You may not recognize Chris Connelly's name or face, but there's a good chance you've heard his music. As one of industrial music's most prolific artists and a member of the late eighties/early nineties Wax Trax! crowd, Connelly has logged time with all the big names -- Ministry, Pigface, the Revolting Cocks and a bunch of other projects that read like a Who's Who of the era. As the nineties progressed, Connelly recorded a series of solo records, including Whiplash Boychild and Phenobarb Bam-Ba-Lam, that saw him exploring his interest in the work of Scott Walker and David Bowie, gradually shedding the self-destructive lifestyle of the Wax Trax! era in the process.

If anything, Connelly is busier today than he's ever been. In addition to recent work with the The Damage Manual and The Love Interest, he's just released a brand new collaboration with Ministry/Pigface cohort Bill Rieflin. Largo is not only a stark contrast to the duo's previous work; it's stark, period. Pairing Rieflin's haunting piano-playing with Connelly's mournfully poetic vocals, it is a far cry from their Pigface days -- sad and elegant rather than blunt and forceful. It could be the most interesting album you'll hear this year.

Splendid's Ron Davies and George Zahora, both of whom "grew up" with Connelly's music, were both extremely impressed by Largo, and jumped at the chance of a quick e-mail interview with the man. We wish we could've asked him far more questions, but he's busy preparing to tour behind Largo this summer. If he and Rieflin come to your town, check them out -- you'll be surprised what a couple of "industrial guys" can do...

Chris Connelly: I haven't seen many reviews yet, and when I first got copies I gave them out to only two or three friends,who really liked it. Actually, they liked it a lot more than anything else I have ever done, which confirms that perhaps I am headed in the right direction intuitively.

Splendid: Largo suggests the influence of a number of other artists -- Nick Cave, Leonard Cohen, Scott Walker, David Bowie, John Cale, Robert Wyatt... Are any of these (other than those whose work you've covered) accurate comparisons? I know that the Walker/Bowie comparisons have been raised vis-a-vis your solo material in the past, but Largo seems to reinforce them. Were any of the aformentioned artists active influences? For instance, Nick Cave's new record makes a fine companion to Largo -- not just due to the similar piano/vocal vibe, but similarity in mood.

Chris Connelly: The writing process that surrounded Largo was quite a secluded event. I think that it sounds the way it does because we recorded using the same instruments (basically) on which we composed it -- which is to say, I played guitar, Bill played piano. I nearly always compose on guitar, but may use a completely different arrangement for recording. All the artists you mentioned are indeed people who I admire and enjoy, but I feel strongly that Largo was inspired by something silent.

Splendid: I also found myself wondering if Largo had a strong bond to opera and musical theater styles -- there's just something about the grandeur of the music. Am I right, or am I completely off my head? If I'm right (or even if I'm not, really), do you have any interest in moving in that direction?

Chris Connelly: Any excuse to wear a powdered wig and a satin robe!

Splendid: You and Bill Rieflin played major roles in defining the "industrial" sound of the eighties and nineties -- particularly the whole Wax Trax "school" and subsequent descendants. Critics have described your recent work as "mature". Was there really anything "immature" about the Fini Tribe/Ministry/Revco/etc. years?

Chris Connelly: Well, sure there was -- we were younger. I was 14 when I started the Fini Tribe, and I was 21 when I first started working with Ministry et al (Editor's Note: French-speaking readers may appreciate the dual meaning of "et al" in this context. Aren't we erudite?). The word "mature", I think, is irrelevant when it comes to art. Of course, when you're talking about extracurricular activities,yes -- but my mind is like a kid's in that I am continually fascinated and excited. "Mature" should be reserved for the Claptons and Stings of this world.

Splendid: What were you trying to achieve with Largo? Is there any overarching theme or idea to the disc?

Chris Connelly: Well, it started off as a writing exercise for me and Bill, with nothing in particular in mind, and it was (as I mentioned earlier) such a secluded "operation" that I think that we have cut down a few screens and given people a very honest look at our twisted little minds.

Splendid: Were these tracks written specifically for this project, or were they songs you had floating around that finally found their home?

Chris Connelly: No, they were written pretty specifically.

Splendid: Which has more emotional resonance, intensity and/or relevance circa 2001: "Burning Inside" or "Wake 3"?

Chris Connelly: To the best of my knowledge, neither have any relevance at all, and neither ever has.

Splendid: How has your songwriting and recording process changed over the years? In particular, I'm thinking of the Ministry days... I recall visiting Chicago Trax during the recording of "The Mind is a Terrible Thing to Taste", and it seemed like a non-stop alcohol and substance-fueled orgy of production. I'm assuming things have slowed down a bit now because...well, you're both still alive.

Chris Connelly: That was Al Jourgenson's party, not mine, bless him!

Splendid: How would you summarize initial response to Largo? From fans, critics, whatever? What was the most interesting response?

Chris Connelly: My mother and her sister both really liked it, which I was thrilled by. It may be quiet, but I still find it rather unsettling to listen to, which I love.

Splendid: Your earliest work was almost defined by its use of synthetic sound. On the other hand, Largo is almost entirely devoid of such tools. What has pushed you in this direction?

Chris Connelly: No reason; whatever tool is right for the job, really.

Splendid: What was the biggest challenge in Largo's recording process?

Chris Connelly: I had a horrible ear infection that hurt the whole time.

Splendid: Why did you return to "The Last of Joy" in "Salt of Joy"?

Chris Connelly: We did to the title what we did to the song.

Splendid: Any plans to tour behind Largo? If so, will you look at different venues than you'd use for a more rock-oriented tour?

Chris Connelly: Yes, we'll tour this summer.

Splendid: What's the favorite tour you've been a part of? Why?

Chris Connelly: I think my favourite tour(s) may have been the ones I did early on, when I was in my early 20's, just because that time of life is such a "voyage of personal discovery" and you're out to try and have a good time. Now, tours are stressful. I like to stay at home and write. I'm always scared I will miss something, but I think this is just a phase I'm going through. It's not that I feel old -- it's just that when I am on the road, I'm basically repeating myself every night. I consider it to be something I am obliged to do...but it's a great way to meet people who like what I do.

Splendid: What will you be working on next?

Chris Connelly: Touring for the rest of the year, and I'm in the middle of writing a new solo record.

Splendid: How do you balance all of your projects? Are you able to keep many oars in the water at once, or is it easier to work in a linear fashion, one project at a time?

Chris Connelly: It's hard, because I also have a day job, but I am diligent with my time, and have to use it wisely. Yes, I am busy all the time, but so is everyone else around me -- my friends, the people I live with -- and that helps. I am also lucky in that I never seem to hit any blocks with writing. I just remember that I am really very fortunate, and that I am doing this because I want to. No one is holding a gun to my head.

Splendid: Have the artists you consider your personal influences or inspirations changed over the years? If so, what do you think that reflects?

Chris Connelly: That's a hard question. Musically, I hear things all the time that are new that I like; sometimes it's just good to know that there are people out there with perhaps a similar aesthetic. The people I listened to years ago have remained with me; I soaked them up at that age when you soak things up. The things I did with FINI TRIBE when I was a teenager still serve as reference points for me -- especially when I am in the studio, because we were trying things out, and we would discover things that worked, and that I still go back to because I know they (work). I think more recently I have been craving new music that somehow overwhelms me in its radical approach. To name but two records that have done this, The Gap by Joan of Arc and An Acrobat's Heart by Annette Peacock. Also, and perhaps most importantly, the songs "Scope J" and "Lullaby" by Ute Lemper, from her album Punishing Kisss, both of which were written by Scott Walker. I think all these things have served to light the proverbial fire under my ass.

Splendid: What else are you listening to lately?

Chris Connelly: As discussed above,the other things I am listening to right now are Kid A, The Conet Project, which is a 4 CD set of recordings of shortwave radio numbers stations, and also the Throbbing Gristle Live Box set, which is great music to work out to.

Splendid: Read anything interesting lately? If so, what?

Chris Connelly: Right now Experience by Martin Amis, and in the last year Black Dahlia by James Ellroy, strangers on a train by Patricia Highsmith, An Tuil: A Century of Gaelic Poetry, all of William Boyd's brilliant books, anything by Steve Erikson... Ah,the list is endless. I love to read.

Splendid: What is your preferred musical role (drummer, singer, solo artist, producer, etc.)?

Chris Connelly: I love to sing more than anything.

Splendid: If someone asked "What kind of music do you make?", how would you respond? And which of your albums would you tell them to listen to?

Chris Connelly: I hate that question. I have no idea. I always refer to Shipwreck, or to whatever my latest record is.

Splendid: Do you feel like you've gone beyond the industrial tag yet, or do you think people continually expect you to return to that style? Is this a burden for you?

Chris Connelly: Yes, of course I think I have grown beyond that, but I get to make the records I want to make. A few years ago I thought it was a burden, but now I accept my past and I never rule out the future, so I am really quite happy. If people like what I have done in the past and don't like what I do now, it's still a very flattering thing, I think.

Splendid: Do you think your work with Damage Manual has exacerbated this issue? Was that a factor in your choice to become involved?

Chris Connelly: I did the Damage Manual because I thought it would be fun and a challenge, and I was right. I am really proud of the lyrics I wrote for that record. I enjoyed the whole process.

Splendid: The US Federal Trade Commission has recently complained again about the marketing of violent music to children. What is your take on issues of music, violence and marketing?

Chris Connelly: I don't make violent music for children. This has nothing to do with me. Listen to what I do; my music, to the best of my knowledge, has done nothing but inspire people to be creative. I make music for adults, though I bet there are some jealous boyfriends out there who have wanted to get "violent" wit' me, heh heh heh!

Splendid: Do you consider your impact on listeners when composing?

Chris Connelly: No, when you are writing in the solitude of your living room, you have your work cut out for you. You can only stumble through your own instincts; other people don't factor until it is done. I play nothing for anyone unless I have to, until it is out. There's no point in second guessing yourself!

Splendid: Any last thoughts?

Chris Connelly: Yeah -- don't second guess yourself.