ROX-TV hits the bricks in Detroit to cover the Perturbator and Health Concert. We got an exclusive interview with James Kent after the show and it was a good one.

Welcome back to the ROX-TV website. As always, we thank the returning readers and the first timers stopping by to see what’s been going on. Tonight, we have a very special interview with the man behind the music, Perturbator’s James Kent. This is an exclusive interview, and the content can only be found at ROX-TV. We strive to bring the readers and fans of music a unique and intimate view of their favorite artists in real time. As anyone who’s followed my writing knows, I regard music as my own personal religion. The sounds and vibration are sacred, and if you’re not into music, I’m probably not into you. I don’t say that in a confrontational way though, it’s just a fact. Music is a driving force that has the ability to make people fight, fuck, go to war, make peace, love, and everything in between.

Music is with us when we are born, and it is with us in the funeral home when we die. Music teaches us how to express our feelings and emotions, through words…set to sound. I find nothing more interesting on this earth than music. A thing that is solely dreamed up in human minds and then converted to a form that can be listened to out loud.

When you hear a song, you are hearing the thoughts and feelings from another human being. I regard music as the universal language of the planet and beyond. People that don’t vibe with music, I feel can be lacking some serious enhancements of life. If nothing else, music-less people are missing out on more than they can ever know. That might seem harsh, but it’s just my opinion. And its ok to disagree, everyone is entitled to their own views. I’m fine with that.

So anyway, back to why we are all here tonight, Perturbator is on a world tour and lucky for those living in Michigan, Detroit made the list of stops. I’ve always considered myself fortunate to live so close to the Motor City, because we seem to get some really great shows and have been for decades.

The inhabitants of Michigan are music people and that has been proven by the support artists from around the world have received when coming to play in the Mitten. I’ve been catching shows in and around Metro-Detroit since the mid 1990’s and I’ve seen some real barn burners. Top tier funk, rock, rap, industrial, and many other genres. The state has seen it all, and I was there for some of it back then as well as today. I’m starting to drift again, so let’s refocus.

I got word from a friend that France’s own Perturbator was coming to Detroit for a show and those wonderful press and photo passes would be waiting for me. The day was getting better all the time. I made plans to check out the show and when Sunday finally rolled around, I set out for another adventure with live music.

3:30pm Southwest Detroit

Before the show was set to kick off, I had a very special birthday party to attend in honor of my homeboy Santana (Rude Boy’s son). There was a surprise party for him, and I wasn’t missing that. I made a few trays of ribs for the party and landed in Southwest around 3:30 at DJ Carlito’s house. It was a good time, and the Los Drifters enjoyed the afternoon weather and festivities. The Perturbator concert was going down a little bit later, with doors opening at 7pm…so I chopped it up with the crew until it was time to depart. I navigated the side streets mostly, taking in the city from the street level. The temperature was mild, but you could tell that it was slowly dropping. There was rain on the way, and I was fine with that, but at 6:30pm the weather was still holding.

As I cruised slowly down residential streets, I thought about the show and envisioned what it might be like. The gig was going down at the El Club (4114 W. Vernor, Detroit) and I always enjoyed having a reason to go back. The place has an intimate setting, perfect for catching live music.

6:35pm El Club

Since I was close anyway, the drive to the El Club was pretty short. I was travelling alone, which really doesn’t bother me. I’m a people person at heart, but as I’ve grown older…I’ve also come to enjoy my own company. When you’re rolling alone, things often times become simplified. If you get hungry, you just get what you want without consulting anyone. If you need to stop and piss, you just do it. No hassles and no one to complain. There is obviously more time to be in one’s own head when a person is alone, and I’ve got plenty of things to keep my mind occupied. I thought about upcoming projects, the Skitzo book, the Harpos book, a few articles that needed to get hammered out, and at times just enjoyed the silence.

I hit the zone at 6:35pm and immediately saw a sight that made me smile. There was already a line down the block from the El Club and it was growing before my very eyes. The forever faithful had come out for a live event, and I couldn’t have been happier. I’m a firm supporter of real events, set in the real world. No tablet, tiny ass phone screen, or tv can ever replace the look and feel of something happening in real life. I feel sorry for anyone who lives solely on devices and social media. Those things are ok and have a purpose, but when the screen becomes your gateway into the world…you are truly fucked.

Upon viewing the lineup outside, I got that old excitement once again. I was on the scene, and I had some shit to do. Parking was obviously tricky because the people in line had beat me to the punch. I internally scolded myself for not leaving a little earlier. But that was water under the bridge, and I needed to find a suitable place to park my tired Impala. I gave up parking in front of the spot because the tour bus was taking up all the prime real estate. I crossed Vernor and decided to park on Scotten. The legendary Clark Park was to my left, when my car came to a stop. I quickly took inventory, smoked a cigarette, drank a pop, and loaded up my weapons of choice (not actual weapons, I left those under the seat). I grabbed my camera, audio recorder, and a nice chunk of Cannabis that I had brought to present Perturbator with after the show. I figured I would welcome them to Michigan and the City of Detroit properly with some smoke. It’s just what I do. These guys had come a long way and I wanted to do my part in showing appreciation.

6:45pm Box Office Blues

I got out on foot and did what I always do…document the scene for the fans, readers, future generations, and ultimately the machine. I used to be a little apprehensive about pulling out a camera and taking pictures with people staring at me, but it doesn’t bother me anymore. Mostly they are just curious as to what I’m doing, if at all. I’m like a ghost at times, and slowly bleed into the background. I don’t make a lot of noise, preferring to drift around in the shadows. It might not be everyone’s thing, but it’s how I approach the world.

I asked one of the El Club security staff about picking up the press/photo credentials and they pointed me to the box office. The line was pretty long by then, and I didn’t feel like cutting through, so I took my time and made my way…head up. As I approached the Box Office, I got a pretty clear impression that no one was manning the window. I wasn’t alarmed because covering live events can present all kinds of different situations. I’m pretty well versed in the “adapt and overcome” mentality, so I just got in line with the fans and decided to figure it out later.

There is something magical about that “line” if you know what I mean. You have hundreds of like-minded individuals all ready for a great night out on the town. I met people from out of state and some from just down the road. Southwest Detroit was buzzing with activity, with those “G” rides bumping down Vernor. There was electricity in the air and as the locals checked out the synth fans, the synth fans checked out the locals. No ill will, just a general curiosity from both sides. I took it all in and snapped more pictures. Eventually an El Club employee made her way down the line, checking for id’s and handing out wristbands to the 21 and up crowd.

When she got to me, I said I wasn’t drinking so there was no need for a wrist band, she had been marking people with X’s that were underage who didn’t have ID. She looked at both of my tattooed covered arms and hands and decided I didn’t need the X. They wouldn’t have stood out anyway and no one was going to confuse me for underage. I got to the box office again, this time in line, but it was a ghost town. I would simply have to make my way to the entrance and hope my name was on that coveted “list”. When I got there, it turned out that I was, and I let out a sigh of relief. Tickets were almost fifty bucks, and I didn’t have north of $35 dollars in my pocket. The good news was that they didn’t make a big deal out of the camera bag, which had a few snacks and a big chunk of weed secreted inside.

7:10pm Turned loose inside

Upon cresting the entrance, I was confronted with a seventy-person line for the merch table. I was impressed. These fans of Perturbator and Health were not fucking around. They were dressed for the occasion, had brought money to burn on the merch, and of course the drinks. I side stepped the line and decided to head outside. The El Club had a really dope “patio” type area, complete with tables, a fire pit (which was going), and a perfectly parked Mexican Food Truck in the back corner of the lot.

There was wonderful artwork everywhere and I was really impressed with the layout. I had last been to the El Club in the winter months, and even if the patio had existed then, it wouldn’t have been open anyway.

I did notice that the El Club was really looking good inside. There must have been some well spent money on the interior because things just seemed really nice and put together. There had been some renovations because the place was shining. I cruised over to the food truck and ordered a couple of tacos and a glass coke. It was eleven bucks, which as far as concert food and quality go, was a fucking bargain. The chow was great, and I posted up in the corner, taking everything in. The party was about to begin. Holy shit, the place was packed. Perturbator turned out the fans proper.

8ish?

When I went back in from the patio, I was presented with a problem that was good for the artists, but bad for me. There simply wasn’t any wiggle room in the main stage area. Nada. The Cyberpunks and Darkwave Synth fans were maxed out and even offered the good old fashioned crowd surfing. I spent most of the opening act, out by the bar area. I decided to refine my questions for Perturbator front man James Kent. The sound was great, and the music was booming.

I must admit that I’ve really started to dig on 1980’s synth bands in the last couple of years. I never gave the scene a fair shake and what I’ve learned is that the music is fucking grand. Better yet is the evolution of the synth scene and where it’s at today.

I’m a YouTube hound and spend large portions of the after-hours cruising the sounds. Some of my favorite songs right now are coming from that DarkWave/Industrial/Techno sound. You could say I’m catching up on the genre, in between balloons of the good stuff (Thank you Nitrous).

I’m not really a stranger to techno though, having spent a good portion of the late 1990’s partying to the music. The Knob Hill Gang was up on it, and we enjoyed the music considerably. We had the Technics and the records, although only a few of the K.H.G. were any good. I was the asshole always trying to mix Pink Floyd with Lords of Acid. Rage Against the Machine with trance. It was interesting, although probably hard to sit through unless you were candy flipping. We used to go to Raves in Detroit. One of my favorite times was at the Packard Plant, when Frankie Bones came to town (weirdly enough it was the Detroit Police Department in Uniform and Patrol Cars collecting the money for that one). I still have a milk crate full of jungle, house, trance, and break beats in my basement. Although these days they are mostly to remind me of where I’ve been. I have a nice record player that I don’t use and I’m not sure why but that is for another time.

9:30ish? Health takes the stage

At some point I remember Health taking the stage to wild applause. For the most part, I was lost in translation between the bar area, patio, and stage. The music was pumping throughout the building and the patio, so I heard it all. There was a giant flat screen above the bar that also showed the stage, so that was nice. It started to become a fully interactive experience, with the music coming from everywhere. Some people were mixing it up in the pit, some surfing the crowd, others huddled against the wall where other bodies hadn’t parked. It was a fucking show and Health was bad ass. I hadn’t really heard their music before, but they made me a believer. I eventually said fuck it and squeezed into the main room for the rest of Health’s set. It was tight, but it was worth it.

10:30pm Perturbator comes to life

The moment everyone had been waiting for finally rolled around. James Kent took the stage, and the experience came to life once again. Ironically it had really clouded up outside, with moments of heavy and light rain, which added to the overall vibe of the evening. Maybe Health and Perturbator made it rain with their presence alone. At this point, I’m not ruling it out. It was so surreal to hear the music and drift outside, with the music following me, and realizing the vibe of nature matched the vibe of the interior of the El Club. I marveled at the perfect timing and even took a few pictures of the sky.

James Kent rocked the fucking stage in half with his unique and almost indescribable style (like to put one name or brand on it would be a mistake and I’m not trying to do that). I watched as hundreds of fans, mostly dressed to kill in black outfits, some with goth style hair, makeup, and attitude enjoy the music of their choice.

I have to admit that it was a really cool time, and it was so refreshing to see so many people doing what they liked and not giving a fuck who knew it. I started to rehash the questions again in my head. I wanted to bounce them from memory, but the questions were given with some context and became a little wordy. I decided to just go off my tiny notebook instead of trying solely from memory. The interview is below so keep reading.

Perturbator devastated the stage for the next hour and some change. Every song sounded dark, inspiring, raging at times, but above all…it was captivating. There were moments during James Kent’s set that I looked at the whole picture and wondered if this wasn’t the future after all. The place was packed with serious fans, who went to every show. I know because I spoke to a few of them in passing. Sometimes they spoke to me first, sometimes while sharing the same space we spoke to each other, but it was all friendly and the fans were passionate about the music.

I met a nice woman and her boyfriend near the bar during the set and she said that she loved the music and had caught many shows. They had driven from Lansing for the concert and were thoroughly happy with the experience. I never got their names and they never got mine, just three humans sharing a few minutes together in a specific location…on planet Earth. A few smiles, an exchanging of ideas, and then we all parted ways like smoke in a windstorm. I love that shit. It’s a unique interaction, which means nothing but everything at the same time.

I spent the majority of the set drifting from the main stage area to the patio with all its infinite sadness and rain from nature, and back to the bar area. I float during shows and this one was custom made for the action. After the set wrapped up and the fans had gotten their fill of the futuristic cyberpunk synth darkwave electric mad season, the real work was set to begin. I had been told by James’ road manager that he had agreed to do a brief interview after the show. I was excited because James doesn’t do a lot of interviews (no fucking thanks to the New York Times).

We will get to that in a moment. I hung around the back hallway for a bit, before finally asking one of the cool merch guys, where I might be able to catch James. “Just head back there” he said and pointed to the dressing room/backstage artist area. I glanced over, seen the door wide open and took his advice. I jumped a few stairs and took stock of the room. James was kicked back after a high energy performance.

It had been a long day and his people had just brought in a couple of pizzas. There was the classic rock and roll table, with bottles of Jameson Whiskey, solo cups, and all kinds of different shit. I would have taken a picture but by then my interview tunnel vision had started to pick up. It was all about the mission at that point. I introduced myself to James and he was very friendly. We shook hands and I told him that I was from ROX-TV and was hoping to conduct a short interview. He was all about it but asked if he could keep eating as we spoke. He needed to refuel because the artists from France were just getting started. There was an after party starting soon and it was now or never for a proper meal. I could understand that. I broke out the honorary “Welcome to Detroit Weed” and everyone was happy. I know how it can be in a different town, without what you need, although I’m sure these guys were already well taken care of. Regardless, they all said thank you and I was happy to do them a solid. The clock was ticking, and it was time to work.

“Midnight in Detroit”

Exclusive Interview with James Kent

Perturbator

I’ve read that your earlier music was a nod to the 1980’s, nostalgia driven. Would you say that over time, after paying respect to the past…your musical evolution has brought you to a point where there are no constraints? A place where you are free to experiment with the sound?

“It’s definitely less nostalgia driven thing, it used to be back in the day, but now it’s more…ya know more of my electronic project, synthesizer project…whatever. I feel nowadays I can do whatever I want with it so. It’s much more liberating, rather than ya know…I don’t want to be imprisoned into this weird cage. It’s gotta sound 80’s…gotta sound…Now I can do whatever I want. I can do industrial music, post punk, it’s…that’s where it’s headed”.

Earlier in your career, going back to 2012, you were cranking out new material at a break-neck pace, this included two studio albums and three EPs. Looking at 2012, and then to more recent times, releases are considerably spaced out with more promotion than earlier times. What changed for you as an artist that helped ease the earlier tendency of rapid release content?

“I think I’m more…became more…how do you say….more of a perfectionist. I ask a lot out of myself basically. I used to release stuff, mix tracks, and be like…that’s good enough and then I would release them. Yeah, ya know those tracks are good, some of them are pretty shit, ah…nowadays I do not want to release a single track that I’m not 100% percent confident that it’s a good fuckin track. So that takes time, there’s also a lot of different factors…the fact that the labels chime in, marketing, the PR and basically it became a well-oiled machine…Perturbator. So now I cannot just do like in the old days, make a fucking track…release it, not giving a shit. Now it has some weight to it”.

I’ve read that when it comes to creating your music, it’s hard to write when you’re not at home. How did you view Covid in relation to your work? Did the time at home give you a chance to get some work done with no interruptions?

“It gave me time to…to finish a lot of stuff that I started. So, it gave me time to start new projects that I always wanted to start…for example, during the lockdown I made three albums. The Lust Sacrament, I managed to finish it, cause I started it, but I was on the road all the time…then I started a side project called Rid of Romantics. I also started another side project with Jonas. During the lockdown I was basically making a lot of music which was kind of refreshing”.

The Lustful Sacraments dropped in 2021. I dig the album and in particular the artwork. I believe the artwork was done by a friend of yours…Mathias. I find it intriguing and eerie. Did you talk about the look and feel or just let him create?

“I did give him a lot of pointers. I did talk to him a lot and I was like…I want something, like a shadow play. I gave him basically a rough idea of what I wanted. I wanted something that has to do with shadows…characters, not very well defined and then you see their shadows. They are kinda crooked, I wanted something eerie and very much intriguing. Also gave him pointers, kind of architectural facade…art deco, stuff like that. So that was the main thing, what he made, is incredible…but I didn’t give him the total thing, that’s what he did from my suggestions”.

Detroit has a rich musical tradition and history. From Motown, to garage rock, to techno, and underground rap…the city has forever been home to sound and vibration. As an artist, is Detroit a location that must be played at some point in your career?

“So, I’ve only played here twice. This was my second time in Detroit, and I really love it. I love Detroit, I love the people here, the reception…the connection between the audiences and the artist…it’s really good. As far as shows, I haven’t attended concerts here but I’m about to go to the after party right now, where John from Health is DJing. For him, it’s like a super important…to help keep the scene alive. I love Detroit, this has been one of my favorite shows on tour so far”.

There came a point when you were basically fucked over by the New York Times a few years back. How did that experience change how you dealt with press or any public statements?

“They fucked me, it was horrible…completely, um…so what happened was there was a school shooter in Sante Fe, and it turned out that this kid, he was like a fan of the music, and it’s one of those things that…where you just cannot control whoever listens to your music. I’m a fucking guy from France….most of my music is instrumental, so it doesn’t have a message like “go kill”… ya know. And so, when I saw this article, it really fucked me over…like to…it kind of ruined the way I interact with people, I don’t want to fucking interact with anybody anymore. Ah…basically yeah, they wrote something like…along the lines of the shooter…was a fan of Perturbator aka James Kent, musician from France…associated with neo nazi movements. Out of nowhere. I’M NOT A NEO-NAZI…I can’t believe I still have to say that. I’m not a neo-nazi…ah but it’s like you know…I got so many death threats, my family got threatened…my wife…everything. It was the FUCKING New York Times…yeah because they cannot check their facts”.

“The threats lasted for months; we would get death threats every fucking day in the mail. It was just insane, yeah it changed, definitely changed the way I interact with people because I never want to interact with anybody anymore. Ah…I took my twitter account, facebook account…just decided I never…. very big turning point in my career and also in my life”.

Do you think that you were destined to be an artist, given who your parents were and are?

“That’s a good question. Sometimes I feel like maybe cause, it’s a strange thing where my grandfather, from my father’s side…my grandfather was a sound engineer at Abbey Road Studios…My father with all the things he’s done, and now I am making music, it’s almost weird in that sense. Is there like something in the DNA? But I don’t know, I was exposed to music at a very young age by my parents and I knew as a kid…this is what I want to be doing with my life. So, it’s hard to tell whether or not I would have wanted that if I didn’t have my parents. But ah…I like to think that I would still have this interest in making music even if I didn’t have the parents I have”.

When you are on the road, what do you miss the most?

“I miss my bed (round of laughter), my routine, my daily routine. When I’m home…I kinda wake up at night…I’m the kind of guy who sleeps during the day…wake up at night…a night owl. I wake up and do my thing, I eat stuff that I like…then start making music. There’s this kind of calmness to it…I really enjoy being home, touring is kind of hectic…you’re never alone. I miss the people, my friends…my family…my loved ones”.