tag:blogger.com,1999:blog-28354267204361434082024-03-13T16:01:37.519-07:00SEVEN1878SEVEN1878http://www.blogger.com/profile/00926355086496138315noreply@blogger.comBlogger29125tag:blogger.com,1999:blog-2835426720436143408.post-17904868751800913632015-10-05T11:22:00.000-07:002015-10-05T11:22:11.291-07:00Interview with Joules<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-HEGrrLMQRRs/VhKeY-02OkI/AAAAAAAAAms/YWg4IuxGx9c/s1600/Joulesintro.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://2.bp.blogspot.com/-HEGrrLMQRRs/VhKeY-02OkI/AAAAAAAAAms/YWg4IuxGx9c/s320/Joulesintro.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Interview by Christopher S. Feltner<br /></td></tr>
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<span style="font-size: 12.8px;">Two-Piece noise rock bands are NUMEROUS! That being said, Joules stand out. Largely improvisational but never repetitive. Sludgy, discordant, feedback ridden bass accompanied by varying rhythms with the occasional delay rich, looped vocal. As a bonus, Mark Hepp (bass) and Charles Ovett (drums/vocal) are complete sweethearts.</span></div>
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<span style="font-size: 12.8px;"><b>What IS "Joules?</b></span></div>
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<span style="font-size: 12.8px;"><u>Mark</u>: Hahahaha well... </span><span style="font-size: 12.8px;">Just two guys doing what they love. Its all our influences and tastes and throwing it all on the floor and making something happen. No egos, just a love of making sounds and having a good time.</span></div>
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<span style="font-size: 12.8px;"><b>Why don't I believe that's your REAL answer?</b></span></div>
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<span style="font-size: 12.8px;"><u>Charles</u>: Hahahaha</span></div>
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<span style="font-size: 12.8px;"><b>This isn't Spin!</b></span></div>
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<span style="font-size: 12.8px;"><u>Mark</u>: We toss out ideas and just go for it whether it be shirts or a noise album or anything really. </span><span style="font-size: 12.8px;">Just two friends making noise </span><span style="font-size: 12.8px;">rock really.</span></div>
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<span style="font-size: 12.8px;"><u>Charles</u>: </span><span style="font-size: 12.8px;">It's true.</span></div>
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<span style="font-size: 12.8px;"><u>Mark</u>: </span><span style="font-size: 12.8px;">No egos, just handshakes and sweat. </span><span style="font-size: 12.8px;">Loud amps and free jazz beats.</span></div>
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<span style="font-size: 12.8px;"><b>Mark, I met you when you played in a different two-piece last year, right?</b></span></div>
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<span style="font-size: 12.8px;"><u>Mark</u>: </span><span style="font-size: 12.8px;">Yessir. </span><span style="font-size: 12.8px;">The upsidedown stars.</span></div>
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<a href="http://3.bp.blogspot.com/-s8amp5imE28/VhKeY3YZ1JI/AAAAAAAAAmw/M_gKs_s1Y2g/s1600/Joules%2Blive.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="284" src="http://3.bp.blogspot.com/-s8amp5imE28/VhKeY3YZ1JI/AAAAAAAAAmw/M_gKs_s1Y2g/s320/Joules%2Blive.jpg" width="320" /></a></div>
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<span style="font-size: 12.8px;"><b>Why do you hate guitarists and/or vocalists?</b></span></div>
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<span style="font-size: 12.8px;"><u>Mark</u>: </span><span style="font-size: 12.8px;">No hate. </span><span style="font-size: 12.8px;">That’s like asking why a painter prefers oils vs motor oil.</span></div>
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<span style="font-size: 12.8px;"><b>What about you Charles? What were you into before Joules?</b></span></div>
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<span style="font-size: 12.8px;"><u>Charles</u>: </span><span style="font-size: 12.8px;">Me? I was in another 2-piece called Battle Beast, and a grunge punk band called Harry Hunter. </span><span style="font-size: 12.8px;">Also, solo projects called Death Rides A Horse and Prince Charles, Holyghostenema.</span></div>
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<span style="font-size: 12.8px;"><u>Mark</u>: </span><span style="font-size: 12.8px;">I was in a 3-piece called Stronghold Crvsader, then Robot vs Rabbit before that.</span></div>
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<span style="font-size: 12.8px;"><b>You guys keep busy! I have seen you perform three or four times now, and each time has been a little different. Do you guys write, improvise, or a little of both?</b></span></div>
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<span style="font-size: 12.8px;"><u>Mark</u>: </span><span style="font-size: 12.8px;">Yeah a little bit of both. </span><span style="font-size: 12.8px;">Kinda like krautrock and jazz; we have ideas and foundations. </span><span style="font-size: 12.8px;">But, it's like driving; ya take the same road every day and it will never be the same. </span><span style="font-size: 12.8px;">Ask a painter to recreate his picture exactly, can he do it?</span></div>
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<span style="font-size: 12.8px;"><b>The incorporation of vocals have been off-and-on in the times I've seen Joules. Is this something you think you'll do more of?</b></span></div>
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<span style="font-size: 12.8px;"><u>Mark</u>: </span><span style="font-size: 12.8px;">Maybe, but at the same time ya have the possibility to make something new on an old foundation. </span><span style="font-size: 12.8px;">Charles?</span></div>
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<span style="font-size: 12.8px;"><u>Charles</u>: </span><span style="font-size: 12.8px;">Yes, of course! That's the only way I'll get close to being a front man.</span></div>
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<span style="font-size: 12.8px;"><b>You guys just finished several dates collaborating with Emotron. How'd this come about?</b></span></div>
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<span style="font-size: 12.8px;"><u>Mark</u>: </span><span style="font-size: 12.8px;">There was a resident artist in Charlotte named Andy the Doorbum, Emotron is friends with him...</span></div>
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<span style="font-size: 12.8px;"><u>Charles</u>: </span><span style="font-size: 12.8px;">I think Mark had a big hand in that. </span><span style="font-size: 12.8px;">I was all for it.</span></div>
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<span style="font-size: 12.8px;"><u>Mark</u>: </span><span style="font-size: 12.8px;">Andy was starting an art war in Charlotte. I had approached Andy about a possible collaboration, but he was busy with <div class="separator" style="clear: both; text-align: center;">
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his movement and we could never get up with each other. I had attended one of his evening events and started taking to Kyle (Emotron) about pictures I had taken of Andy. We struck up a friendship and had originally wanted Kyle to do a slow-motion video and then, it evolved into him performing with us. Found out he was leaving for Cali and just booked as many gigs as we could before he had to leave.</span></div>
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<span style="font-size: 12.8px;"><u>Charles</u>: </span><span style="font-size: 12.8px;">I played a few shows with him before in my last band. Good times!</span></div>
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<span style="font-size: 12.8px;"><u>Mark</u>: </span><span style="font-size: 12.8px;">And, through our friendship with Kyle, we met the lovely Pants who sat in with us and Kyle with vocals and cymbal bashing. </span><span style="font-size: 12.8px;">So, we four did some shows together before Kyle left and now we are evolving to use Pants as another member, another idea machine. </span><span style="font-size: 12.8px;">She's done a few gigs with us now, and is openminded and bringing new ideas to the table that we never thought of. If for some reason she can't play, we just do what we do.</span></div>
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<b><span style="font-size: 12.8px;">What all does Pants do? </span><span style="font-size: 12.8px;">Vocals like Emotron? Something else?</span></b></div>
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<span style="font-size: 12.8px;"><u>Mark</u>: </span><span style="font-size: 12.8px;">At the moment, vocals.... Yeah ,similar but adding her own elements each time. She uses cymbals like Clang Quartet.</span></div>
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<span style="font-size: 12.8px;">Various kitchen utensils with varying types of surfaces. She's big into sound textures.</span></div>
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<span style="font-size: 12.8px;"><b>Speaking of Clang Quartet... What is in the water in NC? Some of my most memorable shows have been in NC along with some of the most memorable people. There's a lot of creativity flowing through the state: Baptizer, Clang Quartet, YOU, NUSS, Three-Brained Robot, et al.</b></span></div>
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<span style="font-size: 12.8px;"><u>Mark</u>: </span><span style="font-size: 12.8px;">I guess its no different than any city or scene. Like minded people who enjoy everyones company merging together in rallying support.</span></div>
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<span style="font-size: 12.8px;"><u>Charles</u>: </span><span style="font-size: 12.8px;">There are a few others around that are really good. Ghost Trees is cool.</span></div>
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<span style="font-size: 12.8px;"><b>You guys have both mentioned Jazz when I've talked to you about inspiration. Any particular players?</b></span></div>
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<span style="font-size: 12.8px;"><u>Charles</u>: </span><span style="font-size: 12.8px;">Man, that's a loaded question. </span><span style="font-size: 12.8px;">I grew up with a jazz musician that could play 13 instruments.</span></div>
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<span style="font-size: 12.8px;"><b>Who was this musician you grew up with?</b></span></div>
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<span style="font-size: 12.8px;"><u>Charles</u>: </span><span style="font-size: 12.8px;">His name was CC Bankhead. Awesome musician but not healthy mentally.</span></div>
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<span style="font-size: 12.8px;"><u>Mark</u>: My inspirations were more, sounds of the world, birds trains, natural ambient sounds... I hated pop music as a child and found punk rock in high school. That music blew open my mind and I have been searching for new things almost everyday since. We just gravitated towards a jazz foundation because that seemed natural?</span></div>
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<span style="font-size: 12.8px;"><b>What do you guys have coming up for the rest of the year? Any plans to record?</b></span></div>
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<span style="font-size: 12.8px;"><u>Mark</u>: </span><span style="font-size: 12.8px;">The rest of the year? Yeah, get new shirts, play more gigs, just have fun and make noise that comes natural. We record as much as we can with any device we have on hand: cameras, laptops, Kyle had a field recorder. We're always looking at new/used tools. "</span><span style="font-size: 12.8px;">Hey lets try this!!!" And, we go get it.</span></div>
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<span style="font-size: 12.8px;"><u>Charles</u>: </span><span style="font-size: 12.8px;">Looking forward to the noise fest in St. Petersburg.</span></div>
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<span style="font-size: 12.8px;"><a href="https://joules1.bandcamp.com/">https://joules1.bandcamp.com/</a></span></div>
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<span style="font-size: 12.8px;"><a href="http://ww.skullbombs.org/">http://ww.skullbombs.org</a></span></div>
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<br />SEVEN1878http://www.blogger.com/profile/00926355086496138315noreply@blogger.com1tag:blogger.com,1999:blog-2835426720436143408.post-12974912031766586612015-10-05T08:49:00.003-07:002015-10-05T08:49:46.413-07:00Interview with Jon Mueller<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-2Ky_v8c0iQk/VhKNa8hAvVI/AAAAAAAAAmE/BcbaTfI-LA8/s1600/JMintro.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://1.bp.blogspot.com/-2Ky_v8c0iQk/VhKNa8hAvVI/AAAAAAAAAmE/BcbaTfI-LA8/s320/JMintro.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Interview by Christopher S. Feltner<br />
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Few artists have been more inspiring to me in recent times than Jon Mueller. His solo work is ace, as is the various collaborative projects Mueller is/was involved in. If you are already familiar, I hope you enjoy the read. If you are unfamiliar? Well, you are in for a treat!<br />
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<b>You just brought the Death Blues project to a close recently. Why end it now? Did you accomplish all you wanted with it?</b></div>
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There was always an intended arc to it. It was a message, translated through various forms, and that message was relayed. My only regret for the project, potentially, is that there was not more severity to it. Having had some recent experiences, I realized how powerful the sentiment of limited time is, and I hope this message didn't get too lost amongst the music and other things.<br />
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<b>What do you mean by "severity?"</b></div>
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The message might have been heavier, almost fearful, but not to erase awareness. Total absolute focus.</div>
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<b>With a strong focus on being present, in the moment, do you believe that is something lacking in people these days; particularly, with everyone staring into a screen?</b></div>
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It affects me as well, and I talk to people about this often. Yet, here we are, nonetheless, staring at a screen. I think it's not so easy to judge this activity as completely useful or not. The answer is in each individual's use and how they see themselves changing in the process. How the experience of living this way affects them. Sometimes, staring at nature isn't as productive as emailing someone who is dealing with major issues and needs to just feel connected to something. The question is, how are we working on our face-to-face connections? Are those changing, improving, etc.?<br />
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<b>I have talked to a lot of parents, recently, who talked about how their teenagers are now at the age of getting their driver's license, but their children seem uninterested. A common variable between them is that they all like to spend a lot of time on their phones and laptops.</b><br />
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I have a family member that is afraid to get their license as well. I mentioned that the more you do it, the more comfortable you'll get. It seems the negative potential is too real. It can't be deleted or ignored. It's too real. This, of course, is troubling, as driving is only one part of reality that holds this potential. Maybe it's an individual case, but if that's indicative of a generation, that will be an interesting social change.<br />
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<b>It is also concerning that they only time that people seem to unite is after a tragic event. Maybe even more the fact that people come together in support and/or protest after these events, and passion seems so strong, then a month later, it begins to dissipate and people go back to their singular focus.</b></div>
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We are overwhelmed with information because we choose to be. It is only natural to seem to focus and react to singular things at a time. It seems 'normal' to do this. Imagine posting a link or statement about a different topic every minute for the entire day, with occasional themes emerging. That would seem schizophrenic, and surely people would unfollow, yet that's sort of how our brains really work. Maybe it will get to that point, and as we see the overwhelming input of all brains in real time, we will implode! I'm listening to Xenakis right now, which is the perfect soundtrack to this idea.</div>
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<b>Something that may or may not be related to this is that I've seen and heard a lot of great art come out in the past five years. Technologies ability to make it easier to create art could be a good side-effect.</b></div>
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<b>What drives your creative process? Is it the Human Condition, overall, or there certain elements that inspire you?</b><br />
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I would say that I'm more concerned with the Personal Condition, how certain things and experiences have affected me.</div>
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<b>A lot of your work has a meditative and spiritual feel to it. You use a lot of symbols with your projects: the Death</b><br />
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<b> Blues site, the circle and the ladder of Initiation, the masks of the Ensemble record...</b></div>
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<b>Where does this interest come from?</b><br />
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Symbols generally have meaning, yet they are interpreted based on individual understanding. That is also the aim with my work.<br />
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<b>So, would you say that your work is your personal journey in understanding, a journey created for the listener, or a joint experience? What do you hope someone gets from listening to one of your records, or seeing a live performance?</b></div>
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My hope is both a personal experience and a shared connection. <span style="font-size: 12.8px;">It is not just about what I "do."</span></div>
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<b>Your recent project, Initiation, is only available to experience live. What is the drive behind Initiation?</b></div>
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It addresses the 'focus' that we've talked about here, what 'records' mean to people and what the experience of them is and might be like.</div>
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<b>Do you worry that only making this experience live-based will limit people's access to it vs adding a recorded, physical format?</b></div>
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That is actually part of the intent. Those that attend will have the record inside them, forever. Because of this, the record will partially be made by them, and they will only be able to share parts of it through their own ability to describe what it is to others.<br />
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<b>Like how we used to share stories, pre-internet.</b></div>
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I'd say it happens more with the internet. <span style="font-size: 12.8px;">But yes, a platform for a personal folklore, a tale of an experience that might be difficult, or easy, to understand and describe. </span><span style="font-size: 12.8px;">I want to make things that encourage that.</span></div>
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<b>You have a new solo record in the works, as well, right? Each of your records, rather solo or in collaboration, have covered so much ground in terms of different approaches, feels, and sound... Do you ever worry about running out of ideas?!haha</b></div>
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The solo recording session will likely be replaced with a different project now. So, at the moment, there might be too many ideas! But that isn't always the case. In fact, ideas are always abundant, but the ones worth materializing can sometimes be tricky to identify. After all, what is worth it? And how might one know? <span style="font-size: 12.8px;">I'm trying to get better at answering those questions.</span></div>
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<b>For me, I sift through ideas by refusing to follow any of them, at first. Certain ones will keep popping back up in my head, and those are the ones I pursue.</b></div>
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Exactly. I have the same experience. <span style="font-size: 12.8px;">Maybe not 'refusal' but patience. I try not to jump at anything too quickly, but let it develop subconsciously.</span></div>
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<b>"Patience" is a good term for it. Do you write your ideas down at all? I like to write things down, then I'll make changes to the notes over the next 6-10 months until I feel it's right to try them out.</b></div>
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I will sometimes write things out, when it seems there are specifics that will be difficult or too numerous to remember, and I fear forgetting them. Then, often, when I step away and revisit them later on, I realize that I've mentally rewritten a lot of it, and the written version seems so wrong. Ha! It's good though. I've reminded myself of many interesting things this way.</div>
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<b>Before closing, who are some artists whose work is really inspiring you right now?</b></div>
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Recently, I've revisited my obsession with Alex Jordan after reading his biography. His House on the Rock was a lifetime achievement. The Shaker movement is a continuing source of interest and inspiration on many different levels. I've also been reading different books by Hazrat Inayat Khan, which inspired parts of INITIATION and seemed to speak to a greater perspective in general.<br />
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<b>When your time is up, how do you hope people remember you as a person and artist?</b></div>
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That I contributed something meaningful.<br />
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<a href="http://www.rhythmplex.com/">http://www.rhythmplex.com</a></div>
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SEVEN1878http://www.blogger.com/profile/00926355086496138315noreply@blogger.com0tag:blogger.com,1999:blog-2835426720436143408.post-56808854586983874902015-10-05T07:33:00.001-07:002015-10-05T07:33:34.533-07:00Interview with Tag Cloud<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Interview by Guillermo Pizarro<br /><br /><div style="text-align: left;">
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Tag Cloud was one of my first introductions into the DC Experimental Music scene. I grew fond of his first album “Named Entities” and got the chance to see him perform many times. With each performance he seemed to keep adding a subtle new element. I appreciated his focus to these subtleties, his sonic surgery allowed me to just let the sound take me away instead of visually focusing on the performance.<br />
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3 years later, Tag Cloud continues to inspire with this insight to his influences and process. I look forward to seeing where his sonic spelunking takes him. I think you’ll want to, too.<br />
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<b>Let’s get the cliché question out of the way; how and when did you get your start in the wonderful world of experimental music? Were you always attracted to it, or did it just evolve to this stage?</b><br />
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It was a gradual process. I was always interested but got into it seriously later than a lot of my peers. Much of my education came from going to shows put on by Transparent Productions and the Electric Possible series here in DC in the 90s and oughts, and later on Sonic Circuits. The Circuits shows really made me want to do something of my own. I guess I spent a long time listening before I tried it. My thing was always going to be something experimental and drone oriented.<br />
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<b>This is a kind of part II to the first question. I wasn’t around for all of Tag Cloud, if I remember correctly I came into the community around 2012. How did the early incarnation of Tag Cloud differ from your current work?</b><br />
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The early incarnation developed when I got a handheld recorder and started playing around with field <br />
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recordings. I didn't feel like it was the direction I wanted to go in, but it was an interesting exercise. There are a couple of recordings sitting around from then, but that's about it. It didn't click for me until I picked up some kit electronics and found the means to do what I really had in mind. Although, I'm still figuring that out, I never expected there would be a live element to it, but that turned out to be pretty enjoyable.<br />
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<b>The first time I met you at Artomatic, I believe you might have been wearing an Earthride shirt or something doomy like that. Does Doom Metal or its more extreme cousins like Drone Metal and Funeral Doom play any role in shaping your sound? What are some of your other musical influences?</b><br />
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It probably was Earthride. I've seen them many times. It may not sound that much like it, but there is an influence of metal in there sometimes, in terms of tones and atmosphere at least. As it evolves there's likely to be a little more. But, it's one component. I'm a huge fan of Pelt and Birchville Cat Motel, and I suppose I'm trying to find a space in that continuum. Flying Saucer Attack. Those three changed everything for me. Certainly krautrock, shoegaze, it's in there. I don't know that I would characterize what I do as straight noise music, but that's a definite influence. The scene in DC is important since it was so much of the inspiration for me to try it.<br />
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<b>Outside of musical influences, what drives you?</b><br />
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Having a creative outlet is important, and there's a meditative and even a therapeutic aspect to this for me as well. I find collaborations really enjoyable. I've done quite a few in a short time: Lab Mice with Gary Rouzer; BLK TAG with James Adams and you, among others; Safe Fast & Effective with Dave Vosh and Keith Sinzinger; and a few more. I have a long way to go yet to get where I want to be, but that constant process of discovery is also something that keeps me going.<br />
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<b>What are your main pieces of equipment that you use? Any particular additions you’d like to make?</b><br />
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The main components are the Drone Lab and Drone Commander, a couple of pieces of kit electronics with oscillators and various filters. Those get fed into a series of pedals. I also recently picked up an Arturia Microbrute. Nice little synth I'm still settling in with. Occasionally, I use an old Casio CZ-1000. And, every so often, the setup includes gongs, bowls, and/or shruti box. I would like a better harmonium one day. I got a cheap one that hasn't held up too well. I've looked into modular synths. It seems like it would be a logical progression.<br />
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<b>What is your recording process like? Do you record at home?</b><br />
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Everything to date has been recorded and mixed in my living room, initially on a Tascam 8-track and now a Korg D3200 16-track. There is some additional editing/processing on my computer. I'm <br />
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entirely self-taught and working at it with each release. It's a somewhat limiting approach, recording at home, but I'm mostly happy with the results. I'm not at all opposed to a real studio/engineer at some point.<br />
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<b>I envy that, and I have to say that you've done a great job. I've always enjoyed your recording quality. You show great restraint also, in that you don't over saturate the internet with recordings, despite having that at your fingertips. </b><br />
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<b>I’ve met some of the most interesting people with many different careers in the few years of doing this type of music. If you don’t mind my asking; what do you do for a living? (I’m pretty private myself and try not to reveal much about my personal life, so I understand if you prefer this not being out there).</b><br />
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I've worked in scientific publishing for 20+ years. I try and keep the two worlds separate. This can be hard to explain to coworkers with no frame of reference.<br />
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<b>Very cool! It's definitely difficult. I try to keep the two worlds separate as well. They know I do something in "music," they're just not sure what. Some have asked for recordings or have asked to let them know when I'll be playing out. Maybe when the right event gets put together, I'll subject them to the wonder / horror. Maybe you and I should host an event meant only for unsuspecting family members and co-workers.</b><br />
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<b>Are there any particular places you’d like to perform? Or if you could open up for anyone, who would it be?</b><br />
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The west coast would be cool. England, too. I've been fortunate to play some great places like An Die Musik in Baltimore and Goodbye Blue Monday (R.I.P.) in New York in a relatively short time but have not done anything that could be called touring yet. If I could open for anyone it'd be Pelt or Birchville Cat Motel.<br />
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<b>I’m listening to 5-22-14 right now around the 16 minute mark. I just thought you’d like to know that the drone is synced up with blinking cursor.</b><br />
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Completely intentional. Glad you noticed.<br />
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<b>You’ve recently released the wonderfully resonant “Overnight” cassette. In its own special way, I feel like this is one of the harsher releases that you’ve done. Especially in the title track, you sweep through some pretty high frequencies that just drill into your frontal cortex. Was this intentional? Head space wise, where were you?</b><br />
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Thanks. Agreed, the tape is a bit on the harsher, noisier side in places, though not entirely. I hesitated over this somewhat because it is a departure from the previous CDs. Much longer pieces, a little more demanding. I do think of "Candle" as being atmospheric in its own way. It's a single take, and the recording session was an intense experience. That and "5-22-14" were recorded during some rough times for my family. The other two tracks came a little later but are a product of pretty much the same mindset. I guess they are sort of unflinching in a lot of ways.<br />
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<b>What’s next for Tag Cloud?</b><br />
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Proper album #3 some time. There are a couple more extended pieces in the works already that go in the direction of "Overnight" but are more "composed". Some shows outside DC again, maybe even a mini tour sometime. More collaborations with any luck.<br />
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<b>Including our collaboration! Maybe that could be your soft exposure to a studio since I cannot seem to pull off DI recording like some of my other peers do. Looking forward to seeing where you go!</b><br />
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<b>Anything you’d like to add?</b><br />
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Just thanks for the opportunity.<br />
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<a href="http://soundcloud.com/tag-cloud">http://soundcloud.com/tag-cloud</a>SEVEN1878http://www.blogger.com/profile/00926355086496138315noreply@blogger.com0tag:blogger.com,1999:blog-2835426720436143408.post-84620525229772654912015-10-05T07:02:00.000-07:002015-10-05T07:02:15.184-07:00Interview with Kenny Eaton of Mystery Ton Studios<div class="separator" style="clear: both; text-align: center;">
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There are a few personally known people in my artistic career that I owe a lot to. Kenny Eaton of Mystery Ton Studios is one of them. His willingness to take me in as a client has been an important factor in my growth as a sound artist, but when I sat and thought about it; and despite being one of his first clients, I realized that I didn't know as much as I would have liked about how he started up his career. <span style="text-align: right;">I hope this interview will help attract a new branch of experimental artists who may be weary of recording studios to utilize his expertise and awesome gear. Plus, he's just a fun guy to spend the day with. I feel like a kid on Christmas Eve when I know I'm due to be in, you will feel the same.</span></div>
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<b>How did the studio itself and the name Mystery Ton come about? I actually never really thought about it until writing this interview. Sounds great though!</b><br />
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The name "Mystery Ton" is a play on words of my name, "Mister Eaton." I thought it was clever and stupid, but evocative so it stuck. The studio started as a way for me to record my own band, Time Columns, in an environment that was well equipped to capture traditional instruments like drums, bass, guitars, vocals, etc., but also provide an environment that was conducive to experimentation. I had always felt rushed and under pressure when experimenting in other studios with outside engineers, so I wanted to build a place that was completely open-minded and free of restraint but still got awesome drum tones and all the normal stuff like that.<br />
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I basically built a fort for myself with all the toys that I like to make music with and eventually my friends would come record here, then their friends would come here and eventually, I quit my day job to work at the studio full-time to keep up with the demand. I'm very grateful for all the artists that have helped me get to this position.<br />
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<b>What’s your musical background? In other words, when did you start playing? What drove you to music?</b><br />
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I grew up playing viola and hated it, then switched to bass guitar and eventually guitar. I completely regret falling out of touch with viola. It's such a beautiful sounding instrument when played well, but like most young people, I thought I was too cool for a classical instrument and wanted to play rock and roll. I started thinking musically when I was around 12 or 13 when I picked up bass guitar and fell in love with Jaco Pastorius' playing. I was really into jazz, progressive rock and classical music when I was young and that led me to studying composition at Peabody Conservatory my first year of college. I was also working on a second degree in Political Science at Johns Hopkins University, so I was completely burnt out by the end of that first year.<br />
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My stress levels were unreasonably high and it was affecting my health, so I decided to drop out of conservatory and focus on my JHU degree rather than take five years to finish both and probably lose all my sanity and money. I think art and music school is perfect for a select number of people, but for<br />
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everyone else, I think it's an easy way for educational institutions to make a lot of money off of impressionable youth. I was looking for my identity in life and I was academically gifted, so music school was the logical next step right? I learned a lot at Peabody, but it also taught me that nothing matters more to expressing yourself through music than your own inner voice. I feel the same way about Audio Engineering Schools. Ironically enough, spending most of my waking life studying about war and conflict for my other degree actually increased my musical output because at the end of the day I just wanted to unplug and create rather than read about how horribly human beings can treat one another. I still find war and security politics endlessly fascinating and a part of me wishes I continued down that path, but when I remember waking up from bad dreams about the subject matter I was studying, I remember that I made the right decision. I help people bring entirely new pieces of art to life every day, why would I consider doing anything else at this point?<br />
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<b>What drove you to engineering? Was it out of necessity or something else you felt passionate about? Was it overwhelming to get the ball rolling?</b><br />
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I was always particularly drawn to engineering just because the musical ideas I wanted to execute usually involved a more sophisticated level of production. My bandmate growing up had a Pro Tools system set up in his basement and he recorded all of our band's demos, so I was exposed to engineering pretty early in my musical development. I was always the guy in the room suggesting weird ideas that most of the time didn't work, but I just wanted to try them because it was fun hearing all the pieces of sound play off of one another.<br />
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I eventually started buying gear to try all the experimental/overdub stuff on my own so that I wasn't wasting anyone's time and I was completely enthralled with engineering sound. It was definitely overwhelming to get the ball rolling. Opening a recording studio is a terrible investment these days. I broke down and wanted to quit on numerous occasions over the first year or two of opening the studio. There was a lot of pressure on my shoulders to produce good results for my clients when I was sitting behind a console and tens of thousands of dollars worth of gear. Since then, it's gotten a lot more fun.<br />
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<b>What engineers or producers influence how you work?</b><br />
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I've always liked Rick Rubin's approach to working with artists as human beings and not just musical instruments. The actual "scientific" part of the recording process (i.e. acoustics, microphone placement, gear selection, instrument, etc.) is certainly important, but the signal chain falls apart if the performer isn't in the best physical, mental and spiritual condition to perform. Singers are a great example of this. I recently bought an original Neumann U47FET mic that cost $4,000 and plugged it into my vintage Neve 3104 worth $5000 into my Distressor worth $1000 into my converters worth $5000 and expected a day and night difference in vocal takes compared to my previous vocal mic that only cost $1000.<br />
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After a few sessions with different singers, I noticed some considerable improvements in overall color of the signal and how vocal tracks sat with the rest of the mix, but I very quickly realized that even with such an incredible signal chain, it was worthless if the singer wasn't performing that "oh my god that was special" take in front of it. I make it a point to ask my clients to get lots of sleep, eat well, practice their pieces and communicate to their family, bandmates and significant others about how important their recording session is and to ask them for their support before and after they hit the studio. The relationships I build with my clients is one of my favorite parts of this job. "Engineering" is critical to a good recording, but becoming a supportive and understanding force in the artist's life and their creative process is just as, if not more, important.<br />
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<b>What have been some of your highlights in the studio? This could be clients, learning new techniques, etc.</b><br />
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I recently recorded Ron Holloway, who played with Warren Haynes, Susan Tedeschi, Dizzy Gillespie, Gil Scott-Heron, Root Boy Slim and other legendary musicians. It was an honor working with someone who had that kind of musical pedigree. He's a ridiculously good player too... Working with you (Guillermo Pizarro) and Christopher Feltner are always unique sessions because it's different every time and I have no idea what to expect most of the time. Watching Chris bring in a door from his car and stab it to pieces with a huge knife in front of a microphone in the live room was a trip. "A Tribute to Jack Dempsey" was an insane session too.<br />
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<b>Your dream recording session? Living or dead, of course.</b><br />
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I would love to work with Steve Reich. Robert Fripp and Omar Rodriguez-Lopez would both be awesome artists to work with too.<br />
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<b>You are in gear heaven and I don’t talk gear as much as I used to. Are there any particular pieces of equipment you’re eyeballing lately?</b><br />
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Most of my money is being spent on finishing acoustic treatment and creature comforts around the studio nowadays, so I probably won't be buying anything cool for a couple months. I've been wanting<br />
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to build out my Marshall collection more for a while just because they record well across so many genres. I'm always prowling for a JCM800 for a good price.<br />
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<b>You recently recorded another peer of mine, Christopher S. Feltner and you mentioned how you love recording this type of stuff cause you can just throw the rulebook out of the window when recording us. I know what rules WE are breaking when we create, but from an engineering standpoint I have no idea. What rules are they? What challenges do you face when recording this type of music?</b><br />
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I wouldn't say you guys are breaking "rules" of engineering as much as "general guidelines," but maybe I'm getting into semantics (like a jerk). Generally, it's not a good idea to clip the master bus into digital distortion if you want a crisp and clean master. I remember multiple mixing sessions with you and Chris where we intentionally crushed the master bus into severe digital distortion because it sounded so gross. I would pretty much never do that with a non-experimental artist unless they specifically asked for something like that and even then, I would probably reach for a piece of analog gear for a more smooth, pleasing distortion. You both have a very good ear and digital distortion (while generally frowned upon) was exactly what those pieces called for.<br />
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As far as challenges I face as an engineer working with you and Chris, I'm constantly riding input and output gain on preamps/compressors while recording just because the volume of the signal being recorded varies DRAMATICALLY even between takes. Engineers should aim to optimize the signal to noise ratio while recording just so when it comes time to mix, you're not dealing with tracks that have barely any volume/gain. You also want to avoid digital clipping (most of the time). When a drummer comes in, I set up the microphones and after we get everything placed/tuned/eq'ed/compressed correctly, we focus on getting the take we need. With you and Chris, one take might be through an SVT 8x10 with fuzz and sub octave, while the next take might be a whispered track building into a scream. I've done weird stuff during your sessions like putting a Subkick microphone on a bass amp that I would never do with a normal bass guitar. You guys keep me on my toes.<br />
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<b>Tell me about Time Columns, where are you guys at on the new album?</b><br />
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We're finished recording drums, bass and about 60% of guitars. We still have to finish clean guitars, acoustic guitars, vocals, piano, synth, effects and auxiliary percussion. It's a slow process just because I'm always working on between 5-10 records with my clients at any given time and it's hard to get in the right headspace for my own music when I already spend 80-100 hours a week working on other projects. I'm completely satisfied with how everything is sounding so far, so it makes me feel better when I step back and realize that we've been recording this album for a year now. The songwriting and production has grown considerably since our last release. I am very excited to show people this when it's done.<br />
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<b>Has running a studio full time helped the creativity / writing process for Time Columns?</b><br />
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Definitely. Producing lots of different styles of music has helped cut my teeth as far as songwriting goes. Our writing process is extremely fast nowadays and I'm sure we'll start recording the next album as soon as this one is sent off to mastering. We're sitting on a lot of material and the process of writing, recording, mixing and releasing our own albums will only get more efficient from here.<br />
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<b>What is in store for Mystery Ton this year? Any plans to expand?</b><br />
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My main focus lately has been on making the studio more comfortable for people to relax in. I replaced all the furniture with nice leather couches and set up the green room with a big TV for clients to watch movies or play video games while someone else is tracking. I'll be at my current location for a couple more years, but yes, I have plans to expand into a larger facility that offers bands a place to live while recording. Baby steps!<br />
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<b>I think that covers everything! Anything else you’d like to add that I might have missed?</b><br />
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Thank you for the interview! If anybody reading this is interested in working together, feel free to email me at mysterytonstudios [at] gmail.com<br />
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SEVEN1878http://www.blogger.com/profile/00926355086496138315noreply@blogger.com0tag:blogger.com,1999:blog-2835426720436143408.post-33907011152875033802013-12-18T21:41:00.005-08:002013-12-18T21:41:52.543-08:00Interview with Gerritt Wittmer<div class="separator" style="clear: both; text-align: center;">
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Subtlety is not a common virtue among many sound, and performance, artists these days. Making use of droning and/or ambient sound can add dynamics, but it isn't necessarily a use of subtlety.<br />
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Gerritt Wittmer's recorded output, and performances, are a perfect example of how subtlety can make a shudderingly peaked sound more powerful, as well as creating a dynamic tension and vibe through silence, and minimal use of sound, that soaks into your bones like a cold, damp Winter day. This is not hyperbole. This is truth.<br />
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<b>I read a description of your new solo album, Making Real, that states: "Making Real, an exercise in creating reality." Another quote from you: "The first step in understanding what's real is accepting that nothing is." What IS real? </b><br />
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Unfortunately I can not answer that for you, only you can. <br />
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<b>The artwork for Making Real, and Portions of Hell, is fascinating in that it seems to conceal as much as it reveals. Do you mind going into some of the thought behind the artwork of these two releases? </b><br />
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The artwork for both of those is an extension of each record. Both are a story that require contemplation. Neither is well suited for casual listening. Listening to those records is like reading a book, and the printed art is another piece to the puzzle.<br />
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<b>How did you get started into experimenting with sound? Did you start out playing in bands beforehand?</b><br />
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Yes, played in bands when I was younger, punk etc…Went to school for audio engineering, began experimenting, found others etc... <br />
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<b>It seems like a lot of sound artists I've talked to started out in rock-based music. Why do you think this is? Why didn't you just stick with music? </b><br />
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Well, that was so long ago for me, I remember it being very appealing to be able to work by myself, and I just fell in love with the sound. It seemed more pure for me, much more like art that one could <br />
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<tr><td class="tr-caption" style="text-align: center;">Gerritt Wittmer and Paul Knowles</td></tr>
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create at their own pace. No rehearsals, no dealing with other peoples problems. Maybe it wasn't so much a choice of either/or but one of practical means and falling in love.<br />
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<b>Your earlier work, in my opinion, dealt with harsher layers of sound. Whereas, Portions of Hell, Heartbeat, Making Real, and some of your collaboration albums show a considerable amount of restraint. One thing that sticks out to me through your albums, and, also, the artists you release through Misanthropic Agenda, is the amount of texture in the sounds. Mood and texture is always present. Is this true? And, what types of sounds do you personally enjoy? </b><br />
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Yes, of course mood and texture mean a lot. My work has changed focus drastically. Pretty much the "Gerritt" material is mostly maximal harsh. I have since developed a new understanding and excitement for performance which also extends to my current recorded material. With my current solo material I don't approach anything casually. I agonize over thoughts and details, everything is highly composed. I personally like production, timing and flow. When it comes to sound.<br />
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If were talking music, traditional song stuff, I'm pretty far out there. I listen to a wide gamut of music from various time periods. I'm really opinionated on what I like, and I think everything I enjoy has this same unsaid quality to it, that could bind it all together, of course in a mad mans mind. <br />
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<b>Speaking of performance, you're live performances make strong use if performance art aesthetics. Who are some performing artists you enjoy, and, perhaps, who inspired you to pursue this avenue?</b><br />
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When I started exploring performance art with my own work, I definitely had an outsiders perspective. It just seemed natural for me, what I was doing and how it flowed with my concepts and ideals. If any inspiration was there it was more from film then other performance artist.<br />
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I have always wanted to be a director and make films. But for whatever reasons never did. I think my performances are my films. I create scenes, and narratives, and the records are extension of this too. I am making films that are captured in memories of minds rather than physically on film. Im not good at the list thing, I will say I have been inspired by some of David Lynch's work. <br />
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<b>So, you enjoy being able to work alone without limitations. How does the duo of Names, and your collaborations with Paul Knowles play into this independence?</b><br />
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Well, working with Jesse (Names) or Paul (GW&PK) has been great. Both are great friends that I am lucky to have and I fill privileged to have been able to cultivate such valuable working relationships with them. They are great examples of people that I can not only work with, but fully collaborate with<br />
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on the highest levels and really come up with something unique, well outside of the realms of what I would do If I was working alone. Its good to work alone, but when you find the right people, a special kind of magic can happen and the rewards of this are certainly worth the risks.<br />
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<b>You mentioned Jesse Jackson's background, but I don't know anything about Paul. How'd you guys start working together? </b><br />
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Paul Knowles and I have been friends for years. We meet at our job and share many common interests. I had seen Paul perform onstage in various theater productions and was always impressed. He is a naturally gifted artist whose work runs a wide array. From acting and comedy to ceramics, screen printing, and painting.<br />
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The GW & PK project just sort of organically came to birth from Paul and I hanging out, and discussing ideas about metaphysics and sound and performance. I think we are both good at helping each other cultivate one another's ideas and bring them to fruition. The work I have done with Paul has been some of my most rewarding. We have been discussing and planning getting back together again to work on new performances, hopefully in 2014. <br />
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<b>Most of your albums are self-released through your imprint, Misanthropic Agenda. Was this due to the labels namesake (a hatred/dislike of humankind and society), or something else? </b><br />
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Most are self released because I want my releases to be of high quality, and most of the time its just easier doing it yourself. I don't like getting caught up in business. I am no commodity, so its best I try not to be something I'm not with other peoples time and money. <br />
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<b>In a scene so obsessed with cassette culture, you stand out with your preference for CD format over tapes. Why do you prefer CD to tape? </b><br />
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Honestly, CD sounds so much better than all the tapes I hear. Don't get me wrong, I love analog, and have a ridiculous amount of records. I love vinyl. and I understand why cassette is so appealing, you can make them at home etc… But sound wise, with very few exceptions they almost always fall short for me. Possibly if we lived a world where people could dupe 3 inch tape at home, I would probably enjoy that. <br />
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<b>Names completely took me by surprise! I have had tried to describe Names to do different people, but I find myself at a loss. It is definitely a very different sound to what you've done with other projects. How did Names come to be?</b><br />
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I'm very excited about Names. Its my first real return to music and song writing in more than a decade. Names is a duo, myself and Jesse Jackson. I have know Jesse for years, he has been in lots a great bands. (Flaspar, Liars (live guitar), and Sissy Spacek) We are close friends and can work really well <br />
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together, thats not easy for me. We both wanted to start a band, and there you go! <br />
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Names is about us, how we feel about most current music (bored to death). We don't care if people like us, we don't follow rules, we don't subscribe to a genre or style. None of that is for us. We are hoping to finish our first full length soon, and have a remix record of our first single LMAB almost finished. Currently looking for interested open minded labels, ahem. <br />
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<b>What releases do you have in the works for next year of your work, and through Misanthropic Agenda?</b><br />
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Lets see, Names will be releasing a book/dvd/CD set called Weak in Vegas, documenting the 7 nights of shows we played in Las Vegas in October. The Names full length and LMAB remixes single should come out as well. December 31st is the release date for a 2 disc set from Seers, my project with Pete Swanson. There will be a release from my live and studio collaboration with Francisco Meirino and Romain Perrot. A highly anticipated full length CD from Francisco Meirino. And, maybe another solo release from myself? Plus a few other things that may or may not happen.<br />
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<a href="http://www.gerrittwittmer.com/">http://www.gerrittwittmer.com</a>SEVEN1878http://www.blogger.com/profile/00926355086496138315noreply@blogger.com0tag:blogger.com,1999:blog-2835426720436143408.post-78399397293014360682013-12-18T20:58:00.001-08:002013-12-18T20:58:24.420-08:00Interview with Maja S. K. Ratkje<div class="separator" style="clear: both; text-align: center;">
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I had never heard of Maja S. K. Ratkje until about three months ago while coming across a recorded collaboration with vocal tormentor, Joachim Montessuis, entitled, "Janus," through Montessuis' brilliant Erratum label. More info on "Janus" is available in SEVEN1878's Best of 2013 list.<br />
On "Janus," so many voices, vocal sounds, etc were present that it was hard to make out which contributions were from Maja, and which were Joachim's.<br />
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Looking into Ratkje's work, I discovered an artist who has been working on her craft (in various disciplines) for 20+ years. Her work is amazing, and I am always baffled that such a talent remains relatively unknown in the US amidst all of our chest beating over who knows about one obscure artist or another. So, for the uninitiated, here's a brief look into Maja Solveig Kjelstrup Ratkje.<br />
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<b>I watched a documentary on electronic music on YouTube where you said that music is about communication and sharing something. What is it that you wish to communicate and share?</b><br />
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Curious to know where this is on YouTube… Can't recall any interview with me there. Anyway, I am of course talking to those who are not perhaps used to avant-garde music and mistake it for being non-communicative and self-indulgent. Well, I can agree that a lot of new music is giving a good reason for people to think those ways, but I feel an urge to emphasize that what I create is meant for sharing and is an attempt to reach out to people, and hopefully move or change minds. But the 'communication' is anyways two-ways. My art is a result as well of how I perceive my surroundings, and the messages I get from people, directly or indirectly. You can say that art is a response to life, and that good art should raise the inconceivable questions to life.<br />
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<b>I first heard of you in Lasse Marhaug's Personal Best zine but never actually took the time to</b><br />
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<b> look into your work until I heard the excerpt of your recent collaboration with Joachim Montessuis (Janus). Since then, I have listed to your first solo album, Voice, and two others: Adventura Anatomica and River Mouth Echoes. You are such an amazing artist, yet I have only recently heard any of your work. However, outside of the US, you have achieved so much. Give us a little background into the origin of your work, please.</b><br />
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I have worked as a freelancer for almost 20 years. I have done a lot of stuff in the US as well. I strongly recommend you to check out my website at ratkje.com. There is a solid timeline-biography there as well. <a href="http://ratkje.no/short-bio/timeline/">http://ratkje.no/short-bio/timeline/</a><br />
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What I can say is that performing and composing has been present my whole life, and is equally important. And that it wasn't until I hear avant-garde music (jazz, contemporary, electronic) that I really wanted to devote my life to it. I see no purpose reproducing or fulfilling exterior mainstream demands, historical or "contemporary." My music is often considered on the edge or between art-forms or genres, but I see no reason to fulfill expectations or traditions in any art-form or genre. But it happens naturally, it's not a decision to be on the fringe of things. Sometimes it really pisses me off.<br />
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I even consider genres to be something male defined, that females tend to not fit into art categories in the same predictable way, or not even wanting to claim the "ownership" to new trends or styles. Well, this is just a loose speculation, coming as a result of just having written a book on the female situation in the avant-garde in Norway. (When I use the term 'avant-garde', it's not a genre, it is a term simply describing the forefront of all genres: avant-garde jazz, avant-garde rock, avant-garde film etc. We don't use the term avant-garde before contemporary or noise, but should perhaps start using it as those terms are getting old and established and predictable as well?)<br />
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<b>Of the three albums of yours that I mentioned, Voice resonated the most with me, as vocal experimentation is something that I have great interest in. There's such a feeling of freedom and zero inhibition present! How were you feeling going into recording your first solo, vocal work?</b><br />
<b><br /></b>
This is 10 years ago so you should have asked me then! Voice was a needed and natural manifestation of my vocal work at that time, and also for me, a statement that I was serious about performing, not only composing. (I studied composition at the State Academy of Music in Oslo, and the performing part was not encouraged, even though I found plenty of space to perform and keep that part up, especially by forming the group SPUNK with three other musicians, that meant a lot). I wouldn't have ended up as a pure composer anyway, but a solo album is definitely something that gives you a nice wake-up on your own choices and aesthetics. A good thing to do early in one's career. Now, the record is re-released, eventually, on vinyl from the label Rune Grammofon.<br />
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<b>River Mouth Echoes was released on John Zorn's Tzadik label. This release featured a lot more</b><br />
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<b> instrumentation, and an almost avant method of classical composition. How did you and Zorn cross paths? Why did you choose to add more instrumentation to this release?</b><br />
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I have composed for instruments since the beginning. And I love writing scores as well! This is why I studied composition! I have written a lot of works for different ensembles, many times on commissions,<br />
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and sometimes out of my own interest. It's only a very few scored pieces I contribute to as a performer myself. River Mouth Echoes is the only disc featuring some of my composed work (not me as a performer in focus).<br />
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Zorn knew about my work, and was curious that my scored pieces were not collected in any portrait release. So, he contacted me and I sent him lots of recordings and scores, and the he decided out from that material what would fit on an album on Tzadik. I had to make some new recordings of course of some of the pieces, for example the title piece was not recorded, and that is written for a quartet of viola da gambas, a pre-baroque instrument not used in modern orchestras. It was a huge process, but I am very happy for this and the result. I can see that it confuses some people that I am doing both performance work with the voice and on the other hand I can write a score for a chamber music group. However, in my world, it all connects of course.<br />
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<b>Your new collaboration with Joachim Montessuis seems like a perfect union. Joachim almost seems like your male counterpart! How did this collaboration come about?</b><br />
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Joachim and I met at a festival in Netherlands, was it 2004? Anyway, we have been in touch since, and he was co-organizing a concert with me in Paris at Les Voutes, that is funnily enough the still most seen bootleg on me on YouTube. With Joachim, as you say, I think I have found someone really close to my own aesthetics when it comes to using the voice with electronics. Voice and noise is such a beautiful and strong combination. And trying out our duo has been a new territory for me. I have done voice and electronic duo with Jaap Blonk previously, but that has been more in the free improv domain, with Joachim it's much closed to the expression I normally go into in my own solo concerts. I am very proud of JANUS, our first vinyl album. And we should play together more as well.<br />
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<b>Your work has been featured in so many different platforms over the years. I feel like European countries have a much greater appreciation, and willingness to support, unusual art forms compared to the US. Do you find this to be true as well?</b><br />
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I think this has two sides. On one hand, the experimental, not institutionalized art has better conditions in Europe, so that's why you can have more people like me, not needing to agree on the conformity of the big institutions (universities, orchestras, opera etc). It is possible, but not lucrative of course, to move on the outskirts of conformity. First of all because there is art support for this un-institutionalized art as well. Not much, but by giving some random support to artists, venues, festivals, the scene can exist and also it generates of course much more than what is given in the first place. And not only by connecting to the society in different ways, or employing staff, but also by contributing continuously to mainstream art. And anyone can see that, that the avant-garde is needed in a society who wants to call itself a "cultural nation", or civilized perhaps.<br />
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The situation is very different from country to country. Political winds shift, and for example in Norway now, we have a new right government which thinks that art has to be sponsored by private companies, even though there has been a long tradition of supporting free art in our country. Oil companies in Norway sponsor a lot of art and culture, and they make contracts with their artists that they cannot change image or even band members without consulting the oil company. Oil companies are in high gear with public relation all the time we are actually moving out from the oil age, and when no other, apart from the oil companies themselves and those who make money on the industry, are eager to support the industry. When the world knows that we have to let 80% of the known oil resorces in the ground, it takes a lot of cultural PR to keep the facade for the oil industry. Their dirty money creates a big dilemma for many artists, and which has moved me to start a network for artists against oil sponsorship: Stopp oljesponsing av norsk kulturliv<br />
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But the situation in US is not so different. I feel that the audience there is very much devoted and interested. The whole avant-garde scene is held up by the audience alone, which is pretty impressive! I see real love and devotion in for extreme, experimental and/or radical art in the US which is sometimes harder to spot in Europe where people are taking art more for granted. But the art world needs support in order to exist, and to develop as an artist you simply can't have two full-time jobs on the side. All sorts of people are needed (not only those who can afford it by external reasons) for the avant-garde to move on.<br />
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<b>Voice, electronics, and instrumentation are all tools you make use. Do you have a preferred method among these three? Are you able to communicate more through one over the other, or does each allow you to express different things?</b></div>
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I like expressing myself through different art medias. Sometimes I deliberately try to create unknown situations, and that triggers my creativity. As long as I get ideas, I can keep composing and performing. I feel that I am in a continuous move, always on the search for tools and new combinations. Sound is essential for me, more than concept I think, and the creation of rooms, making hybrid concert forms with direction, light, visual art, something that cannot be easily documented, that has been the most interesting works the last years. I can mention works like "Gare du Nord", "Crepuscular Hour", "Putin's Case", "ROM", "Birds & Traces", "Engebøfjellet…" etc.</div>
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<b>Who are five artists that you believe that people should look into?</b></div>
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Lili Boulanger</div>
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Cecilie Ore</div>
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Laurie Spiegel</div>
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Bjørn Fongaard</div>
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Else Marie Pade</div>
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<b>What do you have planned for 2014?</b></div>
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Tons of concerts, in Europe, in US, and some composing, a new piece for orchestra - my first orchestra commission from Norway. Trying to keep up my activities at my <a href="http://www.ratkje.com/">website</a>.</div>
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SEVEN1878http://www.blogger.com/profile/00926355086496138315noreply@blogger.com0tag:blogger.com,1999:blog-2835426720436143408.post-66119411472781376312013-12-17T20:35:00.001-08:002013-12-18T20:18:45.888-08:00Interview with Guillermo Pizarro<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="font-family: inherit;">Guillermo Pizarro is one of the best upcoming talents in experimental music and sound. Over the past two years, I have had the pleasure of watching him go from a (primarily) guitar-based drone artist to expanding into more adventurous sound exploration. He's gone from a quiet, inward performer to someone whose live presence has become increasingly captivating for those witness to both his use of a wall of sound, and a wall of silence, in the right doses.</span><br />
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<span class="Apple-style-span" style="font-family: inherit;">I have had the privilege of having Guillermo as a tour-mate twice this year. There are few (literally) people that I can stand to travel with for an extension of hours/days/weeks. Mr. Pizarro is one of those few.</span><br />
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<span class="Apple-style-span" style="font-family: inherit;">It is my pleasure to introduce, Guillermo Pizarro.</span><br />
<span class="Apple-style-span" style="font-family: inherit;"><br /></span>
<b><span class="Apple-style-span" style="font-family: inherit;">Before you got in to
experimental music, what types of music had you played?</span></b><br />
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the metal scene. The main band I was a part of was a progressive death metal
type of band with some world music and drone elements that started to sneak
their way into our sound, especially towards the end.</span><br />
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<!--StartFragment-->I used to be a member of
the Guitar World forums and I remember one of the posters there had mentioned
Merzbow, sunn O))) and Xasthur. Those names just stuck out to me, especially
the O))) symbol. I wanted to know what their deal was. I didn't like any of it
at first, but it definitely made an impression. I remembered Merzbow because of
how much I disliked it. Why would anyone listen to that? For me though, sunn
O))) made it all click and helped close the gap between metal and
experimentalism.<!--EndFragment-->
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<!--StartFragment-->From the first recordings I
heard of yours, to recent work and performances...you have definitely changed
up your methods. Guitar-based drone to manipulating objects, voice, and blasts
of noise... What has motivated this progression, and what drives you,
creatively?</b><!--EndFragment-->
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<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;">I think a combination of striving for that personal growth and
being around my peers has helped with that progression. Like most, I take a
little bit of all my influences and mix it up in a pot to make my own. <o:p></o:p></span></span></span></span></span></div>
<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;">
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<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><br /></span></span></span></span></div>
<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;">
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<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;">I'm very driven by my surroundings and personal experiences.
Some people really dislike a small town and complain that there is nothing to
do, and sometimes they are right; there isn't much to do, but I like to be
proactive about it and try to get something happening instead of complaining. I
love the sleepy little town that I live in and I think it's responsible for a
big part in my sound.<b><o:p></o:p></b></span></span></span></span></div>
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<!--StartFragment-->So, why bother with
experimental sound? Why not just join a metal or hardcore band like everyone
else around your locale?</b><!--EndFragment-->
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word. The sound and emotion I'm trying to convey just matches. It allows me to
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forced. I might not like the final product, but it would be less cringe
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</span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;">Yes and no. I think I'll always be involved in the experimental
realm, but I don't see myself being exclusive to it. That's a little too final.
I'd love to eventually take what skills I'll hopefully pick up and apply it to
some weird, experimental folk type of setting. I'm a huge Tom Waits fan and
even though he's a direct influence on me now, I'd love to further apply that
influence into something new.<b><o:p></o:p></b></span></span></span></span></div>
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<!--StartFragment-->This year, you released
Glasswerks. But, only half of it is made up of glass manipulation, right? Talk
a little about the release?</b><!--EndFragment-->
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</span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;">This is true, only the title track is made up of glass, but I
thought it was the strongest of the 2. The "werks" part of Glasswerks
is supposed to represent anything metallic going on in the recordings, which
both tracks have. <o:p></o:p></span></span></span></span></div>
<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;">
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Recording for Glasswerks started in November of 2012 and ended
in April of 2013, two sessions. It was my first time recording anything in many
years. Kenny from Mystery Ton Studios had just opened up shop and was looking
for clientele, so I jumped at the opportunity. I knew Kenny's band; Time
Columns dabbled in some experimentalism and psychedelic sounds so I thought it
would be a good match. I really think that studio is a big part of my sound, he
provides a lot of tools at my disposal that I wouldn't have otherwise along
with a warm, homey environment that I like when creating. <o:p></o:p></div>
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<br /></div>
As for the release itself, I was going through some
uncertain and confusing times in my personal life. I think the 1st track is
representative of that. Turmoil mixed with some serene, unworried sections. The
title track to me represents the breaking and the birth of something new.</span><br />
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<span class="Apple-style-span" style="font-family: inherit;">It's definitely different live, I usually record my pieces in a
way where I can't perform them the same way in a live setting, but I like that.
It creates another challenge for me and it still gives the performance that
unique "one time only" feel of an improv piece. <o:p></o:p></span></div>
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<br /></div>
I think the response has been great the majority of
the nights. It's always nice when the audience can sense that these pieces are
conceptual and not just thrown together. In the end though, I'm my worst critic
and I'm always looking for ways of improving.<!--EndFragment-->
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<!--StartFragment-->Shorter, concise pieces
without losing their density and power is my goal for this new material. Spoken
sections will also be incorporated, nothing too manipulated. I have been
recording a lot, but so far I only have a short EP of Zack Kouns material for
his 365 songs project and a 2nd full length. Some of those Kouns songs will
most likely make it on to a split that I owe SEVEN1878. The 2nd full length
will also have a DVD to go with it of a short film that my cousin, Diego
Tipacti has been working on for months now. I'm shooting for a spring 2014
release and that will probably be it for major releases for that year as I don't
want to over saturate my discography.<!--EndFragment-->
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<span class="Apple-style-span" style="font-family: inherit;">I've barely made a dent in what I have to say in the
experimental/noise genre, I'll definitely continue down that route and
challenge myself. The spoken stuff is still very, very new to me and there is
so much room for improvement. Other than solo work, I still see myself
continuing guitar experimentation<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-UAM31W4lPxY/UrEj7q-BpGI/AAAAAAAAAZE/rGvRRJPXoeM/s1600/BLKTAG+by+Basha+Teez.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="158" src="http://3.bp.blogspot.com/-UAM31W4lPxY/UrEj7q-BpGI/AAAAAAAAAZE/rGvRRJPXoeM/s200/BLKTAG+by+Basha+Teez.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">BLK TAG by Basha Teez</td></tr>
</tbody></table>
with Arterial. Arterial has definitely been a
liberating project for me in that I'm able to focus solely on the guitar, but I
still have the satisfaction of using other methods for solo material. <o:p></o:p></span></div>
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<br /></div>
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There is the occasional BLK TAG (Chris Videll & James S.
Adams)<span style="mso-spacerun: yes;"> </span>performances that I take part in
as well. That's a fun outlet for me, too. I usually utilize guitar for BLK TAG
and I'm able to satisfy my drone hunger through them. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
There is also a bit of talk about collaboration
between Gleb Kanasevich and I. I don't have much information on that yet other
than modified clarinet will be utilized with a healthy dose of noise. I can
promise that it'll be a wild trip.<!--EndFragment-->
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<span style="color: #2f353b;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span style="color: #2f353b;"><span style="color: #2f353b;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span style="color: #2f353b;"><span style="color: #2f353b;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span style="color: #2f353b;"><span class="Apple-style-span" style="font-family: inherit;"><span style="color: #2f353b;"><span class="Apple-style-span" style="font-family: inherit;"><span style="color: #2f353b;"><span style="color: #2f353b;"><span class="Apple-style-span" style="font-family: inherit;"><a href="http://guillermopizarro.bandcamp.com/">http://guillermopizarro.bandcamp.com</a></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div>
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</span></span>
<!--EndFragment-->SEVEN1878http://www.blogger.com/profile/00926355086496138315noreply@blogger.com0tag:blogger.com,1999:blog-2835426720436143408.post-75633903421441385222013-03-20T22:01:00.001-07:002013-03-20T22:02:45.882-07:00Interview with Zack Kouns<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-PobpVWeShC8/UUp_C72PUGI/AAAAAAAAAWE/vkYsrnvGUPM/s1600/zk4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="181" src="http://2.bp.blogspot.com/-PobpVWeShC8/UUp_C72PUGI/AAAAAAAAAWE/vkYsrnvGUPM/s320/zk4.jpg" width="320" /></a></div>
Interview conducted by Christopher S. Feltner<br />
<br />
I recommend Zack Kouns to 99.99% of everyone I talk about music with. The problem is when people inevitably ask, "What does he sound like?" I am at a loss of words. I do my best, and stumble through explaining the blend of styles of music, and variance in performance. Then, I end up trying to explain the naked, free, tortured spirit of the main. Maybe this will help.<br />
<br />
Here is what transpired through internet for 2+ hrs one evening.<br />
<br />
<b>Read to do this?</b><br />
<b><br /></b>
Yep, ready and willing. Kentucky Gentleman in hand. Sometimes my computer's screwy because I live in the wilds, and have to use satellite internet. So, forgive me if my responses are occasionally delayed.<br />
<br />
<b>Actually, that's a good place to start. Someone said that they thought you lived all alone in a trailer on the Ohio/WV state line. Is this true?</b><br />
<b><br /></b>
Essentially, although, technically, it would be the KY/OH state line. WV is rather close as well. I was born in Huntington (WV).<br />
<br />
<b>I like the idea of someone with such a unique mind coming from an isolated area, unsuspected. Of all of the places I have played, the Huntington crew were Top 5 for most hospitable. I can't imagine you came out of the womb with this wild mind! What were you like growing up?</b><br />
<b><br /></b>
Yeah, I believe there's something about being isolated and ostracized that makes you truly understand what it is to be a community. When we're alone, we understand our almost horrifying communion. I was a reckless, otherworldly child with boundless chaotic energy who eventually learned to destroy our dying civilization in himself and transform into a reckless, otherworldly adult with boundless chaotic energy.<br />
<br />
<b>Your music covers a lot of different ground. I hear elements of folk, country, blues, jazz, and other things I can't quite put my finger on. Did you grow up around much music?</b><br />
<b><br /></b>
No, not at all...or kind of. My family all listened to 90s country when I was growing up; I live in Appalachia after all. Around 16, I had two profound, existence shattering visions of the savage nature of God and redemption, and began writing and recording music obsessively every day since. I didn't have any real musical ability before then and have since learned to play over 30 instruments.<br />
<br />
<b>Will you explain these visions?</b><br />
<b><br /></b>
<br />
<div class="separator" style="clear: both; text-align: center;">
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I can't explain them entirely without betraying something intrinsically hermetic and beyond language, but I can at least describe their genesis. I'd run away from home and had stolen away to this place called "Lake Kimberly" (which I'm unable to find on a map any longer and often wonder if it wasn't an arcane sphere beyond this world) to try and transcend my self, the false dream called consciousness, and all of my boundaries and borders.<br />
<br />
I laid down in a field of prairie grass overlooking the lake for an immeasurable amount of time until I started having visions of a recondite world beyond this one that was eclipsed by the blessed light of a shuddering whole humanhood complete with agony, atrocity, sorrow, grief, outrage, disgust, longing and hunger. I learned that to deny these things is to sleep in the darkness of dogman, dead rituals and false suns.<br />
<br />
<b>Sounds like a heavy amount of catharsis for a 16 year old. Your releases vary a lot in sound and approach. Do you create as a selfish pursuit, or to fulfill a certain need; or is there a greater purpose (outwardly)?</b><br />
<b><br /></b>
I create because of a powerful compulsion to do so, or an inability to do otherwise. The origins of my output come from dreams or visions or an intense, incurable exploratory malady; all of my output is a tributary from those early revelations; fortunately (or unfortunately) these revelations were so macrocosmic and archetypal as to allow infinite variations.<br />
<br />
<b>So, there definitely is a source; a genesis, if you will; of your creativity. David Lynch often uses Transcendental Mediation to feed his creativity. Other artists have used everything from meditation to hard drugs to fuel their process. Do you now, or have you ever, used a particular method to inform your process, or is it all strictly a result of these early visions?</b><br />
<b><br /></b>
The early visions are the source, but I constantly use new methods based on the type of material I'm working on. I'll give an example or two, if you'll allow. A new project I've been working on is a film/soundtrack project called "The Guest with a Pomegranate in one hand and a Fiddle in the other" about an ancient cult whose members were written in the book of life, at the beginning of time but were always resistant because the path to salvation and deep auroral wholeness leads through abuse, pain, pitch black misery and loss.<br />
<br />
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To prepare for the recording process, I drank copious amounts of Nyquil so that I could forget that I'm a human being, and went out to abandoned places to perform the ritual/music. One evening, I went out to Lake Vesuvius to record a harmonium part for the soundtrack in a cave. I walked two miles in the dark carrying this 40 lb. harmonium and the other ingredients for the ritual to where this cave was hidden in the woods.<br />
<br />
When I finally arrived, I surprised a group of high school students who had chosen this remote spot to drink. I started setting up the ritual: four red candles to enclose, a pomegranate and a fiddle on the northeast and southwest perimeters, streaked/terrifying semi-clown white makeup that I dash on my face, and a red suit. At the beginning, I cut the back of my neck to allow Divinity to enter my body, and I did so in front of these terrified children; blood running down my neck.<br />
<br />
They were entirely/comically silent during this 35 minute set up time, and when I was finally ready to record the harmonium part, I offered them a choice: "You can either leave or site here quietly while I record this." One of the braver boys stammered out, "We'll just stay here; we can be quiet." I recorded the music while they looked on with complete silence, packed up my equipment, and disappeared into the wilderness; bleeding and disoriented.<br />
<br />
<b>So, is this the ritual that had a short video clip posted, recently? The ritual you performed on this last tour?</b><br />
<b><br /></b>
Yes and no. My view of the ritual for the tour radically changed from the cinematic idea I had to one of cosmology and the creation of the material world. As I developed and practiced the material, I started to realize that it had a radically different meaning for me, and my true intentions were to emulate the sexual creation of the universe and matter. This is the nature of true art, in my experience, and the only way in which I've found that I can understand God.<br />
<br />
We are frequently unable to understand mercy or love or tenderness or justice in any way aside from the temporal (in other words: false). I believe we can only comprehend God through an understanding of the creative process. When I imagine a Creator in the wilds of eternity bringing about the unspoken, wild and dark things inside Himself in the form of universes, solar systems, planets, vast continents, seething oceans and the broken human animal, I believe I begin to understand God's ecstasy and love.<br />
<br />
We approach his throne cosmologically; bleeding and bruised after years of wandering in the wilderness. So, I developed a set based around creation of a world that involved bloodletting, violence, and arcane sexuality because I believe so-called "aberrations" are the beginnings of authenticity, and the world without end. Eventually, I developed a side act dedicated to these conceptions called, "Swallowing Poison and Ocean Water and Rising in the Dark Night."<br />
<br />
<b>Ok, so you performed these rituals and recorded them for this film. Is the film made up of video footage of you performing/recording during these rituals in different locations, or is there a more conceptual basis beyond it, for the visual aspect?</b><br />
<b><br /></b>
Here's where it gets rather confusing (even to me, as if it wasn't confusing enough already). The film is something entirely different than the rituals I've developed although they began as the same project. The film is "a film" in the classic sense in that there is plot, dialogue, scenes, actors, etc. The ritual is savage musical performance, and has split entirely from the film.<br />
<br />
<b>Ok, so what is the plot of the film? AND, if no one gets to see the rituals being performed, visually, for the score/soundtrack, then why go through such extreme ritualism for the audio recording aspect? And, lastly, where did the idea/blueprint for the rituals come from?</b><br />
<b><br /></b>
<br />
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<!--StartFragment--><span class="Apple-style-span" style="font-family: inherit;">The plot for the film is as
I mentioned earlier: An ancient cult is headed by a nightmare god called
"The Guest" who inhabits members who have been ordained since the beginning
of the world, and instructs them that the dark and lost things within them are
actually their salvation and mankind's salvation. The members are always resistant and are only
won after passing through the initiation of three "wisemen"; a
crazed, murdered priest, a succubus and a child.</span><br />
<span class="Apple-style-span" style="font-family: inherit;"><br /></span>
<span class="Apple-style-span" style="font-family: inherit;">Regarding the extreme methods of recording: I
don’t think that the material could be captured in another manner; to record it
in a stultifying place like a studio betrays it’s recklessness and so makes it
a lifeless thing as well. It’s my
belief that the ethereal and violent nature of music recorded with care and
difficulty reverberates in a remote and unconscious area within us and so the
mania and delirium of the piece of music is successfully transmitted. The destruction of our civilization, our
conditioning, our race memories and ultimately ourselves and the loveless,
ghastly, small, beastly way in which we live in this world (which I believe is
necessary if the lost creature called man is going to continue on this fallen
earth) calls for unhuman acts and the annihilation of reality.</span><!--EndFragment-->
<br />
<span class="Apple-style-span" style="font-family: inherit;"><br /></span>
<span class="Apple-style-span" style="font-family: inherit;"><b>When can we expect this film and soundtrack to be available?</b></span><br />
<span class="Apple-style-span" style="font-family: inherit;"><b><br /></b></span>
<span class="Apple-style-span" style="font-family: inherit;">I expect to have it done before 2014 rolls around. I'm nearly finished with the screenplay, and the soundtrack is finished. Going down to work on it with my friend in Chatanooga this Summer.</span><br />
<span class="Apple-style-span" style="font-family: inherit;"><br /></span>
<span class="Apple-style-span" style="font-family: inherit;"><b>So, where does Mr. Midnight come in to play? Who is Mr. Midnight, and why is he here?</b></span><br />
<span class="Apple-style-span" style="font-family: inherit;"><b><br /></b></span>
<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;">
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<!--StartFragment-->Mr. Midnight is another
character entirely. Between 2-3 years
ago, I became aware of an intense urge to die. I started gambling a lot, taking wild risks with my life; Mr. Midnight
became my way of understanding why I wanted to die.</span><!--EndFragment-->
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<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><br /></span></span>
<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><b>Why did you want to die? And, due to your current usage of the word "wanted" vs "want," I ask, why do you no longer wish to die?</b></span></span><br />
<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><b><br /></b></span></span>
<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;">
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<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;">Well, eventually through writing material for this alter ego, I
started to understand that my longing for death stemmed from my profound desire
to transcend all my boundaries, my fears, my failures, my doubt, my limited
consciousness and to venture out into an everlasting light that shocks and
awakens. I found that it wasn’t a
nihilistic or negative death wish; it was more of a longing to live in a more
liberated, whole and otherwordly manner. In that way, I suspect I still attempt to perpetuate my death; I learned
that the nature of death is a kind of dying to yourself daily; dying to your
race memories and little pain and sorrow so that a new being wakes up to a
profoundly ecstatic and entirely different world every morning.</span><b style="font-family: 'Lucida Grande'; font-size: 11pt;"><o:p></o:p></b></span></span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><b>I remember reading that, statistically, men tend to use more violent methods of suicide (i.e. gunshot), while women tend to go with less violent means (i.e. overdose). The reason I mention this is that I wonder is you really wanted to die, or if you felt a need to punish yourself for some reason.</b></span></span></span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><b><br /></b></span></span></span></div>
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<!--StartFragment-->I'd say neither. Again, death means something entirely
different for me. More ghastly than the
so-called "end of man" is the frequently meaningless ways human beings live, and
my desire to escape that by whatever seemingly inuman methods are available to
me.</span><!--EndFragment-->
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<!--StartFragment--><span class="Apple-style-span" style="font-family: inherit;">No, we're working on an
album now. And, I write reviews of 90s country classics/attempts to understand
horrors of childhood under his name in my monthly magazine "...And some of
his sons were horses." I'm working
on a book under this pseudonym as we speak.</span><!--EndFragment-->
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<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><b>You are also doing a release for us at SEVEN1878. What can we expect?</b></span></span></span></div>
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<!--StartFragment-->Well, it's quite in line
with Mr. Midnight actually; the album is called "Thanatos" and is a
transgressive, unstable rockabilly/50s ballad record about the urge to
die. I've reworked some of the material
into Mr. Midnight tracks, but this album will be more painfully a part of myself
because I recorded all of the instrumentation myself, whereas I have a full band
for Mr. Midnight.</span><!--EndFragment-->
</span></span></span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span style="color: #262626;"><span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><span style="color: #262626;"><br /></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><a href="http://www.zackkouns.com/">http://www.zackkouns.com</a></span></span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><a href="http://zackkouns.blogspot.com/">http://zackkouns.blogspot.com</a></span></span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><a href="http://zackkouns.bandcamp.com/">http://zackkouns.bandcamp.com</a></span></span></div>
<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;">
<!--EndFragment--></span></span>SEVEN1878http://www.blogger.com/profile/00926355086496138315noreply@blogger.com1tag:blogger.com,1999:blog-2835426720436143408.post-81731144906605081722013-03-20T20:24:00.000-07:002013-03-20T20:24:03.156-07:00Interview with Roberto Carlos Rosas<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-SME213vLzvY/UUpxB87zWjI/AAAAAAAAAVc/OB01JiDiRfE/s1600/Roberto.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="212" src="http://2.bp.blogspot.com/-SME213vLzvY/UUpxB87zWjI/AAAAAAAAAVc/OB01JiDiRfE/s320/Roberto.jpg" width="320" /></a></div>
Interview conducted by Christopher S. Feltner<br />
<br />
One of the nicest guys you could ever meet, and an incredible artist. Roberto Carlos Rosas was the easy choice for the first strictly visual-based artist to be featured on this site.<br />
<br />
Now, the man, himself...<br />
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<br />
<br />
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<br />
<b>When did you first start to draw and paint?</b><br />
<br />
Well, the rumor is that when I was two years old, I used to walk around with a pen and paper, and act like I was writing things down. They named me Juan Montalvo, a famous poet in Ecuador. I guess that's when the bug bit me.<br />
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<b>Did you inherit creative genes from your parents? Were they creative people?</b><br />
<br />
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<a href="http://4.bp.blogspot.com/-9ubqJhc10eg/UUp8-05yekI/AAAAAAAAAV0/ENSGID-Z7HY/s1600/marvin.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-9ubqJhc10eg/UUp8-05yekI/AAAAAAAAAV0/ENSGID-Z7HY/s200/marvin.jpg" width="150" /></a></div>
I would say that the creative side is from my mother's family. My father's side is more logical and practical. They are all math geniuses while my mom's side of the family is all creatives...painters, poets, musicians... They also have the most problems with addictions. (laughs)<br />
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<b>As do a LOT of artists!</b><br />
<b><br /></b>
<b>How many mediums do you work in? Do you have a preference?</b><br />
<b><br /></b>
I don't like to stick to one medium. As they say, "Styles define us, but they also confine us." I try to use something different every time I tackle a new project. My fall back is spray paint and airbrushing, but I have mad skills with a paintbrush. Pencil is the alpha and omega though.<br />
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<b>What type of subject matter do you usually create?</b><br />
<b><br /></b>
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<a href="http://2.bp.blogspot.com/-v56QdfgVZRs/UUp8rrC0t1I/AAAAAAAAAVk/Gnm2pJ_gjic/s1600/Hunter.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://2.bp.blogspot.com/-v56QdfgVZRs/UUp8rrC0t1I/AAAAAAAAAVk/Gnm2pJ_gjic/s200/Hunter.jpg" width="150" /></a></div>
I wake up and whatever I think of from the night before, I write down. I walk into the studio and mess around with media from the night before, and sort of sift through photos or magazines, and books (I have an extensive library). But, I guess Fantasy and Horror dominate the majority of my body of work, but I'm really stuck on portraits, right now. I don't know; ask me next week! (laughs)<br />
<br />
There is a certain beauty in the macabre, right? As humans we are fascinated with death and violence. Maybe that's what I draw upon most days. I stopped drinking, so maybe my mindset will influence what I paint now. Who knows? Next question.<br />
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<b>I read recently that Dali used a tentacle of an octopus or squid to paint on a certain piece. What is the most unorthodox method you have used to create a piece?</b><br />
<b><br /></b>
WOW! Dali was one of a kind. I have always admired him, but I never dreamt of him like I did with Picasso. It was like I was interviewing him for a documentary or something. The most unorthodox method of applying media to a surface was when I used a dead frog, which was partially desiccated, when I lived in Florida. My teacher was not amused. But, since she studied at Pratt in NYC, she didn't dissuade me from experimenting.<br />
<br />
The painting sucked, big time, but I was embracing different techniques.<br />
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<b>Where have you shown your work?</b><br />
<b><br /></b>
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In my whole career as an "artist," Ecuador...Ft. Lauderdale, Florida...Savannah, Georgia...Winchester, VA. Apparently, I have a piece hanging in Minnesota. That's pretty much it. The internet will free me, eventually. I hope.<br />
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<b>A common point of view is that artists create best when dealing with negative things in their lives. Chuck Palahniuk's book "Diary" was based on this, to the extreme. But, on the other hand... David Lynch believes the opposite. Give your two cents on this.</b><br />
<b><br /></b>
Two icons; two opinions. My take is that whatever you feel in the moment is truth. If you are talented enough to pull it from your head and present it visually for another person to see it, well that's the miracle we all hope for. That's the dream. Validation.<br />
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I personally have gone through a blender, and have escaped with only my sanity in tact (I think). I'm ashamed to say that I didn't pick up a brush during that time, but it really was waaayyy too much to process, in the moment. However, I did begin to write again in order to document my feelings and whatever craziness was ricocheting around in my mind. I am bound and determined to bring this out and present it to the masses, eventually. But, the truth is that suffering and pain can liberate some pretty gruesome stuff from your subconscious. You may be one heartbreak from your opus, man.<br />
<br />
<b>What artists (in any medium/method) inspire you most?</b><br />
<b><br /></b>
Bacon, Dali, Moebius, Pollock, Giger, Rembrandt, lusko, Boris, vallejo, Banksy... Basically, anyone who pushes the boundaries. I know that sounds trite, but I can't go around and name everyone who has influenced my life and art, but I can say that from own experiences, it has always been that one person who says "fuck you" to the establishment, self-destructs and leaves behind a brief (but meaningful) piece that he/she poured their soul and sadness and grief into. That pain that we all feel. That, to me, is an inspiration.<br />
<br />
The street artists that made a difference a while ago have now turned into a pile of copy-cats. We need more experimentation. We can't just sit and expect the moment to hit us. It won't happen unless you go out there and attack it like a bear. Art saves lives.<br />
<br />
<b><a href="https://www.facebook.com/pages/The-Lab/144601768903512%E2%80%A8%E2%80%A8%E2%80%A8%E2%80%A8">Roberto Carlos Rosas - The Lab</a></b>SEVEN1878http://www.blogger.com/profile/00926355086496138315noreply@blogger.com0tag:blogger.com,1999:blog-2835426720436143408.post-78276192525301174522013-03-20T19:29:00.000-07:002013-03-20T19:29:46.146-07:00Interview with Blake Harrison of Pig Destroyer<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-HHUteBoqXFI/UUppCWhRzbI/AAAAAAAAAVE/tRq1Qy__0mE/s1600/blake3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-HHUteBoqXFI/UUppCWhRzbI/AAAAAAAAAVE/tRq1Qy__0mE/s320/blake3.jpg" width="275" /></a></div>
Conducted by Christopher S. Feltner<br />
<br />
For the record, I am not a fan of Grind music. That being said, I do enjoy Pig Destroyer. PD's recent album, "Book Burner" is one of the best heavy music releases to come along in recent years, in my opinion. With an album of such high acclaim, a heavy saturation of PD interviews have followed.<br />
<br />
This not another Pig Destroyer interview. There are plenty of magazines talking about their new album, drummer, etc. I wanted to focus more on Blake's creative input to the band as it relates to experimentation.<br />
<br />
Mr. Harrison was kind enough to oblige.<br />
<br />
<br />
<br />
<br />
<b>I am sure you've been asked this a ton of times over the years, but when did you join Pig Destroyer, and why did you want to join them? What was it that made you feel like you could add something to the band?</b><br />
<b><br /></b>
It's been six or seven years now. I'd been fairly close with them for a while, and they wanted to add another member doing noise and samples and stuff, and offered myself for the position. I didn't know that I could bring something to the band. I just kind of hoped it worked out.<br />
<br />
<b>Grindcore is an acquired taste, in my opinion. A lot of metal fans that I've known over the years; only a select few enjoy Grind. What draws you, personally, to this particular style?</b><br />
<b><br /></b>
Personally, I've been a fan of Grind for a long time; since I was like 14. I really like the fact that it's more extreme than most other forms of extreme music. It's always been kind of a mix of Punk and Metal, as well, which were both forms of music that I was attracted to.<br />
<br />
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<b>This past September, I was on a family vacation in Gatlinburg, TN. I stopped in at the only independent record store I could find. There were two young guys with long hair, and metal shirts, working there. I'm looking around, and one of the guys asked if he could help me find something. I asked if they carried any noise albums. He replied, "The only noise stuff we have is like Napalm Death and Agoraphobic Nosebleed."</b><br />
<b><br /></b>
<b>I don't think he knew what I meant by "noise." But, since you bring that element to a Grind band, I'm curious: What, if any, correlation do you see between Grind and Noise?</b><br />
<b><br /></b>
They've always gone hand-in-hand really. The guys in Napalm started experimenting with tape loops, and even Godflesh experimented. I think it's more of an experimental thing really.<br />
<br />
<b>What is your musical background? Did you start out playing in bands growing up?</b><br />
<b><br /></b>
Yeah, I've played in bands for a long time. Nothing as well known as PxDx. I've played bass, guitar, and screamed for various bands.<br />
<br />
<b>When did you start getting into noise/sound experimentation? What was your first exposure to it?</b><br />
<b><br /></b>
I'd really have to say some of the early Grind like Napalm or Godflesh, then that kind of led to me discovering other bands/artists. The old Relapse catalogs had A LOT of stuff to buy/learn about. Then, later, more Noisecore stuff like Anal Cunt and Suppression.<br />
<br />
<b>Have you ever considered doing a solo album of noise, or collaborating with others in this vein?</b><br />
<b><br /></b>
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I've been working on some stuff, but am not really sure if I'll ever release it. Terrence from Locrian and I may do a collaboration.<br />
<br />
<b>I don't consider myself a fan of Grind, but I do enjoy Pig Destroyer. However, I can't explain why this is. Why do you think PD would appeal to someone who isn't really a fan of the style?</b><br />
<b><br /></b>
Wow, this is a tough one. I think it's because we're not just what I call "4 on the floor grind." We have time and tempo changes; the music swings a bit.<br />
<br />
<b>Why didn't Dave Witte end up joining you guys?</b><br />
<b><br /></b>
Mostly just a matter of scheduling, and timing, really. He's a VERY busy dude.<br />
<br />
<b>What were your personal favorite noise-related albums of 2012, and who are your personal favorites, in general?</b><br />
<b><br /></b>
Der Blutharsch "Track Of The Hunted"<br />
Einsturzende Neubauten "Halber Mensch"<br />
(I know these are old records)<br />
<br />
<a href="http://pigdestroyer.bandcamp.com/">Pig Destroyer</a>SEVEN1878http://www.blogger.com/profile/00926355086496138315noreply@blogger.com0tag:blogger.com,1999:blog-2835426720436143408.post-9156124147203873282013-03-20T18:53:00.004-07:002013-03-20T18:53:59.688-07:00Interview with Christopher S. Feltner<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-hOJM10yFWoo/UUop4_SFTwI/AAAAAAAAAUU/AEXGI-ONAbY/s1600/IMG_8254.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="212" src="http://1.bp.blogspot.com/-hOJM10yFWoo/UUop4_SFTwI/AAAAAAAAAUU/AEXGI-ONAbY/s320/IMG_8254.JPG" width="320" /></a></div>
Interview conducted by: Billy Pizarro<br />
<br />
I met Christopher S. Feltner on March 7, 2012 in Baltimore, MD. I was there to see Eugene S. Robinson (Oxbow) do a spoken word set at the Golden West Cafe. Chris had set up to do a collaborative performance with Eugene, providing a moody atmosphere to Eugene's chilling tale. It flowed so well that I thought Eugene was bringing Chris along on his tour for each date, but it happened to have just been a one-off performance.<br />
<br />
We didn't actually speak that day, other than asking me how long the performance was. That same night, I messaged Eugene, asking who the noisy ambient guy was. He gave me his name, and I looked him up.<br />
<br />
I believe our first conversation consisted of contact mics and pedals. We traded links to our music projects and became friends. I started going out to every Degollado, Kingdom of Sharks and solo performance possible. Each performance seemed better than the last; especially, his solo sets. They became more controlled, tense and physically atmospheric. I've been very lucky to have seen this artist grow and change. Hopefully, the rest of the public feels the same way. You should...<br />
<br />
<b>Can you start out by talking about your development as an artist/musician?</b><br />
<b><br /></b>
From the floor, up? My first experience of making/playing music was in 9th grade. I had a year of guitar lessons but wasn't very good. Joined an alt-rock band with a guy who played WAY better than me. That band, and several others, came and went. Ran the gamut through punk, metal and hardcore bands through college and afterward. Played for a while in a noise band which gave me permission to do whatever I wanted with the instrument (guitar). And, I did (for better or worse).<br />
<br />
That band broke up, and it was back to hardcore/metal bands for a while. I hooked up with a two-piece looking for someone to play WITH the guitar vs PLAYING the guitar. Served my interests just fine. I learned a lot playing with that band (Stifling), then the band went on a hiatus from which it never returned. During that hiatus, I began Kingdom of Sharks, and progressed from there; further and further into the void.<br />
<br />
<b>You recently retired the Kingdom of Sharks moniker. I always wondered how you came up with the name. And, for clarity, do you feel that what you did in KoS just naturally dissolved into what you're currently doing under your own name?</b><br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-7lW9M7DD48I/UUpkS9jPGBI/AAAAAAAAAUk/oQoq2Gd9Nw4/s1600/Alex_Giron_10.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="228" src="http://2.bp.blogspot.com/-7lW9M7DD48I/UUpkS9jPGBI/AAAAAAAAAUk/oQoq2Gd9Nw4/s320/Alex_Giron_10.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kingdom of Sharks photo by Alex Giron (2010)</td></tr>
</tbody></table>
<b><br /></b>
The names "Ocean" and "The Ocean" were both taken. The ocean is incredible to me. It is very intimidating in a lot of ways to me. On land, mankind is on top. In the ocean, however, sharks are king; and we are meat for the beast.<br />
<br />
My reasons for dropping Kingdom of Sharks, and going by my birth name... Well, there are certain things in the works that will require a "real" name rather than a moniker. It's hard to explain to people that this is my KoS project, and this is my solo project, also; but, I go by my real name, etc. It gets confusing.<br />
<br />
As far as approach, I started performing under my own name because I missed the physicality of fronting heavier bands bands, and wanted to explore a more performance-based aesthetic. I was starting to mix more vocal-based work into KoS pieces, yet I was also doing this with my work under my own name. The lines were getting blurry, so... With all things considered, everything is under my own name, now.<br />
<br />
<b>Definitely agree with your fascination in the ocean, and it's sheer size and mystery.</b><br />
<b><br /></b>
There are so many ways to die in the ocean. Suffocation/drowning, getting eaten, crushed by waves, torn by coral... Plus, you can't see what's going on below.<br />
<br />
<b>It's all terrifyingly beautiful. It commands respect.</b><br />
<b><br /></b>
<b>The first time I showed my sister videos of what you do, she was reminded of the mythical creature known as Slender Man. I had never heard of it/him. I looked it up and noticed some eerie similarities. Did Slender Man have any influence on your masked performances? If not, what or who inspired that transformation that you take?</b><br />
<b><br /></b>
Slender Man? I have never heard of him. I'll have to look him up. No influence.<br />
<br />
My transformation... Clothing-wise, I like the contrast of clean-cut, neat, professional, safe... Versus, the performance which is on the OTHER end of the spectrum. The head covering is also such a great contrast to the clothing. I remember seeing Soft Pieces perform in DC, and he was wearing a black, spandex hood with no obvious eye or mouth opening. That always stuck with me.<br />
<br />
There are a lot of performers I find inspiring who dress similarly. And, there are so many out there who cover their head with something. But, really, one of the most influential images which really drove me to combine both is the male killer from the movie, The Strangers. He was dressed nice but had this burlap sack over his head. That image and contrast had such a bizarre impact on me. I will never forget that movie because of it.<br />
<br />
The same can be said to a little lesser degree of the psychiatrist/killer from the movie, Nightbreed.<br />
<br />
<b>He's the only character I really remember from The Strangers. I also love the contrasting look a a clean-cut performer. I try to portray that, as well, in my own performances, but more as a blank canvas. Clean.</b><br />
<b><br /></b>
It also helps, personality-wise. Puts me in a serious mindset when the clothes are on; then, with the head covering. I can't see anything, so I completely disappear.<br />
<br />
<b>I'm less attracted to flash, and more attracted to aesthetics. It might not get me noticed all the time, but it's what I'm most comfortable in. I totally get that.</b><br />
<b><br /></b>
<b>How does your process of working out ideas begin? Do you keep a journal of themes you might come up with during the day?</b><br />
<b><br /></b>
The process varies. For recordings, I usually come up with a concept, then write out ideas for varying pieces on paper. I will make changes on said paper over the course of weeks, or months, before I finally record. For live performances, ideas pop in to my head constantly. I don't write them down; they are just always there. When I have a performance scheduled, I'll pick one of the concepts based on the performances space.<br />
<br />
When I tour, I will try to find out as much info about the space, ahead of time, so I can plan a certain number of pieces.<br />
<br />
<b>Do you like to leave room for improvisation, or is each performance meticulously planned?</b><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-UdMqI0cOhjc/UUpl5dyHlrI/AAAAAAAAAUs/NP1sEn0mrL4/s1600/feltner_0898.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="http://2.bp.blogspot.com/-UdMqI0cOhjc/UUpl5dyHlrI/AAAAAAAAAUs/NP1sEn0mrL4/s320/feltner_0898.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by Chester Hawkins</td></tr>
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<b><br /></b>
I have the framework planned, but I don't rehearse, beforehand. The concept is planned, then I let the details develop naturally for most pieces. However, some do require more precision than others. Some pieces change from time to time like "The Blues." I have a few phrases that are repeated from performance to performance, but, overall, spoken-based pieces are improvised.<br />
<br />
<b>Interesting. I wouldn't have guessed that actually.</b><br />
<b><br /></b>
<b>Besides enjoying what you do (period), I really enjoy watching people's reactions to what's happening in front of them. What are some memorable reactions that you've gotten during, or after, a performance?</b><br />
<b><br /></b>
During: A woman laughing, then cringing after I hit myself in the face while staring at her.<br />
After: A guy came up to me with obvious reluctance. After talking with him for a few minutes, he started to relax, then told me how creepy the performances was, and that he felt uncomfortable, and scared about listening to what I was saying during the performance.<br />
<br />
For the most part, people don't talk to me, after, unless they know me. Some will say that they liked but most just stare at me from a distance.<br />
<br />
<b>(laughs) They don't know what they're missing. Did you have the face cover on with the lady?</b><br />
<b><br /></b>
The cover was on. I have performed both ways. Neither seems to make people want to talk to me more.<br />
<br />
<b>You're involved in various martial arts - do you apply any of those teachings, or philosophies to your performances?</b><br />
<b><br /></b>
I am very skeptical of people, in general. I think about martial arts, and self-defense, as much as I think about sound/visual art, almost. Philosophy doesn't play in to my performances, at all. I do, however, consider how someone could react, physically, to me interacting with them during a performance, and how I might choose to react, if it ever got ugly. I also keep hyper-aware while loading in/out of places to perform.<br />
<br />
<b>What do you do for a living, if you don't mind answering?</b><br />
<b><br /></b>
I teach the Mandt System, and CPR/First Aid at a psychiatric residential treatment facility in Virginia. The Mandt System is a system based on building relationships, and interacting in a respectful manner with the clients we serve. Part of this is teaching verbal de-escalation techniques, and, also, physical intervention skills to deal with aggressive behavior.<br />
<br />
Before this, banking.<br />
<br />
<b>I assume you deal with a number of unique incidents with that line of work. Do you take any influence from what you experience there?</b><br />
<b><br /></b>
The album, "A History of Mental Illness" was directly influenced.<br />
<br />
<b>I thought that was the connection.</b><br />
<b><br /></b>
Yeah, the world is dying in so many ways that the average person doesn't even think about.<br />
<br />
<b>How does religion play a role in your performances?</b><br />
<b><br /></b>
Religion. Hmmm... That's a little tricky. Religion influenced my first release under my own name, Absence. I watched a documentary that really dug in to historical accounts of demon possession and exorcism. I compared the information from that documentary to popular Hollywood depictions of such things.<br />
<br />
For the "Five Minutes In Hell" pieces, I compared two different interpretations of what Hell is like.<br />
<br />
<b>It was tricky for me too. I could be wrong, but I don't think religion is THE main theme in what you do. You definitely touch on other subjects, but I do know there is some influence there.</b><br />
<b><br /></b>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-IODdJZ1oors/UUpmYeFmRcI/AAAAAAAAAU0/isRbZiKMrIM/s1600/feltner_0902.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://1.bp.blogspot.com/-IODdJZ1oors/UUpmYeFmRcI/AAAAAAAAAU0/isRbZiKMrIM/s320/feltner_0902.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by Chester Hawkins</td></tr>
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My love and faith for Jesus Christ is always present in one way, or another, in what I do. However, I am not the type of Christian that is depicted on TV that tells everyone that they're going to Hell. ALPHA/OMEGA and Return To Sender were directly influenced by my faith.<br />
<br />
If God didn't put this creative spirit in me, I wouldn't be doing ANY of this, nor any of my other projects.<br />
<br />
<b>Very cool. It's nice to get some insight on that. I guess I could've asked you that myself, any time, but this is a good way to find out about it. (laughs)</b><br />
<b><br /></b>
Yeah, I'm FAR from perfect, and I have my own things I struggle with.<br />
<br />
<b>You and I, both.</b><br />
<b><br /></b>
<b>What other projects are you involved with?</b><br />
<b><br /></b>
I am involved in the drums and guitar duo, Degollado. I am part of a guitar noise duo, Arterial, and I do limited releases, put on shows, and do interviews/reviews of experimental-based music and art under the umbrella of SEVEN1878.<br />
<br />
<b>You just finished up recording for both the Degollado and Arterial projects. Can you give some details on the estimated release dates, and album content?</b><br />
<b><br /></b>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-8rImj95gceM/UUpm-mIIaBI/AAAAAAAAAU8/bAT7qtBG_MY/s1600/degollado.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="256" src="http://2.bp.blogspot.com/-8rImj95gceM/UUpm-mIIaBI/AAAAAAAAAU8/bAT7qtBG_MY/s320/degollado.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Degollado photo by Ann Everton</td></tr>
</tbody></table>
The Degollado album has been named, "Compassion Fatigue." We re-recorded two songs from the "Dark of the Day" EP which have changed a good bit since they were first recorded. And, there are four new songs accompanying them. It is definitely going to be a much more diverse, and sonically progressive release. By the time this interview is posted, James Plotkin will already be in the process of mastering it.<br />
<br />
Nic (Degollado drummer) released "Dark of the Day" through his Founding Father imprint. But, we are looking to release "Compassion Fatigue" through another this time around.<br />
<br />
The first Arterial release will likely be released for download through RJ Myato's imprint out of Pittsburgh, but that hasn't been 100% confirmed yet. It has definitely been a blast doing this project, so far. The three tracks are a complete full-on assault, in both volume and intent, but there is still enough variance to keep it from becoming stagnant, or too repetitive. Two guitars with a lot of volume, pedals, and instrument torture.<br />
<br />
<b>Aside from what you have listed on the SEVEN1878 page, are there any new developments that can be expected for 2013? Also, in our past conversations, you hinted at some non-music related projects for 2014. Will you elaborate a little on that?</b><br />
<b><br /></b>
I really need to update the site! In April, there will be a three-way split CD-R release between myself/Clang Quartet/Baptizer. I'm releasing Zack Kouns' "Thanatos" album, which is incredible! For the Download Series, there will be releases from Stephen Palke, Ancient Noir, and Guillermo Pizarro.<br />
<br />
For 2014, I am not releasing ANYTHING through SEVEN1878, and I may/may not do the music blog. I am taking a year off to work on short films, and some writing projects left unfinished. And, of course, there will still be live performances.<br />
<br />
<a href="http://www.seven1878.com/">SEVEN1878 Imprint</a><br />
<a href="http://degollado.tumblr.com/">Degollado</a>SEVEN1878http://www.blogger.com/profile/00926355086496138315noreply@blogger.com0tag:blogger.com,1999:blog-2835426720436143408.post-20207030077613090172012-07-08T14:28:00.002-07:002012-07-08T14:28:43.595-07:00Interview with Clang Quartet and Baptizer<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-jbe98CQdMiM/T_niyEZDp3I/AAAAAAAAAPA/vQBog68a9G4/s1600/cq1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="http://3.bp.blogspot.com/-jbe98CQdMiM/T_niyEZDp3I/AAAAAAAAAPA/vQBog68a9G4/s200/cq1.jpg" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Clang Quartet<br /></td></tr>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-6PqcjtSUbXA/T_njGWZbQMI/AAAAAAAAAPI/FmeSkLpjOWk/s1600/IMG_7336.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="http://3.bp.blogspot.com/-6PqcjtSUbXA/T_njGWZbQMI/AAAAAAAAAPI/FmeSkLpjOWk/s200/IMG_7336.jpg" width="133" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Baptizer<br /></td></tr>
</tbody></table>
<br />
<br />
It is a tricky thing to express one's faith in a non-traditional way. Especially, in music scenes more known for expressing rebellion and a disgust with any kind of authority. Ridicule and criticism comes with the territory. However, North Carolina noise performers, Clang Quartet and Baptizer are more than up for the challenge.<br />
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<b>First, let's talk about the names. "Clang Quartet." I was talking to some people at work about you, and wondered why you call yourself "Clang Quartet" when you are only one person. And, I'm going to ask you if what one of the ladies said was right. She said that maybe it was you, and the Holy Trinity.</b></div>
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<b><br /></b></div>
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<b>Clang Quartet:</b> How I wish that was correct, but, sadly, someone else suggested that too, but I'm afraid my reasoning is less interesting. More or less, it was a three part show, and still is. Percussion, noise, experimental sounds, etc, etc...performance art piece. So, three performed by one. Sounded more interesting than "Scotty Irving."</div>
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In all seriousness, I do some session work, and didn't want to use the name "Scotty Irving" because I didn't want people to think they were going to get the same thing each time. So, let's give the show a name, so people know what show they are going to get when they hear the name.</div>
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<b>And, what about you Jim (Baptizer)?</b></div>
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<b>Baptizer:</b> Well, if I just called myself, "Baptist," then everyone would just think I was a Baptist (laughs). People would think I was doing gospel or something. So, there's... John the Baptist said, "I baptize you with water, but the one who is to come will baptize you in the fire of the Holy Spirit." So, that adds like a reference to the apocalypse, to me. And, the apocalypse is a big part of the message in my stuff.</div>
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There's other messages in there, but that's a big part of it. And, since, also...as a Christian identity, I changed my name from what I used, originally. And, before that, I used the name "Fading Light" because I was more or less an Atheist. The name that I've chosen, about two years ago now... It was intended to reflect the new turn my life took.</div>
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<b>(To Clang Quartet) What lead you to doing this more theatrical type of performance with the costumes and whatnot versus performing in some other way, or did you start out performing differently then changed?</b></div>
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CQ:<b> </b>Uhhh, it's gotten a lot better over the years. The first couple of years... From the onset, it's always been something sound oriented, and something visual. In the beginning, I think a lot of it was so abstract that even I wasn't sure what was going on. I told someone that when I look back at those videos of old performances, what I see is a man struggling with God. Because...that's pretty much what the deal was.</div>
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I said I had given it to God, but I hadn't really done that. I see someone with a little problem with focus, at that point. I watch him and laugh now because I've moved on. But, over the years, the costumes, and the masks, have become sound sources. That's one of the things I try to utilize. And, I'm not the first person to use a mask. I'm not the first person to do a crucifixion scene on stage.</div>
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But, I am trying to do something with all of those that I don't see someone else doing, in quite the same way. I don't know very many, if any, other artists that are using masks as sound sources, as well as visual. And, my crucifixion scene is on one of the instruments not only used as a visual tool but, also, as a sound portion of the program. That's such a central part of the show. It's not just the visual. The visual is obviously a very important part, but I wanted to give it something that not just everyone would've given it.</div>
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<b>(To Baptizer) I noticed with certain parts of your set, tonight, that you definitely had phrasings that you were saying during different parts. What types of lyrics, or narrative, were you using for those parts?</b></div>
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<b>B:</b> Uh, yeah, it's pretty unintelligible! (laughs) The content has to do with Imperialism, at times. It has to do with maybe there is a conspiracy...not necessarily a theory but something that is real because I'm not very fond of globalization. So, sometimes, the lyrics reflect that. Sometimes they reflect personal struggles with...personal moral struggles.</div>
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Tonight...and, I'm not sure how far I want to go in to this one... Tonight, I was reading from a government document on abortion procedures. So, I'll just stop there and let people interpret that the way they want.</div>
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<b>As far as the typical ways of expressing faith through sound and music is through Bluegrass or other contemporary types of music...Gospel... So, why do you choose to express your faith the way you do versus a traditional musical approach?</b></div>
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<b>CQ:</b> To be perfectly honest, I have been a Christian since I was 17. I did not pursue sound or any other type of music, at the time. I was a drummer in a band. During the time that I spent as a musician in those early days, I was getting ready for what would become the Clang Quartet show. Along the way, I was introduced to sound sources that were not traditional instruments. I became aware of performers who were more like-minded in what we are talking about, as far as what Jim (Baptizer) and I are trying to do. It just made more sense to me.</div>
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I don't necessarily see people doing it the way that I think I can do it. And, some of the sound sources, honestly... I've been a drummer since 1979, and other sound sources that I'm using are extensions of those sounds. It's still something percussion-oriented for me. From a spiritual point of view, there's a lot of light and darkness throughout the Bible, in terms of the message being told there. And, I don't know, I think sounds, other than musical sounds, seem better to present that.</div>
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The story I'm presenting is... Well, I have a lot of people asking, "Are you pointing fingers at the world?" And, I say, "No, I'm pointing the finger at <i>me</i>!" The opening montage with all of the words on it: "Doubt," "Lust," "Anger," that's all me. That's my shortcomings. The words at the end: "Spirit," "Righteousness," etc, etc...those represent Christ. What I'm suggesting is that my life with Christ is more like those words versus those ugly words, at the beginning, was my life before.</div>
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I have learned over the years; don't point fingers at people! I could sit here all day long and tell you what's wrong with the world, but the world could just as easily sit here and tell you what's wrong with me. I've learned that cleaning up one's own back yard is more important than pointing out someone else's. (laughs)</div>
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What do you think about that, Jim? Does it make sense for you to use the sounds that you make in the Christian setting like this?</div>
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<b>B:</b> Yeah, it does! It started out like... I have been into Noise, Industrial, and Experimental music since I was 15. I've been into Punk and Death Metal, but I was rebelling against the teachings of my parents, and what they tried to instill in me. But, when I got into Throbbing Gristle, Z'ev, and Controlled Bleeding, and some of the others that came along...</div>
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<b>CQ:</b> I have played with three of those! (laughs)</div>
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<b>B:</b> I did not believe in Jesus. I think there's something beyond ideology and beliefs in Noise and Experimental that is very visceral, that goes beyond words. And, that makes sense in the Christian sense because if God is beyond words, then there is a connection there.</div>
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<b>CQ:</b> That's the way I feel about it. But, trying to explain that to people used to more traditional Christian music... Have you tried that?! (breaks out into a big laugh) I have!</div>
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<b>B:</b> I was interested in chaos magic, and I was really fond of Genesis P. Orridge and Psychic TV because I was really interested in the efforts they put forth. I was interested in the occult, and interested in mysticism after a while. I can say I was an Atheist, but it wasn't long... I wasn't a strict Atheist because I believed there was something beyond the limits of the human intellect.</div>
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And, now, when I listen to Noise, I still listen to it as the same mystical experience, and it is beyond words. And, I know people who go to church, and they over-intellectualize the Bible, and the over-intellectualize God, and it's... But, God is beyond the framework of the human intellect, and the human intellect is finite. Even Power-Electronics, as graphic as it can be... There's something in there that is beyond words, and anyone, regardless of what they believe, can recognize that.</div>
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<b>What has been the best and worst reaction you've experienced at one of your shows?</b></div>
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<b>CQ: </b>Want to go first?</div>
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<b>B:</b> I guess I want them to be involved, so the worst reaction was at my first show where everyone just talked together. Luckily, there were some people who paid attention like Scotty, Vince of Mechanic Hill, and some other folks who did understand that kind of genre. But, there were a lot of people who were disengaged and disinterested. That really bothered me. So, after that show, I understood that I was going to need to have one or two people participate.</div>
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<b>CQ:</b> There have been a lot of really good examples, thankfully. Like Jim said, sometimes you just feel like you're playing for your shadow. Then, some nights, you're surprised how many people seem to understand what you're doing. Sometimes, it's when you're playing with fellow Noise artists, and sometimes, it's not.</div>
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The worst example I can think of very easily. After playing maybe a year, I played this show at this so-called "Christian" place in Ashville, NC. The people there weren't paying much attention except this one drunk guy who had gotten into the place. And, he wasn't drunk with the Holy Spirit; he was drunk with something else! And, he physically tried to stop me from performing!</div>
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I discovered something that evening: Christian places have bouncers! I know that sounds funny. I remember this very large gentleman gets on stage and says to the guy, "Sir, this gentleman works alone. You will be leaving this stage now." Man, was I glad he was there.</div>
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He joked with me after and said that he was sorry that things didn't work out for me. Incidentally, it says in the book of Romans, "Conform ye not to the world." He said, "I've never seen anyone perform like this. You don't conform to any world I've been a part of!" (laughs)</div>
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<b>B:</b> The best reaction, for me, is when everyone wants to be engaged. I'm honestly not fond of people sitting down. When the majority of the folks are up and out of their seats, and they want to be a part of the experience.</div>
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<b>Have you been able to reach anyone through presenting a Christian message in your performances/music?</b></div>
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<b>B:</b> I do think, in a sense, that I have. I've noticed that there have been people who have gotten into it who have had no interest in Christianity. And, there was one guy this Summer who got engaged in one of the messages that night, and I had it on a sheet, and had him say it with me through a mic: "Forsake the Empire." I had that one message, then brought up another, and he said that one with me, also.</div>
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He talked to me, afterwards, for a really long time. And, I found out that he agreed with me on some things. I would never claim that I would make him Christian; it wouldn't be me, anyway, it would be someone greater than me. He did start to see the validity of the things I was saying. It wasn't just the political message but also the Christian message, as well.</div>
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I think it's possible to spark something in people. I would never take credit for bringing someone to God. It would be Him using me to help bring this person in.</div>
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<b>CQ:</b> I had a similar situation to him. A lot of Black Metal guys are scared of me, which is funny! At least, I think it's funny. One guy I played with at a place in New Hampshire... He was very vocally displeased with me being there, but then, as I was packing up my car, he made sure to look around to see if anyone else was around looking. And, he walked up to me to tell me he enjoyed the show, then begged me to not tell anyone he said that!</div>
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More often than not, people won't say anything to me at the shows, but I'll get emails, afterward. My wife is like, "Are you still on that computer?!" And, I'll say, "Hey, come here and read this!"</div>
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<b>B:</b> When people who I was involved with in the past see the change that has happened in my life, they start to see the validity. When people learn that I've been through addiction, and problems with mental health, and they see how I am, today... I think there's some admiration, and maybe even hope in that.</div>
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<b>CQ:</b> Since you're in the process of bearing your soul... I'm also on medication for depression. Life's like that, man. You might notice one of the props in my show says, "Depression." You think I'm not going to use that in part of my show? (laughs)</div>
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<b>What do your wives think about what you do?</b></div>
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<b>(both bust out laughing)</b></div>
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<b>B:</b> The cool thing is, my wife was already into Industrial. She was into the 80's Industrial music. What I listen to wasn't too far a cry from what she was into. It was more extreme though. She doesn't like Harsh Noise. She's ok with it. She comes to a lot of shows, but we also have two kids. It's just been us with no family around, but she's very supportive.</div>
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<b>CQ:</b> I have to say that my wife is very supportive. My wife, her listening habits when I first met her were... I'm not going to say completely different. Certain bands that we both like: Queen, Pink Floyd, David Bowie, U2...people like that. She liked a few AC/DC songs, and she had heard of Motorhead.</div>
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It was a whole different ballgame when she heard my show. There was a documentary on one of my shows in 2001 called, "Armor of God." It aired on regional PBS in 2002. And, I had already started seeing her, and she had never seen my show. So, one night, I knew it was coming on, so I had her watch it with me. I'm there on the couch thinking, "This is going to be interesting!"</div>
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She had seen me perform in a band; completely different setting. After the documentary, she didn't run screaming out of the house! She said that she thought it was fascinating. And, we spent the next hour talking about it. I thought, "Oooohhhh, I need to marry this woman!"</div>
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Every year, she gets a little bolder. Last year, she went to a full-on Noise festival. She actually found it interesting!</div>
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<a href="http://soundcloud.com/baptizer">http://soundcloud.com/baptizer</a></div>
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<a href="http://www.silbermedia.com/clangquartet/">http://www.silbermedia.com/clangquartet/</a></div>
SEVEN1878http://www.blogger.com/profile/00926355086496138315noreply@blogger.com0tag:blogger.com,1999:blog-2835426720436143408.post-15102508507808516332012-07-08T12:41:00.000-07:002012-07-08T12:41:13.641-07:00Interview with Buck Gooter<div class="separator" style="clear: both; text-align: center;">
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Loved by some; dismissed by others. Regardless, one thing is certain when it comes to Virginia two-piece, Buck Gotter... You have never seen/heard anyone like them. As musical trends come and go, Buck Gooter remains the same: Doing whatever they damn well please. Vocalist/guitar mangler/theremin playa' Billy Brat explains what's going on.<br />
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<b>You and Terry are an unique pairing. How did you guys meet, and what made you guys decide to start Buck Gooter? And, for that matter, why "Buck Gooter?"</b><br />
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The origin story is not as interesting as the name origin. We met working at the Little Grill together. We shared similar tastes in weird/heavy music. No one else at the restaurant was into any of that shit. Terry got the idea to start a band, and I was down with it, being a big fan of Terry's art and music. He said he'd buy a drum machine, and he did. He'd been in a band before where all one dude did was pat a drum machine, so it didn't seem weird to him.<br />
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I had a theremin laying around from a previous band failure. We jammed for like four hours the first time and "learned" like 20 songs. It expanded from there.<br />
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My take on the name is one time I came to Terry with some band names, and before I could say anything, he said, "BUCK GOOTER," his mouth full of food. I said, "Buck Gooter! Hell yeah!" But, I think he was really saying, "Fuck you," with a biscuit and peanut butter in his mouth. Try it out some time, it sounds like "Buck Gooter." Terry's got some bizarre explanation of the name... Something about fusing Buck Dharma and a totally made up word to create something unique, but I don't buy it. His is an easy answer; mine is funny. Don't make a whole shit of a difference either way.<br />
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<b>Locally, it seems like opinions are mixed of how people feel about BG. But, you guys have consistently been able to tour through many states/cities, multiple times. What's up with the Shenandoah Valley?</b><br />
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I feel like we get a decent reception in Harrisonburg. It goes in waves. Some years are better than others. There's not much happening in the Valley, musically. Actually, as far as I can tell, the only active music scene in the entire Shenandoah Valley is the one in Harrisonburg. Think about it, how many towns do underground/shit-circuit touring shows regularly between Winchester and Waynesboro?<br />
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We cater to a smaller subset of the small subset of people who actually enjoy music and standing in piss covered basements to enjoy said music. So, when that all gets narrowed even further down to a small population in a rural setting, it's not surprising that the audience is limited.<br />
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I think as a band, all you can do is tour. Unless, you live in NYC, you will not be able to find enough gigs, locally, to stay interested in what you're doing. You have to hit the road. It's the only way. This is, until you get tired of hitting the road, and you're content to just jam around every week and record or whatever.<br />
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<b>There's something very 80's Punk about you guys, in my opinion, though you guys definitely pull off some things that would have seemed alien back then. How do you feel about independent/underground rock-based music these days? Is there <i>really</i> such a thing, anymore, with music hosting, and social networking sites making it so easy to promote music?</b><br />
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This is a funny question that I've thought about a lot lately, after reading an article about Sam McPheeters linking the "end" of the Wild West to the "end" of rock and roll. You can Google that up and read it, if you want. I'll try and make an original point, but that article is worth a look.<br />
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Underground music is an interesting thing. You have to be a certain kind of weirdo to be able to stay the course in such a loveless environment with little return. What keeps us going is we know there's not much else to do. This is what we want to do. We don't over think it; we just keep going and rolling with the punches.<br />
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Our peers in the "scene" are typically much younger with lots of possibilities available to them that could be way more fruitful and fulfilling than dealing with a shit rock band. Eventually, they get the idea and move on. But the stragglers, the lifers...those people are the real underground scene to me. And, with them, it's just business as usual. Write songs, plays gigs, do whatever.<br />
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As far as the internet and promotions go, I don't think it harms the "underground." I feel like, historically, the underground rock industry mechanizations are the same as the mainstream, but on a smaller scale. The only band I can think of that ever did anything different business-wise in the underground was Fugazi. Fugazi did pretty radical things compared to the rest of the flock, and it worked well for them.<br />
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There are definitely bands that might record and release records in an odd way but don't tour like bastards. Fugazi did it all. They recorded and released whatever they wanted and had complete control over their live presence, and every other aspect of their band for that matter. No t-shirts, no music videos, and, in the later days, no website. Wow.<br />
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<b>What are some of the things that have influenced what you do, musically?</b><br />
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I was trippin' out recently on how deeply influence I must be by my family's musical history. The reason I say that is because it has never occurred to me that you needed to have a "full band" to put on a compelling performance. I've seen many different family members - mother, uncles, aunts, grandpa - go totally wild singing gospel songs in church with nothing but a cassette backing track. And, those folks were all very intense and in control and just totally over the top in their performances. They never had a band play with them, but they were really kicking ass in a musical way.<br />
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My grandpa used to tour around with my two aunts. They had their own PA system, and they would sing along to a cassette track of backing music. The setup was sort of like Gooter! Of course, we're not playing Holy Ghosts gospel stuff, and we do play some instruments, but we're a small band. Self-sufficient with amps, bringing the pain down. We even have some stands and stuff that used to be grandpa's. So, that influence is with us in more ways than one (laughs).<br />
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Of course, we both like all kinds of bands, but I think, at the root of it, all is a compulsion to perform and create in a way that may seem like the odd way to do it to most, but, to us, it makes a lot of sense and seems like the only way to do it. So, in summary, my experience with mutant gospel karaoke is a deep influence on me, and is reflected in this band.<br />
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<b>Vocally and lyrically, both of you contribute. What subjects/concepts do you guys tend to write about?</b><br />
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I am still unsure as to what it is we write about. Mainly, feelings of dread and angst, like most rock bands.<br />
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<b>What have been some of the best, more rememberable, experience you guys have had on the road?</b><br />
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Playing shows with Mounds and Black Pus recently were definitely memorable experiences. Between the shows, the nature hikes, chilling at Brian's pad, eating Easter dinner with Tom's family, and the parking tickets...it was definitely the most action packed and memorable tour we've been on!<br />
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A couple of years ago, we went down into the deep South; New Orleans, etc. Hanging out in NOLA, staying in a cabin, literally, IN the Gulf of Mexico, seeing an armadillo on the side of the road in Georgia... These are memories that last a lifetime. Honestly, we're not a very hard-hitting, decadent rock band, so the memories and experiences really might sound quite mundane, but that's what we've got!<br />
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Actually, Terry did trash a hotel bathroom in somewhat standard rock n roll fashion. Trash and towels strewn all over the place; water and slime all over the floor. Not to mention he ripped the toilet seat off the commode. Glad we paid for the room with cash!<br />
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<a href="http://www.buckgooter.com/">http://www.buckgooter.com</a>SEVEN1878http://www.blogger.com/profile/00926355086496138315noreply@blogger.com1tag:blogger.com,1999:blog-2835426720436143408.post-90638905865576527492012-01-30T21:38:00.000-08:002012-01-30T21:38:40.667-08:00Interview with Joke Lanz (Sudden Infant)<div class="separator" style="clear: both; text-align: center;">
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Joke Lanz is a brilliant artist, period. Trying to write an introduction that does Lanz justice is proving difficult. Where to start? Lanz brings an incredible amount of physicality into every performance piece he creates. His body is truly an instrument.</div>
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There really isn't anything to say. If you are already familiar, hopefully this interview will give you a little more insight. If this is your first exposure to the vast mental space of Joke, then you're in for a treat!</div>
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<b>Why "Sudden Infant?" The only phrasing I can think of that has "Sudden Infant" involved is "Sudden Infant Death Syndrome."</b></div>
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Yes, you're right. When my son was on his way to become an earth citizen, I was not only thinking of a name for him... I was also thinking of a name for my performance and music project. I read a lot about SIDS, when newborn babies die in their sleep without any clear reason. This term got stuck in my head, and I decided to use the first half of it for my project. That was in 1989.</div>
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<b>Can you give me some background into your development as an artist? Did you begin with more traditional music?</b></div>
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Before I started SI, I played in a Punk/Hardcore band called, Jaywalker. We used tape collages and mixed them with drums, guitar and bass. We were influenced by Joy Division, Black Flag, Sonic Youth, Throbbing Gristle and Butthole Surfers. I left the band after three years in early 1989 to focus on my family and my new project, Sudden Infant. Personally, I've always been into Punk, Fluxus, Actionism, Industrial and Noise. Bands like Suicide, The Cramps, Birthday Party, TG, Cabaret Voltaire, Einsturzende Newbauten and Whitehouse have been important to me. But, also French singer, Jacques Brel, was a great inspiration.</div>
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<b>What exactly is Fluxus and Actionism?</b></div>
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Fluxus and Actionism are two art forms/movements from the 60's. The use of physical bodies and different artistic media became the main forces of both art forms. Happenings, art performances with visuals, Dadaistic elements and experimental provocative noise music. Some of the main artists were: Joseph Beuys, Wolf Vostell, La Monte Young, John Cage, Otto Muehl, Hermann Nitsch, Rudolf Schwarzkogler, Valie Export, etc.</div>
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In particular, Actionism had a huge impact on Schimpfluch and my own work with Sudden Infant.</div>
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<b>After listening to several of your releases, it seems like your voice is your main instrument, unless I'm mistaken. With so many sound/noise artists going the route of fancy oscillating synths, pedals, and the like, why your voice?</b></div>
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Yes, the energy and diversity of a human voice has always had a big fascination on me. You can put so much emotional and personal power into a voice; you can hardly find it in other instruments. I like to reduce myself in order to create a maximum output.</div>
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<b>On "Dark Sperm," your use of the turntable as a noise instrument is incredibly intriguing to me since I have always had a love of Hip Hop DJs who use creative means of scratching, etc. Even though it makes perfect sense hearing you use this as an abrasive instrument, I never really thought of this method. How did you get into turntablism?</b></div>
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I love vinyl records. They're like small creatures and they have a lot to say. I started using turntables when I did Psychic Rally (1989-1994), a monthly radio show on a station in Zurich. Together with Rudolf (R&G) we played and manipulated records, tapes and cds, and used our voices in cut-up style to place our comments during the show. It was a big noisy collage!</div>
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During the 90's, I developed my unique way of playing turntables and it became my second foothold next to Sudden Infant. I play a lot of improv shows as a turntablist, i.e. with Shelley Hirsch, Christian Weber, Ignaz Schick, just to name a few.</div>
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<b>Aside from performing at shows as Sudden Infant, what are some other types of performances that you have done? You've done some installations at art galleries, right?</b></div>
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As mentioned, I perform as a turntablist. I play duos with Shelley Hirsch (vocals), Christian Weber (double bass), Christian Wolfarth (percussion), Jorge Sanchez-Chiong (turntables). Yes, I have had some exhibitions at art galleries with installations, and also with my paintings.</div>
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<b>I imagine that you perform mostly in front of crowds used to experimentalism. How often do you/have you found yourself performing in front of an orthodox music crowd? How have the reactions been?</b></div>
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I just performed in a small town in the South of Germany. A very conservative place, and these people never ever saw anything close to Noise or Experimental Music. The reaction of the crowd was very interesting. After my show, they started to ask me questions, and they came on stage to look at my equipment. They were very much fascinated about my expressive performance although they couldn't really understand it. But, I think it's important also to perform in front of an orthodox audience who is not familiar with this kind of music/art.</div>
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<b>You recently had a biography, of sorts, published about you: "Noise In My Head." How did this come about? I have never read a book specifically written about a sound/noise artist.</b></div>
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Lasse Marhaug wanted to release a SI retrospective CD-Box on his Pica Disk label. But, there was already a 4xLP retrospective out on Berlin-based label Hronir. When we bumped into each other in Los Angeles in early 2010, we were talking about it again. Suddenly, I had this idea of a book. You know I have boxes full of pictures, drawings, texts, flyers, etc... And, I thought, "Why not a book?"</div>
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Lasse was completely enthusiastic. And, we are both totally happy with the result. Lasse did a great job putting everything together.</div>
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<b>What do you do for a living, if you don't mind me asking?</b></div>
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I try to make a living with my music. Next to SI, I play a lot of turntable shows, and I also write music for theatre, radio plays and dance pieces.</div>
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<a href="http://www.suddeninfant.com/">http://www.suddeninfant.com</a></div>
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<a href="http://suddeninfant.blogspot.com/">http://suddeninfant.blogspot.com</a></div>
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<br /></div>SEVEN1878http://www.blogger.com/profile/00926355086496138315noreply@blogger.com0tag:blogger.com,1999:blog-2835426720436143408.post-49569047013558557772012-01-30T20:47:00.000-08:002012-01-30T20:47:14.706-08:00Interview with Jason Crumer<div class="separator" style="clear: both; text-align: center;">
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Jason Crumer has been around for years. Killing it. Seriously. Rocking out with Facedowninshit. Creating an impressively diverse collaboration with Roxann Spikula of Relay For Death. Harsh walls of noise. Emotional, more subtle moods. Disturbing sounds made with who-knows-what. And, more recently, heavy, HEAVY electronics with new project, Reverse Baptism.<br />
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I had never given this guy's releases the time of day until a conversation with a friend went something like this:<br />
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Friend: You like Jason Crumer, right?<br />
Me: Never heard him.<br />
Friend: DUDE...WHAT...THE...FUCK???<br />
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While I didn't connect as much as most with Crumer's "Walk With Me," his albums, "Ottoman Black," "Personal Hell," "What Is Love," and 2011's "High Stakes" (sitting firmly in our Top 10 of 2011) have me asking myself the same question.<br />
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<b>You primarily perform under your own name, or with Reverse Baptism. But, you originally started out playing in "facedowninshit," right? How did you progress from playing slow, heavy music to the wildly experimental nature of your noise releases of the past several years? And, is facedowninshit still active?</b><br />
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I started doing noise in Aluminum Noise in 1998, the same year facedowninshit started. Facedowninshit broke up in, I think, 2006, and Aluminum Noise ended (and "Jason Crumer" began) in 2002. Before that, I had only been in punk bands. They progressed separately, going from fast punk to rock-oriented work. From experimental crap with AN to, hopefully, better composition and overall approach with the solo stuff. Reverse Baptism started last year; not so serious.<br />
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<b>Why bother with experimental music/sound? Why not just join/start another band? What do you get from one that you don't from the other?</b><br />
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Experimental music is intellectually more rewarding; rock music is physically more rewarding. It depends on what you need, ya know? A real band, every member demands and gets input. My electronic music doesn't reflect on anyone else. Sometimes it's fine to have complete control, but it's good to have someone to tell you that your idea is stupid, try again.<br />
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I couldn't have made "Walk With Me" or "Ottoman Black" with a band, and couldn't have made "NPON" on my own. Sometimes you get so far up your own ass that it's impossible to make good solo work. That's probably where I'm at right now. I need to find a drummer. "Waylon Riffs" lives up in Philly, and we're probably going to get something going again. It's situational.<br />
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<b>Your releases under your own name seem to vary from harsher styled ever-changing walls of noise to quieter soundscapes that, on the surface, seem ambient, but the dark undercurrent doesn't really allow for relaxation, so much. What inspires your work?</b><br />
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Eh, everything. I don't know what inspires my work. That's 15 years of stuff inspired by 15 years of stuff. In super general, I like to make the extremes of any song, edge of hearing ambient and loud noises, and then the rest of the track is the segue between them. That's about as specific as I can be to that.<br />
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<b>Reverse Baptism is one of your newer projects. Will you give a little background into how RB came together?</b><br />
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I met the other members of Reverse Baptism about a year ago, right when I moved to Baltimore. We got drunk, what can I say?<br />
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<b>"Street Business" is fucking insane! The sound is intense, and the lyrics are just grimy.hahaha There is one track where the lyrics were not printed in the insert. Why?</b><br />
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They were omitted because we couldn't reproduce them for the lyric sheet, and didn't want to have sections labeled, "angry drunken garble." I didn't write any of the lyrics with exception of the part I sing in "Big Bitch Cathy." So, I'm not the one to ask about that. I do support whatever my friends feel they need to express, regardless of how it makes people I don't know feel.<br />
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<b>What are some of the strangest things that have happened when you've toured?</b><br />
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It's been years since I've toured, and memories are a little hazy. Scotty Irving (Clang Quartet) politely asking, "Who shouldn't I talk to today?" on a Clang/American Band/Black Meat tour when everyone was in a bad mood oddly sticks with me.<br />
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<b>What are some bands and noise artists that blow your mind?</b><br />
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Eddy Arnold, Joe Colley/Crawl Unit, Due Process, MagWheels, AC/DC, USA Baby, Clang Quartet, Sickness, Masonna, George Jones, Merzbow, ZZ Top, Loop, Jim Reeves, The Rolling Stones, Dilloway, Kool G Rap, Cold Electric Fire, Billy Joe Shaver, Judas Priest, Sixes and Mahler.<br />
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<b>You have moved around a good bit: California, North Carolina, Oregon, Baltimore... Why the move to such far away states? Change in cultural climate? Music?</b><br />
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I'm from Southern Illinois, a place people like me can only move away from. Moving is a part of my life from early on.<br />
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<b>Currently, you reside in Baltimore, MD. I have noticed two main scenes for noise/sound/experimental music there. There's the fairly straight academic style of the Baltmore Electronic Music Group/Collective, and the more art/party style emanating from The Bank/Tarantula Hill/America et al. How much have you immersed yourself in the local scene, and how do you feel about it compared to other places where you've lived?</b><br />
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Good things about Baltimore are an Ethiopian Restaurant, great public library system, decent diner, job that doesn't make me want to kill myself and a cool market all within a few minutes of my house. Bad things about Baltimore are mostly my fault, so I'm not complaining. I gave up on groups and scenes a few years ago, and don't care to impress or meet or even talk to many people right now. My social life consists of my roommate and a couple of her friends, and people from other towns coming up/down for a visit. I'm still in touch with most people from everywhere I've lived; some more than others.<br />
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Haven't really had a lot in common with people I've met, so far, in Baltimore. That's not a moral distinction or judgement but an aesthetic and, possibly, cultural preference. I want to keep my relations one-on-one and make it through the life kissing as little ass as possible.<br />
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<b>What was the "Old Country Buffet Incident?"</b><br />
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Some friends and I got matching Mormon Bible Salesmen hair cuts and dye jobs at a Fantastic Sam's in Jackson, MI and went to the neighboring Old Country Buffet. Beyond perversion.<br />
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<b>What do you have planned for this year, release-wise?</b><br />
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Jason Crumer "Let There Be Crumer" CD and cassette on Second Layer.<br />
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Reverse Baptism "Ass Traffic" LP on secret label, so far.<br />
Reverse Baptism "Beep Traffic: The Radio Edits" heavily censored download of the LP for radio play; should be comedy gold.<br />
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Jason Crumer "Ottoman Black" LP re-issue (looking for label).<br />
Jason Crumer + Matthew Parsons collaborative cassette (still recording).<br />
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And, a few other things I'm going to keep closer to the vest. But, that's about it.<br />
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Contact:<br />
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<a href="mailto:jasoncrumerfanclub@gmail.com">jasoncrumerfanclub@gmail.com</a><br />
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<a href="http://www.freewebs.com/jasoncrumer">www.freewebs.com/jasoncrumer</a><br />
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<br />SEVEN1878http://www.blogger.com/profile/00926355086496138315noreply@blogger.com0tag:blogger.com,1999:blog-2835426720436143408.post-18163156140248438402012-01-30T19:25:00.000-08:002012-01-30T19:25:42.483-08:00Interview with Matt Boettke<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Boettke pictured in the middle; performing with Sex Complex</td></tr>
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Fairfax, VA's Matt Boettke is unique. Of course, calling someone "unique" can mean a lot of things. Put 100 people in a room (including Matt), and he'll still stand out. More pertinent to this interview is his growing body of work through several projects. Through the harsh noise rituals of Sex Complex, Widow's Bath, and his solo project, Scant.....to the more diverse stylings of Ancient Noir with fellow noiseician, Stephen Palke; Boettke's creative output is impressive considering being in his early 20's.<br />
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<b>Why noise? And, to an even more specific degree... Why <i>harsh</i> noise? What draws you to it?</b><br />
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If I was to answer "Why Noise," I would honestly have to just defer to my answer for the question, "Why not 'everything else'?" I'm drawn to noise mainly because of a reaction to a lifetime of playing "proper music" i.e. drums in various drone/metal/punk/hardcore/noise rock/whatever bands, as well as a lifelong history as a music student. I was in school band from the earliest age, and even was in marching band in high school. I obviously have a love and appreciation for sound/music, but I would always go restless playing music but not creating it. So, I naturally was attracted to being in a band from an early age.<br />
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However, there was always something so limiting to me about fitting my thoughts, or a collective's thoughts, into the structure of a song, into a sound of a band. I felt disconnected from myself through the music I played, especially after turning it into a song because then it was the recitation of a thought; not the thought itself. In noise, especially improv noise, every sound is a direct reflection of your thoughts and feelings at the moment. There is no greater way in my opinion to express yourself through sound than playing "noise." Since noise is so "easy" to make (in the sense anyone can do it; no training to a degree), all that's left to define noise is the aesthetic and emotion that the artist puts into it, and this reigns over the actual sound in most cases.<br />
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It is a full product--reflective of the artist in such a way that other forms of music cannot offer. I still enjoy playing other kinds of music because I enjoy music as a fundamental happiness in life, but I will never feel as deep a connection to playing anything other than "noise."<br />
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<b>You have a myriad of projects: Sex Complex, Scant, Widow's Bath, Ancient Noise, Borborites et al. How do each of these projects differ? And, why so many?</b><br />
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<tr><td class="tr-caption" style="text-align: center;">Widow's Bath</td></tr>
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In the spirit of my answer to the first question concerning the connection an artist has to a noise "piece," the answer to why I am involved in so many projects should be obvious. With different energies being channeled through the project (namely through other participants), the piece is reflective of a different mindset (which translates into a different project), and therefore must be represented as such. Scant is my solo project. This is where ideas that exclusive to myself, and what I want to express, are represented. Sex Complex is my longest running project which reflects the ideas of a multitude of members. However, it also reflects their ideas influenced by my direction which is what makes the Sex Complex sound unique from just any time I play music with others. Sex Complex is dedicated to a "collaging" of multiple artists channeling their most meditative thoughts through constant blasts of harsh noise to create the effect of each of these converging for one monster of a final product.<br />
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Widow's Bath is specifically a project where me and Justin Marc Lloyd (Pregnant Spore, Rainbow Bridge Recordings) work together to come up with sounds that are representative of what we want to do in exploring the genre of noise, plain and simple. Borborites and Ancient Noir are both bands I am in that are constantly experimenting with sound. These are more-so bands than they are "noise" projects, and in all honesty, I typically defer direction to Andrew McCarry and Chethan Kenkermath in terms of Borborites, and Stephen Palke in terms of Ancient Noir. I play in these because I enjoy sound, I enjoy making music, and therefore, are serving a purpose different than the more introspective approach of the first three mentioned projects.<br />
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<b>From an outside perspective, a lot of noise sounds amateur, or like nothing much at all. Why do you enjoy it from a listener's perspective?</b><br />
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From an outsider perspective, you are correct, a lot of noise IS amateur. This is not too enjoyable to listen to, in all honesty. I am not so much about noise that is "do whatever you can do" or "anything goes," in the rich avant-garde tradition of just being weird...possibly just for the sake of being weird. However, I believe when most people are accused of this, they just don't get what is weird about that artist. Sometimes, they can be genuinely whacked, and sometimes I enjoy that!<br />
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What attracts me to the "noise music" I listen to is that certain artists seem to use the element of "noise" to express emotions that are not touched upon in the normal spectrum of all other music; feelings of extreme pessimism or optimism that just cannot be expressed with notes or instruments. It is the rawest form of human emotion, and as someone who is constantly trying to find balance with themselves, noise is the most religious experience I know; the same reasons why people are attracted to Buddhism or other eastern religions that search for humble inner-peace are the same reasons why I listen to noise. It's my meditation, my prayer, my search for something greater than myself.<br />
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<b>Improv noise vs planned/written noise. As a performer, you prefer improvised. What about when you attend shows, which do you prefer? Personally, I like <i>some</i> improv noise, but a lot of it seems lazy to me, as in, the pedals/synths/etc are doing the work versus the artist really knowing what they're doing.</b><br />
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<tr><td class="tr-caption" style="text-align: center;">Sex Complex</td></tr>
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Ahhh, this question tricks me up. I want to answer planned, but I know the merits of improvisation! Hahaha, dammit Chris. Let me answer this by explaining to those reading this that the concepts behind our own live performances (Sex Complex). We always start with an intentional idea or "plan," so-to-speak. But, besides a basic framework we leave a lot of room up for improvisation. To me, this is allowing each member of the collective to fully explore their own interpretation of the basic concept, and this collage of sound is what I find very pleasing in the output of our live performances.<br />
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I have played shows with others where it was like "turn on, get loud, make noise," and they literally meant nothing to me; it was just sounds for the sake of sounds. I think with noise there must be intent, but given the free-form structure of the art form, there must be room to deviate from the original intent if it feels correct to do so. This is the nature of one who is truly exploring themselves through sound; meaning you must be able to adapt to finding new ideas/thoughts that you didn't intend on having, as they are just as much a viable part of the process as the original intent. When I record Scant material, I typically work on a concept for a few days before hitting record. With noise meaning as much to me as it does, I'd find it a complete waste of time for me to not have great levels of intent in my recordings, or else, for what purpose am I creating this.<br />
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<a href="http://www.facebook.com/l.php?u=http%3A%2F%2Fintrinsicdisplay.blogspot.com%2F&h=UAQF-cVmm">More information on Matt Boettke's projects can be found here.</a><br />
<br />SEVEN1878http://www.blogger.com/profile/00926355086496138315noreply@blogger.com0tag:blogger.com,1999:blog-2835426720436143408.post-42699991630131699652011-09-10T15:25:00.000-07:002011-09-10T15:31:31.912-07:00Interview with Eugene S. Robinson of Oxbow<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="color: white;">Eugene S. Robinson and his band, Oxbow, are intriguing on many levels. Enough so that this makes my third time interviewing Robinson. On the outside, he looks like any other run-of-the-mill guy. Well spoken, intelligent... Loves to talk about music and fighting. Loves the <i>act</i> of playing music and fighting. Unfortunately, sometimes the two have coalesced at different live performances.</span><br />
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<span class="Apple-style-span" style="color: white;">So, what of this Eugene S. Robinson? College graduate, former dance instructor, musician, fighter, author, etc. There's a lot behind the man. Rather than wasting any more of your time, let's get started.</span><br />
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<span class="Apple-style-span" style="line-height: 14px;"><b><span class="Apple-style-span" style="color: white; font-family: Times, 'Times New Roman', serif;">When I last interviewed you (right before the release of "Love That's Last...), I mentioned that you'd make a good writer. In the time between then and now, you've had two books published: FIGHT... and A Long Slow Screw. How have the reactions been to both?</span></b></span><br />
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<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="color: white;">Well, FIGHT: everything you ever wanted to know about ass-kicking but were afraid you'd get your ass kicked for asking was a wild ride. It brought in a lot of people who had no idea who Oxbow was. And, of course, in my little egomaniacal world there was no one who didn't know about Oxbow and so this was a surprise to get new people at shows who had only shown up via the book. And the book, of course, got me all kinds of places I never could have gone with only the band: NPR several times, Sirius satellite radio, pretty much every place but the New York Review of Books. And the New Yorker. I sold about 9,500 books. Which, to me, was a success. To the people at Harper Collins? A failure.</span><span class="Apple-style-span" style="color: #333333;"> </span></span></span><br />
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<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="color: white; font-family: Times, 'Times New Roman', serif;">Though I would be surprised if even 20 percent of their books sold as many. In any case it was an overridingly positive experience.. Mostly because people IN the fight community who knew me from all of my fight articles had no idea I could really write. I mean REALLY. So this was a blast. Of course book publishing is sucking worse than the music industry and so my pleasure would be short-lived as everything is crumbling down like walls of wet sand.</span></span><br />
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<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="color: white; font-family: Times, 'Times New Roman', serif;">A LONG SLOW SCREW was put out by our friends at Hydrahead Records on their new imprint called Robotic Boot. Which is as close to self-publishing, given my friendship with those guys, as it was possible to get. But the book went through a tortured path into existence....from Random House to Penguin Putnam to almost obscurity. It was a blast to have this out. We've only sold about 4500 copies but that's good enough for me. And it gives people nightmares, which is even better.<br /><br />But the best and most satisfying part of both of these books has been the slow public realization that I am a real writer and not just a guy in a band who thinks enough of himself to want to publish his fucking diaries. Like Brian May is a real astrophysicist, I think it is probably safe to say that I'm real enough of writer to make people forget that I jump around on stage in my underwear.</span></span><br />
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<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="color: white; font-family: Times, 'Times New Roman', serif;"><b>Do you have other books in the works?</b></span></span><br />
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<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="color: white; font-family: Times, 'Times New Roman', serif;">Yes. But I don't like working for free. And so am in no hurry to finish it. Not until I have someone who wants to put it out. But things work in strange ways. A French company Les Editions Incultes is releasing A LONG SCREW in France in French in January 2012. And I have another French company releasing a play I wrote called THE INIMITABLE SOUNDS OF LOVE. In October I have been told. So that's pretty productive for a guy who spends most of his time these days fighting.</span></span><br />
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<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="color: white; font-family: Times, 'Times New Roman', serif;"><b>Aside from writing, what else have you been keep yourself busy with, creatively?</b><br />A few side projects...<br /><br />1] STRANGER BY STARLIGHT...a great atmospheric, creepy thing I am doing with this kid Ant Saggers. Still has no home. But we're looking for someone to put it out.<br /><br />2] LEISURE HIGH...a duo thing I am doing with Bevin Kelley from Blevin from Blechtdom. Has a home but I have yet to return the contract because I have a thing about contracts. I like to hand them to people. Not just mail them in. And thusfar the label owner has not been available to meet.<br /><br />3] SAL MINEO...Jamie Stewart from Xiu Xiu and I are doing this.<br /><br />4] BLACK FACE...Chuck Dukowski from Black Flag and me plus an all-star crew doing Dukowski-era Black Flag...all Dukowski-penned Black Flag songs, recorded but never released when he left Flag, redone with me on vocals. Cool deal.<br /><br />5] PETIT + ROBINSON...me and laptopist Philippe Petit. Record comes out in July.</span></span><br />
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<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="color: white;">There's also some talk of staging the play in France that I wrote. I'd like to find someone to publish it here but who the hell publishes plays? I have no idea. I'd also like to start doing TV commercials, TV </span><span class="Apple-style-span" style="color: #333333;">movies and films again but there are only some many hours in the day.</span></span></span><br />
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<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="color: white; font-family: Times, 'Times New Roman', serif;"><b>Oxbow seems to be growing in popularity, from my point of view. I remember when there was ONE video on YouTube of you guys, and no one I knew had heard of you. Now, there's more videos of you guys performing live, and interview, etc than I have time to watch. I've read about you guys in magazines. Have you guys noticed/seen this change, also?</b><br /><br />Of course. Realistically, it is the only reason we're still out there. I mean we're more sensitive than most to temperature changes and if the needle was slipping backward...if the shows were smaller, the crowds less significant, the reviews not so enthusiastic? We'd fuck off for sure. That is not to say that we'd stop making music, but for sure we'd stop loading thousands of pounds of equipment in a van and taking the show on the road. I mean we can be geniuses without leaving our houses. so it might sound like bullshit when guys in bands say it but it is truer than not: the audience is the only reason we're still out there. well, that and deep-seated insoluble emotional difficulties.<br /><br /><b>I've been seeing footage, and photos, of Oxbow performing acoustically in smaller rooms/halls. Where have you guys been doing this?</b><br /><br />All over the place. Wherever people want it. And plenty of places where they did not.</span></span><br />
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<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="color: white;"><b>Niko has been involved in other projects, and you've been popping up on different albums; making guest appearances. Are these other projects a means to express different things that wouldn't necessarily fit Oxbow, or is it more to keep busy? Something else, perhaps?</b><br /><br />Well, like I don't know if you have read accounts left behind by Hendrix's father where he said he couldn't figure out why there was all of this broom straw in the kitchen when he knew none of his kids were sweeping up and then he spied on Jimi who was jumping around in the kitchen playing the broom to the radio. At which point he decided to get him a real guitar. Well, I am like this about voice/vocals. And so if I have an opportunity to do something, very akin to experimenting with my voice, well I do it. I mean I don't sing new songs with Oxbow until I am standing in front of a mic in a studio. but I go to practice. So it all happens in my head until we're ready to document it. But with other people's music, as long as they meet the stipulations....those being</span><br /><br /><span class="Apple-style-span" style="color: white;">1] don't suck<br />2] feed me, fly me, pay me [negotiable the further away from sucking you are], and give me a place to stay and</span></span></span><span class="Apple-style-span" style="color: white; font-family: Times, 'Times New Roman', serif; line-height: 14px;">3] extra points if I can write the lyrics [after sending me your other lyrics, song titles and record title]</span><br />
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<a href="http://1.bp.blogspot.com/-USsBzvmAvPA/Tmvf_E1p8_I/AAAAAAAAAJA/pG3M0DgXrDs/s1600/oxbowlive.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="http://1.bp.blogspot.com/-USsBzvmAvPA/Tmvf_E1p8_I/AAAAAAAAAJA/pG3M0DgXrDs/s320/oxbowlive.jpg" width="320" /></a><span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="color: white; font-family: Times, 'Times New Roman', serif;">....I am in. Simply because it offers me a chance to do what I don't normally do with my voice...and that's achieve a coloration maybe I have yet to work with in an Oxbow context.<br /><br />also there are very few bands that I hear and think, "man...I can't offer them ANYthing." So it is ego driven. I think, like Christ, I can help/heal the world. Or at least the world's music. AND I like making music with people for whom making music is a serious goddamned pursuit. since that closely mirrors how I feel about it.<br /><br />This shit will live well beyond me. It better be good.</span></span><br />
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<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="color: white; font-family: Times, 'Times New Roman', serif;"><b>Hydrahead has a pretty loyal following of its releases. How has it been going, so far, with them? More releases planned under their banner?</b></span></span><br />
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<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="color: white; font-family: Times, 'Times New Roman', serif;">Yes. You know I have a category of people who I call "favorite people." This is a noteworthy designation since what it really means in my cosmology is people whom my liking of is far out of proportion to anything they would have actually ever expect based on what's passed between us. And I can name them. Tom Mallon, Richard Kern, Allan MacDonell, Mike Fox...and the guys who run Hydrahead. There are a few more on that list. Now I have close friends who I feel that way about but they would not be surprised to hear it. The people mentioned above might be. I'd do a lot for these guys. Anytime. Anyplace. Without many questions. Because they have typically done me good turns that have usually altered the course of my life for the better. Or sometimes not. Mike Fox is just the most genial guy in the world and if I could bring a tenth of that to my dealings with other human my place in heaven would be assured. Of course Mike will probably now get arrested for a string of cross country murders...but he's always been a prince to me.<br /><br />You might notice that there are no women on that list. That's only because the list of women is waaaaay too long to make it sense to list.<br /><br />But yeah. I have side project stuff out on other labels but Hydrahead is where we'd like to be until we die. Or they die. whichever comes first.</span></span><br />
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<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="color: white; font-family: Times, 'Times New Roman', serif;"><b>I remember seeing a post you made on Facebook about possibly playing with The Offspring. Really, The Offspring? Is that possible, or is already a legend to be told along with Bigfoot, etc?</b></span></span><br />
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<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="color: white; font-family: Times, 'Times New Roman', serif;">No. that was strange and this kind of strangeness happens periodically. It's so strange that I usually write about it since I start to think I made it up. The Offspring was one. And AC/DC was the other. And neither happened, but we were approached.<br /><br /><b>From the looks of some of the pictures you've been posting; it looks like you've been working on your BJJ game. Who are you training with these days? Are you just competing in grappling tourneys, or competing in MMA fights, also?</b><br /><br />I'm training with Team Serao...technically a Luta Livre team...that is Brazilian catch-wrestling/submission...but outside of the belting system it's all the same...I am an Orange belt in luta livre...this is a the equivalent of a purple belt in BJJ I think. And yeah, I am just competing in BJJ tournaments. But that's because I am training 7 days a week, twice a day for two of those days in this. when I get good enough to just skate a bit I'll go back to working on my stand up and fight again MMA.</span></span><br />
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<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="color: white;"><b>I saw the video you posted where you gave tips on how to handle a bar fight...while intoxicated, if I'm remembering correctly.</b><br /><br />NO....it's when you were being assaulted by a drunk!<br /><br /><b>Being a former bouncer, and current performer of rock-based music in bars, clubs, etc...I'm sure you've had your share of experiences. How did you get approached to do these videos? Do your tips stand up to Bas'?</b><br /><br />A website in Germany asked me to do it. So I said, "hell yes." and my tips and Bas's? Well no one has made a remix of my tips yet. And Bas is a bona fide fucking bad ass. I am a tourist by comparison, </span><span class="Apple-style-span" style="color: #333333;">hahah....</span></span></span><br />
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<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="color: white; font-family: Times, 'Times New Roman', serif;"><b>You mentioned a willingness to fight members of different bands, over the years (i.e. Rollins, Danzig, etc). Any new ones you'd add to the list?</b><br /><br />Anyone that makes more money than we do.<br /><br /><b>Tell me what you're willing about "The Thin Black Duke."</b><br /><br />It's the next Oxbow record. We've come up with a new scheme to record and release it. We have finally come to believe that the album is dead. So we will release it 2 songs at a time. On vinyl. Until all of the songs, not in order, exist in the marketplace. THEN we'll release it on a DVD with video, documentaries, outtakes, extra art the whole deal....but at the END. this is ambitious but it will be great and intense and for people who like Oxbow: perfect.</span></span><br />
<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="color: white; font-family: Times, 'Times New Roman', serif;"><br /></span></span><br />
<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="color: white; font-family: Times, 'Times New Roman', serif;"><b>What are some of the major events in your life that have made you who you are today?...From Whipping Boy...to Stanford graduate...to involvement in pornography...to a lover of all things combative (though this may be out of order)...to Oxbow?</b></span></span><br />
<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="color: white; font-family: Times, 'Times New Roman', serif;"><br /></span></span><br />
<span class="Apple-style-span" style="color: white;"><span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">This is a very very complex question. But let's start with Stanford: It was luck and a certain amount of kismet. I had a calculus class in high school taught by this lunatic, which it turns out I could get out of if I went to see a college presentation. The only one offered then was Stanford. Which was presented over by a sort attractive hippie chick who showed us pictures and said: "it's 30 minutes from a beach...and 30 minutes from san fran." I asked what the ratio of males to females was and when it was close enough to guarantee continued sexual contact that I had been used to growing up in New York City under the dual aegis of both disco and punk rock, I signed on.<br /><br />Didn't visit. Didn't talk to anyone about it. California seemed cool and hardcore was just happening so it made sense.</span></span><span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Of course I was wrong about a lot. It was also the beginning of the Reagan revolution and the student body was mostly from california and was so unsophisticated [I mean who had never met someone who didn't believe in god before? half of my classmates apparently]....I quickly figured out I had made a terrible mistake. In all but one regard: the music. I have said it before and I will say it again: punk rock saved my life. School became my job and my whole social life, network and contacts occurred under the shit-smeared arch of hardcore.</span></span></span><br />
<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="color: white; font-family: Times, 'Times New Roman', serif;"><br /></span></span><br />
<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="color: white; font-family: Times, 'Times New Roman', serif;">Which gave birth to Whipping Boy....tours with Minor Threat, Negative Approach....shows with the Bad Brains, Dead Kennedys...crazy craziness and eventually only 6 months late a degree in communications. Or journalism.<br /><br />Fighting predates this and goes back to a genetic predisposition for being an opinionated loud mouth and a hater of bullies.<br /><br />Pornography goes back to Larry Flynt being the only one in America who was willing to pay me $2000 for 2000 words on collections thugs.<br /><br />All of these roads seem logically placed. To ME. But I'd never think of them as "major events." That seems to be something you could say in retrospect. But while in the midst of them? You're just pulling on all kinds of intuitive throttles and hoping you don't die.</span></span><br />
<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="color: white; font-family: Times, 'Times New Roman', serif;"><br /></span></span><br />
<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="color: white; font-family: Times, 'Times New Roman', serif;"><b>What do you want to be remembered for the most when you leave this world?</b><br />For being a great father, genius writer, and compelling performer. And the fact that I will have died with my pants around my ankles jumping out of someone's bedroom window? Well, I'd just as soon have that forgotten.</span></span><br />
<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="color: white; font-family: Times, 'Times New Roman', serif;"><br /></span></span><br />
<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="color: white; font-family: Times, 'Times New Roman', serif;"><b>And, lastly...someone is reading this who has never heard of you, or Oxbow. Give them a reason?</b></span></span><br />
<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="color: white; font-family: Times, 'Times New Roman', serif;"><b><br /></b></span></span><br />
<span class="Apple-style-span" style="line-height: 14px;"><span class="Apple-style-span" style="color: white; font-family: Times, 'Times New Roman', serif;">There are no salient reasons why one WOULD listen to Oxbow. I must side with the gnostics here whose theories on received knowledge very clearly seemed to suggest that everything is not for everybody and those that are meant to know? Well, they know. And everyone else? Justin Bieber!</span></span><br />
<span class="Apple-style-span" style="color: #333333; line-height: 14px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></span><br />
<span class="Apple-style-span" style="color: #333333; line-height: 14px;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://www.theoxbow.com/">http://www.theoxbow.com</a></span></span><br />
<span class="Apple-style-span" style="color: #333333; line-height: 14px;"><br /></span><br />
<span class="Apple-style-span" style="color: #333333; line-height: 14px;"><a href="http://www.eugenesrobinson.com/">http://www.eugenesrobinson.com</a></span>SEVEN1878http://www.blogger.com/profile/00926355086496138315noreply@blogger.com0tag:blogger.com,1999:blog-2835426720436143408.post-90727652770785912122011-09-10T14:41:00.000-07:002013-12-17T19:31:31.829-08:00Interview with Justin Marc Lloyd<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-D8oeT1l6yOY/TmvKZtYt5tI/AAAAAAAAAIg/szt9oZi41Mw/s1600/188659_211059022238548_171180832893034_873917_2090364_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="http://1.bp.blogspot.com/-D8oeT1l6yOY/TmvKZtYt5tI/AAAAAAAAAIg/szt9oZi41Mw/s320/188659_211059022238548_171180832893034_873917_2090364_n.jpg" width="320" /></a></div>
Justin Marc Lloyd is one of the most prolific artists you'll ever come across. It's exhausting trying to keep up with all of the releases from his many projects, and those coming out of his imprint, Rainbow Bridge Recordings. Add on top of this, constant live shows and an ever-changing outer appearance; it's easy to ask, "When does he sleep?"<br />
<br />
My guess? Very little.<br />
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<br />
<br />
<br />
<b><br /></b>
<b>First thing's first: exactly how many music/sound projects do you have going, right now?</b><br />
<b><br /></b>
Including full bands with rehearsed songs, nine. And, then there is another band that broke up, but we are still finishing our album. Lastly, there is a band in Baltimore I fill in for here and there when they are down a member.<br />
<br />
<b>Tell us about the them.</b><br />
<b><br /></b>
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<span class="Apple-style-span" style="font-family: inherit;">Pregnant Spore is my main project at this time. It is
mostly electronically-based, abstract and experimental sound. Tape
manipulation, homemade instruments, vocals with lyrics… There are really no
rules with this one. It's almost always produced organically and performed all
at once for the recordings, with no computer editing or processing besides
light mastering if needed. I try to keep my approach creative, exploring
new territory with every new piece. It has been a challenge and a joy to
try and just strip from myself from any conventional means of expressing myself
that I've been conditioned to know, and to just let loose completely.
This has resulted in a lot of interesting discoveries and meaningful
recordings/performances with this project.<o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-family: inherit;">Ghost Volcano is a three-piece between the guys in Mold Omen and
I. It's a pretty weird and sparse-sounding group in which I perform a
little more minimally since Andy and Mike have their own thing going on with
violin, vocals, guitar, warped records, etc.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
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<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span class="Apple-style-span" style="font-family: inherit;">Lessons is my project with Andy that is sort of along the lines
of Ghost Volcano but a little more dense. We have only recorded by
swapping short files back and forth which creates an interesting energy in the
pieces. We have performed live once, though.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span class="Apple-style-span" style="font-family: inherit;">Dementia and Hope Trails is a guitar-based, psychedelic, drone/ambient
solo project. Lots of reverb, delay, modulation and looping. It is
mostly melodic, but some of my longer pieces dabble in more cacophonous
territory. It is a very emotive project for me and is mostly focused
around loss or nostalgia.<o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-family: inherit;">False Flag is a power electronics/harsh noise/industrial project
centered on false flag terror and government tyranny. It is actually all
assembled and processed using computers, but the source material and
sound-generating processes vary. I often collaborate with others and it has
become sort of a collective.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span class="Apple-style-span" style="font-family: inherit;">Inappropriate King LIve is all computer-assembled as well, but
it is mostly field recordings I have made myself, and then (sometimes)
manipulated using software. It's very diverse as far as vibe and aesthetic
because compositions vary in style somewhat heavily.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span class="Apple-style-span" style="font-family: inherit;">The Human Excuse is a solo acoustic endeavor, but
post-production usually results in a lot of manipulation, processing and
layering, resulting occasionally in very noisy or ethereal and ambient pieces.
Live, I perform with just a guitar. Folk songs, sappy melodic
acoustic shit mostly. I've been doing that since high school.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span class="Apple-style-span" style="font-family: inherit;">Widow's Bath is a collaboration between Matt Boettke (Scant, Sex
Complex) and I. It has turned out to be a harsh noise collaboration but
pretty psychedelic, kind of Government Alpha-style.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span class="Apple-style-span" style="font-family: inherit;">OK Putrid is an electronic noise project between my good friend
Kait and I. We have nothing recorded yet, and are still finding our
niche.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span class="Apple-style-span" style="font-family: inherit;">Sea Breezes is a contemporary screamo-meets-space rock group I
do with some friends. I play guitar and do most of the vocals. Not
too out of the ordinary but we use lots of effects on our guitars. It is
a way for me to dip into my punk/screamo roots with a huge pedalboard while
screaming my head off about ex-girlfriends and shit.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span class="Apple-style-span" style="font-family: inherit;">Boat Water is a sort of Baltimore super-group I am in with a
bunch of friends and my sister. We do songs anywhere from acoustic
folk/country jams to Codeine or Mineral-influenced slow, electric, ambient
songs. We all play multiple instruments.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<span class="Apple-style-span" style="font-family: inherit;">I think that's it...but, I am never sure anymore.</span><!--EndFragment-->
<br />
<span class="Apple-style-span" style="font-family: inherit;"><br /></span>
<b>How long have you been involved with music? Did you start out doing more experimental-based sounds, or was there a point of introduction into this world?</b><br />
<b><br /></b>
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<span class="Apple-style-span" style="font-family: inherit;">I'd say my introduction in music was prog rock/metal in my
earliest years. I was very into Rush, Dream Theater, and also into a lot
of death and black metal (the not so crust kind). I still like all that
stuff, but as I played more and more guitar, I started getting into more and
more experimental styles with the use of processing and effects. It was
really a heavy progression from buying a few pedals up until now where I'm
actually purposely busting equipment and altering it to create new sounds void
of all structure and rhythm. I still enjoy playing in more punk or
rock-oriented bands.</span><span class="Apple-style-span" style="font-family: Arial; font-size: 13pt;"><o:p></o:p></span></div>
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<b>You run Rainbow Bridge Recordings aside from your many projects. Things seem to be going well from what I can tell. You have a steady stream of releases flowing from your well, it seems. What separates RBR from other labels/imprints? Why start one, at all?</b><br />
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<span class="Apple-style-span" style="font-family: inherit;">It started as just a name I could put behind all of the releases
my various projects or bands would self-release. It was actually just a web
store at first. I also acquired an interest in helping out other projects I really
loved, so it grew. Now, several years later, it's blown up into something that
keeps me very busy and requires a lot of money to fund. My next batch is going
to be mostly smaller names because there is too much good stuff out there that
isn't getting heard.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">If I were to try to think of reasons why my label could be set
apart from others, it could be that the art style is really colorful, sometimes
silly and sometimes bizarre; sometimes even obnoxious. In a way that pleases
me, though. A lot of labels focused on harsh noise are bigger fans of darker
and more gritty artwork, but I prefer the brighter aesthetic, I think. I like
combining even the harshest of releases with bright colors. The Boar tape I put
out not too long ago, which, at the time, was an unmoving HNW project, was
plagued with rainbow colors across the front cover. I just really fucking love
color.<o:p></o:p></span></div>
<!--EndFragment--></div>
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<b><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></b>
<b><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Aside from being creative, sonically...you also seem to enjoy the visual aspect of art as well as sound; even down to your personal appearance. Do you find that people tend to judge you more based on your colorful appearance in a scene where a majority of the visual aesthetic seems focused on the darker side of life?</span></b></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; line-height: 17px;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-uNS3Vfcson8/TmvZMjbpGpI/AAAAAAAAAIo/2cJAFv4zusw/s1600/264833_10150662654895650_540855649_19506991_1213300_n.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span class="Apple-style-span" style="color: black;"><img border="0" height="320" src="http://1.bp.blogspot.com/-uNS3Vfcson8/TmvZMjbpGpI/AAAAAAAAAIo/2cJAFv4zusw/s320/264833_10150662654895650_540855649_19506991_1213300_n.jpg" width="240" /></span></a></div>
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<span class="Apple-style-span" style="line-height: 17px;"><span class="Apple-style-span" style="font-family: inherit;">
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</span></span><br />
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<span class="Apple-style-span" style="font-family: inherit;">Well, I don't necessarily think that people are focused on the
darker side of life so much as the idea that they are not concerned with their
appearance in a creative mindset. A lot of people I know, in the noise
community and otherwise, especially when it comes to the "less weird, more
harsh" stuff, just jeans and t-shirts tend to be the limit. And there is
absolutely nothing wrong with that at all. Some people express themselves with
fashion, some don't. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><br /></span></div>
<span class="Apple-style-span" style="font-family: inherit;">
<div class="MsoNormal">
I was dressing the way I dress now in elementary school. I've
been shit on for it my entire life. But it is who I am and I don't do it to fit
in OR rebel. I just do it because it's what I'm attracted to, how I feel
comfortable and true, and how I feel honest. I am negatively judged, but that's
anyone's life who does anything that at all sticks out. People will always be
judged based on appearance, especially in communities where a person's style
isn't common. It is a shame, but I am not saying I don't judge people
habitually myself. I think it's something we all do. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
But I like to focus my energy on the idea that it's
counter-productive in so many facets of life. It does hurt sometimes, but not
necessarily due to how people will insult or judge me personally. I moreso just
get so bummed out about humanity's tendency to categorize and form opinions on
people based on the silliest of things. The male jocks are expected to wear
baggier clothes with short, masculine hair and a macho attitude. The gay dudes
are expected to talk with a lisp and behave flamboyantly. The crust punks are
expected to be shitty, dirty, lazy people with wear patched up clothes and a
few dreadlocks. Straight dudes are expected NOT to wear make-up or a dress. All
of that is total bullshit. All of those thought-processes should be magically
eradicated.<o:p></o:p></div>
<!--EndFragment--></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; line-height: 17px;"><b><br /></b></span>
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; line-height: 17px;"><b>You definitely seem to have a love for a lot of harsher style noise. What attracts you to this particular style/approach?</b></span></div>
<div>
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; line-height: 17px;"><br /></span></div>
<div>
<span class="Apple-style-span" style="line-height: 17px;"><span class="Apple-style-span" style="font-family: inherit;">
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<span class="Apple-style-span" style="font-family: inherit;">It's odd that you say that! I think people perceive Pregnant
Spore as harsh noise because of it's energy or textures, and even aggression is
sometimes perceived. But rarely is there anger or darkness in my sounds, in my
opinion. I don't go crazy with distortion. I don't really fit into the harsh
noise style. I like playing loud, because I like to fill a room and overwhelm
it. Music is more effective that way. </span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: inherit;">I know a lot of the frequencies I may
produce with my equipment can be grating or harsh to the ears, but to me, harsh
noise as a genre title seems to be more focused on things that I'm not too
interested in creating.<o:p></o:p></span></div>
<span class="Apple-style-span" style="font-family: inherit;">
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; line-height: 17px;"><b><br /></b></span>
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; line-height: 17px;"><b>Who are some other artists, or things, in general, that inspire you in your creative output?</b></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; line-height: 17px;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Weather is a huge factor. Weather changes always fill my tank
and make me want to record and perform relentlessly. I am also inspired by
traveling and experiencing different cultures, surroundings and experiences
despite my irritating agoraphobic tendencies. Lately, I have been heavily
inspired by searching and researching new scientific and spiritual aspects of
life… meditation, eastern philosophy (the Daodijeng especially), energy,
psychotherapy and self-improvement techniques. Of course, personal experiences
are emotional experiences and a lot of my Pregnant Spore and Dementia And Hope
Trails material is very much based around trauma and drama experienced in the
romantic, spiritual, mental or social parts of my life.<o:p></o:p></span></div>
<span class="Apple-style-span" style="font-family: inherit;">
<!--EndFragment--></span></div>
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<span class="Apple-style-span" style="font-family: inherit; line-height: 17px;"><b><br /></b></span>
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; line-height: 17px;"><b>Last year, you put on the first Rainbow Bridge Fest in Baltimore, MD which was fucking GREAT! I remember you saying that you weren't going to do it this year. Now, you are. Why the change of heart, and what can we expect this year? Details?</b></span></div>
<div>
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; line-height: 17px;"><br /></span></div>
<div>
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; line-height: 17px;">To be honest, Matt Boettke has been bugging me. We were recording Widow's Bath material at my house and he turned and looked at me and said "Look dude… can we do Rainbow Bridge fest this year if you just let me handle most of the booking and organizing? I already have a plan." How could I say no to that?</span></div>
<div>
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; line-height: 17px;"><br /></span></div>
<div>
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 17px;"><b>What are you trying to achieve, personally, through all of these different modes of expression?</b></span></span></div>
<div>
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 17px;"><b><br /></b></span></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">I am obsessed with creation and expression. I am not saying I am
the most interesting being and that I have a ton of introspect and innovative
ideas to offer the world, but I feel like there is so much in my brain piling
up at all times. Pouring it out there is like taking out the trash. It's a
purging. Of course it is more than just that... it's not just unleashing
build-up, because I obviously try to thoughtfully compose and concentrate on
themes, and care about how it's presented. (I can't say that about my early
material, however.)<o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-family: inherit;">I get shit for dabbling in so many different styles. I know a
lot of people think that playing acoustic singer-songwriter tunes, harsh noise
and powerviolence in different bands at the same time in your life makes you
some sort of fake or poser trying desperately to get attention or acceptance
from everyone. I always thought a main point of being any sort of artist was to
be passionate, honest and selfish. If you feel so inclined to create in
different mediums and in different styles because it all makes up who you are,
then by all means, do it.<o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-family: inherit;">So, there is really nothing I am trying to accomplish, per se.
That isn't the question. The question is "are you being honest and
passionate about what you're doing, even though you're doing ten thousand
different things?" And I would have to say yes, at least to the best of my
ability. I am not a perfectly enlightened and pure being, and there are always
distractions from honesty and passion that can show up in my art, but I suppose
that gives it it's personality. When I do what I do, from what clothes I put on
to what kinds of bands I'm playing in and with what people, I am trying to do
it with no inhibitions and in the most pure way I can, stripped down, raw, as
if I was wearing my heart and my brain on the outside of myself for anyone to
see or hear if they were so inclined.</span><span class="Apple-style-span" style="font-family: Arial; font-size: 13pt;"><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><b><br /></b></span>
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><b>If you could change one thing about the noise/sound scene, in general, what would it be?</b></span></div>
<div style="line-height: 17px;">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><b><br /></b></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Community, and the stimulation thereof by means of merely
flat-out politeness, respect and acceptance. Just like any scene, there are too
many cliques and too much prejudice. Too many promoters who only invite their
friend's bands to play and disregard hidden gems who can't get anyone to take
them seriously because what they do might be a little different. Too many
stuck-up assholes who act so much better than you when you try to talk to them,
whether you are giving them a compliment, asking if they'd like to help with a
show, or what have you. I wish that naming names wasn't a shitty thing to do,
and I know that I am not perfect about all of this either, but there are at
least ten people I could name off the top of my head that are pretty
accomplished and experienced in the noise scene but at the same time, give the
noise scene a bad reputation for being so nauseatingly pretentious.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: inherit;">Sometimes I feel like the nicer and more genuine you are, the
less "cool" you are and the less your art is respected or admired.
It's sad, and it would be ideal if that changed. However, the only thing I can
change is me, and my disgust for the scene is a downfall of my own, because I
think I spend too much time worrying about it and being upset about it. I
should be more positive but I'm so damn jaded already! I'm too young to be
jaded! I haven't been doing noise long enough to be jaded.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<span class="Apple-style-span" style="font-family: inherit;">GX Jupitter-Larsen is one of the oldest (no offense, GX) people still
active in the currently thriving noise community, and he just happens to be one
of the most polite, modest, humble, easy to get along with guys I've ever met
in this scene. He is legendary and highly respected, and also happens to be
someone you can chill at with a diner until 2am talking about reality TV
without any ego or elitism taking up space in the conversation. I'm sure he
hates 80% of the noise he hears, and I don't blame him for that, but he's not
going to be a jerk to you for it. He doesn't act better than you because he
founded The Haters. He's an example of a handful of people like him, but I'm sorry
to say, not enough. One of the shittiest feelings is being treated like garbage
by some of the people you look up to the most. I thought macho hardcore was
bad… noise is worse. Everyone, group hug.<!--EndFragment-->
</span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span style="font-family: Arial; font-size: 13pt;"><br /></span></span></div>
<div style="line-height: 17px;">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://hellorainbowbridge.blogspot.com/">http://hellorainbowbridge.blogspot.com/</a></span></div>
SEVEN1878http://www.blogger.com/profile/00926355086496138315noreply@blogger.com0tag:blogger.com,1999:blog-2835426720436143408.post-37286768593905528182011-09-10T11:56:00.000-07:002011-09-10T11:56:58.062-07:00Interview with Violet<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-cWc7DWB9CY4/TmujthbpWPI/AAAAAAAAAIY/K1egqbZuK0k/s1600/violet3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="http://4.bp.blogspot.com/-cWc7DWB9CY4/TmujthbpWPI/AAAAAAAAAIY/K1egqbZuK0k/s320/violet3.jpg" width="320" /></a></div>
Violet (aka Jeff Surak) is a busy man. He performs solo and in various of combinations with other sound artists, promotes monthly (at least) events under the Sonic Circuits banner, runs experimental imprint, Zeromoon, and hosts the annual Sonic Circuits Festival over the course of a week.<br />
<br />
<b>Exactly how many projects are you involved in; both recording and/or performance?</b><br />
<b><br /></b><br />
I've been involved in many. Currently, the only active projects are my solo work under the moniker, Violet, and my occasional trio with Janel & Anthony. Violet has been around since 2002, and arose from the ashes of a duo project that I was in called, V. Violet is composed and improvised at the same time. Whereas, Janel & Anthony & Violet is total fuck-it-all pure improvisation.<br />
<br />
<b>Each year, you run the Sonic Circuits Festival, and promote several shows under the SC banner throughout. How did Sonic Circuits get started? Was it just you, or a collective of people?</b><br />
<b><br /></b><br />
Sonic Circuits was started by the American Composers Forum as a touring festival concept to each of their local chapters. The DC chapter did the first one in August 2002, and I was invited to perform at it...and I did my first solo performance ever after years of performing in a group of some form. The ACF supported the festival for a few years, then stopped the program, but the DC chapter kept doing it each year. I got involved with organizing in 2005 and then took over the helm. It's always been managed by a group of people, and now more people are involved, but I pretend to be the director/programmer/head honcho. Doing shows year round didn't start until Summer 2008, and they quickly proved to be real popular, so I've kept doing that as well.<br />
<br />
<b>How has Sonic Circuits grown from the initial concept/idea?</b><br />
<b><br /></b><br />
Originally, it was focused on electronic music, and the festival grew and shrank over the years. When I got involved I expanded it to cover all forms of experimental music, whatever they may be.<br />
<br />
<b>When did you first begin to explore experimental music? What was your first exposure to it?</b><br />
<b><br /></b><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-0_m4Ay1zQI4/TmuuLvH3ylI/AAAAAAAAAIc/HkdENs9CzpI/s1600/Violet.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-0_m4Ay1zQI4/TmuuLvH3ylI/AAAAAAAAAIc/HkdENs9CzpI/s320/Violet.jpg" width="213" /></a></div>
I listened to "weird" stuff ever since I was a little kid, and began playing with tape recorders when I was 7. I released my first tape when I was 15. My taste was highly refined at a very early age, and I still listen to the same stuff. I never had that awkward pop music phase that people tend to go through before they discover real music. For me, it was Zappa, Beefheart, The Residents, Varese, Black Sabbath right from the get go, and then other obscure stuff as time went on. I pretty much researched stuff at the local library and listened to psychedelic rock records and read all the rock books in search of the weirder stuff...and one reference would lead to another.<br />
<br />
<b>What do you get from abstract/avant forms of music and sound that you don't get from traditional music?</b><br />
<br />
I think avant forms of music explore other aspects of sound beyond the tyranny of melodies that you can hum and beats that you can dance to that control popular music. So, it's a hell of a lot more interesting and better for you as well.<br />
<br />
<b>You have lived in other countries, correct? How did you come about living in the places you have? What are some of the differences that stick out to you most about living, and performing, in other countries versus in the US?</b><br />
<b><br /></b><br />
I studied abroad so that's really how that happened. And, in case of my time in Russia, I hung out there for quite a while as well. In general, there is more support for experimental music in Europe, in terms of funding and audience, and more women involved as well. Venues are better, and it seems like every little village has their own festival. Of course, there are regional differences...<br />
<br />
<b>How do you manage to bring in such a wide array of performers from other countries? By "manage," I really mean AFFORD!</b><br />
<b><br /></b><br />
It's all voodoo and Kabuki dancing. Really it all depends on each case. When there is an opportunity to present a particular artist, I try to take advantage of it.<br />
<br />
<b>Tell us a little bit about the Zeromoon label you run.</b><br />
<b><br /></b><br />
Zeromoon began by chance in 2000, it was really supposed to be a website just to archive all my old work since the 1980s, and somehow I ended up putting out a CD-R of new stuff, and then it snowballed from there. Now, there are over 100+ releases of archival and new material from a variety of folks, most of it free to download in FLAC and MP3 formats.<br />
<br />
<b>Put on your promoter hat. What does this year's Sonic Circuits Festival have in store for us? Dates/times/website(s)?</b><br />
<b><br /></b><br />
It's all on the website <a href="http://www.dc-soniccircuits.org/">www.dc-soniccircuits.org</a>.<br />
<br />
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SEVEN1878http://www.blogger.com/profile/00926355086496138315noreply@blogger.com0tag:blogger.com,1999:blog-2835426720436143408.post-30430056642744677692011-09-10T10:50:00.000-07:002011-09-10T10:50:59.017-07:00Interview with Soft Pieces<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-0myU-coMT7o/TmuVbb63rxI/AAAAAAAAAIU/2owlf1K38Og/s1600/soft-pieces.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-0myU-coMT7o/TmuVbb63rxI/AAAAAAAAAIU/2owlf1K38Og/s320/soft-pieces.jpg" width="213" /></a></div>
At the 2009 Artomatic festival in Washington, DC, there were many great performers at the Sonic Circuits showcase that day. However, the one stuck out to me the most was Soft Pieces (Zach Mason). He wore a solid black, form fitting cloth mask over his head with no shirt on. While he made an incredible atmosphere of thick noise and sound creation/destruction, a group of people drew on his octopus tattooed back. It was audibly and visually entrancing.<br />
<br />
I have had the pleasure of getting to know Zach, and share stages/floors with him over the past few years. So, it was inevitable that an interview with him was to end up on this blog.<br />
<br />
<b>You record and perform under the name, Soft Pieces. What is the meaning behind this name?</b><br />
<b><br /></b><br />
I've never been good at focusing on one thing at a time. The name came from a series of sculptures I did maybe 10 years ago. They were wood, covered with paper mache, painted pink. They looked - to, at least - like giant pieces of Bazooka gum and I ended up calling them "The Soft Pieces." Around that same time, I was going through a long spell not playing live. So, when a friend who booked shows asked if I wanted to be on a bill, I needed a stage name. I wanted something new and Soft Pieces seemed like a good fit because of all that it can convey - vulnerability, modularity, etc.<br />
<br />
<b>I have heard several recordings of yours which tend to range from quiet, shifting ambience to harsher, repetitive noise, to more abstract sound manipulation. How do you describe your sound, and presentation to someone unfamiliar with what you do?</b><br />
<b><br /></b><br />
That's a good question! I'm really lucky to have a lot of supportive friends who are interested in what I do, but only a few of them would actively seek out noise music by other people. So...this isn't exactly answering your question. I always think of other people as part of the recording and performing processes. Not in a self-censorship way, but in a none-of-us-exist-in-a-vacuum way. This stuff, the Soft Pieces stuff, is being explicitly created to be shared with other people, right? There's other audio stuff or visual stuff that I do that I don't share, or I only share with a specific group of people. But, this is meant for everyone.<br />
<br />
There are moments or passages that might try the patience people, but I'm always hoping that people will trust me not to do anything at their expense. Do you know what I mean? I take that record/listener and performance/audience relationship very seriously.<br />
<br />
And, I really believe in the power of sound. I really feel like there's an inherent excitement in sound and if it's shaped right, it doesn't matter what kind of sound it is, there's something there, in the sound, for anyone who's able to take a moment and listen.<br />
<br />
<b>Live, you are definitely one of my favorites to watch perform. I love the mix of performance art with what you do. Have you always tried to incorporate this into your performances, or did you start out more basic?</b><br />
<b><br /></b><br />
Thanks! I started out like most people; I was in bands in high school and right after. When the last band I was in...we were all going to move to a new city together, I backed out at the last minute. When that ended, I still wanted to find a way to make music with a lot going on, and do it in a live, dynamic way. It started out much more repetitive and noodly than it is, now. I was mainly playing bass over guitar drones and arpeggiated synthesizers. Even when I eventually got away from that model and the music was almost exclusively improvised, it felt really safe and unfulfilling. For me, playing music in a very sedentary mode...like, hunched over a bass guitar or synthesizer or whatever.<br />
<br />
I don't get nervous about that, at all. And, I get nervous about pretty much every other aspect of day-to-day life. So, not being nervous feels unnatural, I guess? I always want to be a little afraid that things won't work. That's part of it.<br />
<br />
The other part of it gets back to what I said about earning trust. I want people to enjoy and remember my performances. That's really important to me. I want it to be something that they, hopefully, haven't seen or heard before. And, that even if it's not their normal thing...the music's too atonal...they opt out of participating in the interactive bits...I hope that they have a unique experience. And, I want to explicitly say that I've played for a lot of really patient and curious audiences who gave me a lot of room to move, in a creative sense; and that's huge.<br />
<br />
<b>How do you decide what approach, sonically and visually, to go with for each performance?</b><br />
<b><br /></b><br />
My brain constantly makes associations. So, even if it doesn't make sense to anyone else, the sounds at a specific show absolutely go with the visuals at that show...to me. I can't always explain it, and I don't usually want to explain it, honestly. Like, I'm very much against naming my tracks, at the moment. I feel weird telling people THIS IS WHAT THIS IS ABOUT; THIS IS WHAT YOU SHOULD THINK ABOUT, RIGHT NOW, AS YOU HEAR THIS.<br />
<br />
So, while I always know why one thing goes with another - there's always a meaning, to me - I hope that other people can find what those things mean, together, to them.<br />
<br />
<b>Have you ever had an audience member react negatively to a performance?</b><br />
<b><br /></b><br />
This is pretty much a guarantee of future violence, but, no, I've been very lucky. I am actively trying to bring a collaborative, instead of combative, mode to the shows, so hopefully that comes through. Although, now that I've said that, I feel like the woman you know, who had a nightmare about me kidnapping her and wrapping her in a Slinky...that qualifies as a negative reaction, right?<br />
<br />
<b>What do you have lined up as far as recordings/performances? And, where's the best place for people to look to find out more about you?</b><br />
<b><br /></b><br />
I just released a CD-R by Beruhrung - <a href="http://www.softpieces.com/txt/?p=516">http://www.softpieces.com/txt/?p=516</a> - my collab with Gary Rouzer of Nine Strings, Amplified Textures, etc. Really proud of that record. The best place for information is <a href="http://www.softpieces.com/">www.softpieces.com</a>. I've got a huge backlog of live Soft Pieces recordings - audio and video - that I need to get online. Look for that, soon.<br />
<span class="Apple-style-span" style="font-family: arial, sans-serif;"><span class="Apple-style-span" style="border-collapse: collapse;"><br /></span></span>SEVEN1878http://www.blogger.com/profile/00926355086496138315noreply@blogger.com0tag:blogger.com,1999:blog-2835426720436143408.post-43129083871351221762011-02-24T19:01:00.001-08:002011-02-24T19:24:31.986-08:00Interview with White Suns<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/-iNrZsFdiFEU/TWcbq2hnmwI/AAAAAAAAAH8/4mYxkWQ6mck/s1600/whitesuns3.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 247px; height: 320px;" src="http://4.bp.blogspot.com/-iNrZsFdiFEU/TWcbq2hnmwI/AAAAAAAAAH8/4mYxkWQ6mck/s320/whitesuns3.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5577457086526626562" /></a>The Pyramid Atlantic is an independent art gallery (visual and audible) in Silver Spring, MD. DC's Sonic Circuits org frequently puts together lineups of forward-thinking sound/noise artists at the space each month. This is where I first experience Brooklyn, NY's White Suns, and their pure, unrelenting furry of buzzsaw drums, guitars, electronics, and screams. It was beautiful.<div><br /></div><div>With each release, White Suns continue to expand into more far-out territory incorporating improvised noise with their well-honed assault.</div><div><br /></div><div>Guitarist/vocalist, Kevin Barry; guitarist/electronicist, Rick Visser; and, drummer/electronicist, Dana Matthiesen were kind enou</div><div>gh to answer some questions.</div><div><br /></div><div><br /></div><div><br /></div><div><!--StartFragment--> <p class="MsoNormal"><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><b>Let's start with a little history. How did you guys get together? Previous musical background?</b><o:p></o:p></span></span></p> <p class="MsoNormal"><span class="Apple-style-span" style=" ;font-family:Arial;font-size:medium;"><b>Dana</b> - We all grew up in the same town and all began playing music in high school. I knew Kevin was into noise/no wave music, so we ended up fucking around in m</span></p><p class="MsoNormal"><span class="Apple-style-span" style=" ;font-family:Arial;font-size:medium;">y garage and eventually forming a band. Rick joined later, but he and I had been musical comrades and collaborating in some form for an equally long period of time.</span></p> <p class="MsoNormal"><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><b>Kevin</b> - We gravitated towards each other because we all possess the ability to utterly offer ourselves up to the experience of making sound. <o:p></o:p></span></span></p> <p class="MsoNormal"><span class="Apple-style-span" style=" ;font-family:Arial;font-size:medium;"><b>The first time I saw you guys play was at The Pyramid Atlantic art space in Silver Spring, MD. I've heard a lot of noise based performances there but nothing as intense as you guys. Does it seem strange doing what you guys do in an art gallery/s</b></span></p><p class="MsoNormal"><span class="Apple-style-span" style=" ;font-family:Arial;font-size:medium;"><b>pace?</b></span></p> <p class="MsoNormal"><span class="Apple-style-span" style=" ;font-family:Arial;font-size:medium;"><b>K</b> - I, for one, have enjoyed playing in "fine art" environments because it invites a different type of criticism. Rather than focusing on how well we can (or can't) play our instruments or whether there are any hooks in a song, I hope the audience might be considering the more formal aspects of our music - structure, space, texture, etc. These are the things we think about when we write the songs.</span></p> <img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 199px;" src="http://2.bp.blogspot.com/-4YsSjAbqhSk/TWcg0_ztitI/AAAAAAAAAIM/uzxrF2yG83g/s200/white%2Bsuns.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5577462758375262930" /><p class="MsoNormal"><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><b>D</b> - Ditto. We rarely get the opportunity to play that sort of venue and, even though it was an uncommon and somewhat odd experience playing for a mostly-seated, older crowd at Pyramid Atlantic, I think those people can get into the abstraction we bring to rock music.<o:p></o:p></span></span></p> <p class="MsoNormal"><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><b>Rick</b> - It doesn't seem strange doing what we're doing anywhere anymore, and playing in galleries allows us to experiment with more improvisational material, or in the case of Pyramid Atlantic, the long form song. The audience is generally more interested in seeing something abstract or experimental and also more attentive.<o:p></o:p></span></span></p> <img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 180px;" src="http://3.bp.blogspot.com/-FPPLKBOwzI4/TWcgnlxr_zI/AAAAAAAAAIE/ffx5u2pDUGQ/s200/whitesuns2.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5577462528049151794" /><p class="MsoNormal"><span class="Apple-style-span" style=" ;font-family:Arial;font-size:medium;"><b>You guys have a great mix of noise and experimentation mixed with fast, raw...I don't know.hahaha, punk, maybe? It's a beautiful thing! Has your variety in sound opened more opportunities for you guys to play different types of shows, or have you found it harder for people to digest since White Suns don't seem to fit any clean, neat musical template?</b></span></p> <p class="MsoNormal"><span class="Apple-style-span" style=" ;font-family:Arial;font-size:medium;"><b>D</b> - It's weird. We don't find much in the way of 'sister' projects where we live, but it hasn't kept (a handful of) people from liking what we're doing. We typically play with bands that verge more toward straight-up punk or rock than I identify with, but the crossover potential in terms of the audience digging less tonal or linear music is totally out there. People just aren't doing it.</span></p> <p class="MsoNormal"><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><b>K</b> - We certainly don't get stuck playing the same bills all the time, which is great. Our lack of an easy genre reference hasn't caused any problems. <o:p></o:p></span></span></p> <p class="MsoNormal"><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><b>R</b> - We play noise shows where we're the only band with a drummer and punk/hardcore type shows where we're the only band without a bass player, playing songs longer than two minutes. There are always some people that are into it and some people that aren't.<o:p></o:p></span></span></p> <p class="MsoNormal"><span class="Apple-style-span" style=" ;font-family:Arial;font-size:medium;"><b>"Mourning Chamber" was one of my favorite releases of 2010, and resembled more of what I experienced seeing you guys at Pyramid Atlantic, and at DNA Test Fest, last year. However, I just listened to "Cavity," recently, and was caught off guard by you guys letting more space into the songs with more sound based experiments. What influences/inspiration do you guys bring into the fold that inform White Suns' sound?</b></span></p> <p class="MsoNormal"><span class="Apple-style-span" style=" ;font-family:Arial;font-size:medium;"><b>K</b> - The three of us arrive at White Suns from different musical trajectories. The most inspiring thing I have experienced recently was a book of selected poems by Anne Sexton.</span></p> <p class="MsoNormal"><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><b>D</b> - My aesthetic tastes generally revolve around European high modernism, punk rock, conceptual art, and their offspring. Favorites include Beckett, Xenakis, and Harry Pussy. I also spend a lot of time reading philosophy and logic/mathematics books, so it shouldn't surprise anyone who knows me that my approach to music is generally more inclined to formal and technical manipulation. I think I'd like our band to get to a point where I'm only incidentally playing the drums, but we're a ways off from that right now.<o:p></o:p></span></span></p> <p class="MsoNormal"><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><b>R</b> - I have come to prefer the songs with more space and less of a pounding straight ahead rock vibe. It allows us to explore sounds and their interaction with an emphasis on the sound itself, as opposed to burying it in a punk song. Lately it's been all about sound and not composition for me. Or...sound as composition. I agree with Dana, perhaps one day it will all be incidental.<o:p></o:p></span></span></p> <p class="MsoNormal"><span class="Apple-style-span" style=" ;font-family:Arial;font-size:medium;"><b>White Suns have a new album coming out on ugEXPLODE, "Waking In The Reservoir." How did you guys get hooked up with ugEXPLODE? And, what can we expect from "Waking...?"</b></span></p> <p class="MsoNormal"><span class="Apple-style-span" style=" ;font-family:Arial;font-size:medium;"><b>K</b> - Weasel Walter, who runs the label, asked us to play a show with one of his projects. He was enthusiastic about us and offered to put out a record. We were overdue for one and trusted his ethical business practices. You can expect 7 well-recorded songs - all but one have vocals.</span></p> <p class="MsoNormal"><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><b>D</b> - Most of the credit must be given to Weasel for actually giving a shit about us. As for the content, there are a couple things toward the end that will remind you of "Mourning Chamber" and the sound experiments you referenced before; the rest is standard White Suns thrash-fest.<o:p></o:p></span></span></p> <span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><b>R</b> - Lock grooves. Lots of lock grooves.</span></span><!--EndFragment--> </div><div><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></div><div><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><b><a href="http://www.blogger.com/whitesuns.blogspot.com">White Suns</a></b></span></span></div>SEVEN1878http://www.blogger.com/profile/00926355086496138315noreply@blogger.com0tag:blogger.com,1999:blog-2835426720436143408.post-32619275544866129062011-02-24T18:35:00.000-08:002011-02-24T19:01:17.967-08:00Interview with Chris Corsano<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/-ynSsVbwWDGI/TWcWBJeWLBI/AAAAAAAAAHk/WFR-hV_jga4/s1600/corsano.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 213px;" src="http://4.bp.blogspot.com/-ynSsVbwWDGI/TWcWBJeWLBI/AAAAAAAAAHk/WFR-hV_jga4/s320/corsano.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5577450872500530194" /></a>I am an addict. Chris Corsano's work, solo or in dozens of dizzying collaborations with such names as Paul Flaherty, Wally Shoup, Death Unit, Thurston Moore, etc, etc, etc. continues to provide me unlimited inspiration. Corsano is of a rare breed of musician/artist who just knows how to let it flow out of him, unfiltered, with an intense focus. How many drummers do you know that have the balls, and ability to drop jaws, to tour solo? Yeah, me neither.<div><br /></div><div><br /></div><div><span class="Apple-style-span" style=" color: rgb(62, 0, 64); font-family:Arial;font-size:medium;"><br /></span></div><div><span class="Apple-style-span" style=" ;font-family:Arial;font-size:medium;"><b>How did you first get started in music? What was your first instrume</b></span></div><div><span class="Apple-style-span" style=" ;font-family:Arial;font-size:medium;"><b>nt?</b></span></div><div> <p class="MsoNormal"><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;">First was some piano lessons when I was young. It was a battle of attrition between my laziness/zero-practice regimen versus my mom's heart-felt desire for me to do something other than waste my youth on video games. The second time she tried to get me to take lessons, she dug up this guy who, to my 12-year-old eyes, seemed like he was pushing 90. I think his bread and butter was Americana (e.g. "You're A Grand Old Flag"), so when I said I wanted to learn something a little more modern he went straight for Billy Joel's "Piano Man" and Bon Jovi's "You Give Love A Bad Name." Shot through the heart! A year or so after that, I got a set of drums. My older half-brother had been playing since before I was born, so I guess it was a natural thing to want to do.</span></span></p><p class="MsoNormal"><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"></span></span><span class="Apple-style-span" style=" ;font-family:Arial;font-size:medium;"><b>Growing up, what music/artists had the biggest influence on you?</b></span></p> <p class="MsoNormal"><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;">When I was in my early teens Hendrix was probably the biggest. Also Led Zeppelin, The Who, Cream...basically anything on the classic rock radio stations that had busy drumming. When I was about 16, my sister's boyfriend hipped me to the minutemen. That was lif</span></span></p><p class="MsoNormal"><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;">e-changing. My brother turned me on to Beefheart and Ornette Coleman at around the same</span></span></p><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 150px;" src="http://4.bp.blogspot.com/-rYs90W97LJM/TWcarZQhzgI/AAAAAAAAAHs/adJqOPmnrjw/s200/corsano2.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5577455996338556418" /><p class="MsoNormal"><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"> time. I can go back to any of those three and still have my mind blown by something I'd missed on the 8,000+ previous listens.<o:p></o:p></span></span></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><b>You have played with some incredible musicians. How did you first get into hooking up with these artists?</b><o:p></o:p></span></span></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;">I worked for Byron Coley for a good long while. He introduced me to Thurston and also Michael Ehlers (Eremite Records) when Michael was doing a concert series in Amherst, Mass. In exchange for putting up posters around town or doing door, I saw concerts for free. That's where I first heard Flaherty-Colbourne, TEST! (Daniel Carter, Sabir Mateen, Matt Heyner & Tom Bruno), Harry Pussy, Joe McPhee, William Parker, Brotzmann, No Neck Blues Band, and on and on. I asked Paul (Flaherty) and Randy (Colbourne) to play a show I was setting up. I gave Paul a copy of a record I did, and maybe a year later he asked if I wanted to jam. Things</span></span></p><p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;">developed from there.<o:p></o:p></span></span></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><b>Who are a few of your favorites to play with?<o:p></o:p></b></span></span></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;">That's a tough one. It's like putting "thank you's" on a record, you're inevitably gonna leave some people out and end up short-shrifting people. Maybe instead of talking about the best, I'll talk about the worst. Years ago, I answered a flyer put up by somebody who wanted to do some kind of rock/free-jazz amalgam. It listed Sonic Youth and maybe Ornette (this was a </span><i><span class="Apple-style-span" style="font-size:medium;">long</span></i><span class="Apple-style-span" style="font-size:medium;"> time ago, so my memory's hazy), among a lot of other stuff, as influences. So I read it and my mind saw FREE in big, bold letters, where I think the other people who turned up saw JAZZ or ROCK or I don't know what. It was an hour and a half of mismatched aesthetics hopelessly grinding into each other. At one point the Jazz-with-a-capital-J keyboard player started snapping his fingers at me so I'd do better job of keeping the beat. Awkward.<o:p></o:p></span></span></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><b>Aside from playing alongside traditional instruments, you’ve also performed with those in the outer realm of sound and noise. How do the two experiences differ for you as a drummer?<o:p></o:p></b></span></span></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;">No categorical differences, really. Everybody's approach is different--even from saxophonist to saxophonist--so it goes person to person rather than instrument to instrument. One thing that can quickly differentiate certain players from others is the use of heavy amplification. There are different approaches/responsibilites that go with being the loudest motherfucker in the room or the quietest.<o:p></o:p></span></span></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span class="Apple-style-span" style="font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><b><span class="Apple-style-span" style=" font-weight: normal; font-family:Georgia, serif;font-size:16px;"></span></b></span></span></p><span class="Apple-style-span" style="font-family:Arial;"><b><p class="MsoNormal" style="margin-bottom: 12pt; "><span class="Apple-style-span" style=" ;font-family:Arial;font-size:medium;"><b>Do you get more a fulfillment out of playing with different types of musicians versus having a straight “band” per se?</b></span></p><p class="MsoNormal" style="margin-bottom: 12pt; "><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-weight: normal;">I like to do both, so I don't see it as either/or. It's been great developing something like the Flower-Corsano Duo over a long period of time. But I also really like doing one-offs with new musicians. Some of the things (techniques or whatever) that develop out of one playing situation, I'll carry over to others. Hopefully, everything influences everything else for the bette</span></span><span class="Apple-style-span" style=" ;font-size:medium;">r.</span></span></p></b></span><p></p><p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span class="Apple-style-span" style="font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><b><span class="Apple-style-span" style=" font-weight: normal; font-family:Georgia, serif;font-size:16px;"></span></b></span></span></p><span class="Apple-style-span" style="font-family:Arial;"><b><p class="MsoNormal" style="margin-bottom: 12pt; "><span style=" ;font-family:Arial;"><span class="Apple-style-span" style=" ;font-size:medium;"><b>This past year, you released and album, and toured, with Rangda. H</b></span></span></p><p class="MsoNormal" style="margin-bottom: 12pt; "><span style=" ;font-family:Arial;"><span class="Apple-style-span" style=" ;font-size:medium;"><b>ow did you land that gig?<o:p></o:p></b></span></span></p><p class="MsoNormal" style="margin-bottom: 12pt; "><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-weight: normal; ">That band was Ben's idea. I'd played with him a bit on some Six Organs sho</span></span></span></p><p class="MsoNormal" style="margin-bottom: 12pt; "><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-weight: normal;">ws and one record. He knew and had already played with Rick, so he wanted to get the three of us together and see what happened</span></span><span class="Apple-style-span" style=" ;font-size:medium;">.</span></span></p></b></span><p></p><p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><b>It seems like, aside from Rangda, that you primarily improvise when you play (and maybe even with Rangda). Do you prefer improvisation versus writing?<o:p></o:p></b></span></span></p> <p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;">Short answer: I prefer improvisation. Longer answer: I prefer whatever approach feels like it has the best chance of creating something worth people's time. With Ben and Rick, those guys are natural born riff-writers, as well as improvisors. That's not something that's in me like it is them. So Rangda is basically me riding their songsmith coattails. There's also im</span></span></p><p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;">provisation w/in Rangda's songs, though. I don't think I could hang for too long in a band that was all-composed at this point.</span></span></p><p class="MsoNormal" style="margin-bottom:12.0pt;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none"><span class="Apple-style-span" style=" ;font-family:Arial;font-size:medium;"><b>You have performed a good bit , solo. Does performing solo allow you a freedom that you don’t get when playing with others?</b></span></p> <span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;">I think it's more about creating a different context than looking for missing freedom. I try to find people to play with where I don't feel restrained. In a way, I feel less free on solo sets. When it's solo, it's all on your shoulders--when you stop, it stops. And if it's not happening, then there's nobody else that's going to come to the rescue.</span></span><!--EndFragment--></div><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 150px;" src="http://2.bp.blogspot.com/-bkjTdka8tMk/TWca9TvvHzI/AAAAAAAAAH0/PjogtE6CdKI/s200/corsano3.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5577456304096485170" /><div><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family:Arial;"><span class="Apple-style-span" style="font-size:small;"><a href="http://cor-sano.com/"><b>Chris Corsano</b></a></span></span></div>SEVEN1878http://www.blogger.com/profile/00926355086496138315noreply@blogger.com1tag:blogger.com,1999:blog-2835426720436143408.post-202040407381945122011-02-24T18:18:00.000-08:002011-02-24T19:27:50.146-08:00Interview with Hunted Creatures<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/-ZOs-paWkemc/TWcR1uRAB3I/AAAAAAAAAHU/O4AMsIGE8gs/s1600/huntedcreatures.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 240px;" src="http://4.bp.blogspot.com/-ZOs-paWkemc/TWcR1uRAB3I/AAAAAAAAAHU/O4AMsIGE8gs/s320/huntedcreatures.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5577446278171723634" /></a>What started as a solo project for Pittsburgh, PA's Ryan Emmett has evolved into a group of kindred spirits whose varied instrumentation and soundscapes express the fragility of human emotion and the purity of sound as an art form.<div><br /></div><div>Mr. Emmett was nice enough to let us look behind the curtain of Hunted Creatures.<br /><!--StartFragment--> <p class="MsoNormal"><span style="font-family:";color:#262626;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></p><p class="MsoNormal"><span style="font-family:";color:#262626;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></p><p class="MsoNormal"><span class="Apple-style-span" style=" color: rgb(38, 38, 38); font-size:medium;"><br /></span></p><p class="MsoNormal"><span class="Apple-style-span" style="font-size:medium;"><b>How did Hunted Creatures start? I know that you and Reeves had/have Cottonball man going</b>.</span></p> <p class="MsoNormal"><span style="font-family:";"><o:p><span class="Apple-style-span" style="font-size:medium;"> </span></o:p></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><span class="Apple-style-span" style="font-size:medium;">I've been performing solo stuff since my first real band, Pi Equals Three, broke up in 2003 or so. At first I went under the unfortunate name Droopy Septum but later changed it to Hunted Creatures and started exploring different ideas. It's experimental music by nature and to avoid getting caught in a rut I wanted to give up full control of the project and turn it into a band so that my ideas could mingle with the ideas of my friends as well. Cottonballman Enterprises is reworking the business model. We aren't sure about the future of the company since CEO Reeves Smith relocated to Oakland, California, but we may hold a Founder's meeting with our top investors soon.<o:p></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><o:p><span class="Apple-style-span" style="font-size:medium;"> </span></o:p></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><o:p><span class="Apple-style-span" style="font-size:medium;"> </span></o:p></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><o:p><span class="Apple-style-span" style="font-size:medium;"> </span></o:p></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><span class="Apple-style-span" style="font-size:medium;"><b>The first HC material seems more straight synth-based ambience, whereas "Strobe Flowers Bloom" mixes in a more noise layered approach. Ryan, has the change in sound been the result of adding more members to HC</b>?<o:p></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><o:p><span class="Apple-style-span" style="font-size:medium;"> </span></o:p></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><span class="Apple-style-span" style="font-size:medium;">Actually that track, "Strobe Flowers Bloom", was a piece I put together several years ago. I still enjoy it, so versions of it creep up on various releases from time to time. The current sound has certainly changed because of adding new members. There will be more solo</span></span></p><p class="MsoNormal"><span style="font-family:";color:#262626;"><span class="Apple-style-span" style="font-size:medium;">material being released soon probably under my own name, Ryan Emmett.<o:p></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><o:p><span class="Apple-style-span" style="font-size:medium;"> </span></o:p></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><span class="Apple-style-span" style="font-size:medium;"><b>One of things I really enjoy about HC is whether the music is layered in soft textures, or harsher tones, there is still a sense of fragility to it. "Hunted Creatures," as a name, also gives me that feeling. So, what exactly is overall thought process and feeling behind it?</b><o:p></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><o:p><span class="Apple-style-span" style="font-size:medium;"> </span></o:p></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><span class="Apple-style-span" style="font-size:medium;">I love the sense that something could fall apart at any minute. I can't say much more about it, but your observation is the best compliment I've heard since being called "a fucked up Pink Floyd on coke" or something like that by an old biker dude in Athens, OH. Maybe Amy remembers the exact quote.<o:p></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><o:p><span class="Apple-style-span" style="font-size:medium;"> </span></o:p></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><span class="Apple-style-span" style="font-size:medium;"><b>Amy</b>: It was "Y'all sound like Pink Floyd on crack."<o:p></o:p></span></span></p><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 172px;" src="http://1.bp.blogspot.com/-GJ0nmCcUgxo/TWcVP27oREI/AAAAAAAAAHc/k0JE3rUAxUk/s200/huntedcreatures2.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5577450025709487170" /> <p class="MsoNormal"><span style="font-family:";color:#262626;"><o:p><span class="Apple-style-span" style="font-size:medium;"> </span></o:p></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><span class="Apple-style-span" style="font-size:medium;"><b>From the live sets I've heard on your bandcamp site, and live video online, it seems like you guys venture a little more into sound art territory with various instrumentation, objects, and methods. Is this a conscious decision to make a the live experience different from the recordings?</b><o:p></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><o:p><span class="Apple-style-span" style="font-size:medium;"> </span></o:p></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><span class="Apple-style-span" style="font-size:medium;">It sort of happened that way. It's conscious for me, to have some correlations yet remain separate things, but perhaps the other members would like to try to have them more related. We'll see what happens. I suppose my logic is that once something is on recording one can always go back to it and listen, whereas a live experience is different. Acoustics in the room are different… the whole thing is different by nature and I don't personally mind that.<o:p></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><o:p><span class="Apple-style-span" style="font-size:medium;"> </span></o:p></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><o:p><span class="Apple-style-span" style="font-size:medium;"> </span></o:p></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><span class="Apple-style-span" style="font-size:medium;"><b>The DVD that you guys released this Fall had a lot of interesting ideas; a lot of visual and sonic textures with each of the four pieces. Do any of you guys have a background in film design?</b><o:p></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><o:p><span class="Apple-style-span" style="font-size:medium;"> </span></o:p></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><span class="Apple-style-span" style="font-size:medium;">I went to school for Printmaking, but the entire time had an interest in other forms of art that weren't so traditional. 1960's modernism, Dada and the whole NYC loft scene, La Monte Young and structuralist film all interested me in conjunction with my involvement with punk and hardcore. I have always loved film. Anthony McCall's "Line Describing A Cone" blew my mind as a senior in high school. For me it was about getting rid of boundaries. You can use anything and combine anything to make enjoyable art. I think more bands should release DVDs as their official music releases and more people could have their TV audio connected to a nice sounding stereo.<o:p></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><o:p><span class="Apple-style-span" style="font-size:medium;"> </span></o:p></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><span class="Apple-style-span" style="font-size:medium;"><b>The piece, "A Place To Stay," from the DVD is definitely my favorites in both sound, and the footage you guys used; particularly, the giant windmills in PA. I drive by those on the way to the show in Pittsburgh, last May. There's something monolithic about those things. Why did you guys focus so much on those structures in the piece?</b><o:p></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><o:p><span class="Apple-style-span" style="font-size:medium;"> </span></o:p></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><span class="Apple-style-span" style="font-size:medium;">Actually, those windmills were filmed in Illinois or Indiana I believe. But I know the ones you are talking about in Pennsylvania and they look amazing up on the hills as you wind around the roads. My process for making a lot of my art is based on chance and control ratios and boundaries. Oftentimes I will make a collage by limiting myself to a single magazine and creating something based on the images that lay within. With film it is similar. The end product is imagined but not planned. So I took a bunch of various footage I collected while traveling and then forced myself to create a video piece based only on those particular images. The whole time I was fairly blazed and just sifting through all this footage trying to make thematic, chronological and visual connections to make some sort of sense out of the arrangement. It ends up pretty abstract but it is through a process that I enjoy quite a bit.<o:p></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><o:p><span class="Apple-style-span" style="font-size:medium;"> </span></o:p></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><span class="Apple-style-span" style="font-size:medium;"><b>What do you guys have coming up this year?</b><o:p></o:p></span></span></p> <p class="MsoNormal"><span style="font-family:";color:#262626;"><o:p><span class="Apple-style-span" style="font-size:medium;"> </span></o:p></span></p> <span style="Lucida Grande";mso-fareast-MS 明朝";mso-fareast-theme-font:minor-fareast;mso-ansi-language: EN-US;mso-fareast-language:EN-US;mso-bidi-language:AR-SAfont-family:";color:#262626;"><span class="Apple-style-span" style="font-size:medium;">Hopefully, some releases on Pittsburgh based 800 Wild, Travis Bird's Notice Recordings, Baked Tapes and perhaps splits with Casual Male and Stone Circle. We're aiming to do a spring midwest tour, play more local shows and explore more green pastures. If anybody wants to release a 12" record for us please let me know because my label Dynamo Sound Collective can't afford to right now!</span></span><!--EndFragment--> </div><div><span style="Lucida Grande";mso-fareast-MS 明朝";mso-fareast-theme-font:minor-fareast;mso-ansi-language: EN-US;mso-fareast-language:EN-US;mso-bidi-language:AR-SAfont-family:";color:#262626;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></div><div><span style="Lucida Grande";mso-fareast-MS 明朝";mso-fareast-theme-font:minor-fareast;mso-ansi-language: EN-US;mso-fareast-language:EN-US;mso-bidi-language:AR-SAfont-family:";color:#262626;"><a href="http://www.blogger.com/huntedcreatures.bandcamp.com"><span class="Apple-style-span" style="font-size:small;">Hunted Creatures on Bandcamp</span></a></span></div>SEVEN1878http://www.blogger.com/profile/00926355086496138315noreply@blogger.com0tag:blogger.com,1999:blog-2835426720436143408.post-91177040490142730422011-02-24T17:36:00.000-08:002011-02-27T15:13:26.793-08:00Interview with Borborites<a href="http://4.bp.blogspot.com/-FofWOqt35vw/TWcIPuvkhzI/AAAAAAAAAG8/9PlHTcgIQCk/s1600/borborites3.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5577435729860265778" src="http://4.bp.blogspot.com/-FofWOqt35vw/TWcIPuvkhzI/AAAAAAAAAG8/9PlHTcgIQCk/s320/borborites3.jpg" style="cursor: hand; float: left; height: 183px; margin: 0px 10px 10px 0px; width: 275px;" /></a>Fairfax, VA's Borborites have become one of my favorites in the DC area improv scene. Mixing elements of jazz, folk and sound artistry, this trio continues to get more impressive with every performance. The homemade cassette tape placed in my hand by a drunken Andrew McCarry at a recent show only further emphasized the fact that these guys are only going to get more impressive. This interview was conducted with Andrew and Chethan. <br />
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</div><div><span style="font-family: 'Lucida Grande';"><b>Borborites were considered to be dirty, nasty characters. So what made you guys decide to name yourselves after them?</b></span> </div><div><span class="Apple-style-span" style="font-family: 'Lucida Grande';"><b></b></span><br />
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<div class="MsoNormal" style="display: inline! important;"><span style="font-family: 'Lucida Grande';"><b>Chethan</b><span class="Apple-style-span" style="font-weight: normal;">: For a while, we were calling ourselves Borborygmi. We liked the sound of the word and, truthfully, it seemed to be an accurate description of our sound at the time. I think that led to us discovering who the Borborites were via occupational boredom and google-based procrastination. Amidst frequent line-up changes and confusion over what the band's purpose was, we toyed with the need for an alternat</span></span></div></div><div><span class="Apple-style-span" style="font-family: 'Lucida Grande';"><b></b></span><br />
<div class="MsoNormal" style="display: inline! important;"><span style="font-family: 'Lucida Grande';"><span class="Apple-style-span" style="font-weight: normal;">e name. I'm not sure it was even a conscious decision on anybody's part to formally change our name, but I think once the name "Borborites" ended up on concert flyers and u</span></span><span class="Apple-style-span" style="font-family: 'Lucida Grande';">ploaded live recordings, we realized that the new name had already stuck. I think "Borborites" is an equally fitting name for us, anyway. All of us involved kind of rightly or wrongly view ourselves as lowlives of some sort. We are dirty, nasty characters, and we may not be particularly proud of that fact, but we at least take solace in accepting it and then using it as an excuse to justify our behavior.</span></div></div><div><span class="Apple-style-span" style="font-family: 'Lucida Grande';"><b><b></b></b></span><br />
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<span class="Apple-style-span" style="font-family: 'Lucida Grande';"><b><div class="MsoNormal" style="display: inline! important;"></div><b><div class="MsoNormal" style="display: inline! important;"><span style="font-family: 'Lucida Grande';">How did you guys get started? Seems like a pretty unique grouping of personalities.</span></div></b></b></span><br />
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</span></span></div></div><div><span class="Apple-style-span" style="font-family: 'Lucida Grande';"><b><b></b></b></span><span class="Apple-style-span" style="font-family: 'Lucida Grande';"><b></b></span><br />
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<span class="Apple-style-span" style="font-family: 'Lucida Grande';"><b><div class="MsoNormal" style="display: inline! important;"></div><b><div class="MsoNormal" style="display: inline! important;"><span style="font-family: 'Lucida Grande';">Andrew<span class="Apple-style-span" style="font-weight: normal;">: It's Chethan and I, and whomever else we've conned into the</span></span></div></b></b></span><br />
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<div class="MsoNormal" style="display: inline! important;"><span style="font-family: 'Lucida Grande';"><span class="Apple-style-span" style="font-weight: normal;">ride. We've been good friends for about 10 years and have been making a racket together on and off for most of that time, but we got more "serious" about it after college when we lived together in Fairfax. Various friends and guests have passed through the band. We met Matt over some poppers at a show at record and tape exchange and became close quickly. People with niche interests tend to seek each other out, especially in</span></span></div></div><img alt="" border="0" id="BLOGGER_PHOTO_ID_5577444723092280130" src="http://4.bp.blogspot.com/-g1yJl-65fvM/TWcQbNJK00I/AAAAAAAAAHE/t1m-mzaMEWs/s200/borborites.jpg" style="cursor: hand; float: right; height: 133px; margin: 0px 0px 10px 10px; width: 200px;" /> <br />
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<div class="MsoNormal" style="display: inline! important;"><span style="font-family: 'Lucida Grande';"><span class="Apple-style-span" style="font-weight: normal;">extremely square places.</span></span></div></div><div><span class="Apple-style-span" style="font-family: 'Lucida Grande';"><b><b></b></b></span><br />
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</span></span></div></div><div><span class="Apple-style-span" style="font-family: 'Lucida Grande';"><b><b></b></b></span><span class="Apple-style-span" style="font-family: 'Lucida Grande';"><b></b></span><br />
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<span class="Apple-style-span" style="font-family: 'Lucida Grande';"><b><div class="MsoNormal" style="display: inline! important;"></div><b><div class="MsoNormal" style="display: inline! important;"><span style="font-family: 'Lucida Grande';">You guys have a great sound as a group. There's some folk, psych, rock, and noise tendencies in there. Do you all have any real sort of direction you prefer as a group, or just completely fly off-the-cuff with each performance?</span><br />
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<b><div class="MsoNormal" style="display: inline! important;"><span style="font-family: 'Lucida Grande';">Andrew<span class="Apple-style-span" style="font-weight: normal;">: We'll have a little idea based on what equipment we brought/is working at each session, but for the most part it's completely free. For now, Matt's staying on drumkit and we're exploring that sound after going for most of our f</span></span><span class="Apple-style-span" style="font-family: 'Lucida Grande'; font-weight: normal;">irst year completely anchorless. We don't play the same thing twice, and if it sounds too similar it's kind of a disappointment.</span><br />
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<span class="Apple-style-span" style="font-family: 'Lucida Grande';"><div class="MsoNormal"><span style="font-family: 'Lucida Grande';"><b>You also started Avant Fairfax. What is AF, and what is the goal? Upcoming shows for AF?</b><o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: 'Lucida Grande';">The idea for Avant Fairfax came about around November 2008, with the first event happening april 25 2009. Avant Fairfax is a part of the month-long Spotlight on the Arts festival. This is how we get access to the old town hall and the PA we use and about 1/4 of the funding comes in the form of grants from the Commission on the Arts. Joanna Ormesher, the chairwoman of the whole deal is a coworker and close friend. <o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: 'Lucida Grande';">Anyhow, when Scott Verrastro moved out of DC, we lost the best booker in town. I wanted to have that space, that energy back. Shows at his house 611 Florida or at Warehouse or Velvet Lounge were some of the best nights of music anyone could ask for, truly mind-expansive experiences. (when i was in highschool i essentially thought that the music that came to town was either at 930, black cat or one of the dad-rock venues like birchmere and state theater and that the mythologized days of dc punk underground is way dead.) The bands he plays in, Kohoutek and Kuschty Rye Ergot are my absolute favorite live acts. The guy has fantastic taste, and I work very closely with him to curate the events, as this is something I do a couple times a year, and he does it several times a week. </span></div><div class="MsoNormal"><span style="font-family: 'Lucida Grande';"><br />
</span></div><div class="MsoNormal"><span style="font-family: 'Lucida Grande';">So with Avant Fairfax, I just wanted there to be something cool to do in this town, (unfortunately, the GMU crowd heavily favors wack shit, but we're working on them) and to bring like a basement show vibe into a historic building, big sound, good beer, and a well curated line-up. It's not like we sell tickets, it's a peer pressure donation system where you pay based on your ability to. Like, I've been to house shows and while it says $5 suggested donation, I'll usually give like 15-20 bucks and bring some beer. It works out often in favor of the artist when it feels like a comfortable hang out and not a money making venture. Sure, I sell beer, but all profit on that goes to the artists. And I sell better beer than is served in fairfax bars and it's cheaper.<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><span style="font-family: 'Lucida Grande';">The festival is coming up again this year at old town hall, Saturday April 23rd, and we'll have Friday and Sunday shows too. There are some really great bands and solo artists bringing a diverse palate of sound. I am waiting on a headliner's confirmation before I make the big public push for attention. We're also going to be having several benefit shows in advance of the fest, so keep your ear to the ground.</span> </span><br />
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</span></span></div></b></div><div><div class="MsoNormal"><span class="Apple-style-span" style="font-weight: normal;"><span class="Apple-style-span" style="font-size: small;"><a href="http://districtofnoise.org/2011/02/borborites-pyramid-atlantic-02-05-11/">http://districtofnoise.org/2011/02/borborites-pyramid-atlantic-02-05-11/</a></span></span><br />
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<span class="Apple-style-span" style="font-weight: normal;"><a href="http://www.myspace.com/avantfairfax">http://www.myspace.com/avantfairfax</a></span></div></div>SEVEN1878http://www.blogger.com/profile/00926355086496138315noreply@blogger.com1tag:blogger.com,1999:blog-2835426720436143408.post-63648343221363189602010-12-03T16:23:00.000-08:002010-12-03T19:00:44.917-08:00Interview with Wasteland Jazz Unit<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_J8-RjUOuJiA/TPmueP0camI/AAAAAAAAAFs/mz6rKGiqe6M/s1600/WJU%2Bby%2BLisa%2BFrank.jpg"></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_J8-RjUOuJiA/TPmKeTF61cI/AAAAAAAAAFk/1ZhNzIZ39u4/s1600/WJU%2Bby%2BNebula%2BGirl.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 240px;" src="http://3.bp.blogspot.com/_J8-RjUOuJiA/TPmKeTF61cI/AAAAAAAAAFk/1ZhNzIZ39u4/s320/WJU%2Bby%2BNebula%2BGirl.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5546616669209286082" /></a>Over the past two decades, I have had the pleasure of seeing many concerts of varying styles. Sonic Youth (Dirty era), at the time, was the loudest live experience for me. I was a teenager attending a Lollapalooza concert in Charlestown, WV when I first saw SY. Through the mountainous PA system, we all had our audible palate cleansed that night. Years later, I still remember a girl with her hands over her ears stumbling through the crowd away from the stage.<div><br /></div><div><br /></div><div><br /></div><div>Then, one night, I saw two guys set up in an abandoned bank turned DIY space in Baltimore, MD. The setup seemed simple: two guys, two horns, a stack of amps each. A short greeting was followed by the loudest set I have ever heard. Even with earplugs, it was intense. Both flailed back and forth with intent like they were trying to force their lungs through their instruments. Wild combinations of notes and sounds, combined with feedback, left the faces (and ears) of the audience stunned.</div><div><br /></div><div>Fifteen minutes into the set, one of their amps seemed to blow; leaving a constant ring like a heart monitor flatlining. The two stood facing eachother with their eyes closed. Even with amplification gone, Jon Lorenz continued to play acoustically. Jon Rich decided to riff around the feedback, as if it was part of the set. I was sold.</div><div><br /></div><div><!--StartFragment--><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><b>Listening to Wasteland Jazz Unit play, and the name itself, I feel like you guys would be the common "jazz" sound for post-apocolyptic times. How did you guys develop the style you play?</b></span></span><!--EndFragment--> </div><div><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><b><br /></b></span></span></div><div><span class="Apple-style-span" style="font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;">John Lorenz: </span></span><span class="Apple-style-span" style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;">Throwing contact mics in horns, turning our amps to 11, and an obsession with biting reeds and feedback tones. Not really going for post-apocolyptic or anything just playing the music we wanted to hear.</span></span></div><div><span class="Apple-style-span" style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><br /></span></span></div><!--StartFragment--> <span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;">John Rich: No heads.</span></span><!--EndFragment--> <div><span class="Apple-style-span" style=" ;font-family:Arial;font-size:medium;"><br /></span></div><div><span class="Apple-style-span" style=" ;font-family:Arial;font-size:medium;"><b>Do you do much in the way of manipulating your horns through effects pedals?</b></span></div><div><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"> <p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none"><span style="font-family:Arial;">JL: None at all. The only effects we use are the ones already on our amps. Distortion, basically. Pedals can take away from the focus of things. We've heard a lot of jams completely ruined because of unnecessary effects. Either just awful sounds or too much focus on the "effects" than the sounds being created. Some people have this idea that "experimental music" is all about manipulating sounds but ya gotta make interesting sounds first, and then think about manipulating them. So yeah from the start we just said "Fuck using pedals" and focused more on the initial sounds we were making. I did just buy a volume pedal though so WJU officially has one pedal.<o:p></o:p></span></p> <span style="font-family:Arial;mso-fareast-MS 明朝"; mso-fareast-theme-font:minor-fareast;mso-ansi-language:EN-US;mso-fareast-language: EN-US;mso-bidi-language:AR-SAfont-family:";font-size:12.0pt;">JR: No effects. Keep it simple, keep it raw.</span><!--EndFragment--> </span></span></div><div><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><span style="font-family:Arial;mso-fareast-MS 明朝"; mso-fareast-theme-font:minor-fareast;mso-ansi-language:EN-US;mso-fareast-language: EN-US;mso-bidi-language:AR-SAfont-family:";font-size:12.0pt;"><br /></span></span></span></div><div><span class="Apple-style-span" style=" ;font-family:Arial;"><b>How did you guys meet up, and start WJU?</b></span></div><div><span style=" ;font-family:Arial;"><span class="Apple-style-span" style="font-size:medium;"><span style="font-family:Arial;mso-fareast-MS 明朝"; mso-fareast-theme-font:minor-fareast;mso-ansi-language:EN-US;mso-fareast-language: EN-US;mso-bidi-language:AR-SAfont-family:";font-size:12.0pt;"> <p class="MsoNormal">JL: Me and John had met on several occasions over the years at shows and what not. At some point, we both figured out that we both played horns and were into free jazz and what not so it just made sense. John came up with the name before we even played together. When we first played together I showed John this idea that I had been messing around with using contact mics inside the horns and John said "yeah let's do that and turn our amps up all the way." So yeah it basically developed from that. I think our first show was in early April of 07 with Ryan Jewell and George Steeltoe Ensemble.</p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none"><b>Do you guys come from any kind of a traditional jazz background?</b></p> <p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none">JL: Not at all. I have no training what so ever. My sister was in band in high school and dropped out. She didn't need the sax anymore so I decided to take it back to college with me even though my parents wanted to sell it or something. They actually were kind of mad and wanted me to give it back but once they found out I was actually making "music" with it they were cool.</p> <p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none"><span style="font-family:Arial;">JR: I played clarinet in elementary and junior high band, but that's the extent of it. Don't really remember anything except how to blow "properly" but I guess that's all that really matters.</span></p><p class="MsoNormal"><b><span class="Apple-style-span" style="font-weight: normal; "></span></b></p><b><p class="MsoNormal"><b>So, what kind of <span class="Apple-style-span" style=" font-weight: normal; color: rgb(0, 0, 238); -webkit-text-decorations-in-effect: underline; font-family:Georgia, serif;font-size:16px;"><img src="http://4.bp.blogspot.com/_J8-RjUOuJiA/TPmueP0camI/AAAAAAAAAFs/mz6rKGiqe6M/s320/WJU%2Bby%2BLisa%2BFrank.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5546656250749282914" style="float: right; margin-top: 0px; margin-right: 0px; margin-bottom: 10px; margin-left: 10px; cursor: pointer; width: 320px; height: 240px; " /></span>background <i>do</i> you guys come from?</b></p><p class="MsoNormal">JL: I started playing guitar when I was 13 or so. Started playing sax when I was 20 maybe. Grew up on Sonic Youth and Pavement and the typical 90's indie rock stuff. Got more into free jazz stuff when I started playing sax. Heard Brotzmann's "Machine Gun" and that pretty much explains everything.</p><p class="MsoNormal"><span style=" ;font-family:Arial;">JR: Can't remember... listened to a lot of Neil Young.</span></p></b></span><b></b><p></p><p class="MsoNormal"><b>Live, you guys have a blistering sound; volume and chaos. What effect does your music have on you in a live setting? What impact are you hoping for on an audience?</b></p> <p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none">JL: Our live sets are usually pretty chaotic but sometimes our sets change according to the room or the vibe. Live sets are fun cause people actually get to see the physical side of things so we try to play that up a bit more than we might on our recordings. We want it to be a physical experience. We want people to feel our hands hitting the keys, to feel our teeth vibrating against the reeds. That sort of thing.</p> <p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none"><span style="font-family:Arial;">JR: I just want to make people happy and enjoy themselves.<o:p></o:p></span></p> <p class="MsoNormal"><b>How do you identify yourselves, categorically? I've heard you described as "Noise Jazz," "Death Jazz," etc.</b></p> <p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none">JL: I probably wouldn't even use the word "Jazz." I think we try to be as far away from the word "Jazz" as possible but that obviously comes with the territory of playing horns which is why we used it in our name. We might as well just play along. Yeah, we're a "Jazz" band.</p> <p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none"><span style="font-family:Arial;">JR: Death and noise make us sound so negative. I think of our music in a more positive way. Full of joy and happiness.</span></p><p class="MsoNormal"><span style="font-family:Arial;"></span><b>How often do you play in front of more traditional jazz crowds? You recently played a jazz fest in DC. What was the reaction like there?</b></p><p class="MsoNormal"><b><span style="font-family:Arial;"></span></b></p> <p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none">JL: I think that was pretty much our first time playing for that type of crowd. In Cincinnati, we for the most part only play gigs that we put on. There isn't really much of a freaky jazz scene here. The New Atlantis Fest in DC was a lot of fun. I think we cleared at least half of the room but the people that stuck around we're very excited about what they heard. We didn't make it the first day but we heard the same thing happened for Weasel Walter's set with Darius Jones and Tom Blancarte. A good chunk of people didn't like it but the people that did like it really liked it and bought a lot of merch and stuff. I think to certain people in that "Jazz" scene bands with high energy are a breathe of fresh air.</p> <p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none"><span style="font-family:Arial;">JR: DC was a lot of fun. I never want to bum anyone out and we never really get asked to play jazz gigs in town. I think when people hear us they immediately know what they're getting into and will either stay or go. I guess it's nice to have a "yes or no" sound. <o:p></o:p></span></p> <p class="MsoNormal"><b>What is your involvement with the Art Damage Lodge? Will you give us a little background into the venue?</b></p> <p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none">JL: We both run the space. We started it in October of '07. It's in an old Masonic Lodge. The name comes from the Art Damage radio show, which we now host, that was started here in Cincinnati, in 1985. The show was a big influence on us and has a lot to do with the history of experimental music in Cincinnati. We definitely wanted to keep that history alive and have our own place in Cincinnati to keep the weird music alive.</p> <p class="MsoNormal"><b>For those who don't know, Jon...you run the site <a href="http://woundedslug.tumblr.com/">Wounded Slug</a>. Give us a little background on the site.</b></p> <p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none">JL: Wounded Slug is a blog that I do that focuses on weird music of Cincinnati. I mainly post videos of shows at Art Damage Lodge and around town but I also post downloads to out of print records, old footage of stuff, weird Cincinnati related videos. I started the blog basically because when I moved here I would hear about these weird 80's Cincinnati bands like 11,000 Switches and BPA and what not and could never hear them. Our local record store ended up putting out a compilation of some of these weird Cincinnati bands so I finally got to hear a lot of them but there is still a lot of stuff that people don't even know about so I'm trying to put everything in one place so anyone who wants to know has a place to find these things.</p> <p class="MsoNormal"><b>Is Rub Don't Blot still operational?</b></p> <p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none">JL: Yeah. I guess. We haven't put anything out on it in a while but the label kind of exists as a name for either of us to use for whatever we wanna do. I'm actually gonna start a more serious label to go along with the Wounded Slug blog. The first thing I have planned is releasing a series of double cassette boxes with each including four Cincinnati artists. There are a lot of people in Cincinnati that don't really put out music so I'm trying to collect a lot of these people with some other more active names for people outside of Cincinnati to hear.</p> <p class="MsoNormal"><b>Jon, I know you have <a href="http://www.myspace.com/earlytunnels">Early Tunnels</a> going on, outside of WJU. What are some other projects you guys have going?</b></p> <p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none">JL: Yeah I have Early Tunnels that I do with Pete Fosco. Me and John are in a group called the Ohio Unsemble with Ryan Jewell, Jason Zeh, and Matthew Reis (Teeth Collection.) That is more focused on the quiet side of things. We also do Wasteland Jazz Ensemble occasionally which is us and various other members.</p> <p class="MsoNormal"><b>If someone hears you, and wants to know about other likeminded groups; what are some recommendations you make?</b></p> <p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none">JL: Well, I think the obvious answer to this is Borbetomagus. Antoine Chessex's stuff is along the same lines.</p> <p class="MsoNormal"><span style="font-family:Arial;">JR: The Crystals, The Ronettes and Shirelles</span><o:p></o:p></p><p class="MsoNormal"><a href="http://www.myspace.com/wastelandjazzunit">WASTELAND JAZZ UNIT</a></p> <!--EndFragment--> </span></span></div>SEVEN1878http://www.blogger.com/profile/00926355086496138315noreply@blogger.com2