In the world of Vol. 1 Brooklyn, Wes Eisold very much falls into the archetypal “this person needs no introduction” category. As a musician, he’s made visceral, charged hardcore as part of Give Up the Ghost and Some Girls; via his current group Cold Cave, he’s retained that intensity but opted for a more synth-drenched, blissed-out approach. Following 2011’s triumphant Cherish the Light Years, Cold Cave has released a series of 7″s. It was with this series in mind, along with the news of abundant activity from Eisold’s Heartworm Press (including a book from Genesis P-Orridge and a new edition of Boyd Rice’s NO), that prompted this interview, conducted via email.

You’ve been in the midst of releasing a number of seven inches. What do you find most compelling about the EP format?

For years I stopped buying 7″‘s but I’m back with them. I like the idea of a single and a B-Side. Especially now at this point for where Cold Cave is at. I’m making these songs and want to put them out as they come and not worry if they fit on an album together. I want an album to be thematic and cohesive and I’m not ready yet for that.

What inspired you to record this series of seven inches?

I did a tour last year with a full band. I wanted to hear the Cherish the Light Years songs played that way. A lot of that record was made with real instruments as opposed to all of my other records being mainly electronic. After the tour I came home and was trying to decide what to do and where I wanted Cold Cave to go. I started recording and writing like I did years ago. Alone, in an apartment, at a desk. And I liked what I made and I liked that they were from me to the record without influence or other hand’s in it. In 2007/2008 I felt like I was releasing records pretty regularly. I want to do that again so I am.

There’s a reference to Harvard Square in “Oceans With No End.” Do you find that geography plays a role in your songwriting?

Growing up moving every year or two made me think of the past in terms of location often. All of these different places I’ve lived in seem like different little lives. That song’s working title was “Song for Disenchanted Boston Youth” before I finished the lyrics. The lyrics and the feel of the song take me back to how I felt when I was living in Boston. It was a magical time there in the early 2000’s. I felt like I was going to live forever or die at any time and either outcome was cool.

Heartworm Press has also been busy as of late — has there been one particular impetus behind this amount of activity?

It slowed while I was touring heavily over the last few years and Max Morton took over the day to day. I wasn’t living in a steady place where I could operate out of. I have that now so that’s mostly why.

How did you come to work with Genesis P-Orridge on a book?

I met Genesis through Ryan Martin who is one half of Dais Records. They are very close and Ryan knew a lot about the archive there. Eventually I started scanning so many poems that Genesis had thankfully held onto over the years.

How has your own writing been going?

I’m working on a new poetry collection for early 2014. You have to write all the time. And when you’re not you need to be thinking about it.

Photo: Amy Lee

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