California’s Bestial Mouths, headed by vocalist and lyricist Lynette Cerezo, has been creating their own style of industrial/synthpop infused music with a punk edge, since 2009. 2024 has brought with it the album BACKBONE, a seventeen track remix of songs off the 2023 studio release of R.O.T.T. (In My Skin), complete with an extraordinary guest list of artists. The lovely Lynette was kind enough to chat to us about BACKBONE, music and her influences, but also, maybe more importantly is her fearlessly pushing to prove that women, and especially ladies of colour are very much spearheading great dark electronic music.

Welcome Lynette Cerezo, of BESTIAL MOUTHS, to ever inviting darkness of Onyx and its denizens.

You are the core of the project BESTIAL MOUTHS, which has been around since 2009. Looking back now, what do you think were your motivations for bringing BESTIAL MOUTHS into existence?

We started Bestial as an outlet to create something new. We were not trying to fit into any genre but wanted to make new art/music. Honestly, when we started, we did not think of much – like, will this go anywhere? What is the future? What’s the plan? etc. We were clueless, really, on the music business and felt a need in our hearts and souls to express and perform. We did not think; we just did. It’s crazy to see this and realize it has been that long, and I still feel so novice; I’ve been told it’s the whole “imposter syndrome” thing.

What is the current configuration of the band? Is it just you with guest artists and if so, who do you love coming back to play?

Me, Lynette Cerezo, as vocalist and main head with Brant Showers of AAIMON and SOLVE as the other main person and producer. Live I had been joined for a while with Raphael Gaudino on synths, who also contributed to writing I AM THE SPELL or HEX. Plus Ely of CRUNE on synth and Theremin Live. Recently, you can see Wanda playing electronic drums ~ and yes, these I love & have my heart (all so much talent and dedication).

“R.O.T.T. (In My Skin)” was the album released in 2023, that you wrote with Rhys Fulber (Front Line Assembly, Delerium, Noise Unit). Can you tell us what went into making “R.O.T.T. (inmyskin)” and what it is like working with Fulber?

Everything went into it, as it always does writing an album. But this one was a lineage from the previous two, INSHROUDSS & RESURRECTEDINBLACK. It was the next phase or culmination. The name means Road Of Thousand Tears, referring also to the trail of tears tragedy. It was time to tell my story and be more open and direct with what has happened to me. To own who I am and also why I chose to sing in Spanish and English on Road Of Thousand Tears song. I actually had the concept and lyrics for quite a while till we started making the music and taking form. I wanted something that had more repetitive lyrics or hooks to capture people and more dance-oriented – to draw people together as one and so people could all relate.

Working with Rhys was like a dream for me- I just kept thinking if teenage me knew this would happen (or back in 2009 let’s say). Of course, at first, I felt nervous and intimidated and wanted to prove my worth. Show Rhys I am professional. Rhys’s calm demeanor and amusing stories and humor made it a blast. I was really impressed by how much he really drove into the songs/music and created for this.

As the title might suggest, this is a pretty personal album it seems. How close to the truth is this and what are the underlying themes running through it?

It is written in truths from my life experiences. The truth of traumas and PTSD and what I have been through (my divorce, betrayals, abuse). I knew many have had similar experiences in this world, and I wanted to reach them to say you’re not alone, and that means I am not alone. One topic is bullies, being bullied and picked on and the pain it brings and how unfair and how helpless you feel. So for myself, I tried to reclaim my strength by continuing on and “taking back what’s mine.” This album is to show you have not destroyed me but I don’t think I can take any more in; I am exhausted; I show the scars, but we still find a glimmer of hope “we vomit the stars and gather new moons.”

2024 has already started with a bang for you, with the huge remix of “R.O.T.T” called “BACKBONE.” Was this a project that you enjoyed doing and what is it like for you hearing your music through the ears of other artists?

It is such a huge honor to collaborate with other artists you admire. It’s incredible to think your baby is getting this much attention from others. They have taken the time to dive into your music and lyrics and channel it through them and create new visions. I truly find it magical. Same with covers; maybe one day that will start happening as well.

The artists on remix duties vary greatly in style, with names like ACTORS, genCAB, Bedless Bones, Snowbeasts and Trace Amounts turning up. How did you go about organising this mammoth task and did you know most of these guys before “BACKBONE”?

Thank you for recognizing it was a large task; it was for sure, but a great one! I listen to various genres within this scene and these are some I love. I have been fortunate to have met many along the way touring and the like. Some I went out on a limb and held my breath and contacted them like REBEKA WARRIOR and Broken English Club have never met in person yet. I wanted to have a variety just as it reflects Bestial’s more diverse style.

Are there original songs of your that you particularly liked and that really now pop or have you found some of the remixes have made re-estimate certain tracks, and made you love them even more?

That’s the beauty of a remix; you now have two or sometimes more versions of a song each with its essence. Luckily, I still love the originals, haha! But look forward to hearing the remixes on the dance floors.

You are on the Negative Gain Production label. How has it been working with them and having them support you with this mammoth remix?

NGP has always been amazing and truly cares about us artists. I love that they foster community and a team and connect all of us artists on the label. Having this support means a lot emotionally, mentally, and is very helpful in many ways.

Lynette, about three years ago, you said that as a woman of colour, you have basically spent a lot of time pushing to be seen and heard. Do you feel this has in many ways influenced your music writing and visual aesthetics?

Without a doubt it has; how can it not. I write and perform from who I am, which is emotions, experiences, and challenges. Being a woman in music is a challenge to be seen and taken seriously. I really fought to be seen as a human/a person as we all should be. Lots of disappointments because life is not fair a lot of the time. But I want to leave an impression that I will fight and believe in you and do it.

It also hasn’t always been a smooth ride for women, and especially females that are not white, in the darkwave/industrial scenes, so I am wondering if you personally have seen a change in attitudes from fellow musicians and the public that consume this style of music, notably with the release of the last two albums?

I believe I have, especially from when I started. Especially because we originally played a lot with the noise scene which was very male and the same with electronic music as the woman was more the eye candy of it. I like to think as this world becomes more diverse and women get more power it reflects into music. We still have a long road with the way some are fighting back and trying to take all that away again though (and I will say honestly I fear that but do all I can to fight it and with the movement).

You have worked an amazing array of producers and musicians, however one name really caught my eye. One Mick Harvey who was a member of the wonderfully explosive The Birthday Party (prev. Boys Next Door), as well as Nick Cave and the Bad Seeds and having a very extensive solo career. So how did you end up working with Harvey and what was he like, as he always seemed to be the most down earth type?

I had the pleasure of working and meeting Mick in a project unrelated to Bestial Mouths. Mick had written a record on Mute Records with a friend of mine Richard Barker. I was fortunate to come sing making vocals on air during radio sessions. No practice, just pick up from the airport and here you go. Was also quite impressive to tour mute offices!

The lyrics you write are darkly descriptive, like you are creating a picture verbally but also the visual side seems equally important to you. Do you perceive that visuals give your music a more tactile quality…a sense of realism?

I do tend to write more in a cut-up or poetic way that is often more vague and less direct. I like people to use their minds and emotions, to draw upon their experiences and themselves; this way it really lives through them, then they can connect to it. The visual aspect is also very important as I feel Bestial is immersive in both sounds performance visuals. What is real? I often wonder and I feel our visuals play on that as well and are often open-ended as well in terms of story- or if wanted someone can choose to take them more directly and figuratively. Once again, it’s up to the listener or viewer.

Who’s music captured your imagination and brought you into the dark alternative fold when you were younger?

How young are we starting?? My first concert alone was The Ramones at 12 or 13. I even got to meet them in the local independent music shop and get an autograph. I remember I got to go with my friend’s older brother who drove us. He ended up getting kicked out of the show for moshing. He went across the street for snacks and got into a small car accident. I got home super late, and my mom said, “Well, you have to go to school tomorrow.” I said gladly. I can still remember being shy and feeling someone’s spike bracelet in my back too nervous to say anything.

Who do you listen to now that illicit great joy and that you find inspiration in?

There are so many contemporary musicians, artists that catch my soul – oftentimes you can hear or find them when I DJ or our mixes. Inspiration is sound, usually birds or streams, rivers, the ocean cities for me.

Lynette, thank you ever so much in taking the time to speak with us and release the bats!

Thank you for wanting to know more and letting me ramble!

-Is your BACKBONE willing to break – Never did I promise you –

BACKBONE | Bestial Mouths (bandcamp.com)

Artists | Negative Gain Productions (bandcamp.com)

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