“When words become a weapon” This description hits the nail for the Canadian Spoken-word artist It-Clings, from which the most of you have heard of through his collaborations with Fractured and/or Pneumatic Detach. It-Clings is the verbal outfit of Squid, a guy who runs also the Industrial/Powernoise-label Crawling Bugs Out Of People. A lot of interesting background behind this artist, which we like to discover through this interview.
Chain D.L.K.: Hey Squid, please allow me a question out of your biography. The end of the your previous organization T.I.K. has happened unexpected for the most of the fans after the organization of some huge events. With a fair look back, what did go wrong in those days? What were the reasons to start with an own label after demise of T.I.K.?
It-Clings: I’m not sure I would say that anything in particular went wrong with T.I.K.. It had beenrunning for several years and ended on a high note, specifically with the Saturation Bombing 2 festival.
Chain D.L.K.: What the fuck? Rock ‘n’ Roll super-god? You have to explain this moniker for you…
It-Clings: Well, it’s obvious that you’ve never been blessed with the opportunity to see It-Clings live. Yes, it’s true! It-Clings evolution… maybe that’s not the correct word…It-Clings deification was a quite natural progression of his ongoing ideology of pushing the absurd.The idea was basically this: It-Clings needed a way to separate himself from the mass of electronic performances that he had been subjected to witnessing. Too often bands would get up on stage and sit behind their computer and twist knobs and press buttons and play mine sweeper and call that a show. Now you can either complain about it passively or you can go on the offensive, and you can’t take the name “Rock ‘n’ Roll Super-god”, write that in big letters wherever you can and then put on a boring show. So really, just by accepting the egotistical title, It-Clings actually scores a victory for the audience. He’s almost a benevolent god-king, in that way. By using something that pushes It-Clings to push the boundaries of performance, and giving the audience the knowledge beforehand that this is going to happen, it sets up the pressure, which is later fulfilled by the performance!The term “Rock ‘n’ Roll Super-god It-Clings, king of the Jews” (the title has been expanded as you can see) is the onstage persona of It-Clings. At shows you’ve got to expect that It-Clings is going to rant and rave about himself, grab his crotch a lot, and get the girls in the crowd to feel the power of his voice in their vaginal regions. It’s just as simple as that. And for the discerning fans, it also shows that It-Clings doesn’t take himself too seriously.
Chain D.L.K.: I find it a bit strange that you prefer to remain a bit in secrecy. No clear band photo? Mostly blurred photos from some live performances. Do you fear that someone can recognize the slut Squid once again?
It-Clings: It’s not so much that I feel a need to remain secret, but that it’s hard to take a nice clear picture of me on stage. I’m never standing still long enough. The picture of me on the cover of “The All Too Logical Descent Into Madness” was done that way in the interest of aesthetics. So there is no secrecy at all.
Chain D.L.K.: How does someone “invent” the talent to be a spoken-word artist? I guess the talentlays in the sound and charisma of your voice and a clear pronunciation. What else? Is it thinkable that you’ll start one fine day to concentrate to compose your own music instead to collaborate with foreign bands?
It-Clings: In a way “invent” is the perfect word for this. I do believe that what It-Clings does is unlike anything else out there at the moment. Oh sure, there are other spoken-word artists and slam poets and other knobs like that, but I wasn’t influenced by any of them. I don’t listen to spoken word and I hate poetry so this allows me to separate myself from them. It’s for this reason that I drunkenly came up with the term “spoken-wordcore” which was half an attempt to mock people using the term “core” to describe shit and half an attempt to separate myself from things I don’t want any association with.
Chain D.L.K.: How do you “hire” all of those Industrial/Powernoise-acts to perform with you and howhas it been with Pneumatic Detach? I guess it helps you enormous to “receive” a drastically musically background when you perform. What is required and could you think to collaborate with acts out of other and rather calm music styles?
It-Clings: I usually just ask them. Everyone seems interested in being involved and there would bemore bands and more tracks but time restraints and busy schedules interfere with that. I also can’t just spew out a bunch of crap and have to be 100% behind a track before I want to do anything with it (and by 100% I really mean 85-90%).
Chain D.L.K.: Lets also talk on the details and the technical side of the construction of “The AllToo Logical Descent Into Madness”. What happened first, did you first write down some lyrics and Justin later added his music? Or was it generally the opposite, that Justin had created some tunes before you started to perform?
It-Clings: “The All Too Logical Descent Into Madness” is a concept album that just seemed to develop. At first the idea was to get a bunch of different artists to work on different tracks, but Justin Brink from Pneumatic Detach really caught onto the idea and just starting writing track after track. It wasn’t long until we both decided that he was going to write all the music for the album. I wrote and recorded the words first and then he manipulated them and wrote the music.
Chain D.L.K.: Talking on some rough content of your lyrics, especially those tunes like “Maybe TheseWounds Won’t Heal Anymore” I’m sure you’re trying your best to let the listener participate when it comes to express the hurting details of this self-inflicting tune. Which “mood” is required to perform those pieces? How do you “learn” or where do you extract the meaning of the content?
It-Clings: What’s interesting about people’s reaction to “Maybe These Wounds Won’t Heal Anymore” isthat when I originally wrote it, I had assumed that people would see it first as a song about doing horrible things to others and then only later see the self-mutilating aspects of it, where as now it seems that the opposite is true. But it’s not just about one or the other, but the juxtaposition of the two. I’ve always been fascinated with people who suddenly snap and although the consequences of it may not be something that I would wish to experience, that pure moment of the snap never the less has a certain draw for me. I guess it’s in the sudden switch over, the instantaneous resetting of reality, that the appeal comes from, and even though the consequences cannot be controlled (and by the very definition, the snap is the total loss of control), the seeking of the experience overrides the results (even though the experience is destructive in nature).Does this answer the question? Hopefully, at the very least, it confuses you (the reader) in a way that makes you say, “interesting”, in a thought provoking way. I see all the tracks on “The All Too Logical Descent into Madness” as an fictional exaggeration of my own feelings, my own beliefs brought to an absurd level, and my own desire for a clearing (although possibly destructive) snap is just another example of that.As for when I perform, I just go with the exaggeration. Performance itself is an exaggeration, especially when you look at it through the performers eyes, the absurdity of getting up on stage in front of potentially hundreds of people and just becoming the center of attention by yelling crazy shit at them, so it’s not that difficult to just get my own feelings and push them up to a level that meets the (absurd) situation.
Chain D.L.K.: Since your website www. it-clings. com offers all relevant texts, I would like to askfor the content of “Inflammatory For Inflammatory’s Sake”. Isn’t it naturally that several people who read your texts get offended, since especially this text can be easily related to a racial background? Does Word-Core mean to you to provoke and to polarize people?
It-Clings: Yeah, it’s natural for people to become offended, but then again a lot of stupid people get offended by a lot of things that they really shouldn’t be offended by. So fuck them, and I guess if you’re reading this and you are one of those offended people, fuck you! “Inflammatory For Inflammatory’s Sake” states very clearly at one point that it is a rallying call, rather than a polarizing… ok. Then I guess it does back off on the rallying call thing because rallying calls all end up being bullshit in the end anyway. But needless to say, “Inflammatory For Inflammatory’s Sake” is not in any way racist or even about racism, I think at its heart it’s about how we should fucking kill whitey.And do I enjoy provoking and offending people? Here’s a little story that can illustrate my opinion. During one performance with Iszoloscope, two people left the club, only stopping long enough on the way out to complain about my performance. Did this make me happy, upsetting these twats with tales of sodomy and excessive fluids? Did this make me happy ruining their otherwise boringly enjoyable evening, an evening they wanted to spend in the company of dark but safe beats? How could you even begin to think of accusing me of taking such pleasures in the pain of others! Now I’m offended!
Chain D.L.K.: Duuuh, what sensitive… Let’s talk on your own label, Bugs Crawling Out Of People. What next, anything new in pipeline you like to confirm here?
It-Clings: If I hadn’t taken so long to complete this interview I could have announced here that Bugs Crawling Out Of People has two new albums planned for a May 15th, 2008 release at the Kinetik Festival in Montreal, Canada: Worms of the Earth and Famine. I especially like the fact that both these awesome albums take Bugs Crawling Out Of People in two different directions, with Worms of the Earth’s “Angels of Prostitution” being more a mixture of Powernoise and Dark Ambient, and Famine’s “Every Mirror Turns Black” being more Breakcore and IDM (with a little bit of Black Metal and Satanism mixed in for a good measure). Both these releases will be the first CD out from each artist and I’m pretty confident that people will be quite impressed.
Chain D.L.K.: Well, if we wouldn’t have wasted so much time to bring this up… Okay, how is it about future plans for It-Clings, any new projects, plans and wishes you like to add here?
It-Clings: There are 3 new tracks coming out from It-Clings shortly. The first is on the Worms of the Earth CD from Bugs Crawling Out of People entitled “Big fucking titties or a fuckable mouth (of the succubus)”. Next up is the title track on the upcoming Prospero release “Folie à Deux? and there is also a new track with Pneumatic Detach on his May release “[ko-mor-bid]”. I hope to do some more live shows, and have 2 appearances in the near future. Dark Rave 99 w/ DYM at the beginning of May and Red Invasion 1919, which will be my first performance with Worms of the Earth, in September.I have several conflicting ideas about a new It-Clings CD as well. I’ll have to just let them all fight it out and see what one comes up on top.
Chain D.L.K.: Your final words to conclude this interview?
It-Clings: I always hate that interviews end with that question. No, I guess this time I don’t haveanything else to say.
Visit It-Clings on the web at:
[interviewed by Marc Tater] [proofreading by Tommy T. Rapisardi]