Krozz Warsaw: drum
IReverend Brainskan: keys
The roads at night were invariably empty in Exurbia. This meant whether on yr 10 speed (or 12?) sk8+ or on foot, what about when even driving in an auto? One eyed bandits lit the road poorly with sealed beam halogen beams u.v. amber glow…whilst sodium glare lit the empty plaza, parking garge and rooftops… Wept wandered like a nocturnal nomad in search u.v. the Answers, seeking them in the Climatron Gellosphere, abandoned radio stations, Psychee’s alter-ID, dc space, Javarama, East Side, Complex, 9:30, Heaven & Hell, Kazz, Ft Reno. Spelunking iceage style or rocking a new stage was how we killed time in the pipeline, sometimes idly street sk8ting a ghost town ’round midnight or being chased by k3yst0n3 r3n+/\kopz from parking lot sk8te hotspots near premonition ridge or riding longboards down 1 mile hills free u.v. traffic or stoplights. The road was always our ally in as quest for velocity and volume. A f8+fu|| ride in a british racing green ’72~’02tii would send at least to WEPTian founder/alumni on a lifelong quest for replikation u.v. the rush of hills & kurves, heel & toe go-kart handling bavarian lead sleddin’!
The night was yours, however little there was to do! Regardless momentum trumped inertia every time. “Endless roads that lead to nowhere, endless roads that lead to you” was certainly not going to included in any piano lounge set list but that line may define both those times and the album Star Ball Contibution. The group had realigned with Brianscan on his Mirage sampling 8*~bit glory [then not ironic]; it was a in fact a breakthrough for konsumers to use such a machine as opposed to cost-impossible fullblown Fairlight or Synklavier setups. Kross Warzaw rocked the Rockbirds and fit in with WEPT both personally and musically as well as a drummer can! The prax werking up new material were fast n’ furious, sometimes finishing basic infr/\strukture u.v. new songs within 2 or 3 sessions, while others like Farewell took months of adjustments to make it sound right as an arrangement. This quintet had the right chemistry to write WEPT’s 2 classic albums including S*b*C* & EXIT. Live this 5-EZ pieces unit melted minds & sold post show xassettez like the Hanz on a Himalayan elephant campaign!
The process was helped by frequent invites to play some basement and backyard parties, where Wept tested out stretching out sections and played with lyrical variations. The core rhythm section of bass/drum/gtr would split school (it was our Senior year after all) after art class/lunch to go get the basic tracks cut. By the time the others were there later they could overdub their parts. Jhost built an art~deco looking mic stand from a round base and a few plumbing fixtures which was tall enough to stereo mic the drumset. Crowd response was righteous when we debuted the new setlist. The 3rd Wept demo seemed to open a few doors for the band concerning local gigs and respect as well. Freak cuaght the initial club set @dc space and liked the pointy Grabber bass profile, citing Kiss live album shots. He also dug Jhosts gtr/amp & pedal sound… Xopher started to use more of the stage, being free to move sans amp & cord, which kicked up the energy levels onstage avoiding rock cliches while forging the center.
DC was flyered for any club dates and these were wallpaper pasted for semi permanent advertising in an era where pre internet that could really help. Often more then half the crowd would tell us they had seen the flyer and thought they’d check out a band with name & artwerk like ours. In a way Star Ball was the end of those years~fans as we all went to different colleges at summers end. In another way it was the start of being able to rock loud & clear… yet dark. Our patented loud/medium/soft dynamix song kontouring helped create, thru osmossis, a template that would come to redefine prelapalooza modern rock from underground to the airwaves. WEPT was being played on Boston college radio as early as ’86 with Rudenotse Wake 2 and more after Star Ball Contribution in ’87. So the equation that our dynamix werked their way into the fabric of postpunk reads like this: Ovi from 4*BC sent us a rejection letter, which we will post when found in the archives. 2 super huge mega radio unit shiftronix bands who absolutely heard WEPT in ’87 released their biggest LPs l8+er the same year as S*B*C*. . .
The magic fairy dust band who he had just signed at the advice u.v. his girlfriend popularized the loud chorus~quiet verse thing of course were from Boss+own. Future F2 bandleader who joined the Eden Hell Boiyz right when they recorded their breakthrough Lp Who Karez? once opened for WEPT as percussionist du nacht, sitting in w/ avant noizeboiyz Neu Karrat0n on a stolen empty 50 gallon oil drum~trashcan at a party Dare Zero hosted. Dare’s band then ‘Baby On Board’ also played. So Rose Kolored Tidez came out, and by hook or krook jimmity kricket we got there, to electric dynamix ladyville 1st! WEPT even had a medium volume bridge action~ the famous wealthy song kontour plagiarists didn’t! They dumbed it down to a fuzz pedal~crash cymbal. WEPT paved that road. Just checkout the last song Farewell as evidence of our nuanced subtle variation vibrationz in both textures & volume, with multiple densities & intensities of both. WEPT pioneered it: we just didn’t get the paycheck!