Sleep Chamber

Sleep Chamber is the creation of John Zewizz, a man who has mixed Industrial music with dark mystical themes and lustful, sexual overtones. His material can be disturbing and powerfully erotic at the same time, a BDSM fetish soundtrack containing forbidden carnal pleasures. Not surprisingly this has resulted in some controversy being directed at Sleep Chamber and triggered some legal hassles for John. Recently I had an opportunity to interview John about Sleep Chamber and his side project, Women of the SS. Photography by Amy Nitrate.

----------

AC- Please tell us when and how Sleep Chamber came into existence.
JZ- In 1982 Sleep Chamber waz born. It waz a combination of my frustration in alternative musick and an obsession with my own sexual identity.

AC- Are there any other projects you are involved in besides Sleep Chamber and Women of the SS?
JZ- That's about it for now. I waz interested with other projects (Cult Ov the Womb, Hideous in Strength), but I had no time. Sleep Chamber takes up 100% ov my time. If I had any extra time after that, I sleep.

AC- What is your place in Women of the SS? What do you contribute to that project?
JZ- Women of the SS iz sort ov a solo project, it usually does not involve a band or any traditional stereotypical type ov musick. It involves Women on vocal or spoken word, while I create a soundtrack type ov musical scene. It's always moody, I have a good time working on the musick. There are no limitations az far az what I have to accomplish... I just like it lusty.

AC- Are there any similarities between Sleep Chamber and Women of the SS?
JZ- Sometimes Women of the SS ideas cross over into Sleep Chamber, but Sleep Chamber never crosses over to Women of the SS. Sleep Chamber iz usually rhythm structured or ritualistic. Women of the SS iz usually atmospheric soundtrack musick with a Woman's spoken words laced throughout, almost like a story or play.

AC- Do you allow the Women of the SS members to come up with their own spoken word material, or do you control that aspect as well as the musical side?
JZ- I write the spoken word pieces for the Women of the SS tracks. I think that way it maintains a certain style. I'm open to ideas with the girls... but I usually already have something in mind for theze tracks. The musickal style iz also my own. It's usually violin and synth tracks overlaid. Nothing too complicated.

AC- You mentioned that you likeWomen of the SS material to be particularly lusty. What viewpoint is this lust coming from? For example, is it Women toward Men, Women toward Women, etc.?
JZ- It iz usually Woman to Woman. On occasion it's them to me, or a woman addressing a man.

AC- When did you start Women of the SS?
JZ- I think it waz in 1985. Around the same time az "Submit to Desire" waz released.

AC- I would like to know, what are some areas of subject matter you like to explore with Sleep Chamber?
JZ- My personal favorite subject ov interest iz the Female. I'm very private about it, I feel it's a very personal issue. I take it very seriously, it's not just sex. To me it's much more complicated than that. Sexuality iz not a simple thing, it's very detailed and complex. Obviously Sleep Chamber musick iz saturated in sexuality, I guess it just leaks out. Sleep Chamber iz an exhibit of my personality, it's more about me than about sexuality (though sexuality does play a major role in my musick).

AC- Sleep Chamber's music explores many of the dark aspects of sex, and sexual relations. Why?
JZ- Like I said Sleep Chamber iz about me, the insight involved deals with my obsessions and curiosities. When I explore a sexual situation or obsession, it somehow naturally materializes in the concept of Sleep Chamber musick. In the musick I don't "sing" about theze subjects. I try to create an atmosphere or mood, where the words are more conceived than interpreted.

AC- In your opinion, is sex a tool to use to dominate or to liberate others?
JZ- Sex can obviously and iz obviously used az a tool, though I avoid that. Alot of people mis-interpret Sleep Chamber az a sexually exploitative band. I am not interested in dominating or liberating others' sexuality, my interests and accomplishments are totally personal. I've said this before, sexuality iz not a "fad" or "style" for me. It iz part ov who I am, not who I want to be. I'm not really interested in anyone's sexuality, unless of course I'm involved with her.

AC- What has been your response to those who believe your work is purely sex-exploitative?
JZ- Well, at first my reaction waz that ov frustration. But people are generally simple-minded. I also understand how the public thinks, on a very surface level. The only thing that kums to mind to them when you mention "sex" iz intercourse. I think it's natural to be frustrated with your efforts if some or most misinterpret or do not understand... but you start to understand yourself more. And you understand their stupidity...You have to be able to be somewhat critical ov your own work to be able to sit back and see it clearly. If you think that everything you do iz great... you are an idiot. Even the best have shitty days. And no one or anything iz ever perfect.

AC- How does the creative process unfold for the construction of Sleep Chamber's material? Who else contributes to this process?
JZ- The musick never starts the same. I don't have one same style ov writing, composing, or arranging ov musick. The easiest and probably most used style ov constructing Sleep Chamber musick starts with the rhythm ov the percussion, then the bass, then the vocals. After that the guitar and keyboards are arranged and processed. It seems that there iz a different line-up for each recording project... it just works out that way.

AC- Sleep Chamber's other focus seems to be upon the Satanic. Has Sleep Chamber been pegged by some as being Satanic? If so, how do you respond to this?
JZ- There are Satanic overtones and ideas. Though peoples' version ov what Satanic iz and what I visualize are completely different. And what "Satanic" iz interpreted az in general iz again questionable.

AC- What do you think the "general" idea of Satanism is compared to that of your own?
JZ- I think 90% ov the population have this idea that Satanism iz a group ov subversives in black robes and hoods on their knees to a goat with a pitchfork. I think they see the devil az having red shiny skin, a pointed tail, and horns. Not to forget the pitchfork. The typical image instilled in us az fear, when we are young. Az in the dark ages, which we are still in, the forced belief waz if you do not believe in "my" god you are against him... the social style ov elevating oneself while defaming others. My idea of Satanism iz that ov enchanting, esoteric, spellbinding, reversal ov values and traditions, Kaos az a means ov protection, and an individual system ov conversity.

AC- Where is Sleep Chamber's place in the Industrial scene? How do you think Sleep Chamber relates to Industrial culture?
JZ- People and critics in the rock "scene" hate us, people in the "Industrial" scene hate us. We have never really been accepted in a "scene." So we have accepted our outlaw type of image, not being able to fit into a "scene" or keep people in that scene happy. I don't find it rewarding to be unaccepted in the musick scene in general. You are not reviewed in magazines, you are not worthy ov airplay, etc... this all costs you time and money invested into something people are going out ov their way to ignore. I do not intentionally try to shock or offend people. The image and musick iz presented az I see it. I am in control and some people hate that.

AC- I am surprised that you feel people who listen to Industrial music dislike your work. I have found much of your material to be very true to the original Industrial concept. Why do you think this "hate," or unacceptance of your work has been directed toward Sleep Chamber?
JZ- I don't think they "hate" the work az much az they hate the impact or concept ov Sleep Chamber. I think that however simple SC seems at times, it still instinctively causes one to examine their values or opinion. In some cases your morals. SC iz not "party" musick so what iz it? It's not meant for loud, fast dancing... "but the topics, words, and ideas make me think... so I guess this musick causes me to examine my values... this musick makes me think! I hate that!..." Some people "hate" it when they react instinctively to something someone else iz controlling. I guess they feel either "out ov control" or they do not trust instinct... or they are afraid ov what they might react to, that iz, really their true feelings. I mean the musick on the surface might be cool sounding, or interesting, or unique, or original... or whatever, but what it holds inside iz quite "different" or intentional. It might open doors you may not want opened. It might change your mind. It might make you think az an individual. You might be made to stand on your own and speak for yourself. You may even realize how alone we all are here... but it's only musick... right?

AC- Would you tell us about your incident with the Department of the Treasury confiscating some of your mail? I'd like to know how it began, how you reacted at first, and if it was ever resolved.
JZ- It seems that the U.S. post office haz sometimes little to do but open other peoples' mail. This iz how this situation arose. They opened a package out ov curiosity because, #1 it waz addressed to Sleep Chamber, the rest iz history... after they saw a sexually orientated photograph (a cassette cover), they figured I waz a pervert that needed to be taught a lesson. It seems that after that initial incident, I must have been put on a computer. All my mail kumming or going waz being opened and seized. The "Spellbondage" album waz seized in Japan. The "Warm Leatherette" 45 with picture sleeve waz seized twice in Canada and confiscated. I slowed down business for a year and the heat sort ov cooled down. Today they have seemed to lay off.

AC- This cassette cover in question was something that I assume you had no control over. It was something the Staaltape record label of the Netherlands was considering for use with some of your releases, correct? How did Staaltape react to this situation?
JZ- Yes, it waz the Staaltape. The people at Staaltape just kept quiet. I don't know if this situation scared them off. I have done nothing with them since. And have had no communication with them since.

AC- In light of that incident, how do you feel about others deciding what you can and cannot see or possess?
JZ- Up until that incident, I really had little experience with others controlling my musick or ideas. I waz really offended that some idiot could have say or control over my ideas. It's an unbearable invasion of your freedom. How can someone or someone's opinion be in control over your freedom, your freedom ov conception, a concept that harms no one. The part that makes me so crazy about it all iz that the U.S. Customs agent told me that I could not import "in" anything that might be considered obscene. He then informed me just what waz considered "obscene." Basically anything that showed naked bodies. I mentioned stores selling Playboy, Penthouse, etc... video rental stores that stock X-rated video, etc. He informed me that waz all okay because it waz already in the country. I mean... what the fuck, that monopoly! They want to control what kums and goes... so that they can charge fines, taxes, etc.?

AC- How do you think this relates to the censorship that is currently taking place in some aspects of the music industry?
JZ- What iz taking place now in the musick industry iz a gradual process. In ten years the laws will be so detailed, the artist will have hiz/her head up their ass trying "not to be creative," but to be a machine that iz dictated by public demand and corporate influence... like today but much worse! Censorship iz not all on high levels of control. It happens on smaller levels like radio stations and magazine reviews. Everybody practices some sort ov level ov control. But you have to know the difference between control and censorship.

AC- I think that much of the censorship directed towards music misses the target. It's really amusing that the corporate record labels deal with such a high level of censorship control, over groups who are harmless to the masses at large... when in the underground of music there are a few groups who could really be genuine threats to impressionable people. You'd think censors would be paying more attention to the underground, but they don't. Why do you think this is?
JZ- Like you said, the targets are bigger, have more money, and are ov no real threat. So the censorship iz a power play ov control and exploitation towards those who can afford to "pay" the game. You can make a better example ov someone that's a big target. If you are not famous no one cares what happens to you. Most ov the people in the "big" musick market are playing a censorship game. They do it intentionally. To be censored... iz the easiest way to draw attention. I guess you could almost call it "Satanic"... the public will buy something the government wants to control, or does not want you to hear. Government and religion are somewhat identical in control and dominance... don't you think? They both greed for the power ov control. Both wanting to control and censor but not to be controlled or censored. And most importantly... not to be held responsible!

AC- Let's take it one step further. Censorship of music is a result of people "passing the buck" toward the artist(s) who have created music which was thought to influence people to harm themselves or others. It's the fear-reaction that something may happen as a result of listening to a particular record by a particular group. Do you agree with this theory?
JZ- Well, that's really a difficult question. That situation iz more detailed than the question. It reflects morals, responsibility, intention, liability, influence, corruption, and to say the least, judgement. The audience iz your biggest liability... some bigger artists have insurance (money). But just because you have money does this mean you are responsible and those without money are not responsible? It's so hard to say... but I am a responsible person at heart. But how can you be responsible for a person who iz a timebomb waiting to go off, or someone who "misinterprets" you, your message, and everything in hiz/her life in general? Does it kum down to burden ov proof? Or an in depth investigation to responsibility? It's complicated. But with all power kums consequence and responsibility... if not, we are only politicians ov our opinions and artforms.
So, I guess I would (believe it or not) sway more to the argument ov being somewhat responsible for your power ov influence. Not for the sake ov blame, but for the moral ov responsibility. In one way it's too easy to say I AM NOT RESPONSIBLE, and it's too easy not to be responsible. But if you are really "in control" you should be aware ov consequence. If not you are an ignorant fool and have learned nothing ov what power you might have gained. Theory: What is your message? Iz it clear? Directed to whom? Personal or public message? Why?
I hate to see restrictions on free forms ov creativity, but the misuse or corruption ov creativity must... be allowed. This iz so fucking complicated. Who then makes the rules? We have to allow the wrong, so to protect the right, because we can trust no one's only opinion. It can get so complicated, we question our (and we must) own intuition. The major part ov creativity iz responsibility... like a child you create. You are responsible, right? And az we see in reality, some are ignorant and reject their own responsibility. Out ov ignorance. To create iz a powerful gift. Be concerned with your power ov influence. Az the gods did to protect their magickal secrets and seals. With all power kums corruption and exploitation. Reserve your self-righteousness because it iz ov no use. It remains an opinion in this battle. If you have power... respect it, learn from it, direct it, CONTROL IT! Because ignorance ov your own power ov influence iz stupidity.

----------

This interview was originally scheduled to be included in Antocularis issue #3 April, 1993 however it was never published and this is the first time it has seen the light of day.

Throughout the first half of the 1990s Sleep Chamber continued to grow in popularity and notoriety. Unfortunately for John in 1996 he was implicated in a murder investigation. He was eventually cleared in the case, but the toll from this incident and a growing drug addiction caused John to fade from view. In 2002 a Boston newspaper interviewed John about Sleep Chamber, the murder case, and his battle with drug addiction. It's a good read so check it out. http://www.bostonphoenix.com/boston/music/cellars/documents/02257161.htm