EX-VOTO

"Decisions. In a modern time. Transmissions. From the inner mind."

Ex-VoTo emerged from the shadows of 1980s Los Angeles, a force born of disillusionment with the mainstream Punk scene. Founded by Larry Rainwater, Linda Patti, and David Rhine, the band sought to carve a new path, one that embraced the macabre and the mysterious. Their sound — a haunting blend of drum machines, cold synthesizers, heavy guitars, and driving rock beats — was initially met with scorn, but its dark allure proved irresistible. In that defiance, Deathrock was born.

Through the years, Ex-VoTo’s lineup has transformed, but the essence has remained unwavering. Larry, the architect of the band’s music and bass lines, would later take on the role of lead vocalist. Today, alongside Spleen and Patrick Midnite, they continue to channel the spirit of a genre that once lived in the fringes and has now found its place in the light once more.

From the streets of Los Angeles to New Orleans, and then, driven by the winds of Hurricane Katrina, to the heart of Houston, Ex-VoTo’s journey is one etched in the dark corners of time. They’ve graced the stages of legends, sharing space with icons like Nine Inch Nails, Christian Death, and The Jesus and Mary Chain, leaving their mark on the underground music scene.

At Peek-A-Boo, we have the privilege of speaking with the mastermind behind Ex-VoTo, Larry Rainwater.

Good evening Larry, on behalf of Peek-A-Boo magazine, a deep thank you for taking the time to unravel the Ex-VoTo story with us. Ex-VoTo emerged from the shadows of the early '80s, a time when the mainstream Punk scene was too bright, too loud, and too confined. In those darker days, what was it that called to you, and to your bandmates, to create something more... mysterious, more haunting? What was the force that pulled you into the depths, giving birth to Ex-VoTo?

We were all looking to grow as musicians, to constantly experiment with songwriting and make something different. Those early days were heavily influenced by Psychic TV, Public Image LTD, and Suicide. We had that youthful, naive idea that we could do anything. We embraced electronic instruments early on, like the drum machine, when it was unheard of not to have a live drummer. I remember people used to actually yell at us "Get a drummer!". I guess they felt threatened by our use of electronics. But the drum machine allowed me to single handedly write entire songs on my own, to control everything. It gave me independence and the opportunity to explore a whole different sound. I could approach the drums from a completely different angle than a drummer would have. What drummer would have been ok with the drums for ‘In A Modern Time’? I was also really drawn to synthesizers because you could use them to make songs really lush and emotional. They made arrangements really heavy and thick. It turns out there were a lot of bands looking to do these same things at around the same time, even though we were isolated from each other. But we had a unique sound in Orange County, which at the time was still all about Punk Rock, but when we started playing in L.A. we began to draw a following.

Though the drum machine had been introduced by bands across various genres before, the 1930s Rhythmicon — often considered the very first prototype — was developed by Léon Theremin. Artists such as Robin Gibb of the Bee Gees, Sly & The Family Stone, Krautrock pioneers Can, and Suicide, whom you mentioned as an influence — to name just a few — have all used it. Am I right in thinking that all that pushback from the live audience actually ended up fueling your creative drive even more?

Our early audiences were not accustomed to seeing bands live without drummers. And yes, it made me feel like I was on to something if it was making people feel uncomfortable or at least provoking some emotion out of the audience.

Before the first official releases, there was ‘In Wax’ — a raw, hand-assembled cassette from 1986 that has since become something of a cult artifact. Originally created as a demo, it now haunts collectors' lists like a whispered secret from the past. Can you take us back to those early days — to how those tracks first took form?

Those recordings were done with the sole intention of using them as a demo to book shows with and to pitch to record companies. That tape has our second singer and our third guitar player on it. All the songs were written by me except for ‘Motion’ which was written by Mark Allen. We self produced it at the studio I worked at. They were all assembled by hand, using the copier at work, and they were never intended to released to the public. They were cassette to cassette duplications and are very lo-fi. At the time I thought I was really clever with the title ‘In Wax’ because a lot of ex-votos are made of wax and records are called "wax". I don't think it's quite so clever looking back. When we finished the recordings I thought they sounded pretty crappy but they were all we had to go with. I'm mystified as to how the tapes became a desirable thing or how anybody finds them. I actually didn't still have one in my possession until about 15 years ago when someone sent me theirs.

In 1990, four years on, came the first official release — the ‘Don’t Look Back’ EP, issued on vinyl by Poor Alice Music. How did that release — and the collaboration with Poor Alice — come about?

In 1988 ‘Falling Apart’ appeared on Bomp! Record's American Gothic: The Krypt Kompilation, an album featuring bands from L.A.'s gothic club, The Krypt. That gave us a lot of college radio airplay and brought us to the attention of New World Records and XXX Records. They approached us about doing an EP, that would become ‘Don't Look Back’. We would produce it and they would have the records pressed and distributed. Poor Alice Music is our personal label we created and everything we've done since has been released under that name. Working with record companies in both those instances was interesting. But I realized that there was nothing record companies were doing that we couldn't do on our own. It was a blessing in disguise that I didn't get involved in any other contracts because it's allowed me to keep the rights to all my music and retain control of the band. Throughout the 80s I had the band focused on live performances and these recording experiences encouraged me to record more. And of course the ‘If I Never’ music video came out of the ‘Don't Look Back’ release. That was a fun experience.

I was going to ask how you came up with the band name, but your mention of the ceremonial wax objects seems to answer that already. Still, I’m curious — did the Latin meaning of ex-voto — a votive offering, a gift born from gratitude and sacred promises — also play a role in that choice?

I first saw the word somewhere in print and it caught my eye. It was a very interesting looking word. So I looked into it and found out it was Latin and learned about devotional art. This was long before the internet, of course, so all that research was done the old-fashioned way. I thought it was beautiful and would make a great band name, one that would be memorable. Beyond that I didn't think too much about it - it's like my lyrics in that I don't ever set out with a particular idea or message I want to say. I write the music first. Then, and maybe this sounds corny, I just write whatever comes out of my heart and mind. But looking back at my songs and the kind of lyrics I tend to write I guess it makes sense that I would have been drawn to "ex-voto" as a band name.

Imagine this: A visionary showrunner is creating a dark, atmospheric TV series inspired by Ex-VoTo. Each episode is based on one of your songs — its mood, its story, its ghosts. Let’s call it The Ex-VoTo Files. Which tracks would you insist on being turned into full episodes?

Falling Apart, Demons of the Night, I Cry, A Ring a Lake a Deception an Innocent Girl, If I Never. I think all of those have a "story" to them.

Returning to the haunted pulse of the live stage — Ex-VoTo has shared it with an iconic lineup of bands: Nine Inch Nails, Jane’s Addiction, Hole, Christian Death, The Jesus and Mary Chain, Screams for Tina, London After Midnight, Kommunity FK … and the list goes on. Are there any moments or shows from those experiences that have stayed with you — ones you’d like to share with us?

I really enjoyed the shows we used to play at The Krypt. That was a really exciting time, the whole world felt like it was on fire with music. That was a prime venue of all of the Deathrock bands. When it comes to individual shows, I'm so focused on playing and singing that everything else becomes a blur. I'm more prone to remember the crazy stuff that happens before or after, like bands not showing up on time (or at all), fist fights, equipment failing, or in some instances even being sabotaged! The show with The Jesus and Mary Chain was pretty memorable. They had been playing stadiums in England and their first show in the US ends up being with us at Safari Sam's. They were shocked when they came in and saw how small the club was! They even discussed leaving, but they stayed and played anyway. The sound guy had absolutely no idea who they were. He even asked me what they were supposed to sound like so that he could mix them. I said "All I can tell you is that you better have a lot of reverb."

Shifting gears a bit — how do you personally define Deathrock and Goth Rock, having witnessed their birth firsthand? Given that both genres have their own distinct origins and vibes, how would you describe these genres to someone who missed the dawn and is just now stepping into their twilight?

The name ‘Deathrock’ actually started out as an insult! It's what the Punk Rock guys would call us, making fun of all of us. But that's happened all throughout history - a derogatory name gets adopted and embraced by the group. And ‘Goth’ at the time was called ‘Gothic Rock’ and we associated it primarily, but not exclusively, with the bands coming out of England. To me the Deathrock stuff is more apparent that it was born from Punk Rock and Gothic Rock is a little more polished.

Moving forward from ‘Don’t Look Back’, Ex-VoTo's journey continued with a series of compelling albums — ‘Anno Domini’ (1995), ‘The Light of Day’ (2003), ‘Doloroso’ (2006), and Antioch (2009). That’s an excellent discography. Are there any particular albums or moments in this discography that stand out most to you?

‘Anno Domini’ is a collection of the original songs from the 80s, the stuff we were playing around L.A. at The Krypt, Zombie Zoo, The Scream, Helter Skelter, Anti-Club, Blitz Club, etc. Two of our biggest songs are on that album, "Falling Apart" and "If I Never" as well as "I'll Wait Forever" which has become a huge fan favorite in the last 20 years. During the 90s we did a lot of work for Cleopatra Records' various Goth compilations and goth tribute albums, like The Goth Box. In the 2000's after releasing ‘The Light of Day’, I wanted to focus on more guitar driven songs that really reflect the Deathrock aspect of our music. ‘Doloroso’ is the result of that. ‘Antioch’ holds a special place in my heart because it's the first time I actually set out to write an entire album, instead of just writing individual songs. I had never done that before and I was a bit apprehensive but I'm pleased with how it turned out. Some of my personal favorite songs are on it.

If you could collaborate with other bands, even from completely different genres, whether for remixes or maybe entirely new material, which bands do you look up to that would be your top picks?

Tommy James (and the Shondells). I've always loved their music. I would have loved to work with David Bowie. I think he was the only person I've ever been starstruck over when I met them. Johnny Thunders is another one who is no longer with us that I would have loved to work with - listening to The New York Dolls is where I learned to write music! But back to reality - I do love collaborating. Especially sitting down with others and coming up with song off the top of our heads. I used to do that a lot. I'd have guys from different bands come over and we would set up a tape recorder and just jam. A number of Ex-VoTo songs were inspired by bits and pieces of those improvised sessions.

Focusing now on the present, what is Ex-VoTo currently involved with? Any upcoming shows, projects, or plans fans should keep a bat-eye out for?

We have some exciting things coming up. ‘Don't Look Back’ will soon be re-leased on vinyl and will include a bunch of rare material from that era. Next year ‘Anno Domini’ will be released as a double record gatefold album, with even more rarities. Next month we are playing in Santa Ana, CA and in October were are finally playing in Mexico City. People have been persistently inviting us to play there for over 15 years but it has never worked out with our schedules until now. We are thrilled to finally visit! We are currently trying to put together a 2026 tour. Fans everywhere can also be on the lookout for new merch on our website featuring a mix of new and classic designs.

To bring this conversation to a close, on behalf of Peek-A-Boo, we thank you, Larry, for sharing your journey with us tonight. Before the last note fades, is there any final whisper you’d like to share with your fans or those just stepping into the world of Ex-VoTo? Here’s to a fantastic future, shining ever brighter in the darkness!

I want to say thank you to all our amazing fans. You're the reason we have been able to keep making music for over 40 years. We're honored that our music means something deep and personal to you. Even after so long I still get nervous each time we release new music or we play a show. I think "This song that came from my heart... Will you like it?". It can feel like a dangerous thing, sharing a piece of yourself with others, but you've made it a wonderful ride. As for new fans, it's exciting to see so many younger people discover Deathrock and Gothic Rock! It reminds me of what it was like back at the beginning of the scene, with it's sense of excitement and possibility. If you're just now discovering us, I hope you enjoy what you hear!

• Ex-VoTo | Official Website
• Ex-VoTo | Bandcamp
• Ex-VoTo | Instagram

Hayley CLX
29/07/2025