Best known for his work in Informatik, and the guitar-driven politically-charged industrial rock of Battery Cage, multi-talented instrumentalist Tyler Newman spent much of his time alone — something that would later contribute to his love of making music.
A lonely kid in the woods of New England
Growing up in the woods of New England meant Tyler Newman spent a lot of time alone. “Well, I was born in Florida, but really grew up in New England,” Tyler says of his early years. “Not much to say about it other than, ‘you can’t underestimate the value of physical isolation, when it comes to creativity.’”
Tyler had to learn how to entertain himself, “you pretty much had to make your own fun.”
It wasn’t just boring days living out in the woods that gave him an appreciation for sonic art. “My mom was … into music, so I listened to quite a bit of ‘70s and ‘80s kind of FM radio pop and rock as a child.”
“She also played the piano,” says Tyler of his mother, adding, “so we always had a piano in the house.”
Being exposed to so much music and his his mother’s musicianship, is the kind of thing, he says, “had a fairly profound effect on me.”
“I have a very clear memory of realizing that, ‘being a singer looks pretty cool,’ and I was certainly younger than seven years old. I would sit in my closet and listen to records,” says Tyler, adding, “and sing along to Michael Jackson and Foreigner, whatever stuff my mom had around the house — probably a fair amount of disco, some southern rock — a pretty wide array of styles.”
It wasn’t until Tyler was about nine or 10 when he picked up his first instrument. “I decided that I really wanted to be a drummer. I honestly can’t remember what the impetus for that decision could have possibly been.”
He says, “So my parents took the plunge and put me in drum class, and I got into the school marching band. From there it was my first drum kit, which I’m sure my parents regret to this day, since I’m sure it was just an endless horrible racket in the attic for years. There are few things worse than child drummers with poor rhythm. This continued for a few years, until I decided that I was still terrible and maybe playing guitar would be cooler.”
“It was certainly frustrating to start all over. And again, I’m sure it was an awful experience for my family to have to put up with that. Maybe one thing worse than terrible child drummers would be highly-amplified teenaged guitar players that can’t play,” says Tyler reminiscing his early days of playing the guitar.
Instruments that would later help define the sound of many of his other projects weren’t even a thought for for Tyler at the time. “Synthesizers were still years away, for me, I’m not even sure I knew they existed, and I never played our household piano.”
According to Tyler, he had a tendency to stay away from most people. “When I was a kid, I was pretty much a loner — never really had a lot of friends, and was kind of by myself a lot.”
“In high school, once I kind of figured out what I wanted to do with myself, it was pretty much music and art-related stuff full-time,” he explains, recalling the period in life in which he decided he was going to be a musician and artist.
“Interestingly enough, most of the music that I would consider very influential to me around that time is still stuff that I listen to now,” he says.
Berkley College of Music
After high school, Tyler knew that he wanted to enter a music-driven career. “The only thing I gave a shit about was making music,” he says. “It seemed very clear that continuing education was the best way forward, since I was very aware of my limitations, and wanted to continue to improve.”
The best choice at the time seemed to be Berklee College of Music. Tyler explains that “Berklee is sort of legendary as a school of ‘rock music.’ And they had these massive electronic music studios there; primitive by today’s standards, but very advanced for the time.”
“But since I didn’t have any significant formal training, and they didn’t consider a synthesizer a musical instrument — they literally referred to it as a ‘production tool’ — I had to go in as a drum major. That should illustrate some of the major issues that I had with them. On top of which, the kind of music that I was listening to mostly around that time —Meat Beat Manifesto, and other quite aggressive rhythmic music — was not only basically unknown there at that time, it was sneered at and condescended to. I really only gelled with a handful of people there. Ultimately, I don’t necessarily recommend that people go there. I recommend people do the legwork themselves, and make it on their own,” he explains.
“Around 1988 or 89, I was really into a very mainstream glam metal type of thing — bands like Mötley Crüe and Def Leppard. That was sort of popular with kids in school, and I liked that music because I didn’t have any exposure to anything else,” Tyler says regarding his early musical tastes. His interest in electronic music came soon after.
“In 89, I first heard Ministry and Skinny Puppy, alongside more classically goth rock like The Cure, Siouxsie and Joy Division,” he says. “That type of sound collectively, sort of changed the entire frame of my understanding about music. The idea of expressing some kind of aggressive, dark, noisy music seemed to really be relatable for me when entering the difficult teen years. Most importantly, the idea that these people were clearly not virtuosos, who likely could not play a blistering guitar solo, whose records didn’t necessarily feature any ‘real instruments.’ These seemed like interesting people to emulate. As I got exposed to a wider array of bands and sounds, I definitely became something of an electronic purist. I refused to listen to music that wasn’t mostly electronic. I once gave an interview where I actually said, ‘a guitar is just a log with a microphone in it,’ trying to show disdain for such an archaic instrument.”
Still, Tyler eventually changed his tune on the matter. “In time, I was able to overcome that attitude, and it’s embarrassing to look back at my immature thinking on that topic. But, it’s worth mentioning that I continue to explore music of all kinds, as seriously as I ever did,” he adds.
Tyler’s favorite artists at the time included such early industrial acts as Throbbing Gristle, SPK and early Skinny Puppy. He also enjoyed aggressive rock in the form of Jesus Lizard, The Butthole Surfers and Big Black, “I actually still listen to a lot of those bands, even though my tastes, in a more general sense, have mellowed.”
Welcome to your career in music
Tyler’s first musical endeavor in the form of a band was a punk group (if you choose to use the word ‘band’ loosely) in 1991.
“I suppose the first actual band I was in, and I’m defining ‘band’ here as ‘consisting of other people,’ was kind of a punk band called ‘Eye Love Fun.’”
“I say ‘punk,’ but that’s probably not quite accurate — we had a lot of disparate tastes in music, and we made a point of changing instruments for each song, so no two songs really sounded that similar.”
‘Eye Love Fun’ hasn’t totally left his radar. “I’ve been revisiting the old cassette tapes to see if there’s anything of musical interest there. That band was certainly a ton of fun, but it was definitely formative of my concept of ‘how to be a serious musician.’”
At the time, Tyler already found himself very serious about making music, and making it as a musician. “Get a band together, make a record, get a deal, go on tour, become stars — or at least respected,” says Tyler of those early years. “I experimented a lot during that time,” he says. “with all kinds of different styles of music, from punk to jazz to industrial. But it always seemed to be heading towards a particular goal of being a ‘serious musician.’”
Wanting to be a signed musician drove Tyler to press forward, “It was absolutely always the goal [to get signed]. There was never any point at which I did not want to be making records and touring.”
Of course his love for music was a major driving force to begin with. “Enjoying music was, naturally, the engine that powered the drive to succeed, but I didn’t see much purpose without that goal,” he says.
Tyler to this day struggles with marketing his music. He says, “Unfortunately, I have a crippling disability when it comes to trying to ‘sell myself’ or my work. Sometimes I think the only reason I ever wanted a band was to have someone else handle the booking and business end of the work. I find it physically painful to really even converse with people about my own music, and I think it’s safe to say I’ve probably only booked a handful of shows on my own in my life.”
“Consequently, I’ve never been able to really achieve the kind of success that I wanted, and that’s my own cross to bear. There’s a lot of mental weight that goes with that understanding, but so it goes,” he says.
Even then, his ambitions always went beyond just being a guy with an instrument. “Initially it was about mastery of all aspects of musicianship: songwriting, learning to play instruments to some reasonable degree, mixing songs, learning how to use texture and timbre, learning how to program synthesizers and tune drums or guitars. Deep listening. Learning about the physics of sound, setting up experiments and failing, … sometimes succeeding.”
Tyler says that shaping himself into a professional musician also included, “Learning how to use whatever equipment was on-hand to do something interesting, with a great deal of trial and error. Learning how to play in a room with other people, making a lot of mistakes and then starting to feel more comfortable.”
A political band
Battery Cage formed around the mid-90s and became his first serious band, “I was essentially doing a lot of that [learning how to be a musician] on my own, and by doing a lot of jamming with other friends and stuff like that. So by the time I got around to starting a ‘serious band’ with ‘serious goals.’ I was reasonably well-equipped mentally to hold my own in a group setting. Without a doubt, the first serious band was Battery Cage. Everything that came before that was essentially just education. If memory serves, I’d say 1995 was the year it all sort of came together and started moving towards some idea of a focused direction.”
The band also had a very clear stance when it began. “My original vision for the band was as a sort of industrial hip-hop band, or certainly something that incorporated a lot of elements from rap and techno music in the early 90s.”
It began as a political band, says Tyler, “It made a lot of sense to me to be talking about political issues at that time, when the first Gulf War was still pretty fresh, and Europe was sort of melting down in this post-Fall of the Wall, post-communist era. Being exposed to the politics expressed by Consolidated, Meat Beat Manifesto, Skinny Puppy and Ministry, well, that was all extremely important in the formation of my outlook at that time. It seemed to be something I felt that I needed to contribute to, if I could do so, the same type of anti-fascist, anti-corporate, anti-vivisection sentiments, to try and inspire other people like me.”
“Since my bandmate Jeremy and I were both pretty hardcore vegetarians, the name definitely made sense, and somehow managed to pass the endless list of other names that we scrapped. After the initial version of the band essentially melted down, that type of political approach no longer really resonated with me, and my focus changed to more personal topics. Of course, it was too late to change the name at that point,” says Tyler of the name Battery Cage.
Meeting Da5id Din and joining Informatik
Da5id Din (Informatik, din_fiv) was working at SINless Records. His band, Informatik, was just gaining popularity in the industrial scene.
“Yeah, that’s interesting story,” Tyler says about how he joined Informatik.
“I was working at a studio called Cybersound, in Boston, which was owned by one of the dudes form Manufacture — a band I really quite liked. Da5id was doing SINless, and putting together the first compilation, Boston Elektro 101.”
After what Tyler describes a “miscommunication between Da5id and one of the bands,” he gave Din a Battery Cage track to add to the release.
“That was in, I guess, 1996. But, Informatik was already going strong,” Tyler says. “They didn’t play any shows, but they had released their own album, Direct Memory Access, and it was pretty good.”
“After Boston Elektro 101, I ended up going on tour with Sleep Chamber — sort of a legendary Boston industrial band — and after I came back, I started working with Da5id at SINless. I guess that would have been around 1997, and we worked on what would eventually become Syntax during that time,” he says remembering the beginnings of his collaborations with Din.
“Battery Cage was doing a lot of live shows, and we were working on what turned into Product during that period. My serious involvement with Informatik basically started when Matt Crofoot (the other half of Informatik at the time) decided to stop working on music. This was after the din_fiv tour in 1999,” says Tyler. “Around 2000, we started working on Nymphomatik (Informatik’s most successful album to date) and obviously that was successful enough for us to keep working together for five more albums.”
Metropolis Records, a label founded in Philadelphia, Pennsylvania during the first half of the 90s by Dave Heckman, had, by this time already released and distributed Din’s first din_fiv album Infinity.
“I think that was, like, their 19th release or something — super-early days,” he says.
“When we were doing SINless, Da5id had licensed the DMA v2 (Direct Memory Access, an early Informatik album re-released as v2.0 under Metropolis) and Syntax albums to Metropolis, and Metropolis was was also a distribution partner for the other acts on the label,” explains Tyler.
“Da5id made a series of significant life decisions in 1998, and closing up our record label was one of those. From then on, Metropolis was basically the label that kept putting out our records, and eventually would also put out the Battery Cage records,” he says.
If something stands out in particular about Informatik, it’s Din’s low, booming voice. Often a ‘love it’ or ‘hate it’ aspect of the band’s music. Tyler acknowledges this, saying, “You’re right. His voice is absolutely the most distinct aspect of our music, certainly following the early ‘distortion’ days. I think there were a couple of critical factors to the evolution of our vocal sound.”
Much of it came to be, because the two felt that Din needed to become more comfortable with his ability to sing, says Tyler. “Da5id needed to become more comfortable as a vocalist and performer. It’s an easy crutch to use distortion to cover up bad singing, and that problem definitely plagues what I hear when I listen to most ‘industrial music’ being made today.”
Furthermore, the band simply grew tired of using distorted vocals, he explains, “… by the time we made Re:Vision, we were pretty much over the distorted vocal sound, it appears on a few tracks on Nymphomatik, but I was very impatient to move away from that, since that sound was more or less out of fashion when we made that record.”
“Three,” says Tyler, explaining another major factor in the band’s moving towards its current vocal style, “we became more interested in vocal performance on our albums, so we started using my voice more frequently, and making more use of vocal harmonies and background vocals, starting around Arena and even more on Playing With Fire. I wouldn’t say there was ever any specific ‘aha’ moment, just a series of evolutionary stages.”
Being in two Metropolis-signed bands, according to Tyler came as more of a happy coincidence. “Informatik already had a deal when I joined the band, so I was really just happy to be there,” he explains. It wasn’t until around 2003, several years after Battery Cage formed that the band would find itself a home at Metropolis Records.
“I think Dave wanted to see if he could break any new bands around that time since the bottom had sort of fallen out of the music industry around 2001 – 2002, many of whom were pretty awful, in my opinion, and only Combichrist really broke in any significant way.”
Informatik released their latest album, Playing With Fire, in March 2013. While the band remains a two-person act, it continues to change stylistically. This is a result of a constant learning experience between the two musicians.
“Any time you work with other people, the entire situation changes. We both bring our own musical ideas to the table, and I think we always sort of start out with some ideas about a type of sound we want to try to explore,” says Tyler. “But eventually, one tends to fall back on certain stylistic habits or sound choices, and it’s difficult to bypass that.”
“Ultimately, whatever we do is filtered through our own personal experience, our songwriting and production experiences,” he says, continuing “The end result tends to be an expanded version of previous efforts. To that end, I think that every record we’ve made has been an extension of the ones before it, where we have gotten better at writing songs, gotten better at playing our parts, gotten better at production.”
You can’t please every fan and every listener. Still, the band remains proud of its efforts, according to Tyler, “Obviously, the results are highly subjective, but at the end of the day, we have to be happy with what we’ve done.”
After Informatik’s European tour in 2009, the two began planning for their next album. Tyler, driven by instinct, he explains wanted to move the band’s style into a cold, minimal techno direction with vocals. Din, on the other hand, was more interested in making arena rock. The result was Playing With Fire. The album, says Tyler, “is very definitely electronic arena rock and is a clear extension of our previous two albums [2009’s Arena and 2008’s Beyond.].”
“We had a lot of false starts and stops while making that record,” says Tyler of the production of Playing With Fire. “I had a lot of frustration throughout. Until things started to really come together in the end, and it was clear that the album was going to turn out sounding really good, I had a hard time getting my head in the right space. Reviews were generally positive, but public perception has never been a concern as long as we are happy with what we did.”
Some who attend Informatik’s shows may notice that the songs sound somewhat different when played live. They don’t necessarily seem as if they are simply reproductions of their album versions. According to Tyler, “In practice it’s not quite that straightforward, but that’s certainly the theory behind it. As anyone who was familiar with our first four albums will tell you, “we changed, maaaan!’”
This wasn’t really always the case. It had more to do with the band’s evolution, and wanting the setlist to feel somewhat coherent. “Once we made Beyond, there was really no easy way for us to make a coherent show out of the songs from that album and any of the earlier material. When it came time to tour that record, we wanted to update the ‘hits’ — stuff we’d been playing from the first four records, to make it sound a little more congruous with the songs from Beyond. Most of those versions ended up on Arena, actually, so I think anyone who is familiar with the last three records would be pretty familiar with the versions that we’re playing live. Even within that type of frame, we do try to play as much as we can live, and do tend to add parts and do slightly different arrangements of those songs.”
Battery Cage goes on hiatus and other projects emerge
While Informatik continues to see success (Author’s Note: Success in this scene is pretty much measured on its own, much smaller, scale.), Battery Cage is seemingly at a standstill for the time being.
“No serious current plans at the moment. I have a couple of songs that I wrote with [bandmate] Paul, but nothing I’m really into, other than a very obvious ‘single’ which is actually kind of great, but I can’t seem to bring myself to really finish it off,” he says.
Other band members have moved away from the desire for the touring and musician life, says Tyler, explaining, “Josh and Roland have serious ‘adult’ lives, and don’t seem to have much desire to work on records with me these days. Which, I can’t really blame them for — half the band is three thousand miles away, which makes it hard to get together to write songs.”
Still, Tyler isn’t afraid to take a good portion of the blame. He describes himself as a “control freak,” saying, “I am kind of a serious control freak about making records, so I tend to unintentionally diminish their roles in ways they likely don’t appreciate. To be honest, we just never got so popular that I feel like a significant number of people would really care if we ever did another album.”
“On top of which, Metropolis wouldn’t release anything we did anyway. So I’m not incredibly motivated — it’s easier for me to focus on things that are currently more exciting to me. That’s not to say I’m opposed to doing another Battery Cage thing, whatever that would be. I will likely still do remixes and stuff for people under that name. But an album is a lot of work, and I wouldn’t really want to do it without a full band undertaking — or without a label to release it on,” he says.
In short, Battery Cage isn’t likely to make anymore records, but it seems the members have lost interest in releasing a full album at this point anyway.
Despite the fact that Battery Cage is, for the most part, defunct, Tyler has launched a handful of other musical endeavors to occupy his time — and his mind.
Much of his desire to create multiple musical projects comes from his wide palette of influences and tastes. He also remembers many of his early favorites, many of whom, created music under multiple names, “As a kid, I was always impressed by the fact that most of the bands I liked, like Ministry, Frontline Assembly, Skinny Puppy and Haujobb, all made records under five or six different band names.”
He further notes, “It blew my mind once I started getting those records and comparing them to their main projects. It definitely seemed like diversity was the goal, and making a lot of records and putting them out was ‘productive’ in a way that really appealed to me.”
“Once I started actually making records, I just became obsessed with the idea of constantly working, so I was always in the studio writing songs and programming,” says Tyler.
Between Battery Cage sessions, Tyler began working on a new project, AEC. He explains, “The first AEC record was literally written in half the time it took for me to complete the first Battery Cage record, in fact one of the songs on that record started as an AEC track.”
“The current stuff I’m working on basically allows me to work within the framework of a genre that I am really into, as a fan, but I never really had an opportunity to explore in my ‘main bands,’” says Tyler.
“Whether that’s doom metal, hiphop, or extreme ambient drones, I see it all as incredibly valuable to my abilities as a musician. Most importantly, working on multiple projects simultaneously keeps me on my toes creatively — some of the more experimental work I’m doing is stuff that I find incredibly challenging to create, even though for most people it’s possibly unlistenable,” he continues.
Because Tyler considers himself less sociable than most, he has given himself the opportunity to work constantly on his music.
“Socializing really was never that appealing to me, so this gives me something to do that keeps my imagination active. As I’ve gotten older, I’ve realized that all this ‘enforced busy-ness’ has had a high price, in terms of relationships, or things that I should have spent more time doing — vacations, etc — and I’m really forced to consider what value I’ve potentially added to the world and whether or not it was worth it to me. It’s a painful open question, and I’m able to distract myself from the potential answer by simply continuing to work constantly.”
“I’d only consider some projects ‘current,’ in the sense that I’m actively developing records for Informatik, One Horse Town, negative_crush, The Valley Of Wolves, K-Ninja’s, white.light.monorail and any stuff I might do under my own name — soundtracks and field recordings, mostly — would fall into that group.”
“Then I have a bunch of ‘archival’ projects, which are not really in active development these days. AEC, Battery Cage, Opium, Typewriter Ventriculus, Autio would all fall into that group,” he explains.
“It’s not impossible to think that I’d restart some of those archived projects, but there’s nothing in development right now. I think at this point, I’m pretty well saturated in terms of things I’m working on, so it doesn’t seem super likely that I’d record under a different name. Of course, collaborative efforts are treated a little differently, and there are a few exciting potential ideas in the works for 2014. negative_crush is definitely my ‘main project’ at the moment, sort of filling the role that Battery Cage used to play in my life,” adds Tyler. Recently, he launched a new band, Blood Twin, alongside A’Lizzabeth Barrett.
“There’s no genre of music that I would be unwilling to get into,” says Tyler. “However, there are clear limits to my abilities, and I’m very aware of what they are. As much as I might like to make a serious country record, or an opera record, or shredder metal, it’s just not going to happen. At least, not on my own. With the right collaborator, anything is possible, I think. The projects that I’ve done were all completely driven by a desire to explore a certain type of sound, and there’s no question that I’ve enjoyed working on all of them”
Self-releasing vs. a label
As services like Bandcamp become more prevalent, many argue that there is no need for musicians to sign to a record label. Home computers and much more affordable software make it easy for almost anyone to release an album.
According to Tyler, his process for producing albums remains largely the same. “It hasn’t changed much about the way I make music, actually. The first Battery Cage album Product was the only one I ever recorded in a ‘professional’ music studio. But since I worked there, I wasn’t really paying for studio time, it was just mostly overnight sessions when the studio wasn’t being used anyway. I’ve always considered it critical to be as self-sufficient as possible, with regards to recording and writing, so making records in my own studio is ideal.”
Regardless, he still feels that labels are necessary, if anything for the promotional aspect of an artist. “That said, I disagree with the idea that bands don’t need labels. I don’t particularly like having to serve as the PR team, or the business manager, on top of having to actually write, mix, and produce a record,” he says.
“I’m good at one thing, making music, the rest is best left to professionals. The loss of labels and the loss of funding for making records has been bad for artists, in my opinion, even though that may not be clear to everyone yet,” Tyler elaborates, adding, “Additionally, I really do think that there’s something to the notion that it should be someone’s job to curate music, generally. There’s, in anyone’s estimation, far too much material available out there. That super abundance has led to the devaluation of music, in people’s consciousness, to the point where music is basically aural wallpaper — a constantly running background noise to accompany doing other tasks. That’s an unfortunate state of our cultural existence, and hopefully we’ll see that turn around again. I’m really unsure whether I’m optimistic about our prospects, in that regard.”
Venture into film scoring
Tyler got his first taste of film scoring several years ago with his soundtrack, Opium. Because of contractual issues, he couldn’t work under his band’s name (He remains reluctant to go too into detail as to the name of the film and which band it was, and even what entities were involved in said dispute.) Unfortunately for him, the unnamed film never saw a release — the director of the film died of a drug overdose. Opium only managed a release several years after the contract had expired. He renamed the album Twilight.
This was a learning experience for Tyler. He ensured that the next time he did music for film that he would be allowed to release it himself, regardless of what happens to the movie. The next film was called Zonekiller.
“Really a great example of ‘right place, right time,’” says Tyler of being commissioned to do the soundtrack.
“Mentally, I was definitely in the mood to make an entirely electronic record, something that drew on stuff I’ve made in the past, but without the pressure of ‘saying something’ with vocals and guitars. When I was asked to do it, it worked perfectly for me, since I was already kind of wanting to do something like that,” he explains.
“As far as working on the compositions, it was really more of an exercise in ‘how will what I’m doing work for the scene?’. The notion of performance never really came up in my mind. The filmmakers had approached me as fans of Battery Cage, and had asked me to create something in that kind of style. So, I really just wanted to kind of conform that request to my notion of what Battery Cage possibly sounded like to them, and then blend that with what my ideas of ‘soundtrack music’ should sound like in that context.”
Accomplishing the sound for the Zonekiller soundtrack involved looking back at some of his favorite science-fiction movies, but doing his best to keep his own musical identity in the process. He says, “Blade Runner, 2001 and 28 Days Later were all reference points for the film team, so I basically just put myself in that zone and ran with it. Those films, for me, are classics and are amongst my favorites, so it was a real pleasure to try to work on something that would be in the same musical domain. But, when you’re trying to go up against Vangelis [composer of the Blade Runner soundtrack], you’re really not going to win playing on his field, you know? If anything I was trying to actively avoid using similar chordal structures or synth sounds from any of those movies. I was definitely trying to modernize without falling into any modern clichés like adding dubstep wubs to any of the music”
Because the movie had not yet reached the filming stage, Tyler had to work with nothing but storyboards and a basic concept. “Basically I was working to storyboards, where the film team would sort of setup a scene and lay out the action in a linear manner. Obviously this is a creative challenge in a lot of respects, but in a way it was easier for me. It’s hard trying to conform music to a precut piece of film, without extreme tempo mapping and other tricks, all of which is sort of ‘unmusical’ to me. So I could just run with my own mental model of what the scene would look like, and try to lay the music out to meet that visual idea. Whether it will be successful or not, I can’t say, since I haven’t seen a single frame.
“My big concern was, and continues to be, whether or not these guys will even be able to make the movie. They’re basically film school students working on something that, to me, is a pretty large scale investment in money and time. I haven’t had a ton of communication from them since the record was handed off. The contractual stuff basically amounted to me getting the rights to sell the soundtrack as an album on it’s own, so they can do whatever they like with the material in the film, I just didn’t want to get stuck with a full record worth of material that would never seen the light of day. I had that happen once before with the Opium record that I did, and didn’t want to go through that nonsense again. I certainly hope that they’re able to get the film made, I would love to see whatever they come up with.”
Tyler is currently working on his latest project, Blood Twin. Informatik remains active, and while the band hasn’t toured in some time, we will continue to see releases for as long as the two choose to keep writing music. He also says that he has an extensive backlog of works and various projects that he still wants to sort through.