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.