Dieselpunks

Dieselpunk + Steampunk Culture

Ronan Harris
VNV Nation, composer, lyrics, vocals, programmer, futurist
www.VNVnation.com

VNV Nation is an electronic music band comprised of Ronan Harris and Mark Jackson that combines elements of industrial music, trance, synthpop and EBM with the elements and ideals of Futurism and the Futurist aesthetic. Always evolving, VNV (Victory, not Vengeance) Nation first hit the public in 1995 and have since then released seven full length albums, toured the world several times over, and have stepped ahead to become one of the premier bands in the electronic music.

Their upcoming album, Of Faith, Power and Glory, is available today (June 19, 2009) in Europe and will be released on June 23rd across the pond in America. I had a chance to talk with Ronan and introduce him to the website. The conversation that follows contains not only the roots of Ronan's obsession with how the future used to be, but also his feelings about how we can bring that idea into our own world.


Recorded 09 June 2009


Ronan Harris of VNV Nation *static* Hello? Hey there you are.

Excellent. How's the tour going?

Oh! We haven't started yet. Haha. Good morning! We're starting the world tour — sounds very auspicious — the world tour starts the 27th of June in LA.

Great.

I think this is fun. I've never done this before (International video-chat via Skype), so you're my first. Go easy on me. It's brilliant, the use of technology. I mean hey... I can't say no. We've got a lot going on, because obviously the album is coming out on the 19th in Europe and 23rd in North America and we really want to make a big splash and a big impact with this and I'm just reading — by the way — I'm reading the description of what "Dieselpunks" is and, ahhh... you and I really are going have a fun talk.

That's one of the reasons I sought you out originally. I built this site, because I didn't want to just sit on my ass and wait for other people to build it for me. I can't just sit here and hope that things are going to get better by themselves, or rely on others to build things the way I want them to be.

*Cue the Billy Holiday music...* I was at a Lindy Hop class the other day. My girlfriend and I are fans of certain eras. I'm obviously a very big fan of futurism as 1910's saw it, particularly on the American side of thing because until the end of the 50's — as far as I'm concerned — America was a leading light as far as new ideas or the application of new ideas. Although, my favorite era, architecturally, would be 40's deco – early 50's streamline modern. *bing* This is great. I can talk to you on Skype, complete an interview, and receive email all at the same time. I just received a picture of the outside of our venue in New York and it looks amazing.

Have you had a chance to visit the Chrysler Building before?

*awestruck* I have been in all of them. I have been up and down them all. My favorite place in New York is a place called "The New Yorker," which was the place where Nikola Tesla used to live and that was the first reason I wanted to stay there. Nikola Tesla was one of my first idols and one of my favorite people of all time.

You'll be happy to know that if you have a few spare bucks in your pocket, Tesla's last surviving lab, Wardenclyffe, was up for sale last time I checked. I'll send you the article. A few people are trying to save it from demolition by turning it into a national landmark.

Oh my god. This is something I would gladly donate money to, so some organization or institution can have it and take care of it. Send me the article so I can follow up.

Getting back to what we were talking about, I stayed there [The New Yorker], because it was one of the first famous pre-skyscraper Deco hotels. I have pictures of it in books describing how the lobby had been done and how it had been designed by proto-Deco designers in the original plans, but when they got to building it, there was this big race on to build the biggest and craziest and most amazing building using new building techniques. This being plasticretes and pre-formed concrete slabs or... Oh god man, I did my research into this when I was doing FuturePerfect. The idea of steel beams could actually mean that buildings didn't have to conform to old architectural standards from the 1800's. I found it fascinating to find out that it was the Great Fire of Chicago that set about this happening, because they obviously had to rebuild Chicago and somebody came up with this amazing idea in the 1890's of "this is what the city could look like in the future." And when you look at the designs at how Chicago should, or could have been, it was ostensibly the greatest steampunk design you have ever seen. You could see the railway tracks, the monorail plans they had, the way the buildings interacted with everything. Some of the buildings, especially the train station itself, almost looked like a giant hydroelectric dam, which was interesting to me because electricity was still this new, trendy, great invention.

I find it fascinating how these inventions shape their time. Aerodynamics, and the Space Age, the advent of electricity and it's accessibility to people in their general homes; how it affected design, how it affected aesthetic, I've always been fascinated by this. This is great. I can't believe we're talking right now.

I've been a fan of VNV Nation for quite some time now thanks to my friend Greg, and you've been a huge inspiration for pushing this site ahead to where it will be tomorrow.

Look at it this way. You're doing what I wanted to do back in the 90's. I was so fascinated by this world that never was. Kraftwerk used to wear their beautiful 1930's suits. They espoused this era of travel. It's a romantic era.

My apartment is covered in remnants and monuments to the great idea of travel. This idea that this mysterious world was out there, and people in their beautiful clothing could get on board either a Consolation or say a DC4 or something like that and travel off on a giant machine with some wonderful airline name written on the side. This romanticism, this beautiful new romantic movement of idealizing the world.

There is this wonderful series of books made by a company in Germany called Icon. They had a book that somebody gave me called "Future Perfect," which is how the world envisioned the future from the 1940's and the 1950's. It's what I grew up with. What fascinated me was this view of how rockets would be shaped, how the world would be in say 2050.

I don't want to throw off your night, but we just ran a whole week's worth of videos revolving around how the world of the 1940's – 1950's saw the "far off Year 2000." Check out the News archive.

I remember in the 70's reading these science magazines that were still using those pictures. Sci-fi, which has always fascinated me not because I wanted horror, but because wanted to envision the world of the future. It still borrowed from the 60's, because they didn't have a great new vision until the late 60's and the whole Space Race.

This pantomime design team came up with this look for the future that they gave gloriously to the film "2001." I have been a fan of it in all generations; this styling and designing of the future, in that it had great passion; it had great vision. I've always tried to incorporate this into our work. I've tried to describe it as "retro-futurist." Whether that makes sense to people on a material level, it espoused great Humanist qualities and values; [which] I believe, values we have thrown away from our past.

The ideal for Futurism was to build a world for us, not to build us for the world. I feel that's the sad legacy we will leave in 200 years when people look back upon our time in that we were trying to be cookie-cutter formed for our environment rather than the aesthetic be an expression from us, and for us.

Have you followed that theme in Of Faith, Power and Glory?

Yes, most definitely. It's always looking back at looking forward. Parts of one of the songs called "Tomorrow Never Comes" required me to get the feeling of something. I was feeling a little bit retro with the track beat, because I was going back to late 70's electronic music, particularly late 70's electronic disco. It was weird, because that was the prototype for so much synth-pop. And I don't mean the really kitsch stuff. I mean when Giorgio Moroder was doing "I Feel Love" with Donna Summer. I just felt that the future just exploded through the speakers on the radio.

I was fascinated by modular synths, giant walls of cables and dials, in that it looked like a scientific lab. It looked like what I associated with the creation of anything that should be both scientific and it should be for art purposes or aesthetic purposes. Hence, my view that the world should be built for us, rather than us for the world, in that it should be somehow complimenting the human character. We often tend to forget that we are human. Or, rather, large corporations forget this.

Having been someone who was so fascinated with the future, and how it could be, having looked back, synthesizer music resonated with me from a very early age. I was very grateful that Irish radio had some people in programming who would use electronic music. You had to understand that this was the 70's and electronic music was still the scientific frontier. It wasn't formulated, it wasn't "you've got synth, you must look like this." It was about the pioneers. It was about creating everything from abstract sound to unearthly "future happy" music for computers. I lament that era. I lament that spirit. I've always wanted to incorporate that into our music.

I wanted to make a live video for it that featured footage from atomic tests, and it brought me back to this... What do they call it, "Ray Gun gothic style?" I think Tim Burton gave it that name.

Ray Gun Gothic? It's been adopted by the steampunks and it's moving up into the Dieselpunks, ahead to the Flash Gordon types, atomicpunk.

Ahh... I love it. Don't get me started. "Atomicpunk." What a great name. When I was a kid, during the summer break, British television would run children's programs in the morning. It was the only time they would do it, because otherwise, kids were at school. That summer, it was always going to be either King of the Rocket Men, or Flash Gordon, and a whole bunch of other shows. I used to sit there looking at these crappy models thinking, "I could make this in my bedroom." The styling was profoundly influential. Looking back now, you think, "Oh my god. Did they do this with a budget of five bucks?"

Then, my favorite movies of all time are things like Forbidden Planet in that it was legendary, ground breaking for the time. It was 10 years, 20 years in some cases, ahead of its time. It captured the styling of how things would be designed. In the early 50's, there was this very popular notion of streamlining everything. Making it look like lines of power, lines of water, lines of movement; everything racing into the future.

In our race to the future, we seem to have dropped a few things along the way. I think it's important to look back at that. Going into this song, I started to look at all this old footage and seeing these old news reports about another atomic test; another "great successful" atomic test, and how naïve this time really was. People were told that this was really great for their future. We weren't the most responsible of people in the past, but at the same time I lament the great sense of naivety.

There's a film that was shown during the 1933-1934 World's Fair... and I'm going to tell you a small anecdote before I go on about that. When I was doing FuturePerfect, and I'm not sure how this happens, suddenly all these coincidental things started to happen. Suddenly, there would be a documentary about Futurism, and the origins of Futurism, the Futurist Manifesto, Modernism, on television which I didn't expect. Or when I was doing the album, "Praise the Fallen," for example, I really badly wanted to include samples of the film Things to Come, which is another one of my favorite films.

VNV NationYou and I are both... I'm just listing off things, ticking them off as we go, that you've probably watched and loved as well.

I would avoid the video area of the website if you're planning on getting any work done. Nine out of ten of the movies you've mentioned, including King of the Rocket Men, are up there for our fans to watch. You're not just preaching to the choir. You're in the choir.

Right. Okay. I'm going go there, because seriously. If you have footage... *click* *ah ha* I have your info and I really have a bunch of other things I'd love to ask you about once we're done today.

However, I really wanted elements of Things to Come to be on the album, because it was very important to me. I watched "The Mutant Chronicles" recently, and I thought, "Okay. This is what everyone is now jumping on and calling 'steampunk.'" I'm thinking of Ian Toll's novel, where there's all these people living in the refuge of a cathedral and I just got the idea... I used to read a comic book in the 70's called 2000AD and one of the stories featured a character named Nemesis the Warlock, where the future was Victorialand. It was the far distant future, where you had a clash of the Inquisition and everything was styled in a late 1800's Victorian aesthetic. It was, again, it was another one of these incredibly influential things; a pogrom against all alien species by zealots in this excellent styling.

However, Things to Come was on the TV the night before I went into the studio, and I thought, "Okay. That was a bit bizarre." My friend recorded it for me that night and asked if I really wanted samples from it. I was working on FuturePerfect. I was doing a great deal of research on Futurism and also Futurist architecture just so I could feel the vibe of this, although I knew the music could never...

There is no true style of Futurist music. It's whatever is contemporary that could allude people back to a bygone era. When I thought of what could be done visually and also through theme, [such as] entitling the song "Electronaut." There was this idea of a pilot of the electronic era, of the electronic waves. Something abstract from the sci-fi naïve view of the 1930's.

 
I went out of the studio at 11 o'clock at night and was really losing it, thinking "I really need a break," and I went down the street right in the center of Hamburg into a little café/restaurant named Le Paquebot which is a French term for "passenger ship." The entire café was set up to look like the waiting room in a 1920's ship. The imagery, and particularly a window between the restaurant and the kitchen — you have to visit it, because it's just marvelous — are set up to look like turbines. They're made of rounded glass, and the radiators are long and thin and go up very high on the walls, giving you the idea of height and strength.

Sounds like The Edison in Los Angeles.

Exactly! However, this was done a number of years ago. Even going back through Deco era and looking to see how Deco bars were done with the stainless steel and what have you all around the bar; all these parallel lines, and movement, and curves. It had a very organic flow to everything, while at the same time everything was very manufactured. The bar was done exactly to those designs, and I wandered into this place by complete accident. It was the only café open. And there on the wall was a poster for one of the adverts for the Chicago World's Fair in black and white, which looked uncannily like the cover of FuturePerfect. And I thought, "Someone, the universe, is screwing with me, having a laugh," because the coincidences, the synchronicity was just bizarre. It's always happened.

The same thing happened around Of Faith, Power and Glory. The Japanese were always really good about it in depicting something futuristic, as well as tying in this World War I uniform image. I found that fascinating, regardless of how we look back, of how horrific war is, it's this aesthetic of honor, these notions of bravery that we would associate with people of that time; the way they lived and how they conducted their lives. I love this marrying of those two styles. Taking a past era and "futurizing" it.

When I saw Blade Runner, it was the same thing for me; taking a Mike Hammer novel and throwing it a hundred years into the future. The hair styles, the buildings themselves was the era that America tried to build that never was, alas. That reminds me of a William Gibson book. I'm sure you've read it. It's a short story about somebody in search of that future that never was, and they go in search of all these streamlined modérn buildings, all of these buildings of the future that we could make, but never made.

I have to ask. Now that you have full control over the whole process from concept to studio to packaging, now that we're living in "the" future, what is VNV Nation doing to bring that Futurist aesthetic into your songs or into your music in general? I can hear the influence of older, more analog synths in your current music, but have you thought about reaching further back and including brass or string instruments in your work?

Hang on! FuturePerfect was full of string quartets all over the place. I actually had a guy come in to program them for me, because I didn't want to get a string quartet in, because I wanted to get... Now we get into the process, and this is good. I wanted these to be synthetic. I set about, with FuturePerfect for example, which is an album about 8 years old.

Right, 2002?

It was released in 2002, but this is about the making of it in 2001. Which was, when I think about it now... yeah 2001. Ohhh. Spooky.

Anyway, at the time, there was this notion that you could have plug-ins and all the software on the computer. In the past, my view of the scientific lab, where one made sound, was something like the old RCA synthesizer from the 1950's, which I've seen. I've even seen the Seaman's sound laboratory from the 50's, which I touched and just lost it. My girlfriend saw me walk into this room in the Deutsches museum in Munich, where they have a room dedicated to the history of electronic sound, and saw me quiver. I was playing with a theremin for about a good hour. I even had to beat some kids away from it. "Shoo! Go away! Mine!" *laughter* *child's voice* "Daddy, that mean old man won't let me play with it!" *stern voice* "Do you know what this is!?! Do you know what movies this has been used for!?!"

There was this whole view that it must be a wall of dials, and then I suddenly got this image of very sleek flat screen, which you have to understand that back in 2001, it was still something that didn't fit into the general ethos of our age, but it was still the future that was coming and we would all have flat screens. I just saw a flat screen on a desk, with a very minimal keyboard and a mouse, and a controller keyboard and that would be it. It was total streamlining. Every element, down to the core processor, and I got about making the whole album simply on the computer. Which, in my own view, this is what the future was coming to. It was harder than I had originally thought. But we always tie this bygone age with the modern age together.

I try to marry the two. I've always had these elements of past music. I'm a big fan of opera and classical music, once again the Romantic period of music, which would have been the late 1800's – early 1900's, the frontier period where a lot of musicians were really endeavoring to create and succeeded. People like DeBussy, or Eric Satie, Stravinsky, they were really taking the contemporary music of the time and turning it on its head; within the elements it was made up of — the general orchestra itself — and then going off and making mad instruments that weren't instruments at all. They were just devices that made a sound. There's a piece of music by Stravinsky called Ionization, which is really just a set of sounds using specially constructed instruments. [These instruments today] are treated by historians as proper instruments. I disagree. They were just the tools that were available at the time.

Sounds like The Clockwork Quartet and their Steamdrone.

Of course! I would love to see the 1890's to see how people who were limited so much by technology still endeavored to make, for example, the first computer or musical instruments.

There was a synthesizer invented in the late 1800's. Someone was attempting to just make sound with electricity, and found that different frequencies resulted in a different tone in the device. Then they thought, "Hey. Maybe I can do something with this!" This was the pioneering age.

I've always lived in this era, as a child and even today, when I look back on the era of airships. I look back on the era of the creation of technology for the future and wondered in awe at the frontiers these people were breaking. The question I ask today, and this is where I go with the music, where are our frontiers? We look ever backwards. I think it's important to look backwards to know where the future is, but rather than living in the past and living in the glory of a bygone era, where is our styling? Where is our aesthetic? What is the legacy we're going to leave 50 years from now?

Are people going to look back and say, "Hey! They have this retro 2010's thing going on down at the local cinema," or "We're going to go down to one of those crazy 2010's clubs. I love that music. It's great. My secretary listens to it all of the time." I don't really feel that we have an era that says anything great in the sense of style and aesthetic. If anything, we look back at the 80's and the 70's and think, "Oh, dear god. What the hell were we thinking?"

But at least there's something there, something tangible. If we lost power and lost our electronics, what would be left?

We would still have brown polyester shirts. *laughter*

And we would have millions of little plastic discs.

Our reliance on technology has become a little over the top. I noticed on the news today that Schwarzenegger was unveiling his great plan that they were going to do away with school books.

Kindles for the masses?

Just because there's a budget constraint, and not because it's a big step towards the future. Oh the irony.

If the power got shut off tomorrow, we would be left helpless. We have become too reliant on the mighty electron. We've become too reliant on these luxuries. We have been, like I mentioned, built for the world rather than the world built for us. Unfortunately, the man that wrote the Futurist Manifesto was killed during the first World War, and I often wonder what would have happened had he survived it. So many of the Italians came up with the great ideas. When defining what Futurism was going to be and how it would manifest itself in the furniture and architecture, it was all based on this one idea. This guy was going to university and said, "We have all these incredible new technologies. Why are we not making a new aesthetic based upon these new technologies rather than just using them to build the same old structures?"

How do you balance that? How do you make something that is going to last forever and still have it fit into your environment? We can make as many glass towers as we want, but if we kill ourselves in the process, what does that prove? For example, I've heard that the new album is biodegradable and designed to be eco-friendly.

With the exception of the disc itself, which is still a technology that is yet to come, the package is made entirely from 100% recycled products. I understand that environmentalism is the big issue right now. If we wanted an aesthetic, if we wanted a styling that defines our age... Realistically, look back at the 50's.

When people say, "Hey. That's so 50's," they think of the styling. They don't think of the political movements. They don't think of the way people lived, or what the values of those people were back in those days. The things that people think we're quite liberal about today, they were pretty liberal about them too. Do you know that heroin was available by prescription up until the 1950's in the UK? Well, in the late 1800's, it was called The Great Binge when everybody was on drugs.

Anyway, sorry. Getting back to the point. You and I could probably sit here relating info to one another the entire day, and I am so grateful for doing this interview. I'm very excited and I'm finding it hard to focus.

Okay. Our challenge is to, like in the early 1900's, design buildings and design things based upon evolutions in technology. We have evolutions in environmentalist technologies that, dare I say, have been around since the 1890's. Many of them were invented through to the 30's.

There are a large number of devices that would give us unlimited power to design a world for us and take care of our future, which is something we've forgotten to do. I always got tired. The reason I never distorted my vocals and why we made the music we did was because I was very tired of this clichéd image within Industrial music; always singing about the chemical infested future. It was this dark future imagery that was around in the 80's and everyone wanted to espouse, "This is what the future's going to be like. It's always going to be raining. It's always going to be cloudy. Everything's going to be over polluted." That's what all the books were trying to say.

All the sci-fi books were trying to multiply the problems of our world and multiply them by twenty, or even a hundred in some cases. Oddly enough, we're there, and that is the scariest fact of my existence today; that cyberpunk got it right. It's the only sci-fi genre to have done so. William Gibson probably deserves more credit than he has received for the fact that his description of consumer technology and the use of consumer technology, and also the pollution of the world in the future, and the trends, and our obsession with street culture would actually come into being. I was in awe thinking of this. Which sci-fi era actually got it right?

We do have the opportunity, looking at our problems, to actually solve them. We've had the ability for decades and it starts with blue collar workers and white collar workers and everybody. To be honest, it's the people who drive large SUVs and live the safe existence that are the ones that need to be using the products that are environmental if we want to change the world. We have to change their minds, not all the alternative liberals. We can all build the zero-watt houses we want, but if the mass population at large in this world are not adopting the same rules and regulations, or even their attitude and their mind-set is fixed on this, they'll need leadership and they'll need guidance in that because they follow. It's all they have ever done. If we don't have that, we are not going anywhere as far as I'm concerned. It's just going to get worse.

I can tell you're passionate about this.

You have no idea.

I do. Being a fan for so long, I've heard the message. I was going to ask you where you get the energy to keep pressing ahead night to night. You always seem to have hope, and that's something we latch onto. You can be as down as you want on the rainy world of the future, and listen to the gloomiest noise available, but at the end of the day, everyone needs hope.

Everyone has it. VNV Nation, for me, has always been about finding strength through adversity. There are some songs that are very clear, that I've tried to hammer people on the head asking, "Do you really not get what this is about?"

There are people that cannot that take things far too literally. They're trained to, and it's not their fault. Hope is something we all can have. I have always been an optimist through my adversities. No matter how bad the situation may be, and no matter how down I might be, I know that it will get better. The person that will make it better is myself. Nobody else can do that. I can hope and pray that someone is going to come along and rescue me, but I have to initiate that process to make it possible. That is the crucial factor. No man and no woman is an island.

We are part of a very organic planet where there are billions of people — 6.8 at the last count — which is the subject matter for the video of "Tomorrow Never Comes" with all of this classic, beautiful nuclear footage (which is just scary). The fact is that we have to enable that energy to, and I don't mean to sound like a Hippy when I say this, but it's only by acting on something, by doing something that you create the energy, the momentum for something to happen. You throw out an idea, and maybe it bounces off somebody and impact, and maybe that person comes up with their own idea based upon it.

You do your website. It's going to affect somebody else's thought process. They might be in college and be a designer of the future, or a kid who is out there looking at it like "Wow. Is this what the world used to be like?" That's what the whole song Airships was about. The naivety of the era and how it opened up the imagination. We do have it within us, as alternative people.

Alternative people are detached from society, and I'm sorry if you don't like that situation, but deal with it. You have the ability to create for the rest of the world, because the accountants, the breeders, the people who want to sit back and live the safe lives, they're not going to do it. The only people who have ever written history have painted, written books, made the music, or have otherwise been the creative people of their day. That goes for journalists, artists, it doesn't matter what you are. If you are not a part of the background fabric, if you are not asleep, use that power.

Alternative people today, as far as I'm concerned, have lost that knowledge of their own power, which is an incredibly creative force. They've lost the confidence in that. Of Faith, Power and Glory describes that. It describes a process. Faith is your own belief in that process, the belief in your goals. Power is what comes from it, knowing you can act upon it and can do something with it. Maybe act upon other people's minds, and in so doing allow your ideas to come to fruition. Glory is the self realization that the goal has been achieved.

I'm sure you can help. I'm looking for some aesthetic to help out in some of the videos and if there's something we can share ideas on for the live show. I've always thought that performing in an abandoned cathedral would be the most awesome show, because it espouses the spiritual side of VNV Nation. It's the marriage of, I hate to say religion because I don't like the word, but it's the marriage of religion and science.

How about faith in science?

Faith in science? I don't know. "Faith" is too general of a term as is religion. It's spirituality and science. The marriage of those two would be our ultimate future as far as I'm concerned. You've just made my day with this website. Thank you.

Thank you for being an inspiration to us, Ronan. I'll catch up with you in Philadelphia on July 19th.


To purchase your copy of Of Faith, Power and Glory, click on the album cover below. Of Faith, Power and Glory vnv nation


"FAITH POWER AND GLORY" TOUR 2009 NORTH AMERICA PART 1 - with special guests War Tapes Jun 27 Los Angeles, CA Club Nokia LA
Jun 29 San Francisco, CA Grand Ballroom
Jun 30 Portland, OR Berbati's Pan
Jul 01 Seattle, WA The Showbox
Jul 03 Salt Lake City, UT Murray Theatre
Jul 05 Denver, CO Gothic Theatre
Jul 07 Milwaukee, WI Turner Hall
Jul 08 Minneapolis, MN Station Four
Jul 10 Chicago, IL House of Blues
Jul 11 Detroit, MI St. Andrews Hall
Jul 12 Cleveland, OH Peabody's Down Under
Jul 14 Toronto, ON Phoenix
Jul 15 Montreal, QC Le National
Jul 17 Boston, MA Paradise
Jul 18 New York, NY Nokia Theatre
Jul 19 Philadelphia, PA TLA
Jul 21 Washington, DC 9:30 Club
Jul 23 Atlanta, GA Masquerade
Jul 24 Tampa (Ybor city) , FL The Ritz
Jul 25 Ft. Lauderdale, FL Culture Room
Jul 27 Dallas, TX Granada Theater
Jul 28 San Antonio, TX White Rabbit
Jul 30 Phoenix, AZ Marquee Theater

EUROPE PART 1 - with special guests Rotersand

For all the German shows on the tour, there is a limited number of customised tickets, with the tour artwork printed on them, available from Headline Concerts.

02 Sep Germany Rostock Mau Club
03 Sep Denmark Copenhagen Forbraendingen
06 Sep Czech Rep. Prague Lucerna
07 Sep Serbia Belgrade TBA
08 Sep Croatia Zagreb Boogaloo Club
09 Sep Austria Vienna Szene
11 Sep Italy Rome Blackout
12 Sep Italy Torino Fabrik
15 Sep Germany Stuttgart LKA Longhorn
17 Sep France Paris La Locomotive
18 Sep Germany Krefeld KuFa
19 Sep Germany Erfurt Gewerkschaftshaus
20 Sep Germany Munich Backstage Werk
23 Sep Germany Frankfurt Batschkapp
25 Sep Germany Berlin Postbahnhof
26 Sep Germany Magdeburg Factory
27 Sep Germany Dortmund FZW
29 Sep Germany Hannover Capitol
30 Sep Germany Dresden Strasse E
01 Oct Germany Hamburg Docks
03 Oct Switzerland Haberbach/Flums Bergwerk 4

Dates for Scandinavia, Holland, Belgium, UK and Ireland coming soon.

Views: 1654

Tags: Interview, Ronan Harris, VNV Nation, dieselpunk, music

Comment

You need to be a member of Dieselpunks to add comments!

Join Dieselpunks

Comment by tecnófilo on July 14, 2009 at 6:34pm
I was at the Deutsches Museum in Munich a few months ago, and was similarly fascinated by the section on computer technology. To see all that old hardware, including a copy of Leibniz's calculation machine, was bloody marvellous. When I return I will duly visit the sound engineering section, as well as return to the computer section. I only wish they would update their exhibition more, because the technology in the computer section reaches the "present day" at around 1992.
There is a similar museum here in Manchester which I must visit (Museum of Science and Industry). There is also much fine architecture of the Victorian age, and indeed many recent buildings incorporate icons of the Industrial Age into their design.

Stay in touch

FacebookTwitterRSS

Special Thanks

Diesel City
Patti Smith
VNV Nation - Ronan Harris

Comrades in Arms

Dieselpunk Industries
Radio Metronomik dieselpunk podcast
Constitutionens Voktere
19XX
David Mark Brown
The Gatehouse
Doctor Steel's Army of Toy Soliders
Diesel powered dieselpunk podcast

© 2014   Created by Tome Wilson.

Badges  |  Report an Issue  |  Terms of Service