His brand new release, “Sub” is a proper masterpiece of  modern day musique concrete, which “locates itself between the psychological minefields of Luc Ferrari, Steven Stapleton’s prediliction for windows and the cruel x-ray visions from fellow Swiss aktionists Sudden Infant and Dave Phillips”. We had a quick chat with the author, the most enigmatic member of  the Schimpfluch-Gruppe, Marc Zeier, under the guise of G*Park, who described his last album as “the manifestation of amorphous conditions that lead (or interfere with) representational forms or states of being”. Pretty easy, isn’t it? “Sub” comes out on 23five Incorporated, a non profit organization dedicated to the development and increased awareness of sound works in the public arena and to the support and education of artists working with and discussing the medium of sound, which already served important artists such as Phil Niblock, John Duncan, Francisco Lopez, Achim Wollscheid, Matt Heckert, Christina Kubisch and many more.

interview picture 1

Chain D.L.K.: Hi Marc. How are you?

Marc Zeier (G*Park):  Very hungry!


Chain D.L.K.: When I was a teenager, one of my first purchases in the field of concrete musique and field recordings was your “Geopod”, which I still consider a milestone of the genre, but your sonic research dates back even further… could you tell us more about your very first steps in this sonic research?

Marc Zeier (G*Park): I just used to arrange long plastic tubes by putting microphones on one extremity and making sound on the other one.


Chain D.L.K.: Would you say that your sonic research changed directions over the years or not? Is it connected to a sensorial fascination for sound or is there something more behind it?

Marc Zeier (G*Park): I’m getting more focused… fascination, yeah… more yeah…


Chain D.L.K.: You joined the Schimpfluch-Gruppe relatively late, but you’re already considered as one of the most innovative and arcane members. First of all, could you explain its principles and modus operandi to all those readers who never heard about it?

Marc Zeier (G*Park): I’m a member of Schimpfluch-Gruppe since 1986. We mainly have our hay on the same floor.


Chain D.L.K.: How did you “meet” the Gruppe?

Marc Zeier (G*Park):  By chance in the tram.


Chain D.L.K.: How did you set shows or exhibitions?

Marc Zeier (G*Park):  They’re kind of happenings.


Chain D.L.K.: You often thank the sources of sound in the credits of your releases, and while reading the liner notes of “Sub”, any listener would ask how you managed to grab sounds from Dapnia Magna or Amden Trees for instance?

Marc Zeier (G*Park):  I’ve just recorded those sounds on location.


Chain D.L.K.: You described “Sub” as “the manifestation of amorphous conditions that lead to (or interfere with) representational forms or states of being”… could you describe this intriguing aesthetic idea in detail by analyzing one or more tracks?

Marc Zeier (G*Park):  It’s about reducing and getting closer to the essential.


Chain D.L.K.: Many moments of the record make me think of you in a sort of diving suit in the act of exploring inaccessible depths… is it the reason you titled this album “Sub”?

Marc Zeier (G*Park): Yes, it is.


Chain D.L.K.: Another interesting aspect of your aesthetics consists of the idea that the nature of the sound object cannot but be caught by a shadowy deconstruction and not by its direct representation… could you explain such an interesting point?

Marc Zeier (G*Park):  It’s something in between.


interview picture 2

Chain D.L.K.: Does such an idea explain the way you “monsterized” those happy pigs?

Marc Zeier (G*Park):   The pigs I met in the alps and they were wallowing in the dirt and it seemed quite comfortable.


Chain D.L.K.: What about equipment? Have you used simple contact mics or some enhanced devices?

Marc Zeier (G*Park): I mainly used my ears.


Chain D.L.K.: Are there any sounds of “Sub” you liked more than others?

Marc Zeier (G*Park): No preferences at all.


Chain D.L.K.: Many sound artists tend to delegate to the listeners the interpretation of their works instead of giving some interpretative instructions. What about you? Do you get bothered by any kind of listener’s misinterpretations or not?

Marc Zeier (G*Park):  Not at all. Everybody has their own imagination.


Chain D.L.K.: Do other arts have an influence on your final output?

Marc Zeier (G*Park): Maybe cinema (Robert Bresson e.g.).


Chain D.L.K.: …and what about your job with plankton?

Marc Zeier (G*Park): That’s just for making a living.


Chain D.L.K.: Any regret about past creative steps?

Marc Zeier (G*Park): No, why?


Chain D.L.K.: Any forthcoming or current projects you’d like to inform our readers about?

Marc Zeier (G*Park):  There will be some new releases next year.



visit G*Park on the web at: www.tochnit-aleph.com/g-park/


  1. Wow this guy Marc is a jerk, seems to have no interest in being interviewed at all and I learned nothing new from his answers… I wonder, when artists don't feel like doing something why do they do it? What is the point of an interview in which questions are answered with questions or one word sentences? Why am I wasting my time reading an interview that doesn't teach me anything new about an artist?


Please enter your comment!
Please enter your name here