Greg Puciato is a busy, some would say manic, person. His wild, reckless performances as frontman of the Dillinger Escape Plan are untouchable in their lore, and yet his transition from this high-energy, sometimes destructive style of music to the calmer, more introspective vibe of the Black Queen's lush electronic synth-pop was shockingly seamless. Since DEP came to an end, he's held onto a secret: a book of poems and photos he created during the band's last tour, a time of intense anxiety and unrest for the singer.
When he picked up the phone for a recent chat with Revolver, his characteristically passionate disposition was clear before the topic of the book even came up. He spent two solid minutes expounding on the benefits of Apple AirPods, explaining how they helped him get past his phone aversion and made him want to call his friends nonstop now, thus directing the conversation into a fun, lighthearted place, offsetting the dark, deeply traumatic tone the book, titled Separate the Dawn, sometimes takes.
Putting it lightly, Separate the Dawn is heavy. The themes explored throughout are addressed from the perspective of someone standing on the edge of a cliff while fire closes in from the back, and the only option left it to jump and find out if flight is possible. Childhood trauma segues into substance abuse, empty sex filters through the intimacy issues Puciato has discussed with Revolver before, and the whole project is cemented with intensely beautiful, abstract photographs that feature unrecognizable structures and their close-up details that convey a feeling of profound sadness among his deeply moving words.
As a complete work, the book is absorbing and unpretentious, a rare balance to strike when delving into the saturated, self-indulgent world of poetry. Much like his work in music, Puciato has no problem ripping himself open to bleed on the page. Separate the Dawn is set for digital release on February 12th, the two-year anniversary of the infamous Dillinger bus crash, an event that acted as what the singer describes as an "emotional torpedo" that shot him further into the depths of anxiety, eventually forcing him to confront the unresolved psychological issues he'd been burying.
"A lot of your identity is as the mascot of this band," he says of his time as Dillinger's frontman. "You're like, 'Well, what happened to the person before this is what happened and do I have enough of another person outside of this to withstand losing this massive identity?'" Luckily, through realizations like this and intense self-examination, Puciato has uncovered new facets of himself that let his true creative self shine. Below, the artist discusses how this book came to be, what it's been like to heal from such an enormous transition in his professional life, and why giving up his past coping mechanisms shed light on the problems that drove him to self-destruction in the first place.
HOW LONG HAVE YOU BEEN WRITING POETRY, AS OPPOSED TO SONG LYRICS? WHICH CAME FIRST FOR YOU?
Writing was my first love. I'm talking from a really young age, writing — you know, fiction and kind of abstract stories and poems … I guess expressionism with words. I'm talking kindergarten and first grade, around that time. My love for that as a medium was sort of stolen from me by school. Having the thing you love become an obligation in a way you don't enjoy — writing about things you don't care for, mandatory noncreative releases of that thing I loved before I was even in school — that stole the purpose and the joy of it from me.
If someone were to make me write and record and perform songs and I didn't want to out of obligation, it would steal the joy and the love I have for singing and performing. That's kind of what happened with me and writing. This is part of me rediscovering that and I'm glad it happened.
I've written free-form, kind of abstract poetry for as long as I can remember starting in my teens, and then I would just save it for songs. The longer and longer I wrote lyrics professionally, the less I would do that because I would find I really hated dissecting what I felt were complete things. I hated dissecting them and then trying to squeeze them into thoughts, and it made the songs better to not do that because then the songs are their own idea. You're not trying to force one line from one thing and one line from another thing, but I never stopped writing. I never stopped doing those other things.
Around the time of the last Dillinger album, I just couldn't stop writing. I found myself staying in kind of the same vein of topics and things I was dealing with on Dissociation, but without having a record to write that was thematically appropriate to put it in. It wasn't for a product, it was for me.
So I kept doing it to get this stuff out of me, and I knew it wasn't going to be appropriate for Black Queen, but I didn't know what I was doing it for. I was doing it on tour, I was doing it in the notepad of my phone constantly, and a lot of it wasn't just poems and things like that. A lot of it was journal entries very literally describing what was happening and going on around me, not with the band so much, but with me, internally. I was going through a lot at the same time internally that had nothing to do with the band. It was a really intense time for me and I just needed to get stuff out.
The longer I was doing that, I started walking around and taking pictures constantly. Again, it wasn't impressionistic, it was expressionistic, it was more abstraction. It wasn't like, "Oh, I'm gonna go take a fucking picture of the famous church down the street," you know? I just feel like that's really obvious. It doesn't interest me. I found that I was starting to use these other tools for creative relief, probably because I didn't have it any other way at that time. You know, with tour, you're not really being creative, you're just standing around waiting to play.
But like I said with the Black Queen record, it wasn't thematically an appropriate home for any of this. I didn't set out to say, "I'm going to write a book" … I just started around March of 2017 with the title Separate the Dawn, and I was like, "That's going to be some violent solo record that will comes out before the Black Queen record, or after it." Then suddenly I was writing one day and thought, "Shit, this is what this is." It's me coming out of myself in a different form than usual, but it's still the same. It's just me. Topically, I'm not going to write about World War II or something like that. I just write and, most of the time, that's connected to an album, but this time it's nice that it's not. It was nice to do something that wasn't connected to melody or having to marry it to a musical idea, but to have it standing on its own as its own thing.
Sometime around Spring 2017, I started realizing what was happening, Then I thought, "Whenever this stops, whenever this valve turns off, I'll reassess this and see if that's actually what this is." After the Dillinger tour was over, my writing started to slow down obviously because my level of anxiety and everything was starting to slow down. I looked through it all and thought, "OK, yeah, this is a lot," then started to parse through it and take it from there.
IT'S INTERESTING THAT YOU STARTED WITH THE TITLE, AND THAT DROVE THE PROJECT TO BECOME WHAT'S NOW THE FINAL PRODUCT, WHICH WAS CREATED WITHOUT THE CONFINES OF HAVING TO WORK WITH BAND MEMBERS OR SET THE WORDS TO MUSIC.
Yeah, to me, if I'm looking at the timeline chronologically, this comes before the Black Queen record and after the Dillinger record. It just took me a long fucking time to figure out how to make a book. I didn't use anybody, so I had to teach myself all this stuff. I had no idea how to release a book or how to lay a book out, or anything about paper stocks, just anything! I knew nothing about ISBN numbers or UPC codes or whatever it is you have to do to properly make a book. It was a foreign world to me. I didn't know anything about layout programs. It's so much different than just, like, editing a photo. It was a lot. Plus, there was so much to weed through. There was a lot that I didn't use.
But yeah, thematically, this goes in between the Dillinger record and Black Queen, which sounds insane, but I really do care that this chronology is in place. The one thing I don't want, is for people to read this and think this is me currently, because that time period was so intense. There's a lot of stuff in there that I read now and think, "Good God, man." It sounds fucking suicidal. I don't people to think, "Greg's gonna jump off a bridge" anytime soon. At the time, I was going through a lot of panic attacks and things from my subconscious that were repressed, childhood type things, were starting to come out. I just needed a release.
THIS BOOK'S SET TO COME TWO YEARS TO THE DAY AFTER THE DILLINGER BUS CRASH, RIGHT?
Yes, it is. That's intentional, obviously. The initial announcement of the book that was on a mailing list — that was done on the day of the last Dillinger show and this release is on the day of the bus accident. Obviously, those are two very big symbolic moments.
The end of Dillinger was this black hole that I didn't know what was going to be on the other side of, and that causes a lot of anxiety. Especially as a singer, a lot of your identity is as the mascot of this band. That fuses to your identity. So when you're marching to the unknown and know "this is going to dissolve," you start to realize how much of yourself has fused with that and become the sort of bundle over the last 17 years. Then you're like, "Well, what happened to the person before this is what happened and do I have enough of another person outside of this to withstand losing this massive identity?" The singer gets it the worst because they're the face of the band.
I think that it was a combination of a lot of other things that were happening behind the scenes that were causing me to kind of reevaluate my whole idea of what I thought caused my trajectory in life. Just a lot of shit was happening that was pinpointing me having a lot of anxiety and pretty much endless panic attacks.
The bus accident came at the height of that. When I was already at my worst, like, I was already in really bad shape on that particular tour and I was not in a good place … The bus accident came when I was in the peak of not being in a good place, and it just wrecked me beyond what normally would wreck someone if they were asleep and got hit by a fucking tractor trailer. [Laughs] Which is bad enough.
When you're having panic attacks a lot, it's coming out of nowhere and part of what you're doing is trying to figure out where it's all coming from, but it's still hitting you from out of nowhere. You're in this feeling at all times that you're not safe. You're getting blindsided by this energy torpedo. The bus accident was kind of a physical torpedo that happened while I was already feeling that way, and it just made my whole life feel surreal in a way that I was not used to. And not surreal in a good way, like, "I can't believe this is happening — the band is kicking ass and this is crazy!" or "I can't believe we're on tour with this band!" Those surrealities are positive, but this was like when you're in a dream with this person you love and that person fucking turns into a monster and blows apart, then all of the sudden it's horrifying? That's where I felt at all times.
After that, there were a lot of things that just got worse. I came home and ended up getting on all these anti-anxiety medications and became addicted to them, then I withdrew from them, and it was just getting worse and worse and worse. A lot of when I read this [book], a lot is just like, "Fuck, man." What a weird place I was in, and like I said, I don't feel like that at all now. The title even, before I knew what it was going to mean, now it means something different to me. If you can separate the dawn, literally, and draw a line in the sand between dark and light, or the beginning of a positive time period from the dark night of the soul.
[The title] just came out of me. Now I'm like, "Oh wow, that works out sometimes," you know, like with Dissociation, it was the same way. It didn't start as Dillinger breaking up, but then we mad it and suddenly Dillinger's breaking up, so suddenly the title makes a lot more sense. It's really serendipitous things that I guess kind of make me feel like I'm tapped into what I need to be tapped into.
WITH ALL THE TRAUMA YOU'VE BEEN DISCUSSING, IT SEEMS LIKE WRITING THE BOOK PULLED UP SOME THINGS FROM YOUR CHILDHOOD, AS WELL. ONE OF THE FIRST THINGS I NOTICED IN ONE OF THE FIRST POEMS IS WHERE YOU DELVE INTO LINGERING GUILT YOU'VE HELD ONTO, FOLLOWED BY A QUICK TRANSITION INTO ANOTHER ABOUT EXCESS: DRUGS, ALCOHOL, SEX, CIGARETTES, ETC. ONE POIGNANT MOMENT IS WHERE YOU WRITE, "I WAS TERRIFIED FOR A WHILE, BUT NOW IT'S ALL STARTING TO SEEM APPEALING AGAIN." DO YOU FIND YOURSELF WRAPPED UP IN CYCLICAL BEHAVIOR LIKE THAT, OR WAS THAT JUST A MOMENT YOU RECORDED AND MOVED PAST?
Well, I'm an excessive person. Moderation is very hard for me. When I do something, I want to do it to its fullest or else I just don't care about it and I don't gravitate towards things that I don't have that level of enthusiasm towards. In the past, I didn't really know or care whether or not the motivation for wanting to do those things was coming from a good or bad place. I just wanted to do them. Some people would use the word "workaholic" to describe how obsessed I am with doing things like going on tour, making albums and making this. To me, that's a positive thing. It's because I love it so much.
In the past there were things that I really enjoyed that were probably not healthy for me that I dove into wholeheartedly as anything else. There was a period of time where I was really alarmingly self-destructive. I was just like, "Whatever, fuck it. Who cares? I can withstand anything. I don't give a shit." And I didn't think about why I was doing it. I thought about the fact that I enjoyed doing it. The more reckless I was offstage, the more genuinely reckless I felt onstage. Then obviously with Dillinger, you get rewarded for that, but I had a hard time turning it off.
It wasn't a performance for me, and it wasn't something I knew how to turn off. It wasn't like, "I have this part of me that I need to access and I can safely express it onstage and then I'm going to turn it off." I would just keep going. And you gravitate toward people who enable that — you start developing a lot of friends who are into that, and the next thing you know you're doing drugs and drinking and partying and fucking, you know, being out of control but not noticing the signs around you that it might not be healthy. You're not noticing the signs around you that it might not be healthy, and you're not believing that there's going to be any consequence to it. Whether it's in your life emotionally or through your neurotransmitters or anything like that … Now that I've been through it, I understand that there's a consequence to these kinds of things just like there's a consequence to anything.
So what I was using this for, because I had all of this anxiety at the time and I hadn't been to — and I hate talking about therapy — I hadn't been to any therapy. I hadn't had any sort of intense self-realizations yet regarding my life. I was just living like a fucking animal. All id, all instinct. I had a romanticization of that, like I thought it was just part of being an artist and I just believed that I didn't have to give a shit about motive.
I was using drugs and alcohol and sex as basically anxiety release and self-medication without really knowing it. There were multiple times where I was pretty close to, uh … I had a few, like, overdoses. Whatever. I'll say what they are. That's when it first started becoming a lot. There were alarming signs and I was like, "Oh shit." I'm suddenly aware that I'm mortal and something can go wrong.
But when that's not happening, you're in such a state of fucking bliss, and you're in a state of relief from these things that are bothering you or driving you that you don't care. You're just fucking lying on the floor, blissed the fuck out, and you might actually be fucking close to death. You're with someone or other people that equally as fucked up and you all look like fucking cartoons or zombies at this point, and you don't even know.
Then the next day, you feel fine. You know, and I would tell myself, "I'm in shape, I'm fine. I can still go run a couple miles. I'm OK." And that's not true, you know. Particularly during this time, I was under so much inner stress that those habits felt appealing to me again, but to write about them helps because then you can see it. The thing in the front of the book that says to remember that this is real, before the very first page of the book, is [written] to me. It's not to an audience, it's to me to remember that this is real. I remember that I was in this place and that I went through it and just to not forget all the things that led up to it. Those things include the unhealthy ways I was trying to deal with what I didn't understand at that time.
RIGHT, BECAUSE IF YOU DON'T ACKNOWLEDGE THOSE THINGS, YOU CAN'T MOVE PAST THEM.
Right! Yeah, exactly. I'm one of those people who, as lame as this sounds, there are people that you can say — and this has been my whole life — "Don't touch that! It's hot, you'll burn yourself" and that's just how I learn. I have a different view now on people who've died from drug overdoses because I realize now that they weren't trying consciously to kill themselves. They were fucking having a great time at the point where they just ... they didn't know that the iron was hot.
But then you realize it's not about that. It's not about, like, getting fucked up. It's why are you doing that now? What are you dealing with? You're self-medicating. That's all you're doing regardless of what you're doing — you're self-medicating. If you're an addict, you're addicted to self-medication. Whether it's work or something used positively even … if you're doing something compulsively, it's causing this release for you. That relief is self-medication.
So then you have to figure out, "What's wrong with me? Where is this coming from?" and you start getting into the real "oh shit" moments. Partying, doing drugs and having addictions is really easy. Getting to the beneath-the-surface of those things, those are the real fucking nukes that start to change you and make you have to stare a lot of things in the face and walk through the mirror.
THERE'S ONE PICTURE IN THE BOOK THAT COMES AFTER ONE OF THE REALLY SELF-DESTRUCTIVE PASSAGES THAT LOOKS LIKE A DEATH MASK, KIND OF FLOATING FREELY. DID YOU MEAN FOR IT TO LOOK LIKE THAT AND SIGNIFY MAYBE YOUR OWN DEATHWISH?
Yeah, that picture comes right after that passage you were just talking about. All the photos in the book correspond to either the feel of the thing that on the same page or something that comes right before or right after. That was very important to me. I didn't want to have like, "Here's a nice picture of a field" or something. It's not just pictures for the sake of pictures, you know?
That's why I say I don't care about impressionism, I only care about expressionism because I don't really care to take a literal picture of anything. I just care about the feel of something, and if something has the same feel to it as the thing next to it, I'm trying to pair those things together and sometimes it's more difficult than others because it's not an even number of pictures to writings, but I tried to get as close as I could to the feel of where the writing at that point. It's nice that you picked up on the vibe of that. When I'm in the middle [of working on it], at four in the morning, I think all this shit makes sense. I just know that I'm a crazy person and other people are going to be like, "Cool, bro, floating face." Like, they're just going to look at it for literally what it is and they're not going to pair the two together, but I think maybe people are smarter than I give them credit for.
SOME PEOPLE. MAYBE.
Yeah, yeah. That's how I felt about the Black Queen! I just feel like when I do something, people are going to be screaming at me like, "Cool, bro, scream at me. Jump off shit," like, that's really all they want. Luckily, people seem to be cool and into all this other stuff.
ON THE PHOTOGRAPHY SIDE OF THE BOOK, YOU FOCUS A LOT ON TEXTURES. SOME OF IT LOOKS LIKE STEEL OR ROPE. IS THAT TO KIND OF ADD TEXTURE TO WHAT YOU'RE SAYING IN THE BOOK, OR DO THESE THINGS JUST STRIKE YOU AND YOU SNAP THEM, THEN MATCH IT UP LATER?
All of these pictures were taken at the same time as these writings, but they weren't taken with any of the writings in mind. It was all this one intense time period, with the exception of, like, some lyrics that are in there from a couple of records, too, that were part of the same process to me. With the photos, if they feel the same [as the writings], it's because I felt that way. The poems and pictures are all just part of manifestations of that feeling. I didn't go out there and think, "I need to take a picture that matches this thing." It wasn't like that at all.
Textures and things like that, I find them interesting because they're abstract. This is why I like black and white so much, too. Black and white is more abstract and it forces your brain to look at things differently. Like, I shoot in black and white, so you're automatically in a position where you're already look at the world as not what it actually is — it changes the brain a little bit.
Then if you start taking pictures and you start seeing angles, suddenly you get closer to something and closer, and then you realize that you're just fucking standing an inch away from a wall, taking a picture of something that literally everyone around you is 50 feet away from. [Laughs] They're taking a picture of the entire building, and you're standing up against the wall shooting a fucking crack in it. People are looking at you like you're insane, but those are the things that interest me because I could look online and look up so-and-so fucking bridge, and there's eight million pictures of the bridge that are going to be way better quality-wise. The thing that hasn't been taken is the impression of the individual. That, to me, is more valuable, because eight million people can take the same picture, but I want to see pictures that tell me something about the individual and how they feel, not the thing they're looking at.
The thing that you're looking at — use that as a tool to pull something out of you, try to evoke emotion. It doesn't even matter if people know what the thing is that they're looking at. It just matters whether or not it conveys the feeling you're trying to convey.
SPEAKING OF EMOTION, THERE'S A PART IN "100 TO ZERO" IN THE BOOK WHERE YOU'RE TALKING TO THIS PERSON AND YOU SAY, "WE WON'T SURVIVE, BUT LORD WE'LL TRY." THAT SEEMS TO CONVEY A HOPEFULLNESS AND CONFIDENCE IN THE FUTURE. DID YOU WANT THAT TO SHINE THROUGH THE KIND OF DEPRESSIVE TONE OF THE BOOK? WAS THAT IMPORTANT TO YOU?
That, to me, was something that was always there. There's still a pulse, there's still a heart, and you're not just completely covered up with garbage and lying with a ton of dirt over top of you. There's still a chance that there's something worth going towards at the end.That's something I struggle with all the time, even just the natural existential dread of being alive. You're really just trying to make the best of whatever while you're fucking hurtling toward your eventual horrifying death. I know people don't like to talk about that.
NO! I DO!
That is how it is! That's not a grim way of looking at things, that's just how it is. You just don't like to acknowledge it in your daily life because we'd all freak the fuck out and run around screaming, but when things are at their bleakest, I've always thought of that as an opportunity. That's kind of what the point was of me making art during a lot of this — it was making lemons into lemonade. It's a shitty situation, you've got horrible feelings inside, and what a great time to express it into something because, you know, being able to feel intensely? That's the only real gift of being human. Eventually, robots will be able to do everything better than we can now except to feel intensely.
So now having intense emotions of any kind, whether it's love or depression or hope, that's really valuable because that's the thing about the human condition: You can go to the depths of those emotions and pull something back from it. No matter how bleak things are, I always feel like there's some sort of light at the end of that, and "100 To Zero" is kind of a reference to the end of the band and getting used to not going at that speed all the time.
When you're not going 100 miles an hour, that's when you start becoming more aware of how horrifying everything is, all the things you're not dealing with. Then at some point in time you go through the conversation, "Why am I doing anything? Why do I even care about doing shit? Why do I care about a relationship or this thing I'm working on or anything when it's all just going to end?" It's all going to end, and it fucking sucks.
Then you have to not give a shit. It doesn't matter if you're not doing something for the end result or to achieve something that lasts forever. You're doing it because of the process of doing it and whether it's being with someone or making the art you like, you're doing it because of the love you had for it in the moment. That was important for me to rediscover, as well. We live in such a goal-based society that it's really important to remind yourself of that.
ON THAT NOTE, THE END OF THE BOOK REALLY STRUCK ME BCAUSE YOU SAY THE SAME VOICES WILL TELL YOU JUST AS LOUDLY WHEN SOMETHING IS COMPLETE. IS THERE A MOMENT WHEN YOU KNEW YOU HAD FINISHED THE BOOK?
Yep. That was the last one written. I want to say it was on the day of the last show. I just felt a calm during or around this time. I think I was in a taxi heading toward the last show or it was the next day, and I wrote that and knew I couldn't keep writing because then I'd be corrupting it. When you do that, you're turning it into a collection of things. You don't put every song you write on an album and say, "This is all the songs we wrote!" You don't just put every scene you shoot in a movie before the clock runs out. You get to the point, and that's the end. There's no point in putting anything thematically after that.
So when I wrote that, that kind of naturally coming out and being the end for me and the final day of the final show, I just thought, "This is good, this is it." I haven't really written anything after that that wasn't for an album. It just ended naturally. I didn't care about taking pictures anymore. I didn't care about writing — it just all stopped. That makes me more fascinated by it — it's just so weird. It was like a thing that just manifested that I really was almost out of control of, and then it was just over.
SO WITH THE BOOK COMPLETE AND COMING OUT, WHAT'S HAPPENING ON THE MUSIC FRONT? LIKE, WITH KILLER BE KILLED? HAVE YOU WRITTEN ANYTHING NEW FOR THAT? ARE YOU GUYS PLANNING A RELEASE?
Well! I, uh ... [Laughs] I can't answer that because there's so many variables. I will say that there is another record. I just can't say anything about the timeline because it's like, with our schedules and obviously Ben Koller just broke his arm three weeks ago, it's just already difficult enough with scheduling, so committing to a year is impossible. I can say that yes, there is going to be another record and everyone is actively on that page. There's just no way for me to predict anything regarding how much of it is done, but it is underway. It's more underway than it was a year ago, than it was two years ago. It's just gestating.
There's a lot of stuff going on behind the scenes. We're already writing the next Black Queen record and I would say that might be out maybe before anything Killer Be Killed comes out. I've also done a bunch of guest vocals that haven't come out, but I've never told anybody what bands. I don't think it's good for me to predict too much because then what if I end up changing my mind or something doesn't happen, then I wonder why I was even talking about it.
Then there's also an element of surprise to that. I find it keeps things more pure, and that's why I don't have social media. Everyone is just constantly telling you what they're doing all the time, and it corrupts the process. No one knew I was doing a book. Nobody. Not anyone in a single band that I'm in — no one in Dillinger, no one in Black Queen, no one knew this was happening until, like, a couple weeks ago. I feel like foreshadowing anything I'm doing corrupts it and prevents me from being pure about it.
Like, if you're in the studio and every minute you're in the studio posting, "Working on a new record! Check it out! Fucking writing some stuff here! Here are some fucking pictures of a guitar!" Who cares?
I DON'T LOVE WRITING ABOUT STUDIO UPDATES ON INSTAGRAM AT ALL.
It's not real! It's only for your own validation. You're basically going, "Hey everybody, don't forget!" And if you're doing stuff, if you're worried about your work, and if we only dropped big, actual, real things on people, they don't forget about you. Your art becomes stronger anyway because you're isolating and doing it with no other motive.
The second someone pulls out a fucking phone around me and starts filming or taking pictures while I'm working on something or if we're in the studio, I freak the fuck out. I'm getting your phone, and I will delete it from your phone. Everyone thinks that everything around them is just fucking content at all times and it's not! If you treat yourself like that, then you're just taking a shit all over your own output. Your career? You're going to turn it into this white noise. If someone scrolls past on the fucking social media app knowing you're going to post 100 photos of you, like, pumping gas or getting your hair cut or eating a taco, then you finally do post about the record when it finally comes out, their brains are trained to giving equal importance to the taco that you ate yesterday. It's fucking ridiculous.
Not having feedback from an audience frees me creatively because then I don't ever get any whiff of someone being either into something or not into something. If I had spent two years telling people to buy the book, then anytime someone said, "That's awesome" or "That's fucking lame," I would see that, and that's toxic to the brain. It steers you one way or another, and it corrupts your process.
So going back to answer your question, I always have a gazillion things on deck. I'm not quite sure what the order is there, and all I can say is Killer is in there, too.
Separate the Dawn will be available as an e-book on February 12th, with a 1,000-piece limited-edition hardcover to come. Catch Puciato on his current tour with the Black Queen running now through the end of March. Find a full list of dates here.
