I am in the night
I am every part of it
The consumption of its beast 
The deck that it deals
The veins that bleed
The caress of its serpent

I am the night
As it writhes and undulates toward dawn
It moans and cries a symphony of anger
I am its agony as it struggles against the light
And dies with the strike of the Sun God.






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 Come In and Burn...
An Unofficial Henry Rollins and Rollins Band Site...
Reuters '97...
FEATURE: 'Come In and Burn' Caps Henry Rollins' Growth Spurt

By Gary Graff

DETROIT (Reuter) - It's been 10 years since Henry Rollins came screaming out of the punk band Black Flag and launched his own career as a solo artist.

And during that time, Rollins has developed into one of rock's most intriguing personalities, a performer whose artistry has moved well beyond the boundaries of music.

On one hand there's Rollins the rocker, a savage dressed only in gym shorts, his muscles tattooed and toned by relentless weight-lifting regimes, veins bulging from his neck as he sends a pain he feels deep inside hurling through the microphone.

On the other hand is Rollins the rock renaissance man, a gifted and witty spoken-word artist who has his own publishing company (named 2.13.61 for his birthday) and a low-key film acting career.

It's been quite an evolution, and Rollins recognizes just how far he's come during this stretch.

"I get better at applying myself every year," he says. "The more I do, the more I can do. My concentration level is much better. I can work eight hours at a crack when I have to, and I couldn't do that years ago. I've got some of that maturity going for me. You get more focused."

This spring alone, Rollins has released a new album, "Come In and Burn," and played a bit part in the new David Lynch film "Lost Highway."

In the fall he'll publish a compendium of his writings, titled "Do I Come Here Often?" and he also midwifed the autobiography of former Van Halen singer David Lee Roth for another publishing company, Hyperion.

"I kind of helped him get it set up -- got the woman to interview him, hooked him up with Hyperion," Rollins explains. "It's a tremendous read. He's been there, seen it, done it -- and he can articulate the tale."

But Rollins says not to expect much about last year's temporary reunion and dramatic split with Van Halen.

"All the interviews ended the day he got the call" that he was out, Rollins says. "There's no trash-talking. That's not really Dave's style, anyway."

Still, "Come In and Burn" is unquestionably the highlight of this period, Rollins says. He spends much of the album working through his personal pain; one song lyric includes the lines: "So much anger, so much rage/No, the sadness never fades."

But "Come In and Burn" also finds Rollins's band -- which includes guitarist Chris Haskett, bassist Melvin Gibbs and drummer Sim Cain -- working through songs that are shorter, tighter and, dare we say more conventional, than the long, metallic discourses of the group's previous efforts.

Rollins credits this to some time off the group took after its last tour, as well as a more leisurely approach to recording the album.

"What we wanted to do this time was have more songs than what we needed so we could actually pick and choose," he says. "We'd never done that before. This time we wanted a mess of music, so we wrote over 30 songs, recorded over 20 -- basically two long albums' worth of stuff.

"This record could have gone a few different ways. There's some really weird ambient stuff, blues jams, weird psychedelic stuff."

There's also one song left off the album called "Destroying the World," which Rollins describes as "14 minutes of turgid expanse" and vows will come out "at some point."

Some might see the more straightforward course Rollins chose for "Come In and Burn" to be a result of his new, high-priced contract with the DreamWorks label (part of the celebrated Steven Spielberg-Jeffrey Katzenberg-David Geffen empire). But Rollins says he was both surprised and heartened to find that "the weirder the material, the more the DreamWorks guys said, 'How come you're not putting that on the record?' They wanted all the nine-minute songs we had."

He chuckles. "My sequencing was way more conservative. I wanted the album to be kind of slam-bam, a record that was like 'Jailbreak' by Thin Lizzy or the first Van Halen record, just a get-off. By the time the last song hits you, you should be like, 'No way ..."'

Rollins watchers will note that "Come In and Burn" also includes a some songs ("Shame," "Rejection," "All I Want," "During a City") that are pointedly about his relationships with women, something Rollins has avoided in the past.

"What I did on this record was, as soon as I found an area I was uncomfortable going into, that caused insecurity or discomfort, I said 'I must write a song like that,"' Rollins says. "It threw me off balance, basically. I was writing from a standpoint of 'Don't be so confident all the time."'

Presenting those songs to the band, however, was another matter.

"I said, 'Don't laugh, guys,"' Rollins recalls. "They listen to the lyrics very closely, and all of a sudden they become little critics. With these, they were. 'What's this about?' I just said, 'I don't want to talk about it.' 'Shame?' 'It's about being ashamed. Now shut up and play your (bleeping) drums!"'

(Gary Graff is a nationally syndicated journalist who covers the music scene from Detroit. He also is editor of "Music-Hound Rock: The Essential Album Guide." The opinions expressed in this feature are his own.)