Feb 132019
 


Someone says that silence is an impossible condition. A confirmation could come by the renowned talent of French multidisciplinary artist Julien Bayle, who decided to isolate himself in the very quiet Mechanical & Acoustic Research Lab LMA-CNRS’ anechoic room during the summer of 2016 with the intent to explore his own inner silence during a difficult moment of his life. In this laboratory-like room, sounds don’t reverberate, as they get absorbed by the geometry of walls and their repetitive structures. Let’s see by Julien’s replies how the result of such a fascinating residency in this seemingly silent place turned into a very interesting release, Violent Grains of Silence (coming out of the Elli Records catalog), which can present possible evidence of what was stated in the beginning of this introduction.

Chain DLK: Hi, Julien! How are you?

Julien Bayle: I’m pretty fine and busy. Excited by this upcoming release on Elli Records and these pretty thick months I had from presenting my new 3D sound installation at the MIRA festival Spain, giving a couple of lectures and performing FRGMENTS in Buenos Aires, thanks to Museo de Arte Moderno de Buenos Aires, Institut Français and Leandro Frias + Jorge Haro.

Chain DLK: The very first introductory lines about your recent Violent Grains of Silence says that the first grains were born after a fugue from personal issues in an anechoic room during the summer of 2016… first of all, I hope those troubles (I don’t want to know which one(s)) are gone…but I’m more interested in knowing if you think sound art is effective…if so, how?

Julien Bayle: Well. It was a very hard time for me. I had already planned a couple of projects running at this time in the famous Laboratoire de Mécanique et Acoustique CNRS (Mechanic & Acoustic Research Lab, abbreviated LMA-CNRS) in Marseille, which was one of my main partners & collaborators at the time. I couldn’t cancel these projects and I decided to feed them with my darkest feelings at the moment. Like…for converting them into another matter, into another matter I could control and handle, from all my feelings to sound matter. The conversion worked well. I really felt and still feel this idea of being an artist is like being a collector, an antenna collecting and converting the load of spaces, of people.

Planned projects are still unreleased, by the way. One of them was the sound recording of very high acoustic pressure audio feedback loops with systematic variation studies between microphone & speakers. Larsen effects were recorded automatically with no one inside the room, in the dark, too, thanks to a Max MSP patch I programmed. It still has that HUGE sound bank of real physical audio feedback loops. I want to use them. This was the yelling part of the work at this special moment of my life. The noisy one. The howling part. Violent Grains of Silence is something else. It howls but with a very different raw matter. In a way, yes, sound art every time helps me to convert more or less personal and internal feelings, ideas, concepts into another material I can twist, tear up, stretch or shrink, cut or smooth. It is a way to retrieve a part of control, for sure.

Julien Bayle @ELEKTRA (Canada)

Chain DLK: Can you tell us more about this (17dB!) anechoic room and its specs where Violent Grains of Silence was recorded?

Julien Bayle: Anechoic conditions are often required by scientists for measuring how a piece of material reacts to vibrations, for instance. A space’s walls absorb mechanical vibrations in quite a wide bandwidth range.

If you are placed in the middle of the room and you speak or shout, you can hear your voice from inside your head, a bit through your ears as well, as the sound is traveling all along your face, but the sound doesn’t reflect in any way because it is absorbed by the walls. We are absolutely not used to hearing sounds in such conditions. Even in our kitchen, at the terrace of a bar, our voice is reverberating a bit, also providing us information about our immediate environment.

Specifications of this particular one in the LMA-CNRS space are very interesting and rare in the way that they’re very isolated, very absorbing. Thanks to Patrick Sanchez & Christophe Vergez from this prestigious lab, I could enter and work in this unique room. For the record, I consider an LMA as one of the most advanced places for artists to partner and work with.

This is the former research lab of emeritus professor Jean-Claude Risset, who I had the chance to meet when he visited one of my sound installations in Marseille, done with some students through a workshop I led in GMEM CNCM. Jean-Claude Risset combined both a conservatory & acoustic doctorate cursus. He was and still is very inspiring for one who believes that science and art are linked forever as a same way for describing the world. One way is just a bit more poetic than the other, but that’s the very same goal, in my humble opinion.

Chain DLK: Why did you release VGoS on Elli instead of your own imprnt VØID? Any words about it?

Julien Bayle: I wanted to make it living outside of me. VØID (http://void-label.net) is still currently my very own place. I haven’t released or produced anything from someone else. That could change in the near future, but at the moment, that’s it. I wanted to make VGoS as a kind of output. Something that could be from me but spreading outside; I cannot explain it differently.

ELLI is one of the most interesting labels today. They are both interested in algorithms / processes and results, too. Even if some people won’t know the underlying processes related to the EP, the label will talk about them, and consider them as a part of the piece. According to me, conceptual art is not the best way for creating a link, a communication with others. The artist is alone, with her/his concept. We can do lectures or meet people for discussion sharing, and it can help, but regarding a release, it’s often hard to do that.

In my case, I’m often alone with my concepts, ideas and feelings in my studio, but I more & more want and need to create links, share, discuss with people and connect with the audience. With that way of thinking, I felt very comfortable with ELLI releasing this piece because I know that the process won’t be ignored. It’s up to the audience to dig it or not, but the process will be like embedded. That means a lot to me.

Julien Bayle – portrait by Arina Essipowit


Chain DLK: I heard all the stuff you dropped on VØID…very interesting! Some questions about some of them… Unpredictable (VØID0001) focuses on the concept behind a quote (‘no center in the middle, but the center is everywhere’) by one of your artists…who? How does it relate to the sound you explored in that output?

Julien Bayle: [off the record] There is some confusion, as this descriptive text has been written for me by a friend, and the author of the album is myself. This album, silently released with absolutely no promotion or high exposure, is a collection of tracks done with my modular synthesizers & triggering systems only. In our very computer-centric environnement, I wanted to put some distances between myself and my previous creative practices. Indeed, until around 2015, I didn’t record any sound outside of my computer. Nothing was coming from outside. I wanted the sound to be completely synthesized and created bits per bits by my algorithms and software (i.e Max MSP’s patches).

This is a weird and harsh process. I wanted to have a global control over the whole synthesis, over the whole process. Even if I used a lot of modulations & interferences between signals to other signals, all was under control; my control. It was very related to my own personal life. I wanted to be sure, to be safe, to control. I was seduced by interferences between different elements in my music, but I didn’t want to let the system go by itself.
Then, 2016 changed a lot of things in my life, and I started to inject elements from the physical world, from my life, into the computer. I opened it up. I started to record sound outside, and also to record sounds and reuse them into other compositions. When students question me about that, they are often surprised by my answer, as I started field recording practice very late.

Chain DLK: The ninth track of Unpredictable was titled ‘anti anti 4’ 33″‘…should we consider and anti John Cage or an anti anti John Cage? 🙂

Julien Bayle: Maybe. It is interesting to see how 4.33 triggers “Cage”, btw.

Chain DLK: Both Unpredictable and CNTAMNT were made with machines; no computers, only machines. Such a choice has been described as a “specific radical dogma”… Could you explain such a statement/dogma? Are computers evil entities or what? 🙂

Julien Bayle: Dogma is not only related to sorting things as good on one side and bad on the other side. In this case, it was only related to the fact that I created a specific constraint to trigger new ideas & new creative processes.

I wanted to play with this idea of choosing radically to use only machines.
It was an experiment, as I would choose to use only this type of sound for making a track or this technique instead of the others. I never felt computers as evil. They are tools and should only be used as this. As any tools, they should be considered only as an extension of the hand, a new help, and a very powerful one. Granular synthesis and sound analysis are now so easy with a machine like a computer.

However, with the computer, you are in world where you cannot lose anything. That is good and bad, but this is exactly the same debate as writing with a pencil & paper versus typing with a text editor. We have backups, we can keep everything, all steps of a work, all elements, everything, even if it takes a lot of space on the drive. It is up to us, of course, to not keep anything, but computers make us feel sometimes uncomfortable if we don’t do that, and we are like trapped in a never forgetting anything loop.

Sometimes, I want to forget. I need it. Mark Fisher wrote a lot about that. I don’t want to keep everything. I think that concept will be present more in my creative processes. For instance, I can record a sound that I want to use as raw matter and I can start to modify it again and again, and I can keep each version related to each modification, but why? Just in case? Just in case what? I want to reverse the process?

This is a very engineering and scientific approach which, because of my background, I could like, but I won’t keep that one. Using machines could also be a way of not being able to save everything. Some machines have limited memories, or then, it is just a pain in the ass to retrieve parameters. I like that because it forces me to work on the machine itself, record sound and forget about the machine. This is what a machine can bring to me.

I still don’t understand people that want to remove the computer from the equation with no clear reasons and who often tend to reproduce exactly the same computer workflow with machines. This is nonsense, according to me.

Julien Bayle – portrait by Dennis Laffont


Chain DLK: The previous question and maybe the previous answer could collide with your appreciated activity as a programmer…is/was there any algorithm that keeps/kept you truly engaged for a long time?

Julien Bayle: Programming is only knowledge that helps me to do what I do. This is my tool. Obviously, all tools can be inspiring, in the way that they can provide new ideas, new concepts to be applied and thought, but these are tools. We are the thinking part, humans, artists. I used to build all what I’m doing myself. That’s a piece of work, but this is so specific that I cannot even use a program for doing that out-of-the-box.

For the FRGMENTS visuals system, I built the system with a Max/MSP framework. The patch I built is very flexible for what I need to do on stage, and it has some room for chance; I call that “constrained chance” (I let the program go to territories by itself, but I’m defining the outline). The design of the system took several weeks in my studio and it has been done during the sound composition process. It is a usual process in my audiovisual live performance creation. I have strong ideas in mind, I have prototypes and I have schematics on my sketchbooks. I start to design a sound piece. Progressively, parts, sounds themselves are recorded or sequences are written, and then I need to watch and see how the sound I started to spread could alter visuals, could influence and contaminate the visible generated matter. So, I need to go further with the visual system. I stop sound composition and I go further. Then, when it can react more than I’d expected, I challenge it by playing my sounds, altering them live exactly as I’d do on stage… Refining the visuals system, changing some sounds. And I’m doing that for each part, for each moment/context of my live performance.

Here is how I would explain a piece of my work. Diving deeply into the creative process. Of course, if I had a whiteboard, I’d draw some schematics for you now !

Chain DLK: Let’s go back to Violent Grains of Silence… is there something that makes this output authentically different from all your previous releases?

Julien Bayle: I think there are many things. The nature of the sound itself. Sounds have been produced using different kind of synthesis, sampling/resampling, and each channel was influencing other channels. This is very new to me, especially by using only machines. This makes the output quite unique. But that’s not the only thing. This is the first one in which I used floating tempos. I love to call it floating time. Music, every time, relates to time. We are fixing ideas on a time line, we are writing the story on a page. In this case, I used accelerations, decelerations. I like the idea of compressing / expanding the time itself. I’m about to work on a series of releases following these ideas.

Chain DLK: Do you remember any moment of those two hours of recording during which you had the impression/illusion of having reached silence?

Julien Bayle: This is an interesting question. Reaching the silence. Actually, even if I was in the room while the recording was running, even if I had been there completely silent my self, I wouldn’t have reached the silence myself.

The sound recording could approach this, as it doesn’t think. But me…?! If I think, I know. If I know, I know that silence can’t be reached, end of story.
It reminds me of Vercors’ Le silence de la mer. The silence of the sea. If the surface seems silent, the depth are full of moving and sounding creatures. If you know it, then the sea is not silent. In that case, I knew I have absolutely no silence in me, so the silence can’t exist. Our emotions are loading things. My emotions loaded this moment of silence as absolutely deafening and yelling.


Chain DLK: Would you say that this apparent refusal of algorithm and computational process in your current compositional strategy is a sort of refactoring (to use a term inherited from programming)? Should we expect some forthcoming changes of your sound toward something supposedly more “organic”?

Julien Bayle: We are refactoring and rebuilding every time. At each step of our lives. I feel a refactoring each time I start a new big project. When a project comes to my mind, this is because I made some radical decisions in a part of my global creative processes. So, basically, there is a more or less important refactoring. But I don’t think computational means not organic.

There is not a straight line for producing sounds with computer, or with any tool. Some very sharp mechanical riffs in Catch 33 Meshuggah’ album, for instance, sound like very algorithmic (especially because of poly rhythmic and poly-metres), but these are guitar riffs played by a human.
But if the underlying question was about my new sounds, I think my sound is going to more industrial and electric than before. This is also why I feel close to metal, in a way. If I had to oppose organic to industrial, I’d say that organic side, in my creation, comes from field recording. Field recording is a recording of reality, compared to pure synthesis, which is the less organic source. But for instance, my piece STRUCTURE presented at the MIRA Festival includes a lot of both techniques. Generative and self-evolving synthesis, merged with field recording of metal crackling, Chicago’s metro rails squeaking, some brutalist building’s big metal door slamming, etc.
From a listener’s point of view, I think this is different; we can pay attention to the globality of a track and, in that case, it is not because you put a very organic sound merged with very cold, pure, synthesized sound that the whole result will sound organic, or not.


Chain DLK: Is there any track of Violent Grains of Silence that you liked more for some reason?

Julien Bayle: Satu is one I like particularly.

It starts slowly, with no space; noise is listenable and also resonates in the reverb space itself. The colorful reverb I used includes a resonators network that makes it very specific and very singular. Progressively, the sound is like propagating in the space. Space is a concept I cannot stop digging. From a real space propagation to reverb (which are simulating the space), I’m interested in the perceived effect. With earphones, or a very good sound system, we can really perceive space, distance and the environment surrounding us. This is a very nice tool, as a sound producer, to express the idea of a sound traveling from a point to another, often telling a story related to time as it starts to travel and is loading itself with the space; it comes to a destination and has changed.

It is a very raw metaphor of us, humans. Traveling through time, progressively evolving, loading ourselves with people’s emotions, our own emotions and more. It reminds me the release I had the chance to do on the ETER Lab label a couple of years ago. I used a weird concept of noise provoked by wire parasites, and I was resonating the same reverb. The whole EP is done only with that. No sound sources, except parasites. It is “void propagate” on the ETER Lab: https://eterlab.bandcamp.com/album/void-propagate

Violent Grains of Silence (2018, Elli Records) – cover artwork

Chain DLK: Can you pick one track and (paradoxically?) explain it as if you were using it for one of your lessons as an Ableton trainer?

Julien Bayle: I would more explain that from the art & aesthetic point of view than technically only. I wouldn’t explain any track of this release from this point of view as I’m more like a guest art teacher than an Ableton Certified Trainer. Actually, when art & design schools or studios call me for me to teach a proper course, a masterclass or a workshop, this is because they want to understand two different things: what I use as triggers for my creative process and what the underlying technique is.

I cannot separate the technique from the creative process, and I don’t want to remove one of them. This is also, often, a test for me to challenge art school directors. I can see directly if they are repelled by technique or not, and it can drive to more collaboration or less. I’m not teaching pure thinking and I don’t want my students to only think about their project but to make it. Making it is important. I think we NEED the experience, the feelings. As soon as we think about the global outline of a project, I’m sure we need to start to build, test, trial, error, rebuild. From this point of view, I’m like an engineer, but I’m driven by the feelings and mood; these are my only measurements for evaluating and checking if my art coefficient is quite OK. If it is not, I have to refine, to recheck, to rebuild; which could mean more sound captures, less processing or whatever else.


Chain DLK: Any work in progress?

Julien Bayle: I’m currently working on a very new live performance. If I’m still touring ALPHA (very algorithmic from a synthesis and sequencing point of view) and FRGMENTS (very based on sound recording as raw matter, recombined and wrapped and processed live), I now want to merge both parts from pure algorithmic to pure reality recording (I mean sound capture, video capture).

I’m at a specific step at which I’m gathering all in the same place. ALPHA was me in 2014, FRGMENTS is still me in 2018 but I feel sparse if I don’t have my new projects including all parts. Probably the refactoring is that one now. I cannot say too much about the project but the name will be relative to STRUCTURE. This won’t be the live performance version of the installation I exhibited at MIRA. This will illustrate the idea of packing to the core, having the structure at the core of the piece. Gathering, aggregating, creating links between elements I felt were separated before.

This project’s aesthetic will have to express all these strong concepts of being exploded, destructed and refactoring, aggregating again, making the core infrastructure very solid. This is a big challenge. It will be audiovisual with a very strong link between sound & visuals. Sound will alter visuals, as in all my work. Visuals will be generated in real-time, and the system (the machine) will have room for random, which means it will “behave” as a partner, on stage. I will push it with the sound triggers and the sound nature itself. Depending on these, visuals will react. This is the room for uncertainty I inject in all my works: I have some parts I can control, some other parts are control by parts on which I think I have control and maybe there are differences between what I expected and the result; life runs like that, and this is why I design controls in my piece like that. Visuals will be a merging of 3D captures, models and visuals elements that will be rendered by the system.

This project will be very dark sounds, but probably more electronic music than pure experimental music. Besides this, I’d really like to produce & release a series of works relative to time, as I was writing before.

Visit Julien Bayle on the web here: www.julienbayle.net

Feb 132019
 

Following the positive feedback and some relevant matching with notorious bands/musicians like Massive Attack or Thom Yorke, Robert Toher recently deployed Demolition, the second album of his project Public Memory, through Felte. Delighted by its listening, we had a chat with Robert to get deeper into his sound and his release. Enjoy the reading!

courtesy of Robert Toher

Chain DLK: Hi, Robert! How are you?

Robert Toher: Hello. I am very well, thanks.

Chain DLK: Your music and your style are very interesting… I guess there could be many steps, but what’s the path (and I also mean the music you’d like to repeatedly hear in your earphones) you followed before defining it?

Robert Toher: Thank you. So, do you mean what is the path for the music I am interested in, and thus has inspired my own music? That could be quite a lot to write. When I was young in the eighties, I listened to a lot of music that my father would play. Old rock and roll, sixties and seventies music and such. In the nineties, as a young teenager, I got into punk and played in some punk bands, but also liked Tori Amos, Radiohead, NIN, Smashing Pumpkins, etc. As I got older and time drew on, I got more into things like trip hop, krautrock, jazz, ambient and experimental music. I feel like the music I make is naturally some kind of “reduction” of the many influences I have. Like many people, I’m not trying to make one set style of music. I just feel inspired and then make whatever comes out. I think you can hear some of my influences when you listen to Public Memory, but I also don’t want to simply imitate what inspires me. I like to try and capture inspiration, but intentionally end up somewhere else by the time it’s finished.

Chain DLK: The media has compared it to Thom Yorke, Portishead, Massive Attack and many more… Many artists don’t like this kind of matching (even if generally it’s made to give an idea to readers of reviews of what they’re going to hear)…is there any comparison that you think fits your sound?

Robert Toher: I don’t mind these kinds of comparisons. If I am really into a record and I want to tell a friend about it, I will naturally make comparisons of some kind, so that my friend will have an idea of what I’m talking about. They are reference points. If someone hears something in my music, that’s OK with me. I don’t particularly associate my music with “goth” music and I find it odd when there are comparisons to Clan of Xymox and Dead Can Dance and things like that. But if that’s what someone is hearing, who am I to say they’re wrong? Again, I have been inspired by a lot of music over the years, and of course some of that comes out in what I make. But I don’t want to find myself playing a “style” of music, which I think has been happening a lot over the last few years, especially in the realm of so-called “goth” bands. There’s a lot of nostalgia, lots of pretenders wanting to sound like this band or that. That’s fine, but personally, I’m not into that. Maybe one day I’ll do a stylized record, but I’m not sure if I’d release it under the same name.

courtesy of Robert Toher

Chain DLK: Before digging deeper into your recent album “Demolition” that I am recommending to our readers in these lines, can you give a retrospective of your past outputs as Public Memory (in particular with the likewise good Wuthering Drum) and their possible connection with Demolition?

Robert Toher: I first released the Public Memory debut Wuthering Drum in 2016. I had left NY in 2014, moved to LA and began writing an album. I finished it in 2015, and a year later it came out. When I made that album, I was trying to find something new, getting away from what I had contributed to my older bands, ERAAS and APSE. I limited myself to one synthesizer, and had some other rules about having a limited palette when I was writing and recording.

A year later, I released the Veil of Counsel EP, which is comprised of two outtakes from Wuthering Drum and one other song that was written very quickly (“Afterlife”). At the end of 2018, I released Demolition, which had taken me about 18 months to write and record. For me, that’s a little bit too long. The next record, hopefully, will come together a bit faster, but of course, it will take whatever time it takes. I am working on something more minimal, back to a limited palette, and shorter songs at times.

Chain DLK: Any relations (even just metaphysical or conceptual, so to speak) with the outputs while you were in ERAAS or Apse?

Robert Toher: Not especially. In my contributions to ERAAS and APSE, I was always drawn to darker themes and sounds, but all the people in those bands were also exploring those things. Public Memory is more electronic than the other bands I was in, but I approach writing for Public Memory as just songs, and they turn out however they do. I try not to steer it too much. I just work, and what comes out, comes out. I find that to be better than setting out with too much of an idea in mind, because if you just write and enjoy it, I find things will usually just come out naturally.

Chain DLK: The opening of “The Line” sets the listener’s mind on something that sound a bit contrasting to me…that sort of aware self-seclusion and lucid insight seems to contrast with a musical movement that sounds like following a gradual uprising… Do you agree with such an analysis or not?

Robert Toher: It isn’t the same for me, but I can’t say I “disagree.” This is simply what your experience has been, and that’s fine for me. “The Line” to me is about flying over different scenes in my life, different neighborhoods, different experiences, and watching from above, or watching from right next to myself. Taking on a spiritual form and revisiting the good, the bad, the neutral and the other, over the course of one’s life.

courtesy of Lisa Andrews

Chain DLK: The general atmosphere of this song sounds closer to the sound of Blue States’ soundtrack for 28 Days Later instead of the above-mentioned comparisons by the media, in particular, in the use of that thrilling whistle (a theremin?)… What’s the source of that sound?

Robert Toher: I’m not familiar with that soundtrack. I do know that there was a GYBE song on it, because I saw the film back when it came out. I don’t listen to a lot of GYBE these days, but I am very fond of F# A# Infinity and Lift Your Skinny Fists Like Antennas To Heaven. Both of those albums were very important to me when they came out. I have seen GYBE a few times, the most memorable being in December 2000, when they played at Bard College in upstate NY in the “Old Gym” and Will Oldham opened the show with The Dirty Three as his backing band. I was floored by that show.

Also, the sound you’re talking about is a synthesizer.

Chain DLK: Massive Attack’s possible influence (particular the MA of 100th Window) came out on the following Red Rainbow… A nightmarish atmosphere that was inspired by a nightmare, by paranoid thoughts or just by reality?

Robert Toher: I should listen to more Massive Attack. I know some of their more popular songs, but in trying to listen to the records, they didn’t really pull me in. No offense to them or their fans… I just never got big into them.

Red Rainbow was inspired by the concept of forces at work behind the scenes which contribute to your perception of reality. What’s real and what’s not, who’s in control, who laughs last. You can run but it follows you.

Chain DLK: The specific way by which your voice gets recorded in your songs could remind some of dark/gothic outputs…. Is there a reason that explains such a choice?

Robert Toher: I think the style of my voice is informed in part by my influences and in part by what comes naturally to me when I hear a bit of music I’m working on and I just respond to it, vocally. I also am not a fan of “direct” vocals (once in a while, this is fine). But I like effects. Like so many others, I have always enjoyed vocals that have delay/spring reverb/etc. But I like vocals to convey a feeling without the listener needing to know the lyrics right away. It’s more immediate to me, more interesting. That’s hard to do without singing a certain way, and that’s hard to do without effects. Yes, there are some that do it well without any of those things. But for me, I like to use effects to impart an emotional nature and a mood to the feel of the vocals. It only adds further depth to it when someone reads the lyrics later. But for my music, at least right now, the lyrics don’t need to be crisp and clean and up front. I like them to be another instrument in the music, a character with a role to play, even though that sounds a bit pretentious – that’s what I want out of it. That doesn’t mean I want to take a reverb pedal and turn everything up all the way and mumble into the microphone. There is still a presence in the lyrics, a foothold to the vocals. So while I don’t want them to be a wash of reverb and unintelligible syllables, I also don’t want them to be so absolute. They should exist somewhere between the two – and that creates a feeling and a purpose that’s very important to me.

Chain DLK: The only exception to the previously described style is “Falsetto”. That sounds pretty self-ironic, as it’s maybe the song where there’s no trace of that sort of androgynous falsetto you often used over the album…why?

Robert Toher: Hmm, I disagree. I think there is falsetto in that song. The title had nothing to do with the singing style in the song; it just fit and felt right. I don’t see how it stands out, in terms of its vocal style and approach. I suppose during the verses I am a bit more in a “talking” range of my voice, but it goes up and down – and later, toward the end, it goes quite high. I wouldn’t mind having a shimmering, delicate but powerful voice like Jeff Buckley. I don’t, but I try my best to get by with what I do have. 

Chain DLK: Are there any religious or mystical references in the Trick of the Light lyrics? Can you share the source for inspiration for writing that song?

Robert Toher: There are a few references there… It’s all in the lyrics, which are available in the physical copies of the album. That song is about getting older, being true to yourself and coming back to nature, but also, in the process, isolating yourself. I guess it’s about preparing for death, but I don’t think in a dark way. It’s bittersweet.

Chain DLK: What’s the line joining together all the songs of Demolition? Why did you title it Demolition?

Robert Toher: Lyrically or figuratively? Lyrically, maybe from “Trick of the Light”, where it says “turning out the lights on your illusion” – which is also the last line of the album.

I called it Demolition because the album is about renewal. In the context of relationships, but also simply within the self. It’s a story of coming-of-age, but not a young age. Just, getting to a certain point on various timelines where important and unforeseen things converge at once. It’s about love, failure, paranoia, spirituality and death.

Chain DLK: Are any songs from Demolition that are going to be rendered into video clips?

Robert Toher: No.

Chain DLK: Any plan of bringing it on live stages?

Robert Toher: We did a west coast tour in November, and we have some plans for the US and potentially Europe this year.

Chain DLK: Any work in progress?

Robert Toher: Yes. A new PM album, some remixes I’m doing for bands I like, and another little project I’m working on. 

 

Check out Public Memory on Soundcloud and Facebook

 

Jan 282019
 
"17 Encores" follows the previous
work by Daniele Bogon (published exclusively in digital format and
with the name Alley), enriching the 10 tracks contained in "17" with 5
other tracks.
Through an imaginary landscape made of soft lights
and shadows, between moments of total abstraction in the Absolute to
more evocative moments of cinematic inspiration, the intimate and
personal soundtrack that develops in the first 10 tracks of this album
lead the listener in his inner journey, directed to the center of his
own private and hidden universe.
The surrounding sound space is
created with the fusion of piano notes, strings and synthesizers in
balance with elements of field recording and studio
work.
"Encores", the second part of the album, presents five new
tracks of a more electronic and experimental matrix, including two
reworks; the first, "Batman is Bruce Wayne" is the version of the song
as proposed in the audio/video live set; the second "Airport" sees the
participation of Push Against New Fakes who has decomposed the song by
reconstructing it in a completely new form.
The front cover and the
design of "17 Encores" and the single "Batman is Bruce Wayne" are
designed and made by Valeria
Salvo.

https://www.facebook.com/danielebogon

Jan 272019
 
The first OM tape of this
year will be released on 31/01/19 – the second part in our ongoing
Echonomy Split Series, which might be only a split of sorts this time:
Le Mépris/Le Mépris. 

40 tapes + DL-Code, artwork, as always, from
Dicey Studios.

Look and listen:
https://otomatikmuziek.bandcamp.com/album/echonomy-split-series-2

Echonomy Series is looking to select works already released
in small editions or download-onlies and to recontextualise them. The
recordings put together here are from one and the same artist – or
are not, considering that 10 years have passed between sides A and B
and Le Mépris might be rather a means for creating music than a real
person.

Around 12 years ago, when a crowd mostly socialized
with electronic music discovered classical instrumentation and new age
composition, Le Mépris was subject to a minor media hype. The persona
Reiko Matane was too good to be true: a young, fragile japanese woman
with an alias from a Godard film creating exquisitly solemn piano
miniatures, replacing Tokyo’s constant humming with solitude,
creating a music as fragile as expected from a girl and as cool as any
given dude’s selected classical ambient vinyl collection. No one
wondered.

Back then, the real person behind Reiko and me sat
down over a drink on a few occassions and wondered, but mostly, I was
happy that my friend’s music got the attention it deserved, because
nonetheless, Le Mépris‘ music is one of a certain solemnity and sad
elegance. Its melancholy is excessive in that it leaves no room for
any other feeling, it is cleansing; a kind of no-prisoners-taken
ambient music you have to listen to, even if you attempt not to.

Now, Le Mépris is back. The two new pieces premiering here as a
counterpart to a selection of previously released tracks find Le
Mépris crawling deeper down into the dark realms of solitude; gone is
the innocent pop appeal of the former releases. While delay and reverb
were accompanying voices in the past, leaving ghostly traces of piano,
these dynamics have vanished in favour of effect-laden dirges where
the piano of ten years ago is more like a mirroring input for a
growing, self-feeding system. These new transmissions are recalling
the old recordings, they are a recorded memory, an ancient organism:
lowest possible movement, polyphone rustling and humming, a music
working on getting silent.

Marc Urselli

www.marcurselli.com
info@marcurselli.com
+1 (917) 470 1170

 www.facebook.com/marcurselli
 www.linkedin.com/in/marcurselli
 www.myspace.com/marcurselli
 www.twitter.com/marcurselli
Other sites by Marc Urselli:
LIVE MUSIC in NYC: LIVE www.marcurselli.com/live
FOOD AROUND THE WORLD: www.marcurselli.com/food
WIND for KITESURFERS: www.marcurselli.com/wind
EASTSIDE SOUND STUDIOS: www.eastsidesound.com
EXPERIMENTAL MUSIC MAGAZINE: www.chaindlk.com

This is a private email address, please do NOT add this email to ANY mailing list without consent!
Please do not print this message. Save paper, save trees, save the environment.
Thank you.

Jan 242019
 
Norwegian visionary artist MORTIIS
proudly announces his return to North America in 2019! The godfather
of dungeon synth is set to embark on a 10-date trek from March 28th to
April 7th 2019.
After playing in Europe (including several
festivals), Russia, Australia, Mexico and South America, MORTIIS will
perform his Era 1 material in USA and Canada for the first time in
almost 20 years.

"It’s been almost 20 years since I toured
the US under the Era 1 version of Mortiis, so it seems like it’s
about time to do it again. I’ve been traveling around Europe and
parts of the rest of the world, performing the re-invented ‘Ånden
som Gjorde Opprør’ (The Rebellious Spirit) album, and at long last
I’m bringing it over to North America as well".

MORTIIS 2019
US TOUR

Mar. 28 – Baltimore MD
Metro Gallery

Mar. 29
– New York NY
Brooklyn Bazaar

Mar. 30 – Worcester, MA
The
Raven

Mar. 31 – Montreal QC
Petit Campus

Apr. 01 –
Toronto ON
Velvet Underground

Apr. 02 – Joilet, IL
The
Forge

Apr. 04 – Seattle, WA
El Corazon

Apr. 05 –
Portland, OR
Hawthorne Theatre

Apr. 06 – Oakland
CA
Oakland Metro

Apr. 07 – Los Angeles CA
Lodge
Room

Tickets will be on sale Monday 17thth December 2018 at
9:00am Pacific (PST), 12:00 noon Eastern (EST)
here:
https://www.bandsintown.com/en/a/5204-mortiis

Marc Urselli

www.marcurselli.com
info@marcurselli.com
+1 (917) 470 1170

 www.facebook.com/marcurselli
 www.linkedin.com/in/marcurselli
 www.myspace.com/marcurselli
 www.twitter.com/marcurselli
Other sites by Marc Urselli:
LIVE MUSIC in NYC: LIVE www.marcurselli.com/live
FOOD AROUND THE WORLD: www.marcurselli.com/food
WIND for KITESURFERS: www.marcurselli.com/wind
EASTSIDE SOUND STUDIOS: www.eastsidesound.com
EXPERIMENTAL MUSIC MAGAZINE: www.chaindlk.com

This is a private email address, please do NOT add this email to ANY mailing list without consent!
Please do not print this message. Save paper, save trees, save the environment.
Thank you.