A Place In Music History

by Marie Boudreau

In the summer of 1985 the band Requiem In White was formed by core members Eric Hammer, Lisa Houle and Christopher Walsh. The scene was Boston, Massachusetts, birthplace of "college" rock, and the clubs were stinky little holes where all types merged- rockers, punks, skinheads, bikers, art-school kids, music conservatory professors, drag queens, etc... At that time, there was no organized "gothic" scene. Any band with a dark image had to fend for itself. Strangely enough, Requiem In White's ecclectic dark/romantic/rock sound and look were (although publicly hated- who would admit that they don't hate opera?) secretly admired by even the most stubborn members of these various social groups. The band was gaining more fans and attention than it even knew: they were being bootlegged, widely talked and written about, imitated, and even their humble demo tapes were being hunted down by fanatical fans. By the time they relocated to New York City in 1989, there was a healthy gothic scene, and Requiem In White had achieved a level of status which placed them at the forefront of the gothic movement. Their refusal to ever grant an interview or any kind of publicity created such an air of mystery around them that they attracted a loyal cult following, one that still grows to this day, even after the break-up. By 1994 the band was no longer playing little stink-holes in the middle of Hell anymore, but was playing to thousands of ecstatic fans at places like the Limelight and the Ritz , headlining or opening up for bigger bands like Type-O Negative, Sex Gang Children and Biohazard. They were constanly in the fanzines, on the internet, on compilations and bootlegs, videos, stickers and on the backs of fans' jackets. Theirs was truly a "grass roots" fame, of the sort which history has proven to be the most enduring. By now Lisa and Eric were married, and at the height of their Requiem In White career, decided to break from the group and venture out on their own.Their desire was to create a more focused and polished group, with the ability to maintain complete musical and artistic control. The break-up was painful for all, and fans were devastated. They had seen Requiem In White as the "last original band" in a sea of "goth imitators" and "vapid drum machine clone bands". Requiem In White had embodied the sound and image of their deepest romantic fantasies.

Finally, Lisa and Eric have formed the band they have always wanted, backed by professional musicians David Mecionis on bass and Hajji Majer on drums, and are introducing this new entity to old fans, while attracting many new ones. Critical and audience response has been overwhelming: reviews hail them as the "legitimate spin-off" of R.I.W., and retospectively name them as originators of their genre, while fan mail thanks them for "restoring faith in music". Their premier show in late 1996 was a huge success, packing the venue to illegal numbers, and their small label is overwhelmed with mail, requests and orders. Despite the fact that the CD is being carried by more than ten distributors, fans complain that they find only empty Mors Syphilitica sections in rec ord stores! The Hammers now realize that it's in their best interest to push beyond the black veil and venture out into other arenas, as their music contains a glorious mix of styles which cannot be limited to one genre, nor be shrouded in secrecy forever. They are ready to reap the rewards of their hard work and respected "veteran" status, and hope to bring their distinct sound and image to a larger arena of appreciation.