Hey You: Catching Up With Eerie Von Formerly Of Samhain & Danzig (INTERVIEW)

Photo by Mel Stringer

Hey You is a new Glide column where we touch base with artists out of the “spotlight” from their “prominent” prior bands.

Seeing how an artist’s creativity adapts to different mediums is one of the most fascinating occurrences in the art world. Some artists are able to seamlessly implement their message into any format they desire, such is the case for Eerie Von, who doesn’t allow anything to stop his artistic output. The bassist turned author and visual connoisseur has been tirelessly creating for many years and has found solace in his own artistic world following higher-profile band stints with Samhain and Danzig.

While continuing to turn out solo music, Von has found a home in the painting and photography world as well. He continues to entice fans with countless amounts of art, all lined with that signature Eerie Von touch. Glide had the pleasure of asking Von a few questions about some of his recent work, what it was like transitioning into different eras of his career, and the parallels between all of his work. 

You can read our full conversation with the great Eerie Von below. 

What have you been working on recently? Any upcoming projects you can share some details about? 

Just Mastered my new record, #6 called “Not 4 Nuthin” and a follow-up to my book “Misery Obscura” called “Misery Perfectum” is near completion. Both should be out in 2024

When did photography come into your life and what inspired that hobby? What is the most bizarre thing you recently captured on camera? 

I got into photography at 8-9 years old and took photos all through high school and since, including subjects such as the Misfits, White Zombie, Marilyn Manson, Soundgarden, Metallica, and others. I haven’t captured anything too bizarre in many years.

Heaviness has always been a theme in the music you play- has it been difficult carrying that theme over into your art and music today? 

I would say my style is more “Spooky” and that comes out in everything with no effort, or pre-determination, it’s part of my nature, and will generally not be controlled.

How often are you painting nowadays? You have some standout pieces posted on your old website. Do you still sell your paintings?

I’ve been painting full-time, which means every day, for almost 25 years. I sell almost everyone listed, which number in the hundreds.

Are there any parallels between what you create visually and sonically? Are there any nuances that string all of your art together? 

Everything I do, visually, or sonically has a thread of spookiness and the imprints of everything I’ve ever been exposed to.

Of all of the projects you’ve had a hand in, music or otherwise, what are you the most proud of and what do you miss most? 

I don’t miss any of it. I’ve done it all. I am proud of all the good work I’ve been involved in. All of it is good, some excellent.

What are some of your favorite memories from your early days in bands like Samhain, Danzig, and Rosemary’s Baby? 

The learning process was most interesting. Learning to write songs, interact, and get along with band members, be a part of a team, work toward a common goal, become a professional, learn your way around the recording studio, interact with fans, travel, and perform up to exact standards. Realizing these things could be done on our own.

I recently rewatched Headbangers Ball Episode from 1992 where you were joined by Rikki Rachtman and visited the Black Forest and castles in Germany. What do you remember about that Dirty Black Summer tour?

We’d known Rikki for a while from Los Angeles, and when you travel, it’s always good to see others from your neighborhood. We good-naturedly gave him a hard time, for entertainment’s sake, and for our own amusement. The Castle was closed and we were given free rein to move about the place as the segments and interviews were filmed. It was a fun day and a great part of that World Tour.

You have been involved in so many different projects in your career, what are some of the nuances of your playing that a casual fan might not catch?

I pretty much-used restraint, kept things rhythmically on track, and left the frills to the other more capable players. I am a “groove” player, a rhythm guy. It’s all about the “feel” for me. Feels good, sounds good, it is good. What’s best for the song is what I want.

Can you tell us a little about SpiderCider? What inspired you to go under a pseudonym and why was the project so short-lived? 

As a writer, you constantly write songs, but if they don’t fit the band, or the project you are working on, you put them on the shelf, and use them at a later date maybe. I had a batch of more punk-type songs accumulated and was in a more aggressive mood at the time, so I concocted a fictional band and pretended to make a record as someone else. It was just for fun, and to get the songs out of my head, so I could move on to the next project. You have to get the songs out of your head to make room for the new ones that constantly arrive.

What were those transitionary periods like between bands? Does your creativity need to readjust between solo work and working with a full band? 

Any major change will involve a transition. When going from a Band situation to a solo project a series of adjustments are required. 

Samhain just naturally transitioned into Danzig, so that was pretty smooth. The name change was the only real adjustment, but it gave us a chance to build a new audience and ask our current audience if they would continue with us on our musical journey.

Does your work with full bands ever bleed into your solo work? How do you approach collaboration compared to working on music yourself?

 A lot of songs are written in a solitary situation, but the realization of the final version is generally fleshed out by other musicians. I find it much more satisfying to get in a room with other players and see what happens when the ideas get kicked around. I enjoy collaboration, with a single person, or a group, the human element is the best part of making music. 

Every song and every project are different and therefore dictate your approach. Some things are suited to smaller arrangements, full band, solo, perhaps duet, so you approach each accordingly. The song tells you what it wants.

What is the best way for fans to stay updated on what you’re working on next?

Anyone can Directly contact me at EERIEVON777@gmail.com I answer every email personally.

I am on Facebook and Instagram. Look for me there. I post my paintings, and photos from all thru the years, answer questions, and tell some of the old stories, from time to time, as well as keep interested people abreast of my latest projects.

Check out the previous Hey You column with Dave Krusen formerly of Pearl Jam

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