Andrea Ferraris

Apr 292012
 

Chain D.L.K.: What about the Japanese disaster of Fukushima. How has it affected your life and that of those you know…for us western people it’s still not easy to understand how it all is evolving..

Koji Asano: Actually the disaster changed all our life in Japan not only people in Fukushima. After the quake and radiation problem in Fukushima on March 11, I had to evacuate with my family to far south city of Japan by plane on the next day, March 12. Then we had to stay there few weeks to see the situation. During days of nuclear disaster, I had to collect information from international press like New York Times, BBC through internet. Because Japanese press and government opened very limited information – often wrong or false – about the disaster. We have a long history of natural disaster in this island, Typhoons, earthquakes and others. But this time with nuclear is completely
different from them, it’s a human disaster caused by the huge nuclear industry strongly connected with the government. Many people in Japan clearly realized that we have so dangerous political system through the disaster

Chain D.L.K.: Why have you created a label to put out your own releases? I’m sure you would have never had problem to find some label to put out your materials

Koji Asano: In 1993-1994, I was looking for some label, when I was 19 – 20 years old, to release my first album “Solstice”. I didn’t know anybody in the music industry and I couldn’t really wait for someone showing up and release CD for me, so I had to publish by myself by creating a label Solstice Records. Because I really needed to release that first CD “Solstice” to go forward – to compose next album. Maybe that’s my problem that I can’t change. Still the same now but I really wanted to release lots of work from that time, and once I completed new work, I had to release it. It’s like I compose music to release, and I release it to compose next new work. So creating my own label Solstice Records was a quick solution for that.

Chain D.L.K.: Why have you changed so many styles? You have a classical training,  right? By the way, the most of your works are electronic oriented but you also played prog-rock, field-recordings, classic music, etc.

Koji Asano: I learned piano when I was a child but otherwise I’ve learnt by myself including theory stuff, no music school nor real training. I used to play Piano, Violin, Guitar and my singing is really terrible. Mostly it’s electronic based music, but when I have ideas I try any form of music, even piano, bands, or insects like “Galaxies”. As I’ve said in the previous answer, I would like to challenge different things to go forward to the next work. At least I would like to try to do my best for that style at that moment. In that sense, all 46 albums are different styles for me. Nowadays I have 2 ways to make music, computer processed music or score writing based classic music for classic instruments. And these years I’m more interested in composing for classic instruments, I found lots of possibilities with them, inspired by fantastic classical musicians I worked with in Japan and Europe. I write score almost everyday and I turn on computer once a week to compose electronic music. Simply writing score takes more time than computer processing electronic music. I would like to compose orchestral works like symphonies, eventually.

Chain D.L.K.: Some years ago you were hyperactive, now it takes more time before  you put out a new recording? Just a matter of inspiration or you simply changed your working process?

Koji Asano: Working process and pace are the same but here is the situation: 2007 was a dark year in my personal life with lots of troubles, but I finally survived that year and I needed whole 2008 to rebuild my life. Then I spent 2009 training lot to participate a marathon race (I love running since 1998), and finally the situation and circumstances became fine, I could release 44th “Galaxies” in 2010 which I completed most part in 2006. However through in these dark and rebuilding years, I was very healthily so I kept composing all the time but I couldn’t just release them as CD. So I have several stocks now. Last year 2011, I could release more albums because I had finished more titles including classical instruments recording, but due to the disaster of March, it was limited to release only 2 albums 45th “Solstice Eclipse” and 46th “Polar Parliament”. I hope to put out more materials this year.

Chain D.L.K.: hey I’m a runner too (not marathon by the way)..a friend of mine  says that those who chose to run have always something/somebody to  run away from and a lot of time to think…he says somehow it’s a psychedelic sport..what do you think about it?

Koji Asano: Yes I agree, it has a psychedelic and addictive. Running is really important to me physically and mentally. I can’t compose without running. The reason I started running was quite simple, when I was my mid 20s, I questioned myself that sitting all day in front of computer to compose was not quite good, in general. Then I soon became a serious runner because I realized I needed to run to keep composing in healthy way. I felt that way because mostly in every country, I saw some people in the art/music scene who is getting stuck in alcohol and/or other addiction. And it seems to me that when they get older, more they need it. How to deal with creative stress might be different for each person, but in my case, it worked. Running keeps me sane and creative. The more I live in heathy condition, the more I can compose, it means more chances to create better works. Last year I stop drinking alcohol to run better, I also swim and do gym training almost every day. I learned a lot of things through running, I could have actual ideas and inspiration in many ways, not only for music but also for life things and stuff. I could have real feelings of the Earth’s rotation and revolution, season’s changing, especially when I run in the dawn or in the evening falls. Anyway, it’s just fun. I’m a slow runner but it’s just great.

Chain D.L.K.: Here in the west of the world we tend to consider Japan a really strange country, for example, lately a japanese musician living in France told me how hard is in a country like yours to enter in the productive process once you’re out, above all if you’re a bit old. What can you tell us about it all?

Koji Asano: Please allow me to confirm I’ve understood your question before I answer: you mean that, an artist in Japan is hard to continue productive activity if he/she once stop creating, or if he/she is out of Japan? or it is hard to enter to the Japanese music/art scene if you are not in the scene all the time? I couldn’t clearly understand it, so please let me know. Anyway, sure it is extremely strange country! that’s true.

Chain D.L.K.: I was meaning for a japanese worker in general, not just a musician… an average worker…

Koji Asano: Ok, in general – I think it’s strange country and the society has quiet extreme side. I would like to point here that people in Japan don’t realize how strange we are, compare to the rest of the world even in this internet age. And my concern is the average Japanese worker become more and more like a robot, under too controlled society like 1984 world. It’s really terrifying.

Chain D.L.K.: What are you planning for the next future?

Koji Asano: I will continue to compose, writing score in the morning and processing sound wave in the night and release them every year. Also start again live performances this year as I stopped to perform these years for same reason with CD releasing. It’s been 8 years since we moved to Japan from Spain, although Japan is very interesting country in a sense, I would like to move to other country (Europe, America or anywhere) in the future when I get any opportunities. These days studio equipments are quite compact and for me and it doesn’t much matter where I live to compose. so I’m very interested to discover new situation.



visit the artist on the web at:
www.kojiasano.com

Apr 262012
 

SLEEP RESEARCH FACILITY | Stealth 2 x CD (CSR159CD) £13.50 / £14.50 / £15.50

Shipping: Now
Sublime new album from the drone / dark ambient legend. “Stealth” presents itself as an exploration of sounds neither here nor there, textures camouflaged against their own background noise, and the distant crackling telemetric code-speak of a vague humanity hidden behind a cloak of deadly high-technology. Five deeply-layered extended tracks, mixed and edited from re-sampled location recordings originally captured inside the hangar environs of a Northrop-Grumman B-2 Stealth Bomber, during a period of downtime maintenance at a U.S. Air Force base in Cambridgeshire. Original field recordings and texture preparations by FOURM / Si_Comm. First edition pressing of 1000 copies includes bonus disc comprised of this *pre-mix* material in its original, un-edited form, as a representation of the source audio from which “Stealth” was reconstituted. Deep listening inspired by one of the most mysterious aircraft of the 20th century. Headphones recommended.

[MP3] / [MP3] / [MP3]

BURIAL HEX | Book Of Delusions CD (CSR166CD) £10 / £11 / £12

Shipping: Now
During the period in which Clay Ruby first began working on this piece of art, he had become so completely surrounded by evil and deception that he was forced to begin summoning a particularly extreme and ancient force of protection and vitality just to make it alive through the end of 2008. Aside from spiritually fortifying Ruby’s life, the complexities of these new elemental entities brought with them circumstances causing a much more rich and intense recording experience than he could have ever composed on his own. Classic horror electronics and post-industrial apocalyptic soundscapes with unsettling notes, anguished cries and voices of the dead. His most ritualistic album yet. Reissue of the extremely limited LP with bonus tracks taken from the split LPs with Kinit Her and Zola Jesus, all available on CD for the first time! All tracks have been carefully remastered.

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SAGITTARIUS | The Kingdom Come CD (CSR152CD) £10 / £11 / £12

Shipping: 30th April
Recorded between 2008 and 2011 and influenced by the intellectual world of the German poet Stefan George, “The Kingdom Come” contains 18 songs with a playing time of 65 minutes. With Sagittarius now grown to a full four piece line-up featuring new members Herr Twiggs (Kammer Sieben) on vocals and Theresia W. on oboe, and once again assisted by a number of highly gifted guest musicians, including sG (Secrets Of The Moon), Dev (While Angels Watch) and Josef K. (Von Thronstahl), Sagittarius has managed to conceive a unique and outstanding album in the tradition of the classic European Art Song, blending sophisticated neoclassical compositions with a touch of suicidal folk noir.

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SLEEP RESEARCH FACILITY | Stealth T-Shirt (CSR169TS) £13

Shipping: Now
Stunning new shirt to celebrate the new album from the drone / dark ambient legend. Highest quality black shirt with ‘stealth’ blueprint design in white. Check website for available sizes.

BURIAL HEX | Book Of Delusions T-Shirt (CSR168TS) £13

Shipping: Now
Cvlt new shirt celebrating the ‘Book Of Delusions’ album from Burial Hex. Features the album design in white on highest quality black shirt. Check website for available sizes.

PSYCHIC TV | Ov Power CD (CSR160CD) £8 / £9 / £10

Shipping: Now
Live at Klecks Theatre, Hamburg, 16th September 1984. Originally issued as a vinyl bootleg in 1985. Fully remastered and expanded. PTV at their most Industrial.

PSYCHIC TV | Paramartha CD (CSR161CD) £8 / £9 / £10

Shipping: Now
Live 22nd September 1984, Pandora’s Music Box, Rotterdam. 1985 bootlegs ‘Paramarth’ and ‘Unclean’ remastered to create the full live show for the first time.

PSYCHIC TV | Batschkapp CD (CSR162CD) £8 / £9 / £10

Shipping: Now
Batschkapp, Frankfurt, West Germany, 10th December 1984. Originally a bonus CD with “Were You Ever Bullied At School…” (CSR27CD). Not available for 12 years.

LULL & BETA CLOUD & ANDREW LILES | Circadian Rhythm Disturbance Reconfigured CD (CSR139CD) £10.50 / £11.50 / £12.50

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Shipping: Now
LULL (Mick Harris of Scorn, ex-Napalm Death) and BETA CLOUD (Carl Pace). Billows of powerful bass drones. Includes a remix track by Andrew Liles (NURSE WITH WOUND).

KREUZWEG OST | Gott Mit Uns CD (CSR141CD) £10 / £11 / £12

[MP3] / [MP3] / [MP3]

Shipping: Now
Michael Gregor (SUMMONING / AMESTIGON). Pounding drums surrounded by trumpets and swirling voices. Martial Industrial to Classical sounds, from deep Ambient to cinematic anthems.

HELDENTOD | The Ghost MachineCD (CSR131CD) £10 / £11 / £12

[MP3] / [MP3] / [MP3]

Shipping: Now
Death industrial and power electronics, with themes of ghosts, ancestor worship, human sacrifice, neolithic fertility rights, unseen dimensions and inhuman intelligences.

FORTHCOMING RELEASES:

HIRSUTE PURSUIT feat. BOYD RICE – ‘Boyd Keeps Swinging’ 12″ (CSR157EP)
HIRSUTE PURSUIT – ‘Tighten That Muscle Ring’ CD (CSR158CD)
AX – ‘Metal Forest’ CD (CSR167CD)
NDE – ‘Kampfbereit’ CD (CSR164CD)
ALL AVAILABLE COLD SPRING TITLES

MACHINEFABRIEK
• 28 Apr-25 Jul 12, Europe (NL / BE / AT)

IRON FIST OF THE SUN
• 3 May 12, The Victoria, London – with Shift, Hal Hutchinson

SKULLFLOWER / PRURIENT
• 4-6 May 12, 30 Years Of Broken Flag, The Dome, London.
– with Ramleh, Skullflower, Consumer Electronics, Con-Dom, The New Blockaders, Kleistwahr, Le Syndicat, Grunt, Sigillum S

STEVEN SEVERIN
• 8 May – 5 Jul 12, ‘Vampyr’ tour. (UK / IE)
• 25-28 May 12, Wave Gotik Treffen, Leipzig (DE)

MERZBOW AUSTRALIAN TOUR
• 10-13 May 12, Australia

SKULLFLOWER
• 12 May 12, The Old Hairdressers, Glasgow – with Fordell Research Unit

BURIAL HEX
• 6-7 Jul 12, Industrial Liberation Festival, Allston, MA (US) – with Deutsch Nepal, Bain Wolfkind, Theologian

ROSE ROVINE E AMANTI
• 17-18 Aug 12, Dark Bombastic Evening, Transylvania (RO) – with Of The Wand And The Moon

WOODLAND GATHERING II
Z’EV
• 17-18 Aug 12, Fell Foot Wood, Cumbria, Lake District – with Faust, Zoviet France, Black Sun Drum Corps, Human Greed, Cindytalk, Hati
+ COLD SPRING STALL

TOWER TRANSMISSIONS II
SUTCLIFFE JUGEND
• 22 Sep 12, Club Puschkin, Dresden (DE) – with Sektion B, Cindytalk, Antlers Mulm, Division S

Mar 182012
 

 

 

 

Chain D.L.K.: Can you remember anything about your early days/years as a band? You already sounded personal on your first 7″, but nothing compared to the metamorphosis you crossed later. You’ve changed many line ups (you were the only permanent member) but at the sime time you never gave the impression of a Densley’s dictatorship…

Gentry Densley: Everyone brought something to the table in Iceburn.  There was always discussion and discourse and sharing of ideas and influences.  So yeah, it wasn’t a ‘you do it my way or you’re out’ kinda thing.  It was more a ‘what about this or try this or that’ type of forum.  There were very large concepts in play as well, when I presented my ideas it was usually received with, ‘cool, lets try it’.  And ultimately my personal filter definitely shaped the end results but that filter was influenced by everyone in the band’s taste and ideas as well.  When the band worked its best there was a mutual respect and a mutual inspiration and pushing of each other to explore and expand and excel.
Chain D.L.K.: What influenced you all to follow such an unconventional musical path, I’ve always found interesting you were so unique while at the same time growing in Salt Lake were half of the population is mormon. I remember you used to study jazz at school (or you were working at the jazz department while at school?) but what about the rest of the band?

Gentry Densley: Yeah, I was studying music at the University of Utah, classical, avant garde, jazz, theory… and focusing on my degree in composition.  A bunch of people encouraged us to follow our own path, from my professors like Paul Banham, to Pete Hines (Cro-Mags drummer), he turned me on to King Crimson and the world of prog rock.  I was also working in the music library to pay the bills so I had access to loads of scores and recordings.  Most of the other guys in the band were also studying music either formally or privately on the side.  I met Greg Nielsen, the sax player in the early years, up at the U.  We had a lot of the same classes.  Doug Wright was studying upright bass.  The later drummers Dan Day and Chad Popple both studied at Berkelee together.  But if I think back “Chubba” Smith, the first drummer, was studying Greek philosophy and mythology at the U and those ideas shaped the music as much as anything else.
Chain D.L.K.: The most of the shows you played have been played with hardcore punk related bands/people/venues. You’ve always had a solid base of fans but I think you disoriented the audience. What do you remember about those days, any funny experience you can tell?

Gentry Densley: We have played a wide variety of shows … even acoustic things in the desert or mountains or events at art galleries or universities what have you.  But a majority was in the hardcore/punk scene.  I remember one time in Connecticut during the Land of Wind and Ghosts tour, we were playing pretty far out, free noise kinda stuff.  Well in the middle of our rather intense set someone threw a bagel and it hit me and bounced on to the drums.  The drummer at the time picked it up and was about to take a bite, but I was pissed and I saw these guys laughing leaving out the back so I unplugged my guitar and held it in my hands like an axe and stormed through the crowd while the band kept playing.  I went outside and asked the dudes if they had a problem (still holding the guitar like a weapon).  They backed down and denied any involvement, anyway I had a surge of adrenaline and went back up on stage and plugged in and just started screaming in the pickups.  It turned out to be one of the best shows that tour as far as crowd response afterward.  People either loved or hated us, extremes, ice and burn I guess.  Another funny story was when we played in a small town in Czech Republic and this guy came up after all excited we couldn’t understand him so someone translated.  He was saying, “You play like a Bitch, but I love it!”  I guess thats a compliment?
Chain D.L.K.: Following the different metamorphosis of the Iceburn Cllective, and thinking to what followed, I mean Ascend and Eagle Twin I’ve had the impression in some way you went back to the roots of rock. It’s something that happens with a lot of musicians. Is it related to the coming of maturity, I mean the fact to go deeper to the “place” where you belong?

Gentry Densley: Yes surely, Iceburn was all about exploration and pushing the music beyond yourself.  The idea that when you lose yourself in music is when you start to find yourself in music.  (got that from John Mclaughlin and it made its way into the lyrics on Hephaestus)  So in my personal musical arc I came back around to my roots and yes it all felt ‘deeper’ and enriched by all that I’d learned.  That’s the place to be, feel at home in your place but open to the rest of the world.  I think you eventually develop your own language and you can still incorporate all the ideas that move you in music but when it comes out its in your own unique voice.
Chain D.L.K.: I’ve heard beside the music you work as a librarian in a jail right? I think it’s an interesting job, can you tell something about it? Do the prisoner know about your musical activities?

Gentry Densley:Yeah its a very interesting job and pretty rewarding, you’re always someone’s hero because you’re bringing them books to read.  Even if they don’t really read I’ll hook people up with magazines or art books to occupy their time and their minds.  Every once in a while I’ll get someone who says they saw me play a show or tells their cellmate that the librarian is a rad guitarist or something.  Actually I’ve seen a few fellow musicians end up in trouble and end up in jail for a bit as well, if you can imagine.  I’ve been working there close to 10 years, and its good to be constantly surrounded by books, it gives me lots of song ideas.  The jail library was where I first discovered Crow by Ted Hughes.
Chain D.L.K.: What would you like to accomplish in music you still haven’t managed to reach? and is there a new “direction in music”? Which?

Gentry Densley: Thats a tricky question, I think I’m always trying new things.  And I’ll take the music any direction that I desire.  I have a few things on the side with Ascend and ym solo stuff and even a budding project with my brother Tyler Densley (who was frontman for Lewd Acts)  I guess what I would like to accomplish in music is to simply continue doing it and continue to love it and be challenged by it and take it wherever feels real and right.
Chain D.L.K.: In  general have you ever happened to suffer a sort of old day nostalgia? Both as a musician and a listener ever caught yourself thinking “holy shit, present music sucks…yesterday music was ten thousend times better!”?

Gentry Densley: Sure, I’ve felt that on more than one occaision… but I’ve also had the experience of thinking “Wow, there’s some pretty cool shit going on right there, right now.”  I think in this day and age with the ease of media proliferation we’re bombarded with so much and the quality control has gone out the window a while back.  There is some real good stuff out there but you have to sift through piles of tons of shit, crappy shit.  In order to put out records in the past you had to be pretty good and somewhat talented and dedicated and get a good recording and all that… seems less true these days.
Chain D.L.K.: Gentry, while Jared Russel crossed the field of ambient and electronic music I’ve noticed you usually deal with traditional instruments and you’re experimental in a rock-context. Ever considered facing genres so out of your ordinary battelfield?

Gentry Densley: I decided long ago that guitar was my weapon of choice but that’s is in no way limiting. Plus I’ve written music for String Quartets and Orchestras and Jazz big bands and wind ensembles you name it.  Also have done noise and drone installations and

performances for years and years.  You just never really hear about that stuff outside of our local art music scene here.  I don’t do them to create a product and sell and tour with.  I just do them cause I have the idea and the inspiration.  Did a cool one at Jared’s Red Light store a couple years back… 17 guitars and amps hanging in a room in the shape of a hexagon, all feeding back into each other, was quite the sensation. Last year I did a cool installation with a local artist where we hung miced gongs about bowls of water on speakers and set up reverberating loops that created patterns on the water.  So yeah I keep busy but people mostly hear about Eagle Twin these days.

Chain D.L.K.Is there anything you wanted to accomplish (musicwise or in general) that was simply out of reach?

Gentry Densely: Well i still haven’t toured Japan… we made it to Australia last year and that was a good time.  But yeah there’s a few more places I’d like to play and bring the music, Japan, New Zealand, Argentina, more of Europe, etc.

 

 

visit artist on the web at:
www.myspace.com/gentrydensley 

Jul 032011
 

 

Chain D.L.K.: Ok Scott, let’s start from the roots: many people out there knows you for Girls Against Boys and New Wet Kojak, but being an old fart I remember you paid duty in seminal Washington bands like Soul Side, Rain and before that Lunchmeat right?… How have you come in contact with punk and has it changed your life for good or for bad?

Scott: I think punk rock is almost a rite of passage for young people, at least it was for me.  Soul Side was the main band, and we existed on Dischord Records in Washington DC from about 1987 to 1989. My favorite album from Soulside is “Hot Bodi-Gram.” It was progressive punk rock for it’s time, non-generic, which is what Dischord was known and is known for, I guess. I remember that was when we first started hearing the term Emo thrown around, though it was nothing like what it later came to mean. But that was the beginning of the idea for us that this, doing music, was something possible.

Chain D.L.K.: ..later you moved to New York…Girls against Boys and New Wet Kojak…..I think everybody who has had to do with the alternative scene during the Nineties has heard about you. The big apple is not exactly easy but you were part of the “the next big thing”…

Scott: Yes, I moved to New York to attend film school. In fact, I thought I was already done with music and wanted to do film. But after a couple of years in NYC I was wanting to play again… so we started Girls Against Boys. Our first show was in 1992 at CBGB’s on an off night. We met some people, but we also had some connections from the WDC days (although back then no one in New York really cared about our previous bands in DC)…and yes one thing led to another: We were recommended to Touch and Go, and those were the highlight years (1993-1997 or so). The success of Nirvana changed everything in 1991 and there was all this attention from the majors into what was formerly strictly indie music, and we were swept up in that wave. The US economy (and music industry economy) was bursting with what was later called “irrational exuberance.” Girls Against Boys became by 1995/6 was one of the better known indie alternative rock bands in the US as well as probably Europe, and we signed to Geffen. That’s just how it happened I guess. We were extremely motivated, and in the right place at the right time.

Chain D.L.K.: …and now Paramount Styles: the music is softer, you live in Europe and you’ve even become dad…”baby punk’s not dead and I will see you around”, you’ve stuck to your promises

Scott: I wouldn’t call them promises, everything I say is usually dosed in caustic humor, or so I like to think. I picked up an acoustic guitar at the beginning of 2000’s and had the idea that I should be able to make something good without amplifiers and effects…I don’t know… the idea of embracing limitations… and over time started making music again, which is Paramount Styles… its not as bombastic as GVSB but still retains a healthy amount of anti-social qualities… its not really singer-songwriter. So I also think there is still some punk in it, in attitude anyway. And yes, I guess as a father I can really start playing baby punk for real, whatever that is.

Chain D.L.K.: …sure, your caustic humor..I’ve always loved it. I don’t even have to read the lyric sheet to remember “We were great, maybe not the greatest, but we were great” or “that’s what I like to see, what can you do for me”. It’s hard for me to tell if what you sing sounds more cynic, ironic or “destructive”. Sometimes people with a good sense of humor hide a depressive side (here we use to call it “the sadness of the clown”). I’ve read you crossed a bad period some years ago..right?

Scott: For me writing lyrics was and is a very personal thing, often in the old days there are specific references that only the person I intended it for would understand explicitly. Many, many GVSB songs are directed to specific people who will go un-named. That was the way I found importance in what I was doing;  was a dialogue I was having with others and with myself that has, apparently, lasted more than twenty years. It was very romantic to me, at the time. Nothing made sense otherwise. I always wanted to sing something that made me a little uncomfortable. The indie rock scene was always great, but I found also maybe too proud of itself, sometimes even pretentious (or even worse, precious). I sang about envy, lust, greed, jealousy… all the bad things I could find in myself that one is not supposed to be proud of… and that I presume other people are also aware of in themselves.  I suppose because it seemed more honest to me. Its nothing new, most people who write or do things of this nature have a propensity to stay in the negative, the dark, the traumatic. Who wants to hear about happy people?  As to the bad times, yes I will just say, it was nothing interesting. Somehow I had some addiction problems, it’s really so boring and took away a lot of years I could have been doing something more productive. So I missed the early parts of the last decade. Nothing cool about it, a waste of time.

Chain D.L.K.: The last month I happened to think that sometimes Americans are indirectly emphasizing their nationality even when coming from a counterculture. Sometimes in my head it is quite similar to the how “blasphemies” indirectly underscore the centrality of “God”. Titles like “Failure american style”, “This is the USA”, “Supermodel citizens USA” are obviously critical, but what do you think about this crappy idea?

Scott: I agree with you, but on the other hand it would be hard for a person like me to write a song called “This is Italy” instead. I do believe in writing about what you know. But yes, its a very interesting point. What does it mean when you put the letters USA in a song? Why are you doing that? Coming from the counterculture it would be presumed to be critical but you’re right, its not that simple. I think the USA is also fascinating massive place full of cities and histories, music, art, people… that cannot be narrowed down into one thing. Lyrically and geographically speaking I have been able to hit a few places… I always liked including city names in many songs for one because it gave the “story” a setting, and secondly because I think these PLACES are full of intruiging myths: Los Angeles, New York, Berlin, Prague, Amsterdam… off the top of my head, have all been in songs. People dream of cities, often the ones they aren’t in. To be honest though, the USA referrences weren’t always that critical: “there’s something nice to be said about Los Angeles” (GVSB/Tucked-In).

In the 20th century the USA was made on this idea of the American dream, which was not total nonsense, it was an idea… and it wasn’t only any American one. If it doesn’t always live up to it, that’s to be expected. With songs like “This is the USA” I feel like its criticizing as well as championing. I’m OK with that.

Chain D.L.K.: ..but now you live in Vienna right? Austria is a weird place somehow..a weird mix of open air museum but at the same time they’re rich and still investing in cultural events. How do you live there? Ever happened to be recognized as Scott from Lunchmeat!?

Scott: I like Vienna… old historic center but also a lot of life on the donaukanal which runs through the city. I think quality of life is pretty good here,, its more affordable than some other European capital cities, and I actually still see friends passing through with their bands as its on the route. Centrally located. For instance I’ll play with Zu tonight in Bratislava sitting in on guitar. Very rarely someone says to me “hey you’re from Girls Against Boys, right?”

Chain D.L.K.: I remember Eli was in tour with you (his naked shot in Greece), Johnny Temple has been your band mates in at least a couple of bands..and when I saw you live Alexis was sitting behind the drums. You still hear all of them every once in awhile?..and what about Bobby Sullivan?…how do you relate to the past, you know for us European “your having no root” is difficult to be understood..

Scott: Our association goes back to teenage years really. We were all school friends. Eli was almost a fifth member of Soulside, in a way, doing live soundmixing, recording. Back then he only played keyboards, which wasn’t cool for a punk band in the late 80’s, but was a major part in our starting Girls Against Boys, which in the beginning was designed to be a band that incorporated keyboards (almost like early Ministery, was our original idea, but which evolved into a more heavy rock sound with all the touring we did in the early 90s… and by the time of Venus Luxure was a fully formed sound.) Johnny and Alexis were also in Soulside, and it was the four of us who really started Girls Against Boys in around 1990 with the “80’s vs 90’s” record. We are absolutely all in touch. I haven’t seen Bobby in many years, he lives in North Carolina. As to relating to the past, I can only resort to the saying “the past is the only thing that’s changing, the future is always the same” meaning everything we look back on seems to have different interpretations of events… whatever… the future is just the same moving forward into something you’re not sure how will work out.

Chain D.L.K.: …sometimes I’ve read you yourself were joking on the fact that here and there you reminded of Richard Butler from Psychedelic Furs, but beside that, jazz, post punk “eighties music” and noise rock…which were your main other musical influences

Scott: Psychelic Furs was also a very early influence, somehow I found out about them before I was involved in punk music… so it’s a latent 80’s influence that. And apart from the obvious WDC reference points, The Fall was the band that really motivated me for years. I think its mostly the idea of a non-traditional raspy voice singing, and I don’t have a great voice in a traditional sense. After that  I fell heavily into what used to be call industrial music, NIN, Big Black… even things like Skinny Puppy I remember (but have no idea what they sound like now). I kind of became obsessed with the idea that GVSB was going to become a sort of electronic disco punk band, for awhile, That was around the time of Tricky, Prodigy, Portishead… it sounded so fresh, it really did. But then, circa 1998, everyone thought the future was going to happen in 2000 so we needed some sort of music that sounded like “the future.”  A couple years later the future was over. I kind of burned out then. What inspired me to pick up the guitar again I can’t remember, probably mostly some musician friends in New York (like Paul Cantelon, a piano player and friend who played on a couple Paramount tracks), just people doing it because they love music more than trying to fit into a style. In general, I am inspired by any music that creates an atmosphere and a mood.

Chain D.L.K.: …our society is partially sinking into the quicksand itself has created but at the same time everything is changing so fast. Where do you see yourself during the next ten years?

Scott: I will  probably be doing what I am doing now, trying to figure out a way to live as well as dream up my imaginative ideas or whatever else I want to dream up.  I don’t know if our society is sinking into anything, quicksand or otherwise, sometimes I think that some of the apparent changes are more superficial than they seem. Perhaps humans live longer lives, etc… and many great advances in medicine and sciences, but I wonder if we want very different things than people did long ago. We only live in our own time which I think can make us self-centered and typically, I believe, we can sometimes feel like no one ever quite l ike us could have ever lived before, that our problems and trials and times are somehow unique. There’s an old NYC expression: If you’re “one in a million” there’s 10 people just like you in New York. I loved that when I first heard it moving there. Like against the backdrop of a city like New York, you are just anonymous. I dont think anything changed, in some ways. So I guess in 10 years I’ll be somewhere sinking in the quicksand, as usual.

Chain D.L.K.: …any other question you would have (or you wouldn’t) liked to add or anything else nobody ever asked you about?…maybe something like “how does your relationship with your mother effected your relationship with women” or anything in the likes..ah,ah..

Scott: A simple question I’ve never been asked might be: “why the do you do this? And why do you keep doing it?” And I suppose I would have to answer that making music is a puzzle you have to solve, like an itch in your brain, and its not unlike gambling in your own head. If alternative rock, indie rock, whatever, could be an analogy to a casino (which I think in some ways is appropriate) its would simply be that once you’ve started playing the game you want to have a hand in even if you lose over and over again, because you always have the impression of the one time you might have felt you won. It could be the perfect show, the perfect album, or even the idea you never realized but knew was good. The one time you might have felt everything worked out exactly as you wanted it to. And having that impression of winning, you can never stop playing the game, no matter what happens. It’s just better to believe in it than to give up the game. Believing in your own music is like that. Its a perpetual black swan. It’s the longest shot you ever gambled on. You never know when your ticket might come in, and it probably won’t, and yet… you’re still playing or at least thinking of playing, over and over again.

visit artist on the web at:

http://www.myspace.com/paramountstylesnyc

http://www.facebook.com/paramountstyles

http://www.myspace.com/venusluxureno1baby

 

Apr 042011
 


Chain D.L.K.: One of your early releases was on Cold Meat Industry that the majority of music listeners associate with dark-ambient, industrial, post-black metal materials. Even if your music is far from being “solar” I think you’re far from that kind of aesthetic. Ever happened to be associated to that kind of scene and what’s your real musical history?

Mathias: That is right. The very first release by Moljebka Pvlse was a track on the compilation called Estheticks of Cruelty on Cold Meant Industry. Not too long after that a full length release called Sadalmelik was released there as well. I am very pleased to have released an album on Cold Meat Industry and I have collaborated with other bands who have also released albums on Cold Meat Industry such as Megaptera and Beyond Sensory Experience. So I have some connections with part of that scene. But both my musical history and present is around the experimental music scene in Stockholm and in particular the association and scene at Fylkingen and the studio called EMS. Discovering these two entities were of great importance to me.

Chain D.L.K.: What kind of musical background have you got? I see there’s a lot of people in the experimental scene coming from punk-hardcore and rock or music in this vein, it used to be (and still is) a big thing is Sweden right?…

Mathias: Well I have listened to punk rock and electronic music since I was young and I used to play in some garage bands with friends from school. But I have never been a real musician and never got any good at playing an instrument. So I moved away from that and went into composing and mixing sounds. I have always felt close to the DIY attitude of punk rock. I like to make hand made covers and release records in limited editions.

Chain D.L.K.: The music scene (and world itself) has changed from your early releases…you know better than me that we’ve passed through many format-trends (cdr, cassette, and the vinyl again for example) and another good example is the hypnagogic phenomenon where if you don’t use a keyboard you’re a perfect nobody. How those changes have effected your production and where do you think we’re headed?…

Mathias: The internet has been of great importance to my music. I have got in contact with many labels via the internet have been able to do many releases that would not have happened otherwise. At the moment I am looking into a digital distribution for the releases on my own label Isoramara. My plan at the moment is to do limited edition in handmade covers for them who are interested in a physical object and then distribute the music digitally as well.

Chain D.L.K.: You’re one of those who thinks experimental music and sound research should be supported in some ways, or you think its being ultra underground in someways let sound artists free from the bondage of  a commission and therefore able grow their own identity (and also to go blindly for interaction)?…

Mathias: I think it is really good when there are supports available for the experimental music scene, something that has been rather good here in Sweden. But for me personally it is good to have a day time job, that I earn my living from. With this I am totally free in the music I make and release. I really like my setup and I feel very fortunate to be able to work under these circumstances.

Chain D.L.K.: Differently from many musicians of your “genre” you play live and you also performed in places like Israel, the Netherlands, Poland, Slovenia, Sweden, Ukraine, USA, etc. Worst and best experiences?…and how does that live activity affects you productions?

Mathias: I have always been found of doing live shows and I also like to travel. I do not go on long tours but try to do one or two concerts somewhere that I have not been before. I am very found of doing
special tour recordings and have released a few in very limited editions. They often contain material or direction that the live material will have. I am in the process of releasing some live documentation of live shows as well. Not to mention any concert in particular, but I have done a few shows where very few people turned up. One of my best live experiences was the small tour in the Ukraine where I performed as a duo with Kotra.

Chain D.L.K.: New technologies and the web gave more and more people means to create and produce music. Democratically speaking it’s been a great step for musicians, but it also brought to an oversaturation of the market? Are you one of those who started thinking “there’s nothing new under the sun”, there are too many releases and there’s no space for those who really deserve it or you think it’s been a positive evolution even if the record market has somehow collapsed?

Mathias: I think that the development of new technologies has been positive for the independent music making. I like the DIY scene and I support the idea that anybody who wants to make their own music can do so. I for one would not have made music without all these music technologies. But I must sadly admit that I do not find that much new music these days.

Chain D.L.K.: …A lot of friends of mine would agree, but the more I think about it the more I’ve the impression it can‘t be logical or natural…I mean every century has had some interesting composers/musicians and now there’s more and more people playing. Can it be that it’s just a matter of age or the fact it’s more and more difficult finding something interesting in a bunch of new releases? Or perhaps our attention/dedication in listening to a record in watching a movie has changed due to the hyper saturation of the market

Mathias: I do agree and think that media coverage today and that we are showered with so many image and impressions all the time has a tendency in making us impatient. We cannot listen to an entire track, let alone an entire record. Instead we skip to the next song on our mp3-players. But I try to avoid this and listen to music and movies that takes time and commitment, for example Herzog and Tarkovsky. And I think I will continue to counter the impatience myself, by releasing records over one hour with just one long track.

Chain D.L.K.: When I think to people like John Waterman or to a certain extent Hafler Trio, I think they couldn’t care less about being part of a style or to be labeled as industrial music. I think by some means you’re following the same path. But what do you wonna reach with you music and for what kid of listener?

Mathias: I am happy to hear that. I try to be free in my music and make the kind of music that I feel like. I know that my music can be demanding on a listener, for example the albums I have made that have a running over an hour long with no indexes and also concerts lasting long time
with minimal to small changes. It takes commitment in listening to that. So I am happy when I reach the audience that want to spend the time and focus to listen to my music – it is my hope and wish that the audience will get some interesting experiences and something out of it.

Chain D.L.K.: Is there a particular event/fact that influenced your musical life? Robin Proper-Shepard of God Machine for example always said that also Sophia has always been influenced by the tragic dead of God Machine’s bass player Jimmy Fernandez…Merzbow declared he was so deeply immersed in Dadaist collages..any similar experience?

Mathias: I wouldn’t say that there is a particular event that influenced me that much. I just started to make music experiment and realized that I enjoyed doing it. Now all these years later I still enjoy doing it. There are a few bands that have inspired me a lot in my work; Mimir, Troum and Nurse With Wound. I am very fond of conceptual and minimal art and music and I have just seen a few concerts with music by Steve Reich that I enjoyed very much. Otherwise I get inspired by friends talking about art and music. For the last year my main influence have been the movies and writings of Werner Herzog.

Chain D.L.K.: What do you want to accomplish with your music and what’s in store for the future?

Mathias: My wish is to make interesting music and soundscapes for people to explore. I hope that my music can be contemplative. One goal that I have strived for on several occations is to strech time with sounds. These days, I tend to explore more conceptual sound projects. I will hopefully continue to make music under the Moljebka Pvlse name. I also have a few old and new music projects that I will spend more time on in the future. But I will also make more sound art and installations. I still enjoy doing this so much and I hope to be able to continue with it. Thank you for your interest and questions. All the best, Mathias.