To start off, please give us a brief background on Holocaust Theory.

Holocaust Theory started back in '93. Originally we had five members and we ended up with two. We wrote constantly and in '95 we came up with the name and the label and released our first CD in '97 and here we are.

Can you please shed some insight to your and possible explain the concept, if any, to Holocaust Theory? Also, how do you feel about the negative conclusions that many have reached from your name alone?

The concept of the name, Holocaust Theory, is simple actually. Separate the two words. Holocause meaning destruction, global ending, etc. and Theory meaning our beliefs and insights. Put the two together and you get out Theory of the World Ending, or as some people refer to it, Armaggedon. As far as the negative feedback we get, first of all, people hear a name and assume one thing or another. They don't even know us. The people who do know what we're about know that we are not Nazi's. Its the people who try to put us down who are ignorant and have the problem. "They are" what our theory is about. If your not part of the solution then you are part of the problem. It's such a shame that people are like this. If they knew us, they would probably like us and understand what we're about.

Your songs seem to take a minimal approach, yet the songs retain the raw force and emotion that many would come to expect from more complex material. What are your thoughts on minimal musik?

James: Wonderful!

Scott: My thoughts on minimal music are great ones. I love minimal material. If you can take a simple piece of equipment and turn it's sound into something totally awesome then more power to you. Bands like Dive, Esplendor Geometrico and Suicide Commando completely have the minimal thing down. I completely respect them for that.

Describe your song writing process. Do you start off with a concept and build off of that, or do you start it all with the programming?

The writing process usually starts with the programming. Usually with a rhythm, then everything else falls into place. On occasion something inspiring happens in our personal lives, whether it's good inspiration or bad, then we write according to the way we feel. And of course with a name like ours and the music we play and the scene we're involved in, the bad things that we hear, see and read is what we are all about.

What kind of equipment do you use in the production of Holocaust Theory.

Our equipment ranges from various synths, samplers, effect processors, etc. But right now we like the K2000, Korg Z1, Emu-Esi 32, Roland SH-101 and Cubase VST.

Are there any bands who were major influences to the music that you write today?

James: This may sound strange, but not really. I like alot of bands from different styles and eras but my biggest influence to write music is the wonderful creation of music composed for myself and others to enjoy and when someone likes what I or We have done, it makes me feel good. Music for me is about emotions and a way of expression, a form of release.

Scott: I really don't get influenced by bands to write music. Yes, I could be listening to a track from one of my favorite bands and say that sounds great, but I don't get influenced from that to go right to the keyboard and write. I think that if you do that, you'll end up sounding like that band. For me, my inspirations can come from hearing sounds around me and watching the news especially. For instance my side project, Savak. The music is totally inspired by the Iranian secret policeof the 1970's and their tortures of rebels. Thy were called Savak.

You opened up for Noisex as part of the "Inferno" tour last summer. How did those shows go for you? Was the music well received by the crowds?

The Noisex tour went well. We met alot of great people and formed some really good alliaces with Ant Zen and the rest of the Bavarian heathens. Most of our shows were cool except for a couple, but hell, thats a tour for you. Our music was really well received by the fans. It's different than Noisex, but it blended all too well.

The music of Holocaust Theory is self released on your own label, Possessive Blindfold Records. Can you give us some background on the label and where you plan to take it in the future?

PBR was started solely to release HT but then it started growing very rapidly. We first released the HT disc and then started distribution for other hard to get labels through mail order and internet. That has blown up. We now have a big year planned with releases by Stin Scatzor, a new Holocaust Theory, DB.F, Pierrepoint, NME, Sleepwalk, Imperative Reaction and Exoskeleton #2. We will also be relocating our offices to LA in July. Also, we have joined forces with EDT and DSBP to start a coalition against the corporate raiders in the scene. The three of us are the future of the industrial scene! Watch for more details to come.

I'd like to thank the two of you for taking the time to do this interview. We would also like to wish you the best of luck with Holocaust Theory and PBR. Do you have any final comments?

We would like to thank you for the interview and wish you the best of luck with Corrosive Inc. Thanks to everyone who has supported us. Greetings to the Family.