zK

 Posted by  Interviews
Apr 252018
 

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“Last Night” (out on the Swiss label Hallow Ground) is the first studio album in five years by zK, the bicephalous project by Mark Godwin and Gareth Ormerod. Entirely recorded in Bangkok, Godwin’s new hometown, and drawing on sampling and musique concrete techniques, “Last Night” manages to render the nervous energy of the Thai capital city after artificial lights and obscurity take over for the sun… We also talked about it with Mark.

Chain D.L.K.: Hi there! How are you?

zK: All good here, really busy with work and meeting musicians who travel this way.

 

Chain D.L.K.: Just curious about the name of your artistic entity, zK… a reference to Zos Kia?

zK: I’ve been asked this question a lot. Whilst I admire Austin Osman Spare’s work a great deal, zK was a cipher, mostly chosen for the way it looks, a marker point in space. Dealing with the oppositions embedded in the concept of Zos Kia might be too much for anyone 🙂

 

Last Night

Chain D.L.K.: Mark, you were behind the curtain of the last outputs by Coil… what did you learn (under the technical but also the “human” viewpoint) from that collaboration? How do you remember John?

zK: I learned a lot from working with such material; the most interesting things for me were acquiring the notion of decision making in general when approaching sound, and being patient and slow whilst developing a signature sound. Whilst I did not know Geff directly, we crossed paths via telephone and I vaguely remember some very odd conversations about bears and hugging. I got to know Peter as a friend during the time he was here in Bangkok. It appeared to me that he was a mix of Caligula and Buddha-like presentations in his appearance and outlook, which apparently was quite a different aspect to his persona in the UK; Peter was pragmatically very encouraging and supportive of my ramblings in sound. We had many hours of nerdy conversation about gear and its use. I realize that is a little scant, but the other conversations we had were so personal I think it would be unethical to share them. However, Peter thought it was highly amusing that I enjoy metal so much, as he found it difficult to reconcile 🙂 In short, Peter was an exceptionally supportive and thoughtful individual who, whilst I knew him, was striving to shake off the darkness of his previous experiences and managed that by connecting with passing people or the landscape he found himself in.

 

Chain D.L.K.: A question somewhat related to the previous one… A Thai edition by Coil’s “The Remote Viewer”…why a Minimax?!?!? 🙂

zK: Not sure about this one 🙂 production costs?

 

Chain D.L.K.: Besides the almost logical connection with Coil (even if I won’t say zK is a clone-like project), what’s your general perspective of industrial? Do you think it was a temporary fashion? Do you notice a lack of interest by general audiences or not? Any explanation, if so?

zK: That whole genre has a shifting definition. I’m not sure where it is now; Techno?? I don’t think that it is temporary, however, its focus on mechanization is anachronistic, as the industrial world is in decline. The general audience is of no interest to me, as I have no wish to pander to the average attention span, which is painfully short. If you make music like this and you expect mass interest, might I suggest you are deluded 🙂 The music does provoke interest, as I have received some interesting responses, typically projections of the listeners self, rather than my interpretation, which is to be expected. I think this type of music is more of a deliberate selection rather than using music as a backdrop to a mundane life.

 

Chain D.L.K.: Before focusing on “today,” let’s have a look back to “yesterday”… zK was born in the rising British rave scene… How did the rave scene influence your sound and the desire of searching for something else?

zK: Well, to put it simply, Ecstasy 🙂 Those experiences led me back to my earliest experiences of music as a child, where singing felt like it was resonating my whole being and thereby a connection with a developing awareness of the noumenal world. Secondly, manipulating music through DJing and seeing the responses to it really fired me up to do my own stuff. The Skam lot were really encouraging and became great mates, so that helped a lot. So it’s a typical path from frustrations with the material played to producing it. The rave scene was incredibly liberating, as it connected a lot of people with the corporeal aspects of their mind, and socially it seemed to unglue the social strata for a short time.

 

Last Night

courtesy of Mat Thornton

Chain D.L.K.: Mark, can you tell us something about your recent collaboration with Martin Maischein?

zK: Yeah, we met via FB. One day I saw that Martin was in Bangkok., so atypically, I asked him if he wanted to meet for coffee, which we did, and then the track ensued. Martin is a fantastic producer and we worked at lightning speed.

Hopefully, he is coming back again for more collaboration later this year. I really appreciate the ear for detail.

 

Chain D.L.K.: Some reviewers describe you as ambient conceptualists (maybe they just listened to outputs like “Aethyr Jumpers”), while other ones as “restorers of old-fashioned industrial”…how would you perceive or label yourself and your style?

zK: I think that these descriptors are a little off, as I have no wish to be background washes 🙂 Yes, sometimes there is a concept, but usually they are internal recollections and episodic, but most of these will be out of sensory range to the listener. I’d like to think that zK expresses emotions and cognitions in an atypical way, i.e. not neurotypical. There is something of the autistic perceptual universe in there, as different elements are exaggerated, I think the Wire review picked this up well. This is a hard question to answer 🙂 Yes, there is noise in there, but it’s not all dystopian doom and gloom; there are explorations of being, more than comments on the world at large, so I guess it’s very personal in its way.

 

Chain D.L.K.: Most of your records include many interesting references to other disciplines of human (more or less unknown) knowledge, and many experimental works could be easily misunderstood… Is there any album by zK that was seriously misunderstood?

zK: I’m not sure. I haven’t had enough feedback from people I don’t know to have experienced that feeling. I guess that with such open sound, it is ripe for “misinterpretation.” The listeners’ perceptions are not necessarily mine, and as such, I’m not sure if you can misinterpret it.

 

Chain D.L.K.: “Last Night” was entirely recorded in Bangkok and tried to mirror the Thai capital’s nightlife…can you tell us more about the strategy you followed to catch and translate that energy/those energies into sound?

zK: We mapped out a whole evening across the capital, beginning at home as a storm brewed. We would capture sounds as we moved through the city and insert them into first thoughts and representations of sound.

However, for zK, this took a long time to complete. When recording, we improvised, recorded and then edited later. After completion, it became clear that we were noticing all the barriers to comprehension that we faced when dealing with Bangkok, and perhaps how desperate some parts of it were when compared against the strange beauty of the place.

zK by Mat Thornton

courtesy of Mat Thornton

Chain D.L.K.: Any field recordings? If so, what’s the weirdest one you grabbed?

zK: One that we didn’t use, as it was a copyrighted song delivered by a very tall ladyboy who wouldn’t leave 🙂

 

Chain D.L.K.: Is there a plot-like line you followed for the track order?

zK: yes: home/storm/family : outside: anxiety; self-deception; numbing the self to wake up, despair; acceptance, resolution of self and connection to the location.

 

Chain D.L.K.: Is there something “new” in Last Night versus your previous albums, in your own words?

zK: More external sources and new equipment, but mostly the narrative arc and the daily production routing.

 

Chain D.L.K.: Any work in progress?

zK: A lot; I’m always working. In the last three months, I just finished 6 or more full sequences. Due to location, lots of time to work.

 

check out zK’s “Last Night” on bandcamp

Apr 242018
 
HILARY WOODS SHARES NEW SINGLE ‘BLACK RAINBOW’
VIA NOISEY
DEBUT LP COLT OUT JUNE 8 ON SACRED BONES RECORDS

                                                                                                       photo courtesy of Joshua Wright
                                                                                                                              
Sacred Bones Records’ newest signing Hilary Woods is sharing the second single from her upcoming debut LP Colt ahead of its release on June 8th.

The track “Black Rainbow” was named in Woods’ words – “because I loved that image, the idea that when that’s all one can see overhead / when a relationship is dying between two people that once loved each other very much – there is no choice but to believe that there is something better for you at the end of it all.”

Listen to it here

Hilary Woods’ artistry is one of rare emotive reach. Her minimalist and compositional finesse combine with densely layered atmospheric instrumentation and dreamlike vocals to create music rich with both delicacy and intensity. The Sunday Times hailed her early solo recordings as “a revelation.”

After the release of two critically acclaimed EPs, Woods spent 2017 writing and recording songs on an eight-track in an abandoned flat she was living in at the time. Layering piano, synth, tape machine, field recordings, vocals, drone, unadorned beats, and old string instruments, these songs culminate in her debut solo LP Colt. Straddling the acoustic and electronic worlds, Colt is an intensely personal journey through grief, abandonment, and mutating love. Woods navigates this journey with a lyrical potency that cuts through stark piano, sensuous synth work, and textural acoustics. Somewhere between Marissa Nadler, Grouper and Julee Cruise, these songs evoke both the anguish of their content and the ecstasy of their craft.

The power at the heart of Colt is a siren’s song, at once mysterious, dark and beautiful, pulling you in. Opening song “Inhaler” is a conceptual cry for oxygen, illustrating the desolation felt in the absence of a lost lover, but the song’s velvet fluidity feels like a long, enveloping exhale. “Jesus Said” is an entrancing expression of abandonment and catharsis, seeking absolution where none can be found. Percussion is sparse and intentional throughout the record, and “Jesus Said” is one of few songs with prominent beats. When the beat finally breaks the tension of the longing introduction, it creates an intoxicating kaleidoscope of rhythm and improvised piano. Written and recorded at home in Dublin, Colt was mixed by and co-produced with James Kelly (WIFE, Altar of Plagues) in Berlin in the winter of 2017. The dynamics of the production serve to temper layers of instruments, giving the compositions breathing room to match their pacing.

Growing up in an artistic household on Dublin’s Northside, Woods studied film and literature, dropping in and out of fine art school. In 2014, she returned to music to record in whatever free space was available in and around the city. A singular vision and tenacious creativity has seen Woods cross multi-disciplinary thresholds, exploring visual and performance art alike. In 2017, she was chosen as Dublin Fringe Festival’s “Wild Card” artist after writing a theatre piece from sound design. Whilst earlier in the year she was asked to compose original scores for horror film as part of the Irish Film Institute’s season celebrating the cinema of the Weimar Republic.

Colt was created as a way to process and make sense of the everyday,” Woods imparts. “As a means to speak with inner voices, explore aloneness, and understand the complexities of desire. As a vehicle for imaginative flight, as a quest for resilience and connectivity to the outside world, as a medium through which to journey into the present, to temper the mind and inhabit the body.”
Listen: Hilary Woods – “Black Rainbow”
https://www.youtube.com/watch?v=5POrYPT5xw0&feature=youtu.be

Pre-Order: Hilary Woods – Colt
https://www.sacredbonesrecords.com/products/sbr201-hilary-woods-colt

Tour Dates
June 11 – St Pancras Church, London UK
June 20th – Meltdown Festival, London UK w/ Moon Duo
Sept 14 – The Sugar Club, Dublin, IRL

Hilary Woods
Colt
Sacred Bones Records
June 8, 2018
LP / CD / Digital

1. Inhaler
2. Prodigal Dog
3. Take Him In
4. Kith
5. Jesus Said
6. Sever
7. Black Rainbow
8. Limbs

Apr 222018
 

 40% Record Store Day weekend discounts on Bass Agenda vinyl! Expiring tonight at midnight (UK time)

More Bass Junkie stock added!
Use code ‘rsd2018
at the Bandcamp checkout when you buy these releases

Detroit’s Filthiest (aka DJ Nasty) – Descent Into Darkness & Go Nuclear – Machine Learning
Carl Finlow & Dez Williams
Split EP
Bass Junkie – Low Frequency Fugitive EP
Silver vinyl
Alavux – Octagon EP
Includes free digital download of his Ambience EP
Franck Kartell – Alaska
Full length album on white vinyl
Transhumanism 2 – w1b0, RXmode, TFHats & Slaves of Sinus
Franck Kartell – Coincidences
Full length double album & poster
Dmitry Distant & Lectromagnetique
Split EP

40% Record Store Day weekend discounts on Bass Agenda vinyl! Expiring tonight at midnight (UK time)

Use code ‘rsd2018

Use code ‘rsd2018‘ at the Bandcamp checkout when you buy these releases

Apr 222018
 

 

SPECIAL VINYL/DISC DAY 2018
April 21, 2018

Dear friends,
For the 2018 Vinyl/Disc Day, we have prepared original rare items from our collection, in very limited editions with additional original prints, signed and numbered for collectors!
Please, order directly to baintotal[at]wanadoo.fr before the eBay auctions.
As everything is very limited, please, reserve your copies as soon as possible!

• “THE VISIONARY GARDEN 2”
190 pages hardcover book + CD (Ultra-Mail Edition/2005), plus one original unreleased 15×15 cm signed print on Archival Mat Canson paper (66 EUR excl. VAT) only 5 copies available :

• DIE FORM ÷ FINE AUTOMATIC
Double LP (Sold Out Deluxe Edition, Rotorelief), plus two A4 prints, 3 badges and one A5 print (79 EUR) only 1 copy available (N° 75/80) :

• DIE FORM ÷ FINE AUTOMATIC
Double LP (edition 2, Rotorelief) CLEAR VINYL, plus original unreleased A4 signed print on Archival Mat paper (49 EUR) only 5 copies available :

• DIE FORM ÷ FINE AUTOMATIC
Double LP (edition 2, Rotorelief) BLACK VINYL, plus original unreleased A4 signed print on Archival Mat paper (47 EUR) only 10 copies available :

• DIE FORM ÷ HURT
LP (edition 1, Rotorelief) RED VINYL, plus original unreleased A4 signed print on Archival Mat paper and original poster from 1984 (39 EUR) only 5 copies available :

• DIE FORM ÷ HURT
LP (edition 1, Rotorelief) BLACK VINYL, plus original unreleased A4 signed print on Archival Mat paper and original poster from 1984 (37 EUR) only 5 copies available :

• DIE FORM ÷ HURT
LP (edition 2, Rotorelief) BLACK VINYL, plus original unreleased A4 signed print on Archival Mat paper and original poster from 1984 (37 EUR) only 10 copies available :

• DIE FORM “InHuman” 2 LP
2 LP picture-discs BOX-SET (original Trisol Edition from 2004) with posters, plus original unreleased A4 signed print on Archival Mat Canson paper (66 EUR) only 3 copies available :

• DIE FORM “InHuman” CD
A5 CD BOX-SET (original Trisol Edition from 2004) with booklet, plus original signed print on Archival Mat Canson paper (39 EUR) only 3 copies available :

• DIE FORM “Poupée Mécanique”/”Sadia”
SINGLE 7″ (Limited original Bain Total / New Rose edition from 1988), plus original signed print on Epson paper (25 EUR) only 5 copies available :

• DIE FORM “The Hidden Cage”
MAXI 12″ PICTURE DISC (Limited original Trisol edition from 1998), plus original signed print on Epson paper (33 EUR) only 3 copies available :

• DIE FORM “Deep Inside”
MAXI 12″ PICTURE DISC (Limited 800 copies original Trisol edition from 2000), plus original signed print on Epson paper (33 EUR) only 3 copies available :

• DIE FORM “Zoopsia”
MAXI 12″ PICTURE DISC (Limited original Trisol edition from 2003), plus original signed print on Epson paper (33 EUR) only 3 copies available :

• DIE FORM “BACH PROJECT”
A5 CD Digipak (Limited 1900 copies original Trisol Edition from 2008) with booklet, card, plus original signed print on Archival Mat Canson paper (29 EUR) only 5 copies available :

• DIE FORM ÷ AKT (Sideprojects & Experimental Collection)
2 CD Digipak (Limited original Trisol Edition from 2001) with booklet, mini poster, plus original signed print on Epson paper (33 EUR) only 5 copies available :

Please, ask us for the shipping costs, depending on your delivery address.
All items are new, signed (and dedicated on request).

Thank you for your support,
all the best & amitiés,
Philippe & Éliane

Apr 222018
 
Attention Gang Members:

New EP: ‘Complicit’ OUT NOW!

Gang of Four today release a new EP, ‘Complicit’. Co-produced by the band’s Andy Gill, alongside Ben Hillier (Blur, Depeche Mode) and Ross Orton (M.I.A., Arctic Monkeys), the EP includes previous singles ‘Lucky’ and ‘Ivanka (Things You Can’t Have)’, with artwork that captures the President’s daughter alongside the Russian word for ‘complicit’.
Listen Now
Arriving ahead of a new studio album due Summer 2018, ‘Complicit’ follows a period during which Gang of Four have been referenced by everyone from St Vincent to Frank Ocean and James Murphy to Pharrell Williams. Lead single ‘Lucky’ is instantly identifiable by Gill’s serrated guitar, with frontman Gaoler’s ‘Gang of Four Everyman’ protagonist alternately piteous and self-aggrandising, freighted by a taut groove from Thomas McNiece and Tobias Humble’s rhythm section.

 

On ‘Ivanka (Things You Can’t Have)’, Gang of Four consider not only the poisonous invective of the White House, but the ways in which news stories are pollinated. Talking about the track – which weaves into its lyrics quotes from Ivanka and her father – Gill says; “It would’ve been easy to be extremely damning about Donald Trump and of course, like everyone else, I could have called him all kinds of names. What drew me to this subject at all was the running commentary from Ivanka in the earlier stages of this administration – it was fascinating to get a kind of explanation or justification from the daughter who had already been given an official position within the White House. And frankly, a lot of it was pretty funny. But although the characters in the Trump family are interesting, it’s more the ideologies and politics which they represent and enable which need describing.”

 

A need to constantly distinguish fact from falsehood also proliferates new track ‘I’m A Liar’. Says Gill; “Time passes, history moves on, the story moves on and the story will be told. And the Gang of Four tell it. Personal history and the story of the world around us. The world and its people are more fragmented and disintegrated than ever, but powerful arguments rage across social media. Like many of the songs ‘I’m A Liar’ wonders how we are supposed to differentiate between truth and un-truth. And when we tell the truth it’s denied: because everyone knows everything is made up.”

 

Complicit EP Track-listing

  1. Lucky
  2. Ivanka (Things You Can’t Have)
  3. I’m A Liar
  4. Lucky (10 O’Clock Chemical Remix)
TOUR NEWS

April 27th – Bologna, Italy  / Zona Roveri Music Factory
April 28th – Rome, Italy / Traffic Club Roma

May 14th – Buenos Aires, Palermo, Agentina / Niceto Club
May 19th – Mexico City, Cuauhtemoc, Mexico / Festival Marvin CDMX

August 3rd – Horten, Norway / Bueskytterbanen

October 5th – London, UK / 100 Club

Bandsintown
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