THE RED MOON MACABRE

“The Dance Of Death. Calamity Cold. The Dance Of Death. Living In A Dark World.”

Just over a year ago, Peek-A-Boo had the pleasure of speaking with Renzo Tellez, founder of the Goth Rock act The Red Moon Macabre. The conversation, however, felt far too brief—and since Mr. Tellez has not been idle, we felt it was the perfect time to continue where we left off, asking him more macabre-themed questions about the past, present, and future of The Red Moon Macabre.

Spawned straight from the grave in 1989, The Red Moon Macabre is the Goth Rock vision of Renzo Tellez. Ghastly and grim guitars intertwined with lyrics inspired by fantasy and history make his music a perfect horror soundtrack for a new age of dark music.

Above, the moon casts a dark red aura across the night sky, gently illuminating the distant horizon—imbuing the air with a sense of prophesying enchantment. And it is on this very night that we once again sit down with Renzo Tellez, the man behind The Red Moon Macabre.

Evening greetings, Renzo. It’s great to speak with you again. You’ve certainly kept busy since our last conversation.

Greetings, Hayley, First of all, it's so wonderful to talk with you again, and indeed, my creativity has been on overdrive, releasing plenty of music.

As you mentioned in our first interview; your inspiration comes from ‘morning creep ups’. In a little over a year, if I counted correctly, 30-plus releases on Bandcamp (singles, EPs and albums). That’s quite a few 'dawning melodies'!

Indeed, when the cock crows the melodies churn away in my mind. Musical ideas usually like to make an appearance when I am conducting simple everyday morning rituals like brewing coffee. I truly try to take a break from recording then a whole song idea decides to join me for breakfast.

Mmm, coffee. Stephen King famously stated 'coffee is my addiction.'. How about you?

The elixir of the gods. I love drinking coffee and the whole ritual of preparing my witches brew. The first cup of the day is usually the best and gets my creative juices flowing in preparing for recording music.

To dig a little deeper into the origin of The Red Moon Macabre. An important inspiration was ‘The Masque of the Red Death’ short story by the illustrious wordsmith who is very well-known for his tales involving mystery and the macabre; Sir Edgar Allen Poe. What intrigued you that this particular story became the source of inspiration?

Edgar Allan Poe is, I would say, my favorite author and poet. When I was very young, I owned a beautiful leather-bound book of Poe's collected works, illustrated by one of my favorite artists, Harry Clarke. That book, particularly with Clarke's illustrations and Poe's short story 'The Masque of the Red Death,' was the catalyst for creating The Red Moon Macabre. I prefer reading poetry and the art of the short story, and in my opinion, Poe's masterful and macabre work will always be the creme de la creme.

Visualize; you are one of the noble guests invited by Prince Prospero to join the masquerade ball at his castellated abbey. Would you accept his invitation, and more important, would you enter the black illuminated by a scarlet light last room?

I would certainly accept the invitation to Prince Prospero's masquerade ball and how can I not enter the last room of a black and red light mystery. I would have my Lute in hand and pluck a song of red death.

Listening to the music you’ve released over the past year, there’s again that strong sense of classic Gothic atmosphere, paired with something fresh and distinctly your own. Which artists, scenes, or movements have had the biggest impact on shaping that sound?

My journey with learning guitar and creating music started in 1983 because of Jimi Hendrix, Jimmy Page, Tony Iommi, and Ritchie Blackmore. I am a child of the seventies, so I was raised with rock n' roll and classical music. My parents had a band back then, and as a baby, I used to strum and play around with all the instruments laying around in the living room. In the mid-eighties, I was listening to plenty of first-wave extreme dark metal such as Bathory, Venom, Sodom, Hellhammer, Merciful Fate, and I loved New Wave. Then, musically, things took a turn when I heard The Sisters Of Mercy, The Cult, Siouxsie & The Banshees, Christian Death, and Red Lorry Yellow Lorry. This music, combining so many elements of dark melodic aesthetics and its simplicity, just swooned me over. By 1989, I was on my way to becoming full-on Goth. Classical music especially from the Renaissance and the Baroque period has always been prominent in my life. I also play the Lute, and John Dowland is a dear favorite that has a huge impact on The Red Moon Macabre.

You mentioned the importance of classical music, particularly from the Renaissance and Baroque periods, in your creative process. Given this deep connection to classical music, have you ever considered exploring a more formal fusion of these influences, perhaps by collaborating with a classical ensemble or even experimenting with opera?

I'd love to record with classical musicians if time and logistics align. I'm planning to release some recordings of Renaissance lute compositions, perhaps in the near future, and it would be great to play alongside other talent specializing in 16th- and 17th-century music. You never know, I may just come out of the shadows with an Opera created.

Following up on that idea, you’ve already collaborated with the talented Federica Garenna from the band Les Longs Adieux. Are there other musicians you’ve worked with so far? And looking ahead, are there any particular musicians or bands you’d really love to collaborate with in the future?

I had the great pleasure of working with some wonderful talent. As you mentioned I recorded a rendition of Berlin's 'Pleasure Victim' with the lovely Federica Garrena from Les Longs Adieux, who knocked it out of the park with beautiful vocals. Lisa Hammer from the legendary band Requiem In White and I go way back to the early '90s NYC goth scene. I loved watching Requiem In White perform numerous times and spending many memorable moments just hanging out. We are both huge Black Sabbath fans, and we recorded a spectacular version of 'Electric Funeral.' Lisa's vocal performance was magnificent. I also collaborated with an amazing French artist named Léo De Saint-Germain, and we recorded an original composition called 'Affair Of The Poison,' which is about one of the most sensational criminal cases of 17th-century France. Léo's gorgeous gothic vocals just moved me deeply, and I am very proud of the collaboration. I am honored to have worked with these incredible women. I would love to work with Diamanda Galas as I truly believe the combining of our craft would churn something wicked and powerful.

So, I've always wanted to release an EP split with another band in the goth genre, and I was pondering how incredibly cool and fitting a split release would be with one of my favorite new acts, 'Bleak Cathedral.' Lo and behold, with fate at hand, Thomas MacDonald, the creator of Bleak Cathedral, contacted me with an invitation to collaborate for a split release, and we're thrilled to present to you 'Fatal Desire,' which is available on Bandcamp. I also played guitar and bass for a song called 'What If' by the legendary German band Secret Discovery remixed by Jason Ledyard. I am thankful and proud of all these collaborations.

Given the impressive number of albums you’ve released in such a short time, which one stands out the most to you personally, and why? We could be here all day talking about each one, so which one is your personal favorite and holds that special place in your heart?

My vast catalog of music is like my children, and every song I've created marks a unique journey of soulful creativity. The album Blood Masquerade holds a very special place for me. As my first full album, it was completed while my mother was still alive, battling cancer. I lost her shortly after its release. My mother was my true hero, and I'm forever grateful for her unwavering support of my creativity.

My recent, 27th album, Black Magic Brume, was never planned to be another full album. Yet, a supernatural force guided its creation with extraordinary efficiency. I've never experienced anything like it where 100% of the creative process just poured out without me thinking. I woke up one morning humming music churning in my mind, as I usually do, but this was different. More focus and physical energy came over me. I recorded the music. The very next day, I wrote the lyrics, recorded vocals, then mixed and mastered the tracks. Eight songs were completed in single takes, entirely without correction, capturing a distinct and powerful energy. This collection includes three reimagined pieces from my prior works. I extend sincere gratitude to Mike from Gloom Street for his exceptional drum contributions.

Black Magic Brume was a gift of creativity and marks my final full album. I have to respect that kind of power and leave it at that. Moving forward, I'll pivot to releasing singles and focus on my audiences with live performances on nightclub stages.

The lyrics of your songs are often about mysterious and macabre creatures, like ghosts, werewolves, and witches. Now imagine by some conjuring spell you could spend a whole day with one of these beings of the macabre. Who would be your favorite to pick, and how would you plan out your day together?

In a heartbeat I would have to pick spending a night of debauchery with the Werewolf which has been a favorite since I was a kid. I'd follow on route to where the Werewolf hunts and slaughters throughout the evening. It would be music to my ears hearing the Werewolf chomping on sinew and bones and unleashing a haunting howl echoing across the lands. In reality I actually listen to videos of wolves crunching on carcasses and bones with my headphones before bed to relax me. It's a beautiful sound and I just love hearing my own dogs eating kibble or gnawing on bones.

Having witnessed the early days of the Goth scene, how do you look back on that time compared to how the scene has evolved today? What do you think has changed the most, and what elements of it still have significant meaning for you?

It was a beautiful experience back in those years of Goth glory. It all seems a bit unreal and very much like a dream now as the eighties and early nineties truly were a magical time. Since returning to Gothic Rock in 2021, I've been in awe of how much music and how many subgenres of this scene are out there, and I'm still catching up. My time is consumed with creating music, and when I get a chance, I hunt for new tunes or get exposed to new talent by listening to Goth DJs' streams or sets.

In this modern age, we all have easy access to listening, recording, and exposing music with a click of a finger, which has its pros and cons. I do think it's time to embrace the music side of this scene more again, like in the past. I'd rather get informed of new talented bands and releases than bat-shaped tables and other goth lifestyle entities. Those things are cool, but it's always been about the music first and foremost.

Overall, it's awesome that the Gothic scene has endured throughout the decades. There's no other genre that combines so many elements and styles of interesting dark music under the umbrella of 'Goth' while still embracing the nightclub gathering of dancing. I'm very proud to be a gothic musician and to be appreciated, especially by those deeper in the underground catacombs of Gothic Rock.

I don't possess the knowledge of the Ghost of a future yet to come, so, looking ahead, what do you still hope to achieve with The Red Moon Macabre? Any specific dreams or goals you’re working towards? And what can fans expect in the coming years?

Since 1983, when I started playing guitar and evolving as a musician, I always fantasized about creating music that would become The Red Moon Macabre. I have accomplished this and more, recording an extensive catalog of music and reaching a pinnacle in my life. It's wonderful to have other like-minded folks appreciate what I do musically. The next phase for The Red Moon Macabre is about focusing on live performances, merchandise, and my new recordings in the works will only be offered directly to the fans through the official website as my creativity shifts to a more darkly avant-garde stage.

It’s been such an interesting conversation, Renzo. Before we finish, do you have any final thoughts or words you’d like to share with your fans and the readers of Peek-A-Boo magazine? On behalf of the entire Peek-A-Boo team, we want to thank you for your time and insights. Here’s to a fantastic future ahead for The Red Moon Macabre and all your creative endeavors!

I'd like to express my gratitude and thanks to you, Hayley, and Peek-A-Boo magazine for this interview and opportunity to talk again. Hail and thank you to my family, friends, and fans of The Red Moon Macabre. In this modern age, with the new wave plague of artificial intelligence bogus music on the rise, it is crucial to support the arts made with a human heart, mind, body, and soul. Farewell.

THE RED MOON MACABRE - DistroKid

Hayley CLX
18/07/2025