Kaine Delay: To others, it would seem as if there was a hiatus. To us, it was an ongoing saga that never left our lives. After the 2012 tour with Thrill Kill Kult, we wanted to hunker down and write a dance album. Schedule conflicts didn’t permit this, so the dance album idea was scrapped. “The Fall” began in sessions as early as 2015 with myself, Galen, Matt and Jeremy at the helm. We did a few things in the meantime (compilation appearances, remixes, and the odd live show) and by about 2016, both Matt and Jeremy wanted to move on from the group. I then began taking up guitar again, collecting offset axes and effect boxes in an attempt to write another record. Enter Adrian Black and Bill E Organ, who made their first appearance in the band for the 2018 Bowie Ball, a yearly tribute to the Thin White Duke of which we were a part of since 2016. Matt held a tribute for Chris Cornell in Vancouver (Daniel Curtis’ first gig with us) and booked us as one of the bands. He saw me up there with my red Mustang and I guess he missed us, as he was inspired to return shortly after. 2018 was a shocking year for us. It shook us all to our very core and we really had to sit back for a bit and figure out what we wanted to do. We were determined to carry on, but we also saw that our sound was changing, and wanted to signify that change somehow. Vlad had remixed Bithead for the Electronic Saviors compilation and we loved his work so much we asked him to join full time. By 2020 we decided to rebrand as The LSD. It felt appropriate to abbreviate the band name as we were turning into more of a collective.
Kaine Delay: Precisely, it was the music. The sounds we got back from our work isn’t always good, but what we heard recently was enough for us to say “I think we may have something here”. That’s always how it had been with us: when we hear *it*, we know it’s time to release something.
Kaine Delay: “The Fall” began in 2015 and remained a demo until its completion in 2018; after playing it a couple of times live we decided it had evolved into what the kids today call a “banger”. Thematically it’s about a determination towards self destruction. We were on a path straight to hell, and survived to tell the tale. The track is bookended with sampled dialogue of which I felt very appropriate to mark our return. The remixes were done in 2020, mostly during lockdown, just trading sound files back and forth across the internet. Lost Transmissions was an EP we leaked digitally in 2021 and when it came time to release a single we felt it appropriate to include them in the CD. Bithead was written right after a Thurston Moore show in 2018. Bill and I raced back to the studio right after the gig and wrote it in one night. Lyrically it was a bit of a retrospective of the last few years of our lives. What the fuck’s going on?
Kaine Delay: I recently did a vocal for Damage Control, of which Peterson is a producer for their album. He felt I could be a great addition to the song “Saboteur” so I cut a vocal for it earlier this year. Around that time I was hitting a wall with “The Fall” and needed a fresh pair of ears to round it out for us, so he returned the favour. Plus he was happy to hear us making music again. “Hey everyone, LSD are back!” As he did produce “Fighting for Voltage” it seemed more than appropriate for him to come back into the fold with his sonic expertise. Jeremy provided loops and arrangements for “The Fall” when we made a demo of it in 2015; his contribution was always invaluable, and his signature sound can be heard on the recording.
Kaine Delay: Adrian Black came from Amduscia; he’d fill in for Galen as a drummer at some of our shows, and contributes in various ways in the studio. He did the Amen mix of “The Fall” and plays percussion on the stage alongside Galen when possible. Daniel Curtis is from FLVRHAUS; we shared a rehearsal space for a couple years and I ended up on their record for additional guitars and backup vocals. He plays bass on stage and in studio with LSD. Bill E. Organ is a longtime supporter of the band and is now contributing as a guitarist in the group. He’s also learning how to program and arrange music digitally, which brings a fresh perspective to our sound. Vlad Potrosky of Avarice remixed Bithead for us a year or so ago (under Gunmetal Grey) and we’ve added him to the lineup ever since. He’s our new synth player/ programmer.
Kaine Delay: I’m in this semi official Facebook group on the KLF and someone shared an unused 12” mock-up for Burn The Bastards, in where they wanted to call themselves The Forever Ancient Liberation Loophole. The JAMs logo was reworked in felt pen to spell “The Fall”, which happened to be the title of our next single. So Casey and I went to work on liberating the JAMs album jacket. With both us and The KLF making a semi return to the music business in 2021, it felt stupid NOT to do it. On top of that we were reminded of Negativland’s U2 single cover and how much controversy it stirred up; we simply wanted to see if we could get away with it. And for the most part we have. As far as their influence on us, I did mention the impact The White Room had on me as a kid. Aside from that, we happen to share with them a love for situationism, chaos magick and discordian philosophy. If you dig into our back catalogue you’ll see the number 23 has haunted us from the beginning. Jimmy Cauty’s Lord of the Rings poster is also on the wall of the rehearsal space we shared with FLVRHAUS, and because I don’t believe in coincidence, I took all this as some sort of calling. We ultimately felt it hilarious that while we sound nothing like them, the cover is almost a direct ripoff of their logo.
Kaine Delay: We’ve had Re:Mission in our sights for a while now. Their roster is quite diverse and filled with all sorts of acts from EBM to avant garde, so we felt a fringe act like LSD would be a perfect fit. Wes has also been a fan of us for years, so when I told him we were looking for a new home, he jumped at the chance to support us on an official capacity. So far we’re quite happy with it, and we hope to get more releases on the label in the near future.
Kaine Delay: The initial idea was to release a 12” single. But since there’s a worldwide shortage on materials to produce records, prices have gone way up, and it now comes with an eight month turnover time. So we decided to encourage our audience to make their own. Vlad wanted us to include shredded record shards but we found that would be a little too costly to ship out.
Kaine Delay: There’s a concept album in the making. It’s been in the works since late 2019/early 2020. Conceptually it’s going to be very reflective of what’s been going on in the world lately. Because we’re indecisive, we have yet to settle on a title. “God Bless America” is one, another is “All We Do In Hell is Play DDR With Jeff Bezos”. “George Soros Riot Dance Squad” is a third, however that just might evolve into a side project. The sound so far is leaning towards cyber metal, which is somewhat new territory for us.
Kaine Delay: Most people don’t realize that two large pieces of coral which are painted brown and attached to the skull with common wood screws can make a child look like a deer. Thanks for having us! All the best.