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LEECH WOMAN - PRESS ARCHIVE

THREE 3ZERO
(Editeur, Neversun)

Fourth full lenght album for UK's Leechwoman, with the help in remixing by other imminent noisebringers.

In all the distortion and brutality of the sound on this album and my friends' straight hair and scared facial expressions while playing it in my car, I find this work fascinating above average. The power of harsh industrial gives you no time for a deep breath throughout the whole album. Compared by the record label to NIN's album Fixed, they also state: "Mood music for people who should clearly be locked away."

Lock me away!


(Mark Chapman, Metal Hammer)

There can be few bands on the industrial scene more dedicated, more focused than Leechwoman. The London-based outfit have spent years honing their unique sound without once making a concession to the pernicious gods of fashion or commerce, and with Three 3Zero , they finally have an album that comes close to replicating their live intensity. Leechwoman's sound is based round the mechanoid Kodo drumming of Rog, a percussive brain-pummelling assault on a kit made of old gas cylinders and washing-machine drums, filled out with abrasive guitar grind and distorted vox. Their debut album was hamstrung by extremely muddy production, but this time round it s crystal-clear, allowing the raw, pared-down style of the band to shine through. It's easy to forget that industrial music was essentially invented in the UK by Throbbing Gristle because this country hasn't produced a lot since then, but Three 3Zero stakes the claim once more. Mindblowing. 9/10


(Kerrang!)

London's filthiest band take industrial back to basics.

Before it became the domain of dull-as-fuck Nine Inch Nails clones, industrial music, according to genre originators Throbbing Gristle, was all about making the nastiest, most hellish noise you could with whatever you had to hand. Leech Woman have taken this approach to heart on this, their second album to date.

Armed with angle grinders, steel bars and washing machine drums - alongside buzzing guitars, frontman Alex B's tortured vocals and grisly distorted bass - the quartet have finally nailed down the hypnotic, percussive intensity of their live show. Eschewing such niceties as catchy choruses or bouncy grooves, 'Three 3Zero' instead evokes a setting of hopeless, urban paranoia as uncompromisingly bleak as you're likely to get. Just don't expect to hum it on the way into work. You have been warned.


(Jonathan Selzer, Terrorizer)

'Test Department' sneer the cynics, venting the particular kind of disdain that's solely reserved for those who look to the outer margins for inspiration, as though other forms of filching are so ubiquitous they barely warrant mention anymore. Hell, I'll even throw Test Dept in myself, not so much for Leech Woman's fibrillating, hyperkinetic scrap heap clatter, as obvious a reference point it may be, but to make the point that in looking further back into the roots of industrial, they've grasped the fundamental point of the genre, the one that got entirely lost amidst the haze of extra-hold hairspray and narcissism, surely the singularly most inappropriate pose its pretenders could have possibly struck.

Industrial was all about the environment, how to engage with it, how it penetrated you. How it fucked you up and how to fuck it back in return. Sod green issues, Leech Woman deal with grey and black issues; concrete, surveillance cameras, the city's impatient, attention-scattering clamour, and how to assert yourself when your environment never allows you any composure.

'Three 3Zero' feels like London. And anyway, spiritually I'd compare Leech Woman more to Kevin Martin's one-time 10-piece-plus ensemble, God - for their brutally psychedelic, petrifying density, for the way their information overload always manages to coagulate into the most voraciously physical of grooves, determined to invoke an array of conflicting muscle spasms throughout your body and let them fight amongst themselves.

Opener 'Tool' starts off with that famous 'Scum' scene sample ("Where's your tool?", "What fucking tool?" THWACK! "This fucking tool!"), after which they proceed to wield their most effectively unsubtle of instruments throughout. Alex B howls "Why can't I sleep?", self-evidently it must be said, amidst an almighty din, relayed percussion rattling like steam escaping through dustbin lids and guitar riffs working away with all the absorbed determination of someone sawing your legs off.

Elsewhere, 'Cardinal''s endlessly palpitating groove makes you feel like you're part of some Stygian chain gang, 'Bound And Blind' comes on like a disoriented Tin Man stumbling through a hall of mirrors, and they're all threnodies of the condemned, all railing with the realisation that there's no way out on 'There's No Way Out', and rather than pretend otherwise, use that understanding as the most unstable of building blocks for an identity. And fuck me is it powerful.

'Three 3Zero' is an overwhelmingly paranoid album, but I'll say one thing for paranoia; it forces your eyes wide open. Leech Woman can't quite take it all in, result being that their debut isn't just a trip into hell, it's also one hell of a trip. 8.5/10


(Gilez Moorhouse, Rock Sound)

I remember when I were a lad, a time when Industrial wasn't just a by-word for the blip-pop of a million and one EBM bands; a time when men were men, gauged purely on their ability to smash the shit out of any number of inanimate objects, and the women were scarier still. A time when music was anarchy and the greatest form of artistic expression was trying to demolish the ICA from within; a petrol bomb in the face of musical apathy. Leechwoman are such a band; ugly as fuck, hard as fuck and noisy as fuck. And what a glorious noise it is too; the band's decision to draft in 2nd Gen's Wajid Yaseen to twiddle knobs, 'Three 3Zero' is the sound Leechwoman have attempted to capture on tape for the last 8 years.

'Tool', 'Solid State' and 'Cardinal' make for one of the harshest, most uncompromising introductions to any album in recent times; a 'Reign In Blood' for the alienated youth of urban decay, with the band are in full effect they're untouchable; a pounding, tribal, coruscating blur of rhythm, a Kodo Drummers for the Home Counties. 'Breaker', 'Fedrill', 'Knuckle Hate', 'Bound And Blind' and 'Section 13' carry the album ever onwards towards the climactic Gabba assault of Kincaid , each featuring varying degrees of shit, piss and industrial waste, a sound the band have perfected since their genesis. Influenced as much by the brutal pounding of Neubaten and Evil Mothers as they are the ferocity of Extreme Noise Terror and the electronic affectations of Optimum Wound Profile, Leechwoman are the ideal alternative to the anodyne and mundane; the bitterest pill to even the most hardened junkie, an impenetrable wall of white noise for those that don't understand or just can't be bothered to make the effort. Their fucking loss! 4.5/5


(Gilez Moorhouse, Rock Sound)

It is a great pleasure to get a new Leech Woman release. Debut album 33° came out in 1997 on Jello Biafra-led Alternative Tentacles. The world beckoned then Jello pulled the rug out on the British side of Alternative leaving Leach Woman label less. A remix album Shit Piss And Industrial Waste followed but Three 3Zero is really second album proper.

Far from disappointing it is too. The beefed up production courtesy of 2nd Gen Wajid Yassen gives it a deserving power. For that reason we can certainly forgive opening proceedings with old favourite Tool. It's never a bad idea starting an album with a sample. Especially not when its as powerful as the "where's your fucking tool", one from Scum.

For the next 48 minutes Leech Woman take us on an uncompromising and uncomfortable journey into the claustrophobic bowels of London. For the uninitiated that have yet to discover the wonders of Great Britain's most devastating live band it could well be a bit of a shock. I fully expected the CD player to register 23 tracks even though there are only really 11. It's an Illuminati affair people and one that fully encompasses the dark paranoid ranting contained within. This industrial beast lurches from one nightmare to another. Industrial music has come so far since the early days of Throbbing Gristle and it is the percussion that makes Leech Woman the most exciting band in the scene today. Much in the same way as SPK Rog creates an unholy racket with his very interesting set up. No drum kit per se on display here. Dustbins and all manner of steel implements are battered with a clashing clarity that lays waste to all in its path. Alex B bellows out hate filled vocals and the whole cacophony leaves the listener totally devastated by journeys end. The new songs are well and truly forceful and will be great when played live. Solid State rattles out like a fire alarm going off in the depths of hell. Cardinal beats a tribal tattoo of impending doom with a bass line rumbling ominously in the background. P Rise guitar playing is always present sometimes shining through and getting a voice above everything else. Breaker has it duelling with Alex nihilistically screaming out, "I am nothing". Bound And Blind romps along like a sado-masochist in a bondage chamber. Nick from Hydra (another deep dark secret) takes over the vocal duties on this and unless I'm very much mistaken a riff from Grandmaster Flash's White Lines is thrown into the mix.

Fendrill Second Generation clatters along like a motorway pile up in its instrumental intensity. Old track Kincaid is given the gabba remix treatment and finally 2 1/2 minutes worth of white noise finish us well and truly off.

Three 3Zero conjures up images of secret societies and sinister goings on in the dark underbelly of the city. Bleak horrors are hidden away and much as in the way author Christopher Fowler hints at all is far from well. Hopefully it will herald the way forward and get Leech Woman playing on a wider international scale. See them live if you get the chance. Not only do you get the music but a visual show and angle grinder pyrotechnics.

I will say it again: DEVASTATING.


UNCERTAINTY DEVICE #26573
(Electroid Dancezine)

Very creative, fragmented, dark and hardcore. Leech Woman represent 100% screaming madness with a ton of balls. A kin to Skinny Puppy or any in that league, Leech Woman flesh out the Wasp Factory roster with a great album of remixes. This is what happens when you let freaks in the door. There is some awesome shit here, a true standout being the Ambassador 21 remix of Breaker with its pounding "I Am Nothing.....like you" shoutout. Another ripping bout of neck snap is the remix of Exitboy's mind reorganizer "Cardinal". This record with all it's different parts, has UK electro written all over it. It'll be on the scene, that is a given. Say hello to the Leech Woman from London.


(Fredrik Hörström, Moving Hands)

This is a remix collection based on songs originally released on British Leech Woman's first three albums, a vital remix album which despite the fact that 8 songs appear in 18 different versions doesn't become boring. The key word is different; most of the remixes do have their own character.

The Noise Creator remix of "Solid State/Fedrill" utilizes a couple of samples from the movie "Event Horizon" to create a horrific atmosphere where cut-up beats interlace with screams and noises. This is easily my favourite track on this album, even though there are quite a few excellent tracks to be found.

The Dark Half remix of Cardinal is a dark, cinematic piece flavoured with piano and strings while the vocalist screams in agony. No noise to be found on this piece, a welcome break and a time to cool off a bit.

There's also awesome industrial drum and bass (the Matt Green remix of "Tool"), gabber-noise (the Total Output take on "Solid State") as well as head on, straight up, punch in the face noise terror, best exemplified by the Exitboy remix of "Cardinal".

This is an uncompromising and brutal release, a complete headfuck actually; it's a release I love when the time is right while I can find it utterly disturbing when not in the mood for it, just as I think should be the case with harsh noise music. A while ago I stated that a "remix record should get you interested in the remixed artist, or at least in the remixing artists"; unlike the record in question back then this one does get me interested in both, and now I'm off to find at least one of the original Leech Woman releases.


(Matthew Johnson, Grave Concerns)

Leech Woman are pretty noisy to start with, but this collection of remixes brings their signature mix of heavy guitars and metallic percussion to new levels of sonic punishment. Mental Output’s remix of “Tool” and Germseed’s take on “Kincaid,” for example, consist almost entirely of harsh noise and earsplitting feedback, overwhelming all sense of order. Other artists cast Leech Woman in a more electronic light: Total Output infuses “Solid State” with gabber and jungle elements, while Matt Green’s version of “Cardinal” is an almost unbearably brutal excursion into drum ‘n’ bass territory. More experimental ideas get their share of exposure, as well, with the echoed percussion and whispers in Advanced Idea Mechanic’s “Cardinal” remix and the layers of fuzzed-out ambience in Schizoid’s remix of “Knucklehate.” NeedleEye’s mix of “Section 13” comes closer to the original Leech Woman sound and is vaguely reminiscent of Bile or Ministry, but like the other tracks here it’s overwhelmed by distortion and static. The Dark Half stands out from the rest with yet another mix of “Cardinal,” this time pairing the raw-throated shouts of the original with minor-key piano arpeggios and cinematic strings. What holds all of these diverse tracks together as a coherent album, though, is the sheer vitriol that the original versions lend to each of these mixes. Whether it’s the jagged loops of guitar interlaced with the more intellectual techno pieces or the pounding scrap metal assault blaring through the more minimalist offerings, it all comes across as some of the most misanthropic music ever to torture the human ear. Take Ministry at their angriest and cross it with Converter at their most grating, and it still won’t be half this brutal. Listen with caution.


(Editeur, Neversun)

Fourth full length album for UK's Leechwoman, with the help in remixing by other imminent noisebringers.

In all the distortion and brutality of the sound on this album and my friends' straight hair and scared facial expressions while playing it in my car, I find this work fascinating above average. The power of harsh industrial gives you no time for a deep breath throughout the whole album. Compared by the record label to NIN's album Fixed, they also state: "Mood music for people who should clearly be locked away."

Lock me away!


(Dave Madden, Rancid News)

I'd never heard Leech Woman's music before, so I put my Google powers to work while listening to this remix disc. After thirty seconds, I gave up, as I feared that nothing could possibly surpass the quality of what I was experiencing. Let me explain.

Uncertainty Device #26573 is what would happen if Ministry actually took the plunge into the noisy territories they hint at on some of their instrumentals. Leech Woman is the band that Alec Empire could have started if he'd spent a little more time on the music and corrected his offensive mixing techniques (just because he did it on purpose, doesn't make it less irritating).

The album fuses hardcore, industrial, punk, grindcore and other noisy styles into a nasty, spiky mass, and offers something that's surprisingly inviting -- depending on your tolerance of pain, that is. Though Noize Punishment's take on "Tool" will prepare you for the rest of the disc, only a steady diet of Wolf Eyes or Merzbow could prepare anyone for its sonic punishment. A droning white-hot bell starts the riot, then gives way to an equally powerful bass rumble and a mix of synthetic and acoustic drums; it makes "When the Levee Breaks" seem like a lullaby. The vocals, chanting "I stay awake, I will not sleep", only add to the chaos -- and then it actually gets louder. Trust me when I say that you've never heard guitars like this, or a mix this physically loud. However, the disc was somehow mastered in-between two worlds: it reflects the impending doom of Leech Woman's sonic assault, but ensures that you can still hear all elements of the holocaust on plastic -- all the timbres of percussion and all the colors of the distorted rainbow.

"Breaker", remixed by Ambassador 21, gives a nod to Einstürzende Neubauten, demonstrating Leech Woman's penchant for perverting acoustic and "found" instruments according to their will. Clanking oil can "drums" serve as the backdrop to pummeling guitars, jet engine samples and a monstrous men's choir shouting "I am nothing (like you)." Schizoid's version of "Knucklehate" relents a bit, but only compared to what you've heard so far. A stripped-down ensemble of beatbox and pervasive, moody atmospheres carries the vocals, which come off like a slam poet burning at the stake. "Solid State" (Total Output) follows a similarly minimal path, adhering to a drum 'n' bass model of break beats and sub-bass tones, but holding onto the album's prevailing gloom via maniacal guitars and screaming vocals. Exitboy takes the garage band approach to his version of "Cardinal"; it's a piece that you could imagine being played in a live setting, with the band members exiting the set covered in bruises and blood.

Out of 18 tracks (plus the obligatory "mystery" track and four tracks of silence/subliminal Satanic messages), you'd be hard pressed to find a lemon; as any that seem like also-rans turn out to be sleepers, usually on the very next listen.

Wasp Factory claims that Leech Woman is "the first UK band since Throbbing Gristle coined the term 'industrial' to fully re-embody the aesthetic,"and you should believe it. After just a few days of Uncertainty Device #26573, I'm having a hard time going back to anything in my library I thought of as "challenging" and "hardcore". Now, back to that Google search...


(Pete, Live 4 Metal)

Apart from the tenuous industrial tag we could put alongside Godflesh, Fear Factory and Leech Woman, the bands have another common denominator. That is the fact that they are all partial to the remix album. Uncertainty Device # 26573 is actually Leech Woman’s 2nd on the back of 2 studio albums. Don’t let this put you off though as this is one hell of a varied project, grouping together some of the finest (and in many cases incredibly underground) artists in the scene who put the band through an 80 minute blender. Lets get the numerology aside first. There are 18 remixes here and the CD registers as always, with this band, 23 tracks (see The Illuminati for more details). 26573 is at a guess a date of some significance as well. Lets pass this by and get onto the music. On first listen I was really looking out for the re-mixer who was going to do the best job of fucking about with singer Alex B’s vocals (not that they really needed much help in that department). I was also wondering if everybody got the chance to choose their own song and if all 18 of them had at first wanted to do Tool. Despite the temptation it is actually Breaker that gets the most reconstructions (4) and not one of them is remotely alike.

Noize Punishment (Tool) sees the Czech terrorist putting a heavy as hell chug into the song, which drills into your skull in an unrelenting fashion. Russians, Ambassador 21 (Breaker) gives an SPK laden organic, hit the garbage cans treatment of the song. The jagged guitar attack and nihilistic, “I am nothing” vocal torment make this one a favourite on the album for me. The UK gets a look in with the ever-excellent Needleye giving Section 13 a grandiose darkwave treatment. This shimmers with an entrancing sensuous beat and provides a perfect head-massaging trance out. Canadian Schizoid (Knucklehate) provides ambient minimalism whilst forcing the vocals harshly up in the mix. The speed garage approach of Tarantella Serpentine again grabs the Tool firmly in both sweaty hands and turns it into the sound of a tin man falling down a very long staircase. Exitboy (Cardinal) gives a wild cut up version that at first reminded me of the likes of RevCo and KMFDM and went on to flesh things out with gabba beats, tribal percussions and mighty vocal roars. Uniform (Breaker) gives us an instrumental interpretation brilliantly twitching all over the place with an epileptic ferocity. The Dark Half (Cardinal) adds an unexpected piano montage giving Leech Woman an odd dinner suited respectability. This is even odder bearing in mind the Dark Half is a side project of Paul C (Medulla Nocte & Murder1). Mental Output do as suggested and fuck with our heads (Tool) this is digital hardcore gone insane in a Merzbow sort of way and is only for the very brave. Germseed (Kincaid) throb things out with a static white noise twist, which is akin to a long electric shock. Although I went into this with uncertainty (sorry) the 18 tracks provide a picnic box of hidden delights and not one had me hitting the skip button on repeated listens. If you like your music sounding like a party at a scrap metal yard you really have to get this, otherwise you really are a bit of a tool.


(Tommy Udo, Metal Hammer)

Rank squatter experimental industrial sleaze merchants Leech Woman - love that name - keep the filth alive in the manner of Throbbing Gristle, Whitehouse and chums. Here subterranean DJs and remixers such as Tarantella Serpentine, Noise Creator, Exitboy and others cut and paste their already sample and noise collage sound into a new order.


(Richard G, Hard Wired)

A remix compilation of Leech Woman's material, mashed-up by a selection of 18 underground artists. The band's harsh industrial sound gets stretched into all kinds of shapes and sizes, starting off slowly with distorted offerings from Noize Punishment and Ambassador 21. Needleye's reworking of 'Section 13' picks up the pace, reminiscent of Velvet Acid Christ, and Matt Green's Broken Wank mix of 'Cardinal' takes it to the next level, in a furious, slightly Aphex Twin rush of drill 'n bass. Tarantella Serpentine offer a slab of dark, throbbing drum and bass version of 'Tool', Exitboy throws in squelching acid-techno sounds, Noise Creator put 'Solid State' through the Gabba mangler, Hydra turn 'Kincaid' into a 242-esque EBM pounder, and Mental Output produce a migraine-inducing wall of noise.

In an age where 'alternative' is a commercial pigeon-hole, this album serves up the guts, attitude and challenge that is all too often lacking in modern music, but with a depth and variety to it that keeps you interested from start to finish. Some great un-easy listening.


(Mick Mercer)

It's another Remix job, but unlike the harmonious and safe Goteki experiment, this album goes to almost unparralled dimensions of dementia in twisting and corrupting sounds in new and challenging ways. Right from the initial 'Tool' you're presented with something which would have made anyone from traditionally accepted masters of the both underground and commercial ends, from Test Dept to Prodigy, take a double-take, then run screaming from it. The modern day sounds are a testament to testing one's mettle.

The noise spews forth with almost vile intensity in 'Breaker', whoever (man)handles it, and the ranting messes can seem suffocating, but the muted, often mutant thrombosis coming through keeps you in your place, worried what might be coming next. It's a diverting collection, with grotesque complexion, from hyperspeed electro thrash to people having fun smashing tech-tonic plates, and creating ugly, brisk dance music from a form of Morse code only usually understood by renegade satellites.

The Dark Half are total bastards, suddenly introducing piano into the equation, but mostly these are depraved professors of sound, giving us a twilight world where Crass goes Techno, Industry goes OI, and you go and have a lie down afterwards, which is no bad thing.

It's absolutely fucking horrible, and a genuine work of art, if you're brave enough to let them seduce you with their come-hither scythes.


(Sleazegrinder)

In which a whole lotta DJ types (Tarantella Serpentine, Noise Creator, Germseed, etc.) reinvent the crazed, bio-mechanoid tech-dustrial terror of UK’s leading murderrobot task force, Leech Woman. If you haven’t had the pleasure of freely freaking to the deathsludge superbeat of LW before, just think Throbbing Gristle getting blown to pieces by a pipe bomb, and yr on the right path. Here, the relentless wallop is sliced and diced into insect-like segments of creepy beats and deranged yelps. As Leech Woman are largely an ‘organic’ industrial band- meaning the sounds of grinding metal and sledgehammers on pig skulls really ARE grinding metal and sledgehammers on pig skulls- even the remixes lack the cyber-smoothness of their most digitally-minded counterparts, so it’s all jagged and difficult and head-fucking, and the only way you could really dance to this is if ‘dancing’ meant convulsing. Which it might, I dunno, I don’t dance. Anyway, if yer the type to call electro-disco what it is- DISCO, not ‘industrial- then yer probably smart and brave enuff for this ugly joyride. This, brothers and sisters, is the sound of rock and roll coming completely apart.


(Rick Deckard, Logo)

Though Wasp Factory unleash this collection of Leech Woman remixes on the same day as they unleash reworkings of Goteki’s oeuvre, the two couldn’t be more different. Infinitely tougher and uncompromising, ‘Uncertainty Device #26573’ is industrial in the truest sense of the word, microtonal deconstructions that could just as easily have been created using cement mixers, jackhammers and diamond-tipped drills. Polar opposites are offered in the neo-gothic, Teutonic lullaby from the moonlit grave that is The Dark Half’s rework of ‘Cardinal’ and the extreme drill ‘n’ bass of Matt Green’s ‘Cardinal’, a track that doesn’t so much locate the ghost in the machine as strap it down and discharge the national grid through its bollocks. Is uneasy listening for budding serial-killers a genre? It is now.

***½


SPACE JUNKIES

Wednesday Elektra: Hi! How are things?
Alex B.: Really good, thanks for asking.

Wednesday: Jason Smith (AKA Schizoid) sent me a copy of your remix album "Uncertainty Device #26573." For those that don't know tell us a little bit more about the album - how did it come into being, who's on it, what was the outcome like, etc.
Alex: The CD was a combination of bands I know and artists that have played or DJed at Sick And Twisted. I just asked them if they were up for a challenge, and thankfully they said yes. Some of the artists, ( Dark Half, Germseed, Advanced Idea Mechanics, Tom Mills) hadn't had material released beyond demo's and self releases, but I thought their stuff was way beyond that and wanted to get them to a wider audience.

Wednesday: Do you think you'll put together albums like "Uncertainty Device" in the future? If so, who would you like to be on it? If not what are the reasons for not wanting to do another?
Alex: Definitely. Who would be on it? Hmmmm. Anyone who would work for free! I don't know, we'd have to wait till the next proper Leech Woman album is done and see who's around when we want remixes done.

Wednesday: What is the current make-up of Leech Woman? Who's in the band and what are their roles? Describe what you sound like.
Alex: There is myself, Alex B., I am the bassist and vocalist, Raye, who does sound and electronics, Rog, metal percussion, and until recently, P Rise was guitars and vocals, but he has since left the band.

Wednesday: Where did the name Leech Woman originate? Where there any other names before settling on Leech Woman? Explain.
Alex: 'The Leech Woman' is a really bad 1960 B-movie. I just found the name and thought it fitted what we did perfectly.

Wednesday: Are you still running Quai Loh Records? Tell us about it.
Alex: Yes and no. The new CD, 'Uncertainty Device #26573' is sort of co-released with Wasp Factory, although to be honest they are doing all the work. So in reality, no, not really.

Wednesday: I'm not overly familiar with Wasp Factory Records, how did you become involved with them and who else is on the label? Where can people go to find out more about Wasp Factory and its artists?
Alex: Wasp Factory is a little independent industrial label in the UK. We have been friends with them for years and offered them the CD to release. They kindly agreed and here it is. They are a great label with a real diverse roster. From dancey cybergoth, guitar industrial and then our hideous racket. You can check all their releases out at www.wasp-factory.com.

Wednesday: Have you collaborated or been involved in any projects by other Wasp Factory artists? If so, who and what were the projects about. If not, who would you like to work with in the future and what type of project would you like to work together on?
Alex: Some of the Wasp Factory artists appear on the CD, ( Exitboy and Tarantella Serpentine), we are planning to do something with Exitboy but were not sure what.

Wednesday: How are your Sick & Twisted shows coming along? Do you have any coming up in the immediate future for those in the UK region to check out? Where do most of these shows take place and what kind of music can people expect to hear there?
Alex: They are doing OK, thank-you. We do them every 2nd Friday, Upstairs at the Garage, Highbury Corner, London (England). You can expect to hear a real mash up of underground sounds; gabba, raggacore, breakcore, drill 'n' bass, digital hardcore etc. If you want to be on the mailing list then write to sickandtwisted@ntlworld.com.

Wednesday: What are some of your favorite local artists? International artists?
Alex: Local would be: LamI, cool Killing Joke/ Neurosis metal. Needleye, Fear Factory styled cybermetal. Shitmat, gabba that makes me laugh out loud. Total Output, just good quality gabba/dark d'n'b. Panic Dhh, very cool new signings to DHR. 2nd Gen, excellent industrial beats. Zan Lyons, beautifully sad electronica. International - Slayer, do I have to explain? Noise Creator, superb use of beats and noise. Neurosis, just the most incredible band on the planet. Oh and a million more, but these are my favorites at the moment.

Wednesday: What is a live Leech Woman show like? What can people expect to experience at one?
Alex: Incredibly full on. We don't believe in holding back. Why do a half arsed show? It only makes people talk shit about you. If you are into volume and energy then that's what we do.

Wednesday: What or who influences you to create the music you do? Explain.
Alex: I know it's corny but just life. You have to get out your frustrations somewhere right? We could do nice poppier songs and sell more CDs, but, y'know, that'd be fake.

Wednesday: Are you involved in any other projects besides Leech Woman? If so, what are they? If not, have you ever planned on putting together another project? Explain.
Alex: I'm always trying to find things to do. The first thing I did outside LW was Shit Spitter. Four tracks of pissed off gabba punk. Really enjoyed that. I have done some vocals for Total Output, I am going to do vocals for The Dark Half, still trying to get a digital grindcore project off the ground which will be called matblackshotgun and I'm currently working on stuff with a friend under the name Cannibal Hymn. Which I think is enough to be going on with.

Wednesday: Tell us something about Leech Woman that we don't already know.
Alex: We are all actually trained assassins who do the jobs Governments wont.

Wednesday: What do you have planned for the future? Any shows, tours, festivals, albums coming up that we should be aware of?
Alex: We have asked some of the remixers to contribute backing beats for the next album. We are very excited about this as it will push us in a new direction without losing continuity. As for live, well we've got to get a new guitarist first, so there may be a wait. I am DJing at the Resistance Festival in Bratislava though, www.resistancefestival.com, which will be fun.

Wednesday: How can people get a hold of you for more information? How can they purchase any of your releases or visit your website?
Alex: They can either email me at alex.leechwoman@ntlworld.com. The official Leech Woman site is www.leechwoman.com. For releases you can go to www.wasp-factory.com, www.darkcelldigitalmusic.net, www.musicnonstop.co.uk or www.industrial-music.com.

Wednesday: In closing do you have any other comments or information you'd like to share with the readers of Space Junkies Magazine?
Alex: Yeah, support your local underground artists. And of course the scene as a whole. Don't dismiss anything without fully questioning it, that goes for music, politics, religion, food, etc. Always question yourself and your actions and always make yourself heard. Not everything has to be serious, go and have fun for fuck sake.