By Simona Mihalca 
You’ve called Alienated a “back to the roots” album. What roots were you most eager to revisit?
Definitely our punk roots. Over the years, we’ve added everything from gothic rock to metal and even a bit of classic hard rock to our earlier Punk-Rock Sound. But this time we wanted to strip it all down again — more direct, but with a bit of darkness, too.The early days of The Other were all about raw energy and attitude. With Alienated, we recaptured that bite — but without pretending to be 20 again. It’s still us, just reconnecting with what made us start this monster in the first place.
How would you explain horror punk to someone who has never heard it before?
Imagine The Misfits crashing into a Universal horror movie — that’s the vibe. It’s punk rock with fangs: fast, melodic, theatrical, and drenched in graveyard atmosphere. It’s music that celebrates everything spooky and weird, but there’s usually a real emotional core beneath the fake blood and makeup. It’s not just about horror — it’s about feeling like an outsider and making that your superpower.
The album obviously comes out on Halloween. What’s gonna be your costume this year?
I might just go as myself — it’s cheaper, and people already assume I’m in costume a celebration of the the macabre, with lots of chanting along, crowdsurfing and a nice pogo pit here and there. But the answer your question more seriously: I’ve been Alice Cooper, Otis from house of 1.000 corpses, Jack Torrance of “The Shining” and … Zorro. Maybe this year I’ll just be a “Ghost from the ’80s.” Seems appropriate.
How did the return of Andy Only influence the songwriting and overall sound?
Having Andy back was a big deal. He was there in the very beginning, part of that first wave of chaos that defined The Other. His bass playing has that unmistakable drive — it gives the songs this sense of urgency and danger that fits perfectly with our return to punkier, more aggressive material. And he always makes sure that things are not too perfect! Sometimes it’s the “dirt” that makes it less Goth and more Punk.
What role did producer Tim Schulte play in shaping the album compared to your previous releases?
Tim was a great partner in crime. He pushed us to sharpen every hook, questioned things that didn’t work out well enough and especially challenged me to try out different vocal styles to channel my inner animal. He and especially guitarists J.Ends before the recordings and VanTom during the recordings worked on a lot of ideas for guitars, bass and drums. Speaking of drums: Tim also pushed Jag Boone to new levels.
The tracklist feels like a journey between existential darkness and playful horror. How did you balance those two sides?
That’s kind of our trademark. We’ve always loved the tension between campy monster fun and very human emotion. The world’s gotten darker — pandemic, wars, isolation, digital overload — so naturally, that seeps into our lyrics and also my vocal style, it’s darker than ever. But we never want to lose the theatrical fun of being The Other. It’s like a haunted house: you scream, but you’re smiling while you do it.
Can you tell us the story behind the song “A Ghost From the ’80s”?
It’s both personal and metaphorical. I grew up in the ’80s — with movies like Ghostbusters, Gremlins, music from Hair Metal to Punk Rock — the whole aesthetic shaped me and that song. But it’s also about feeling out of time, like you belong to a different era. “A Ghost From the ’80s” is that bittersweet feeling when nostalgia meets alienation. You miss something that maybe never really existed, but it still haunts you. But to be true: In the end it’s just a campy song about a ghost trapped in an old VCR from a yard sale. A sing along to have fun with.
Which track best represents where The Other is right now as a band?
Probably the title track “I give you the Creeps”. It’s raw, fast, melodic but has a dark part right in it’s heart and then suddenly turns to a sing-along where all voices need to be united and be heard. It’s punk energy with a reflective heart. That’s exactly where we are as a band right now.
Who in the band would survive the longest in a slasher film?
J. Ends. His role is the nekromant. And thus he’s very powerful. What most people don’t know: his real super power is telling (or sending) bad jokes and memes that will leave you speechless and get rid of all the aggression you would have had before. He would drive every slasher away. I’d on the other hand would be the first to die — trying to reason with the killer before getting my head chopped off. Classic horror movie mistake.
Which song from the new album do you anticipate will be the biggest crowd anthem?
I give you the Creeps and Alienated. Both have big sing-along choruses — both are tailor-made for sweaty clubs and raised. However I’m sure we have some songs that will turn out to be fan favorite – some tracks take on a life of their own. I think “I need blood” could be one of them, but you never know.
Horror punk often thrives live. Is there a different approach to writing a song for a live production than a song meant just for the album?
Absolutely. We always picture the crowd when writing — the moment the chorus hits, the lights flash, the hands go up. Some songs are built around that energy. But you you need the songs that make you calm down, take a breath, just watch. “Hier sein” or “In the end” are songs like that from the new album. And we have some classics like “What it’s like to be a monster” that are an essential part of the show. The balance makes an album and a concert feel alive — you need both the adrenaline and the chills.
If aliens landed at one of your shows, which song from Alienated would you play first for them?
Possibly “The Witch from outer Space”. Hoping that they find it as funny as we do. It’s an ice breaker to others — and who’s more “other” than actual aliens? I think they’d get it. Loud guitars and a beat to move to are a universal language.
Do you rehearse in full stage outfits, or keep that for live shows?
We save the full horror show for the stage — otherwise, our rehearsal room would look like a morgue exploded. But we do play hard, sweaty, and serious. The makeup is just the exclamation point at the end.Do you follow contemporary horror literature and media, or do you stick to classics?
I’m definitely a sucker for the classics — Universal Monsters, Carpenter, Romero, King, Lovecraft, Poe all the icons. But I keep up with modern stuff too. There’s some brilliant horror being made right now, especially with psychological twists or social commentary. I just bought the book “The eyes are the best part” by Monika Kim and look forward to it. What I love most is when horror reflects the fears of its time — that’s when it becomes timeless. Just like good Punk Rock.