Artist description Putting their personal spin on the meaning of "From the ground up"," Love In Reverse constructed their own 32 track aural laboratory and began work on a new album in early 1997. "It took awhile," admits Ferentino. "We wanted to familiarize ourselves with the equipment and our new surroundings. But once we got going, it was a real roller coaster. We didn't do any demos-- just recorded straight through and layered in the sounds as we went along. It turned out to be a very comfortable, very organic process and suited the open-ended aspects of the music perfectly." It's a contention borne out from the opening notes of Words Become Worms. "It's very moody, very psychedelic," is how Ferentino describes the swirling, multi-textured and virtually cinematic montage that comprises the fifteen tracks of this stunning new album. From the explicit sexuality of "American Cream" and "Vast Garden", to the dark spirituality of "Night The Witch Came Home" and wrenching reality check of "Fate" and "Murder," Words Become Worms is an unabridged exploration of the modern music's expressive potential, as practiced by one of the bravest, most uncompromised bands on the scene. With this remarkable new offering under their belt, Love In Reverse have turned their attention back to the concert stage, gearing up for an extensive tour with an expanded show that borrows many of the multi media elements of their Dog-era performances. "We wnat to bring back our light show," explains Ferentino, "and do a lot of freeform, improvisational work. We want push this music to the limit and the best way to do that is to fully involve the audience." With Words Become Worms, Love In Reverse has fashioned a vast and deeply dimensional soundscape that opens doors to whole new vistas of creative consciousness. Check out the view

Music Style Modern, electronic mayhem

Musical Influences Pink Floyd, David Bowie among many others

Similar Artists None

Artist History Warner/Reprise recording artists released from contract

Group Members Michael Ferentino Andres Karu David Halpern

Instruments Lots of them.

Albums I was dog. I was here. Words Become Words.

Press Reviews Flying into new york as a destination was new for me, having spent much time in the city as a dweller, not a spectator. Unknown to me was the fact that the band that i was sent to cover, love in reverse, was in a similar predicament. being the home band on the bill is usually nice. but when you're last on a billcontaining bands that are all over the airwaves, such as gravity kills and republica, and when that city is new york, a place known more for smug industry types, than fervent fan worship, the home coming can be bitter sweet at best-especially when the band that is at that stage when the ears are only beginning to prick up, and those ears are not hearing music that invokes the angst of gravity kills or the pop-disco of republica, but a mantra all it's own. who knew what would happen when love in reverse hit the packed irving plaza stage? indeed, who knew. with all the obstacles against them and a confining 35-minute or so set to get their point across, the upstairs ruled the stage when the confidence of a band several tours deep and a sound itself that was equally honed to attack. by melding perfectly the cerebral and the subconcious, technology with emotion, and for lack of a better cliche, brain and brawn, love in reverse didn't make new york forget about the co-headliners due next (this is not a fairy tale after all), but the band was not just noise to speak over while getting a budweiser, and the staid crowd knew that they were up to potentially great. after the set, the group congregated on the new york street ourside the club, genuflecting on this occasion that i was very happy to be a part of. gushed singer/guitaris michael ferentino, "i definately consider this our home town. this is the place we got pour shlt together, actually. we got stated playing places like the china club, and the pyramid, of course. i feel that we got alot of respect tonight." respect is something love in reverse have been getting for some time, but only recently have the likes of mtv noticed. mike, and bassist andres karu are literally childhood friends ("i knew him before i bought my first album", mike laughs), who grew together, as opposed to apart, while drummer, and kindred spirit, dave halpern came on board last year, in time to set a major record deal with reprise, and put out a debut ep i was dog (a little jibe at the bands previous minker, dog), and now a full length cd i was here. while both discs show a group unafraid to use technology, the live show presents with it a more dramatic tones, one that screams in your face, and rocks full-on. this, according to the band, is not an accident. "i'm done with rock", states mike with a pained expression. "to be honest with you, as far as i'm concerned, as much as everyone wants to say rock lives, i believe it's been beaten into the ground for a long time. i think naturally it comes out of us live, but i think in the studio i try to intentionally steer away from it, because i think that people should listen to a little more than just a live performance (on records). to me, the studio is like a palate and alot od things can be done outside of just going in there and playing a live performance, and i think that we took a little more sophisticated approach with the album and the ep. next time i plan on using alot more technology, and there's gonna be alot more aggression, but it's not going to be live aggression." adds dave, "people get intensity and rock, like if you say a band is rockin', mistaken. we go more for an intense type of vibe feel rather then trying to play hard and heavy. it's an american thing, anyway. i tal kto alot of people from other countries and they're pretty much not into the whole rock thing." while that's certainly arguable, this attitude brings the band's sound into a lush into a landscape which echoes the emotional toil that is the essence of humanity, avoiding the sterility of many a machine music maker, wo who's to nit-pick. it's this balance of etheral with the real that makes love in reverse so compelling. "really?" mike queries, with a smile on his face. "well, i'm glad that you find that. i think a lot of people kind of neglected that machines should be made to work for us, not so much like a slave, but almost like lovers, to a certain extent. when you make love to someone, you're not just controlling them. you're feeding off of each other. to me, i like to see machines, samplers, computers, drum machines, synthesizers, whatever, work to where i can get something out of them. it sounds rediculus, but that's the way i look at it. "i come from an acid mentality," he continues. "more so than anything else. i think that me, personally as a writer, i can speak for the band because they are just naturally like this, come from a psychedelic backround, or maybe just not seeing the world as one concrete thing, but seeing all of the possibilities.. "we don't try to make a statement with any particular genre. we're not there to say 'we're a rock band, we're a band that's using technology', we don't believe in shlt, basically. we believe that we have a lot of osunds at our disposal, and we;re using technology to put them together and make the most interesting thing we can. andres comments that, "not fittinf in is the goal, definately." and the singer elaborates on this thought: "i believe that it doesn't fit in. it doesn't fit in with the structure that corporations use to market things, but i believe it fits in with the human naturem and eventually the right people will come along and really get what it is we're trying to say. they'rll probably kind of retort to that, and will probably have some influence on us as well. that's the kind of relationship i want to have with the people that i am performing for. i want people to come back to me and say, ' hey, man, i dug this part, but this part of it sucked,' and i'll be like, 'i think that's great, but fvck you!' maybe he'll hear a little bit of himself on the next record, and maybe he won't" despite the ambitious lines from this relatively young froup from new jersey, mike tones down his visions, tempering them with reality, like the band that he plays in tempers power chords with melody, and acoustical intervention. change the world?" "i don't think that we can and i don't expect us to," he states, matter of factly. "but i think that if one person at a time has the attitude i have, that maybe the next generation that listens to what i have to say says, 'yeah, that's kewl, i want to go out there and also have the balls to say that something maybe by the year 3079..." we'll both be long dead, i interject. "it doesn't matter," he immediatly snaps back. "so we're long dead. we're all part of the earth, anyway. i explain this all to ABC (the the band was featured on an upcoming barara walters special about a band trying to make it), when they looked at me like i was insane, dissing the people who's asses i should be kissing. but i don't feel like dissing anybody , and i believe that a lot of these people are saying in the back of their minds, 'i know that i'm ass-kissing, i know that i'm brown nosing, i know that the world is going in the wrong direction sometimes.' you only have to answer to yourselves, and when it's all said and done, it doesn't matter how many albums you've sold, how many great hotels you've stayed in, how many great meals you've ate, or how many beautiful women you've fvcked. none of that shit means a goddamned thing. all that matters is that you can go to bed at night knowing that what you did was something that you believed in. and that's all i give a shit about." ~the end~ article by Brian O'Neill~

Location Somewhere in NJ, NJ - USA

Copyright notice. All material on MP3.com is protected by copyright law and by international treaties. You may download this material and make reasonable number of copies of this material only for your own personal use. You may not otherwise reproduce, distribute, publicly perform, publicly display, or create derivative works of this material, unless authorized by the appropriate copyright owner(s).