, and I even questioned the future of the
band in September of 2005 when she left. Honestly I didn’t know if it was possible to continue on
without her. Leslie’s life goals and priorities changed since encouraging me to form the band in
2000. And her current career and lifestyle demands no longer allow her to be a part of the magic
she helped create. But since Jen Foxx came on board as a live member for our Visualize U.S. Tour,
she’s written and contributed to Provision is a way that hasn’t been seen in the band since Leslie’
s contributions on our first album Evaporate. We’ve always stated, Provision will always be
comprised of who is in the band; and with Jen and Carlos I can tell you that this is the strongest
line up we’ve ever had. The chemistry in this trio is intense, and the atmosphere of the band is
the best it’s ever been. We’ve been in talks with former touring member Chares M. (Randon
Harris) and he’s very interested in coming back to Provision for upcoming tours and also possibly
as a full time contributing member. Only the future can tell what happens with us on these talks.
Carlos: Nothing is ever forever, but I see myself and Jen and Breye working together for a long
time. I am not going anywhere any time soon. I am afraid they are quite stuck with me haha!
When you a have dynamic mix of creation, people will come and go at times. As a whole, all of
you do your best to keep it all together so that the group can continue as a whole and make
great music. At the same time, you have to allow and encourage some of these people to move
forward and pursue other goals and dreams. This happened with a few Provision members. I
left and took a break from the band two different times. One time was to pursue what I thought
was one-of-a kind-hopeless-romantic love and the other was for work on my college marketing
degree.
The joke with us is that I am the ”Simon Gallop” (bass player of the Cure) because I have been
allowed to join, leave, and rejoin so many times!!!J The three of us get along wonderfully. There
is a certain kind of magic that sparks between us when we go into to “lab”. Breye and Jen are
great. I am so fortunate to be working with so much talent. We get along like family and good
things happen when ever we are around each other whether we are working or not.
2.) Let's discuss the genesis of 'The Consequence.'
Describe the album's initial conceptualization and
composition goals.
Breye: We don’t ever create a concept ahead of writing or producing an album, it’s just become
ironic how our albums come out to be very conceptual in the end.
I predicted this would be the album that everyone would hate because I knew it was coming out
darker and the mid tempo range might disappoint our fans afer having Visualize be such a fast
record. But in the end it seems that I was wrong as the reviews and fans keep telling us it’s our
best work ever. I really wanted to branch out on this one as far as sound design and our
dynamics in the programming. We tried new things with tracks like “Attraction”, and “Fade”.
Taking the BPM’s down on this album and expanding the boundaries of sampling (which has
always been integral to the Provision sound) became a strong goal for us. Going back to my roots
as a percussionist, I explored more latin percussion, as well as intensifying the synthetic
percussion by really thickening the layers that went into their design this time around. As Jen
Foxx moved from live member to contributing member for this album I envisioned very early on,
to have as many parts performed live as possible during the sessions. Trent Reznor attributed the
sound of NIN’s Broken E.P. to his live touring band as the inspiration for it’s sound, which I
always admired, and I felt that Jen and I performing live on The Consequence would strengthen
the band as unit even more. After performing our live C.D. release in Houston, Texas recently, I
can tell you my theory was correct.
Carlos: During the last part of the Visualize sessions when we were completing the LP and the
single “Could Have Had It All”, the first beats and songs began to emerge for later use. We did
not know what they would be for or where the songs would appear. Hell, at that point we didn’t
even know which ones would make the cut. While we were reviewing all the wonderful remix
submissions for the Visualize disc 2 LTD. and for remix tracks to appear on the single we began to
play around with these rough ideas. The initial inspirations actually came from life. Many of the
things that finally appeared on the finished album came from people’s everyday life struggles
around us.
The original goals were to do make something a bit slower as we were coming off ‘Visualize’,
which had so many fast songs. Having fast songs is not necessarily bad, but we wanted to try to
focus on mood and meaning with out so much speed. Some of the tracks like “Could Have Had It
All “ and “Obvious” are racing in at 140BPM. Many other tracks were also quite fast as like
“Flood of Emotion” and “Visualize” were at 130BPM. The band wanted to try to express moods
and feelings about things happing to people around us and I would say some of them have to do
with losing our founding member/ lead keyboard player Leslie Hymen. We would be in a session
like for “Fade” and at times I would suggest things. I wanted Breye to try a bit of spoken lyrics
on other songs as well like “Attraction”.
In the end I feel we came out with a very dancy Provision type set of songs that continue our
aggressive signature sound.
3.) What lessons were learned and recording techniques
improved upon since the release of your 2nd record,
'Visualize'?
Breye: We changed microphone preamps on this album, and for the first time ever recorded the
vocals dry with no effects. Our first 2 albums were recorded with vocal effects before post
production, which are sometimes referred to as “dirty vocals” by remixers. With Visualize, we
used a lot of thick reverb and relied very heavily on precise timed delays to create backup’s of the
vocals. Everything was very timed and strategic on Visualize. I don’t regret the sound or way it
was produced because it very much fit the sound and became our “Disintegration” (The Cure) as
I’d call it. We only kept the best vocal tracks and did a lot of copy and pasting in Cubase SX, so
you could say The Consequence was treated more like a remix as it was produced. With Visualize
we spent months recording every single vocal track, and it was very time consuming, but was
worth it at the time. As The Consequence developed, it’s sound didn’t fit the thick processing that
we’d used on Visualize. Mark Reynolds of Red Flag suggested techniques to me before the
Visualize sessions before he passed away. I didn’t use them until we recorded The Consequence
but a lot of them were things he learned from Paul Robb (Information Society) and from years of
perfecting his craft. And I wanted to perform every backup myself this time around, taking tips
from Brian Hazard (11th Records / Color Theory) on vocal processing techniques; and really
utilized the information he passed on.
Carlos: ‘Visualize’ was our first digital recording. Before I was in the band, Breye and Leslie and
the rest of the Provision lineup bought studio time and recorded on a large analog console in real
time. That can very tedious because several people are recording at the same time to punch in or
fade in a part and they must do it correctly on cue for the duration of the song. If anyone one
person messes up, the whole take must be rerecorded. So we turned to digital recording. We
recorded the ‘Visualize’ vocals in Cubase SX. By the time we were recording 'The Consequence'
vocals we had learned more about the software and fine-tuning our sound even more. We tried
new things learned how to send a better LP for mastering on 'The Consequence.'
4.) Why does the band insist upon self-production?
Wouldn't hiring a fresh ear enhance the quality and/or
direction of the album?
Breye: We’re definitely not against having a producer, and would love to work with Ted Phelps,
Clint Carney, Tom Shear, Flood, Alan Wilder, or Paul Robb, among others. In electronic music
though, I think producers do most of the actual programming of an album as in the case with
Depeche Mode, Pet Shop Boys, or The Human League. I know some modern bands in the scene
like De/Vision, Mesh, Apoptygma Berzerk, & Melotron have used producers to an extent. But
Provision will always be comprised of individuals who program and write. And because we
involve ourselves in the recording process itself, I don’t really see us using an outside producer
as being a reality. Having to travel to record, or having to fly in a producer for recording might
not be possible, but you never know.
I’ve always believed the members of Provision have chosen the direction of our sound as it
evolves. Evaporate was very much a result of mine and Leslie’s synthpop and progressive dance
influences, and Mark Reynolds (Red Flag) guidance. Visualize was very different, as Carlos is
influenced by guitar / synth bands like The Cure and New Order and comes from a more rock
influenced background. The Consequence being the culmination of all our talents and
backgrounds is in my opinion our best work ever.
Carlos: At this time, we feel that we would like to enjoy as much of the creative process
ourselves, while insuring that our project is not driven too far off course.
We went to Brian Hazard at 11th Records for mastering again because he does beautiful work.
5.) Speaking of the new album, let's discuss lyrical
substance. Can we surmise that it's a conceptual
record or does each song focus on a separate
storyline?
Breye: As the writing for The Consequence developed into it’s namesake, we could tell these
were stories of how the actions in our lives affect an end result. It became conceptual in how
karma and consequences play out in our lives. All 3 Provision albums ironically evolved around a
common conceptual goal, but honestly it’s completely unintentional. We never planned them that
way, but every release has come out beautifully as a whole. In writing this album, I felt the
sounds and lyrics I contributed, were darker and more emotional than any previous release;
which also fit the title and in turn influenced the design and hot colors of the artwork and design
of the finished product. Each song is definitely separate from one another in it’s storyline. They’
ve always been individual. They’re all very much my children. I’ve watched them grow and
mature to become what they are, as they venture out in the world to the fans like little soldiers.
Carlos: I feel that the LP is the best of both worlds. What I mean is that many songs have an
individual storyline that can be applied to many people’s lives. We try to make songs that we
would want to hear if we were buying this music. It can also be seen as an entire unit with one
main conceptual theme. Breye and Jen wrote the words so they are better people to ask.
6.) How does the partnering with indie label Section
44 Records affect the future of Provision?
Breye: It gives the band the option to do everything we’ve been doing already such as our own
booking, promotion, production, and full creative control, without being constrained by a label
with walls that hold independent artists back. I am also part label owner of Section 44, so it
allows me to be in the control seat and oversee things first hand that affect Provision. I get to do
the things I’ve always wanted to such as search out new artists, and give them a chance to get
heard. I want to educate others on everything I have learned in the past 12 years in the
Industrial / EBM / and Synthpop scenes, while asking for nothing in return except that they
believe in themselves like I’ve always done. My partner Randall Erkelens (Tristraum / Eloquent)
created Section 44 Records with the idea of everyone bringing their individual experience to the
table, as opposed to a label being run by one person; who may get bogged down in having to do
the many things a label does to run itself efficiently. Section 44 gives Provision the best possible
chance for growth at this point in our career as a band.
Carlos: We are very happy to be associated with Section
44 Records. It is not exactly a traditional label. Instead it is more of a collective of several
talented acts that have tried representation with other independent labels. These bands have
come together with similar goals of growth and distribution. The collective enjoys the benefits of
collective ad buying power and other improved distribution and representation without control
demands of a label. All the bands support each other and each is free to move forward for its
own goals when ever necessary.
7.) Finally, now that the album is released, what
plans does the band have in store, touring or
otherwise, for the remainder of 2006?
Breye: The next release will be our first Dual Single “Ideal Warfare” featuring the tracks Ideal,
and Perversions of Conventional Warfare. We have some great friends providing remixes for us
including Rename, Syrian, Tristraum, Blind Faith & Envy, Asmodeus X, Cloudless, Null Device, and
others. It’s 2 singles for the price of an E.P. and we’re very excited about getting it out there. We’
re already booking C.D. release shows regionally, and have 5 out of state offers with previously
booked cities; so the demand is growing. We’re discussing a full U.S. Tour for The Consequence,
and in talks with Charles M. (Randon Harris) about touring as our live percussionist again. Jen
Foxx is already writing new material and I have a few songs in the works. I’ll be contributing
guest vocals to a track called “Solarchaser” to be on the next Syrian album, as well as Guest
Vocals on the 2nd Brand New Day album. I have a handful of remixes I have to do, and we’re still
working on the Provision DVD to be released this summer. Beyond that I want to spend time with
my son who will turn 5 this year and also work on music videos for other bands, and finally
produce my first short film. I also have some offers for side projects on the table, so I can tell
you I’ll stay busy.
Carlos: We are currently discussing the options of a possible full US tour later this year. We may
also do a small set of Texas dates or nearby shows in new cities that we have not played in
before. Texas is really large, as big as 4 small US states. This would also include considering ideas
for possible college towns and other faraway Texas cities we have not been to.
*Please Note!!! This is the FULL Un-edited Interview before it was passed on to Side Line*