Tonight. The Death Star finally surfaces after almost five years since the last The Doorman album. Already in 2005 I switched to digital 12-track recording, starting a hit-and-run, don't practice-and-record process that in the end mounted up to 100+ 'songs'. This sounds like Moby in his liner notes but let me stress that 80% of these 'songs' was basically trite.

During the process I acquired myself an Epiphone Les Paul electric guitar, a Richwood bass guitar, a Valencia CG50 nylon guitar and among others (Shure SM57+58) a Marshall 100W amp that nearly blew my neighbour-granny away (don't panic, she's deaf and bad on her legs). In this same period of time I spent half a year trying to retrieve a cool song from the crashed hard disk of my recorder (with success, it's track #1 on the album), half a year wasting time and effort on a drummer who was all set to record in a church but in the end vanished from the face of the earth (withOUT my equipment, thank god) and months curled up in a foetal state on my couch, sick of not hearing on 'tape' what I wanted to hear. I almost quit and finished off the whole Doorman concept but...I persevered!

This album is about a couple of things together. It's about the inanity, insincerity and bland vulgarity of the so-called entertainment industry, accepted as standard by the brainwashed and forcefed consumer population. Major labels push forward cardboat cut-out 'artists' who just wanna cash in, get laid and show their crib on MTV (you know, the 'music' station..). Good bands and singer-songwriters are left out in the underground scene, most likely missing out on any earned validation for their music. This situation is not gonna change. Bill Hicks and Kurt Cobain are dead.

This pisses me off, which surfaces on tracks like 'shot on a webcam loft'', '*shrugs*' and 'Star Death III: The Search for Cock'. Modern society's virtual achievements like Second Life and the downsides of the internet are featured in 'I'm gonna kill all your avatars' and 'are your online friends your offline friends?'. The remainder is the usual therapeutical vent-your-spleen material: looking for reward ('the incarnate holographic projection'), frustration over rejected love ('get stuck now with Joe', 'it's over [and the antichrist is among us]') etc. Hope and relief are finally there with 'St. Paul on the Way to Damascus', but just when the words "happy end" are fading away insecurity rises with the final track 'Star Death: The X Generation'.

So, here it is. It's a good album. It has the lo-fi oldskool Sebadoh aesthetic but nonetheless mixed and mastered to the best of my efforts. I'm glad it's seeing the light of day and I'm satisfied!