In the early 1990s, there were few bands that were as revered as Requiem In White. Formed in 1985 in Boston, MA by guitarist Eric Hammer, vocalist Lisa Houle, and bassist Christopher Walsh, the trio cut their teeth in the local scene for a few years, recording three demo cassettes with keyboardist Catherine Carney and a mix of live and programmed drums. Soon after, the band relocated to New York City and released their first vinyl record, a six track eponymous mini-LP, followed quickly by the Prides Unhappy End cassette EP.
By this point, the band found their home amongst New York’s budding gothic rock scene and earned a large cult fanbase of fans and DJs, many of which were head over heels for Requiem In White’s otherworldly sound, which featured pummeling rhythms, feedback-drenched guitar squalls, and soaring, operatic vocals that left unsuspecting listeners in awe. The band was a welcome breath of fresh air amongst a sea of electronic EBM and goth bands, and grew their following with high profile opening gigs with Type O Negative, Biohazard, and Sex Gang Children. By this point in time, the band had added live drummer Javier Madariaga, who also recorded on the band’s lone full-length album, 1995’s Of the Want Infinite.
At the peak of their powers, Requiem In White parted ways. Bassist Christopher Walsh (now going by Christopher David) formed goth rock project Judith, who released three full-length albums. David also recorded briefly with Black Tape for a Blue Girl and has sadly since passed away in 2013. Houle and Hammer, married at this point in time, broke off to record a ritualistic, dark classical and folk-inspired LP under the name The NCS, shortly after forming Mors Syphilitica, a beloved project that continued Requiem In White’s prowess, expanding to include mandolins and other string instruments alongside their trademark operatic sound. The duo found their home on Sacrum Torch and Projekt Records, and would continue recording together for three full-length records, disbanding in the early 2000s.
Now going by Doc at this point in time, Hammer began working on beloved television show The Venture Brothers with Jackson Publick (aka Christopher McCulloch), simultaneously fronting post-punk/dream pop/synth pop-inspired project Weep, who continue to record to date, with their last album appearing in 2025. He would also play guitar in Pageant Girls, a four-piece band who released their debut album in 2021. Lisa Hammer, now known as Lisa Stockton-Wilson, is heavily involved in film as an actress, director, editor, and writer. She has also recorded with projects such as Radiana, Fashion Bird Danger Danger, and has released a solo album, Dakini, on Projekt in 2009.
Over the years, Requiem In White’s releases have become highly sought-after collector’s items, fetching high prices on the market. However, just last year, The Circle Music released Hymnal of Remembrance, a double LP/single CD compilation which collects the band’s second and third demo tapes alongside 1995’s Of the Want Infinite, bringing the band’s most seminal works back into print for a new generation.
Even more unexpectedly, the label announced a new LP of material from the band, the first new music from the project in over thirty years. Titled The Visible Heaven and due out on May 21st, the new LP features eight tracks that pick back up seamlessly from where the band left off, rekindling the flame and stepping back into focus. Stockton-Wilson’s voice is as potent and mesmerizing as it ever was, while Hammer’s music and lyrics drive the band forward in in time. Two singles from the album have been released, the thunderous title track and epic closing track “Reckless in Misery,” both which prove that the band hasn’t lost a shred of their beauty and edge over the years.
“Requiem in White returned not to take back her throne, but to show people that her chair was beautiful,” says Doc Hammer. “To right the wrongs of her past and give her an album that sounds like what she truly was. To show her fans that they backed a beautiful horse! A horse that won’t win a race, but she’ll look good racing, and you will never see a horse like that again.”
He continued: “I wanted it to sound like we went into a great studio in 1994, recorded great tracks, and mixed a great album… the album we always wanted to make. It’s guitar, drums, bass, vocals and a little organ, just like Requiem was back in the day.
“When some bands reunite and make new music, they don’t really pick up where they left off. They’re thinking as a creator, and not really respecting the band as a fan does. They bring into the new stuff all the baggage of the contemporary idiom. That, as a fan, is kinda gross. I don’t wanna hear my favorite niche goth band come back and sound like fucking Doja Cat. I want them to sound like they used to. That’s what I would want as a fan. So I decided to just get back to the artistic place I was in the 90s. I wasn’t trying to make a new record sound old, I was truly back in my old band writing like I used to. It’s real. The band never left, it simply fell asleep for a bit.”
A few weeks ago, we had the chance to catch up with Doc Hammer and Lisa Stockton-Wilson to discuss the new LP, the duo’s lengthy musical history, the local Boston scene where they came to prominence, the infinite joys of Placebo and Black Sabbath, and much much more. Instead of printing this one and cherry picking the juciest bits, we all decided to run the nearly unedited full interview, where we all catch up as old friends are wont to do for over two hours… Enjoy!
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