Interview conducted by Carlos in March 1997

Thank you for allowing me and the readers of Carmin Vampire know a little 
more or have a specific idea about your group.
As the first question, we’d like to know the names of the members and how 
long its been since you started.
Dave Rhine-guitar; Terri Kennedy-vocals; Eileen Bowe-bass, keyboards; 
Terri: I met Dave through  a drummer in his band, Guts on the Floor which 
was trying to reform. They had played around the L.A. scene in the 
mid-eighties. That incarnation never ended up happening, but we enlisted 
the services of Guts bassist, Jon McFerson and started Stone 588. After Jon 
moved out of state to attend college, we went through several rhythm 
sections, working with bassist ,Tony Sequido for a couple of years. I met 
Eileen at my store where she was consigning tapes of her band Dichroic 
Mirror. She befriended the band and engineered half of our cd, Door in the 
Dragon’s Throat. She now plays bass and keyboards in Stone 588, along with 
our new drummer Mike.
What has been the outcome from the beginning until now?
Terri: We released our first cassette in 1993, entitled "Eyes of a Statue"; 
"Eden Lost" in 1994; "Catharsis" in early 1995 and the CD "Door in the 
Dragon’s Throat" in November 1995. We have participated in a number of 
compilations along the way including "The Disease of Lady Madeline;"on 
Anubis, compiled by X, House of Usher DJ; the Siouxsie 
compilation,"Reflections in the Looking Glass" on Cleopatra; Thee Vampire 
Guild’s "What Sweet Music They Make vol.2" out of England; Apollyon’s 
"Children of the Damned" from Germany; "from the Dragon’s Mouth" from The 
German fanzine Fight Amnesia. Also soon to be released is the Mission 
tribute "Songs from the Wasteland" on Apollyon, "TV Terror-Felching a Dead 
Horse" on ReConstriction, and the new Subnation comp.
Do any of you reflect either through the music or lyrics personal 
Terri: The lyrics I write are deeply personal. Subject matter ranges from 
history,  spirits and myths to personal relationships, which are a good 
source because such emotions are deep, raw and real. . I use metaphor to 
broaden the meaning for the listener to derive their own interpretation. 
I understand supernatural events were a major source of inspiration to the 
group..can you relate some incidents?
Terri; Both Dave and I have had supernatural experiences. I have 
encountered the spirit of someone I worked with who died in a tragic 
accident. I woke up one night to find him standing next to my bed trying 
desperately to tell me something, but not being able to communicate. I sat 
up and  said "Go Away." After I opened my eyes again, he was gone. Dave had 
several meetings with spirits, including the time he and his girlfriend 
were outside and both saw the ghost of a kid leaning up against a 
car...also the specter of a woman maternally stroked his head when he was 
sick as a child. We recorded in what was reputed to be a haunted studio 
where the spirit of a young child would mischievously disconnect jacks from 
amps when no-one was looking, but we never experienced anything. I recently 
acquired an old house and several of us have heard the sound of washing 
dishes and whispers, which we think is the spirit of the old lady who died 
in the house, but we never see anything. Unfortunately, she doesn’t 
actually clean up our kitchen!...(I am sitting here alone at home typing 
this at five in the morning, hoping whatever spirits abound don’t decide to 
make an appearance right now.)
Would you say that gothic essentials deal mostly or come out from this 
Terri: I couldn’t begin to guess what gothic essentials are, nor do I find 
it relevant. I think there is far too much emphasis on adhering to some 
kind of mold already created. Everyone should write and create in the way 
that best suits themselves. It makes it a lot more interesting for the 
audience! Personally I have been interested in literary forms that delve 
into the darker side since I was young..long before I discovered goth. I 
studied ancient cultures in college and my continued reading has an 
emphasis on women’s roles in society and myths. My most recent lyrical 
effort targeted the magickal properties of menstrual blood as the subject 
which really has a lot of historical significance to previous matriarchal 
societies, but has been vilified by today’s culture as taboo. 
How do you see the Gothic scene at this point?
Terri: The Los Angeles scene has increased greatly lately and there has 
been a lot of television and print media coverage . Very little of this has 
been accurate, but it has brought some positive results regardless of how 
they paint goths as satan-worshipping and suicidal. For the last 7 years, I 
have owned a gothic apparel and music store in Southern California and have 
seen it really grow in the last two years. Right now a lot of clubs in our 
area have been established so there are alot of places for bands to 
perform. But the DJs need to play more new music, and there is also too 
much emphasis on appearance and not musicianship, culture or being real!
Are you acquainted with the Gothic scene in Mexico?
Terri: I have only heard from bands who have been fortunate enough to play 
in Mexico City how numerous and passionate the fans were when they played. 
We are definitely interested in performing in Mexico. My personal 
experience playing at a Spanish gothic venue here in Southern California, 
was very pleasant as the audience got really involved with the show and 
they offered some cool visual with videos of atmospheric vampire films. I 
have recently become acquainted with some of the Spanish/Mexican gothic 
/darkwave bands whose music I really enjoy  and  am hoping to be exposed 
Where do you think lies the tie/connection between a group and the Spanish 
audience although they can’t understand the language?
Terri: I think music is a language in itself. Rhythm is probably more 
powerful than words to stir emotions. There are a lot of European bands 
that I enjoy without understanding the lyrical content. I  like the sound 
of different languages than my own.. Many lend themselves to the beauty of 
melody much better than Latin (which I sang in church 
Why is it hard to hear or accept Spanish speaking bands in America.
Terri: I think the huge Spanish audience hear is just perhaps discounted by 
the American public because they are simply not aware of them.  I heard a 
story where a well known English speaking radio DJ had a group from Mexico 
as guests on his show and he was rather indignant that there was a group 
playing huge sold-out shows  here in Southern California that he had never 
heard of. The language difference does create a barrier by the way it is 
marketed and the prejudices of the average American. But I think if people 
here could be more exposed to it, they would appreciate the music, 
especially in the goth scene because bands like Dead Can Dance and Cocteau 
Twins often use non-language type singing in the songs with successful 
results. I have a very low opinion of the American mainstream music market 
anyway. Payola is the only way to ensure that commercial stations will play 
your music. So Stone 588 has no better chance of getting airplay than the 
Spanish -language bands because mainstream radio wouldn’t play us 
regardless. Anything that can’t be neatly categorized is rejected by the 
labels because they can’t  easily exploit it. So an eclectic group like 
Miranda Sex Garden lost their contract because they don’t fit in any 
category.  Aditionally, I think audiences need to demand new music. In the 
goth clubs, which are supposed to be home to “the alternative,” people 
would rather dance to ten year old songs than check out new music they are 
unfamiliar with.. There shouldn’t be a “herd mentality” in what is supposed 
to be a cutting edge scene.
What is the difference between the European influence here and the Spanish?
Terri: For the moment I think the Spanish music is less distributed here to 
listeners outside the Spanish community. But I think that is going to 
change rapidly. If the scenes start to overlap then American goths will 
hopefully embrace the music coming out of Mexico and Spain and vice versa. 
I know that a lot of European groups purposely sing in English, not their 
native language, to have a cross continental appeal which translates into 
more records sold. They have much smaller areas where any one language 
dominates, so they are much more compelled to use English which many more 
people understand. While this allows people in various European countries 
to comprehend the music's lyrics, I know certain German bands have adopted 
the stance that they should preserve the use of their native language in 
their music on purpose because of the English language dominance. I can 
understand both sides, but it is sad that Americans mostly don’t have 
language skills in any other language but English and expect the arts to 
If possible do you plan to play in Mexico in the near future?
Terri: If a promoter can fund our expenses we will be estatic to perform in 
Mexico. But as we are self-financed we cannot hope to accept any offers of 
shows far from our home due to financial constraints. Promoters please 
contact us!
Lastly is there anything you’d like to say to Carmin Vampire’s readers?
We appreciate this chance to expose your readers to our viewpoints and hope 
their interest is aroused. We are working to get distribution in Mexico, 
but meanwhile if anyone is interested in the music of Stone 588 please 
write us at Ipso Facto at 517 N.Harbor Blvd, Fullerton, CA 92832  USA or 
send $2 for a catalog. Our CD may be purchased for $18.99 postage paid  to 
Mexico from this address. We are also online at         
email address              
The online catalog of Ipso Facto is at                       

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