Faith & Disease live show review from Gothic Paradise.
September 2003 interview fromchaindlk.org.
At first listen you might peg Seattle's Faith & Disease as similar to the lush sounds of Mazzy Star and This Mortal Coil. But wait, upon closer inspection (and that can be exhaustive as the band already has 6 CDs to their credit) one will find a versatile band that runs the gamut from brooding 4AD-ish guitar-synth-melancholia to surprisingly advanced eclectic instrumentation -- sometimes hinting at Celtic folk, other times experimenting with styles that might alarm the darkwave-ethereal crowd (like the use of a steel-pedal guitar on their criminally-underrated Insularia CD of 1998), yet still tie in with the bands overall "beautiful sadness" aesthetic. Never veering from the tasteful and sparse, F&D deserve credit for daring to go where few bands of their ilk would dare tread . . . for that reason and many others, this is truly a band to behold. Still in their teens, Faith & Disease formed the year punk broke (1991) and in the face of Seattle counterparts Pearl Jam, Soundgarden, and Nirvana making headlines and depositing big checks, miraculously climbed the club latter and hierarchy . . . headlining all the same clubs as the big boys, with very little competition in their field . . . perhaps with the exception of psychedelic star gazers Sky Cries Mary. F&D released the "Voltaire's Vallerie" 7" single in 1992, then followed 6 months later with another - "Jardeau Blue" on the tiny Utah-based imprint AIDA HOUSE. With friend David Goebel, Faith & Disease formed their own label Ivy Records, inspired by the DIY ethic and having successfully wriggled out of their contract with AIDA House. The treadmill was set in motion -- they released five albums -- Beauty and Bitterness (1993), Fortune His Sleep (1995), Live Songs: Third Body (1996), Insularia (1998), and Lamentations: A collection (1999) under Ivy, but signed with kindred spirits Projekt Records (having appeared on a Projekt release as early as 1994: the ornately-packaged Of These Reminders) at the close of the '90s to issue Beneath the Trees in fall 2000 . . . their finest hour and hopefully the beginning of more brilliance to follow. -- M. Reichlino