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Interview: Cyril M.

4/10/2013

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Artist based in Lyon, France
When and how did you started to create music?

Well, I still don’t know why but I’ve always found the drums to be a very cool instrument, even if I didn’t listened to much rock music when I was younger. So it was the first instrument I got at the age of eleven, but I haven’t got any talent with it: it took me a month to notice I could use the bass drum instead of the floor tom to play a simple rhythm! Anyway I’ve spent hours on it, trying to play nearly all the music I had, from the most simple to the most complex. Then, during my last year in high school, I discovered some really strange music that first made me laugh a lot, before realizing it was really awesome : Sunn O))), Fushitsusha, Merzbow and Neil Young’s soundtrack of the movie Dead Man. These musicians inspired me to try out the electric guitar and make sounds I couldn’t do with the drums, like drones or feedback noises. After some hard practicing, I recorded my very first album, Travel Thoughts, with my friend David Loup. Our duet was called Haze Caress, and it was definitely a different experience of music to me because I’ve always been some kind of solitary worker, but it was really fun to make though!  Later, we decided to disband because we couldn’t find the magic another time, and I continued my project on my own.

Are you familiar with other forms of art?

To be honest, I really don’t know much about movies, paintings and books, but it doesn’t mean I’m not sensitive to it when I see one. In fact, I try not to draw a frontier between “what is art” and “what is not art”. For example, not so long ago I was with a friend late at night, and we were completely mesmerized by a candle consuming little by little, seeing the little drops of colored wax falling down. I assure you drugs aren’t necessary to that! If you can feel how tragic it is to see that, I think you can properly experience any form of art without being given any explanations, like they do in museums.

What are your principal influences?

My biggest influence is clearly the Japanese underground scene, with people like Tatsuya Yoshida, Keiji Haino, Merzbow, Otomo Yoshihide, Kawabata Makoto and so on. I really feel connected with them, because there’s a deep sense of pure aesthetics and sacrifice in all of their performances. I mean, they seem to play every gig like if it was the last, giving all of their energy to the audience. Even if one can find the surface very harsh, the core of it is clearly positive, because it’s not telling any ideology to the listeners. It’s only pure energy and the audience can take it the way they want to. Maybe it’s a very simple way to consider it, but I’ve always thought of engaged art as impolite, and that’s something I see very rarely in Japanese music, because revolution is not a so big part of their culture as in France, for example. That said, I’m also interested in politics, but if you want to learn about it, it could be better to read an essay or newspapers.

Your music seems to be made for live performance! What is a typical Cyril M. concert?

Yes, you’re right! That’s because I want to take the audience with me, in some sort of journey through what they want. That’s the magic in music, I think: the same sound can resonate a hundred different ways between all the people in the audience. Even if I sing some lyrics, I don’t care if people really understand their meaning or not because the language of music doesn’t work the same way as spoken languages such as French, English or whatever. In daily life, you have to make sure the person you’re talking to understand what you mean as exactly as possible, whereas in music where every listener can feel what he want to. To put it clear, there is no message at all in my music. I mean, sometimes words can limit your sensitivity by telling you how to react toward specific sounds. But that doesn’t mean I don’t care for my lyrics: in fact I spend hours writing them, in order to feel comfortable with singing them. Finally, the sounds I make are the most important thing, and I guess it’s the same for all musicians, right?

To answer your second question, the common point of all my concerts is they all have got some part of improvisation. For me, it’s really like cooking! I’ve got a whole set of ingredients and I have to mix them to make a different plate every time. Of course, the taste is always some kind of similar, because I don’t know how to cook modal jazz for example, but there are still small variations in my recipes. This way of playing is the only one that makes me feel honest towards my audience. Moreover, if I was to play always the same exact songs, I don’t think they would want to see me a lot of times.

You have put your first 2 solo albums for free on Sirona, why this choice?

I’ve chosen to release them this way, because actually the recording process didn’t cost me a lot of money since I didn’t have any CD to press. Also, it was done in a very DIY way: track by track directly into my computer without any soundcard. Moreover, I still consider myself as a beginner so I didn’t want to ask people to pay for these albums. Now, I realize there are a lot of mistakes I could avoid if I had to record them again, but you have to make mistakes in order not to reproduce them, right? That doesn’t mean I didn’t give my best at the moment of the recording though. Besides, I’ve got a really unexpected attention by putting my albums on Sirona Records instead of self-releasing them, because there is a vast community of people who invest much of their time and energy in free music, and that’s awesome! To compare, my duet with David Loup was downloaded a hundred times, whereas my two solo albums were downloaded nearly eight thousand times for each! I don’t really care this much about statistics on SoundCloud, Lastfm and so on, but sometimes they’re really encouraging for me.

Do you currently work on some new material? If yes, what could we expect?

I’m not currently working on something such as a new solo album, but I sure would like to record another when I have enough new songs and sounds. The last thing I tried was to include rhythms in my music, but it’s very hard for me to do at this point. Another project I’ve got is to find a drummer and a bassist to form a trio, but I wait to find the right musicians for this.

Also, I’ll probably have to make a difficult choice between a digital and a physical release. Despite my profound respect for the free music community, it’s very hard for me to find gigs without a CD to send to the venues… But that doesn’t mean I won’t release anything on Sirona in the future, because I really owe the community. I just can’t tell what will be free and what will not now.

I saw on your website that you will soon play some live with Agathe Max as a drummer. How did this story started and what are your expectations about this?

Oh, that’s a funny story! To begin, I’ve recently been admitted to the most experimental public music school in France, the ENM of Villeurbanne. I say it’s experimental because there’s a department called “contemporary and amplified music” where we can play free improvisation in the same structure where classical, ancient and jazz music are also taught! So, when I went to one of the free improv workshop, entered into the room and saw a woman who had a Big Muff and various other effect pedals plugged into her violin. It was completely crazy! She was making really awesome sounds with that setup, and gradually we realized we belong to the same musical environment. After that she kindly invited me to play at the release party of her second full-length album, Dangerous Days, and told me she was looking for a live drummer, so I jumped at the chance and took the drumsticks back. We’ve started working together since two weeks ago, and I really expect it to be great in live!

If you could work on some sound with 3 (famous or not) artists, who would it be and for which reasons?

I’d like to play with Oren Ambarchi and Tatsuya Yoshida, who are very versatile and unpredictable artists, and that’s what I like in music, to be surprised. When I play with someone I’m forced to find new plays of playing because it’s not as comfortable as in solo. I think that would be a really mad experience with these two. Also, I’d like to play with Melody Prochet (of Melody’s Echo Chamber) too, because I loved her first album, deeply psychedelic but still accessible to non-fans, almost pop. That’s something I still don’t know how to make, and why it would be great to work with her.

What are your dreams for the future of Cyril M.?

Like I said, it would be awesome to work with other musicians, in different contexts and live venues. Also, I hope I will find a way to pay my bills and my rent without having to work or to rely on someone else. Music isn’t work because it feels very natural to practice for me, unlike all the previous jobs I’ve done until now. But I’ve said enough, thank you for your interest and for reading!
Websites:

http://cyril-m.tumblr.com
https://www.facebook.com/haze.caress
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Interview - Alex Spalding

3/8/2013

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Artist(s) based in Springfield, Missouri, USA
How and when did you started music?

It all started for me when I was very young. I used to hit the demo button on an old midi keyboard I had laying around and dance to it. I had actually traded an electric guitar to my dad for that keyboard, probably my first conscious effort at saying "fuck you rock and roll, I just wanna dance to cheesy electronic music!" I did a lot of playing around with computer programs that produced sound or let you manipulate audio, like Acid Pro, Fruity Loops version 2, things like that. There was also this weird thing called New Beat Trancemission that was probably my first experience with sequencing. I played alto saxophone in school band and received private lessons too, but I didn't write anything for sax during that period that I can remember.

As far as really making serious electronic music, I got a MicroKorg sometime in 2002 or 2003 and would use it along with a Moog Concertmate that my dad let me play around with to record cassette tapes... I had to play both synths by hand and make sure it was perfect because I lacked any other gear at the time. I think I ended up with probably 5 or 6 tapes of nothing but music that sounded like the theme song to Dark Shadows or Star Trek TOS!

Which artists changed your vision of music when you was young? What's the first artist/ band you remember to have listenned when you was a little kid (no lie :D !!!) ?

I will not lie, haha! I have no guilty pleasures. The first song I ever heard that I liked enough that it made a huge impact on me was Tears For Fears' 'Everybody Wants To Rule The World.' I was very obsessed with synthpop when I was really young. Their album Songs From The Big Chair was also the first CD I ever owned. I also remember being 13 and a friend letting me borrow his copy of NIN's album The Downward Spiral and I sat and listened to the whole thing all the way through with rapt attention probably 100,000 times. Of course, since then I've been massively influenced by so many different artists throughout time and genre that my tastes are literally all over the place. Everything I do feels like a composite of all my strange listening habits.

I know 2 project of yours? Alex Spalding, of course, & also Material Action! Could you speak us a little about this 2? Do you have some others?

I do have some others... on Sirona-Records specifically, the only other one was Mars Of The Thing, with Josef of GCLTD. When I first started releasing music I worked under a large number of aliases, the major one for awhile being Geräuschangreifer, which was the name under which I had my first two releases on the NORTHAMERICANHARDCORE and Floppy Swop net labels, respectively. I would come up with different names and use them mostly to help me sort out all of the material I was making in different genres or with different sounds. As of late I just stick to releasing all my solo stuff under my real name and try not to make anything that sucks so bad that it ruins my reputation!

Material Action is a project I have with a close friend named Eric Sexton. We first started doing music, very experimental stuff, a few years ago. We called ourselves ÆMS, which was both of our initials combined. We had two albums, unreleased, one called Totemic Abyss which was just one long jam session using two Microkorgs and two ZOOM Drum machines that we midi synced with an MPC-2000. The other one was titled Videodrome and was an experiment in running VHS tapes from a VCR into synthesizers and creating a very odd tapestry of sound clips. Material Action didn't start properly until Eric bought an EDP Wasp and I picked up a USB dual pre for him as a birthday gift, which not only gave us a lot of cool sound possibilities but let us put sounds together more smoothly, opening the door for us to do more complex music with live gear. The first track on Mixed Emotions was actually the first track we made in this way. After finishing it we took kind of a roadtrip together and listened to it over and over again while holding a manic and elated conversation about where we could go from there. I came up with the name Material Action due to my kind of obsession with the Viennese Actionists, who were like extreme Situationists... it took a little while for me to think of it, though. I just like band names that relate to avantgarde art, or literature, or extreme politics. One of our original concepts was to go by the name Baali Boys and do sort of electro-exotica type stuff with Bollywood samples, hahaha... another friend of ours, Dan Kilmartin, was someone we bounced ideas off of all the time and he didn't like that name, so we realized we probably needed to come up with something else. He was actually the one who came up with the album's name, and for awhile had probably the biggest archive of Material Action music in existence. As the first album was being developed we would burn him discs and all sit together listening to the sounds and throwing up ideas and criticisms. Then we'd figure out what we might want to change. We owe him a large debt of gratitude, because the album probably wouldn't have come along quite so well without his encouragement and insight!

We're currently putting together the final master from tape of the 2nd Material Action record, to be released on Sirona-Records hopefully, titled Another Emotion... I hope it will go over well, it's a very ambitious work.

You run with Kai Nobuko the fantastic website Yeah I Know It Sucks? How did you started this adventure, for which reasons? Could you speak to us more about this review website and his philosophy?

I don't know exactly how the blog started, but I responded to a help wanted posting of Kai's which said something about contacting him to get on the payroll. I quickly sent him a message inquiring about the payroll and was told that it was actually just a used roll of toilet paper. I'm still waiting for him to send it! I had been wanting to write music reviews for awhile... I had a friend, a fellow anarchist type who invited me once to review albums for Heathen Harvest, but I turned it down. I'm just very gonzo sometimes with my words and like having total freedom to go nuts if I'm going to review something. I think Kai and I work really well together, and the philosophy - as far as I know - is that we just listen to and write about all the great music we discover from musicians who release their music for free on the web. We've branched out a little to covering music that is released on physical formats, too. We're both just very alike that we love music and enjoy writing impassioned, lunatic things about it. It is obsessive love! Kai is really great, though, I'm really happy to be working with him on the Yeah I Know It Sucks project... and it's been really blowing up incredibly!

You ran the label Noise Joy some years ago, did you miss this time? Have you ever think to restart it at a point?

I do miss it and would honestly love to bring it back again except already so much of my time is spent doing so many other things. I don't believe it would ever be the same as it was, though. Instead I've taken to just re-hosting the albums we released during our run on the wonderful Archive.org and spending time talking about a lot of them on the blog. I was unemployed and completely broke when I ran Noise-Joy... I only had the money to pay for the domain once, so it was an impulsive decision. I had to learn html in a night, my only previous experience with it being those terrible MySpace layouts and all that, which was why the site used to look so minimal, haha! I also ran the label out of a library for the first 3 to 5 months... it was kind of insane! I'm always so happy and surprised that it made the kind of impact it did on people, it was a total labour of love and I never expected it to get as big as it did, with so many quality artists involved!

What's the funniest moment you had in your musical life?

Any time I've ever performed live in some function it's been very funny! Performing live is probably the point in music at which goofy stuff really starts happening, the rest is all very unglamourous really. My first experience with it was totally spontaneous, too. I had been talking off and on with a guy named Paul Huang on some silly website, probably Xanga, and he invited me to play a gig with him and a random assortment of other people he knew. I said yes and showed up with a synthesizer... it was at some local venue I'd never heard of that turned out to be this horrible Christian Emo hangout spot, and I had no idea. I endured a hushed prayer session in the back before we went on, shooting uncomfortable and incredulous glances at Paul who pretty much acted as if he had no clue about it either. Our set consisted of me, generating as much white noise and feedback as possible, a guy playing cell-phone ringtones through the pickups on his guitar, a young female viola player who seemed somewhat of a virtuoso, Paul screaming into a mic and jumping around, and then a drummer who got confused and fled halfway through our 2-minute set! Everyone there was laughing... we got the plug pulled when Paul jumped into a drumkit that someone had intelligently put right in front of the small stage. It was very ridiculous, and unforgettable.

The next time I played live, I was simply running the backing track for an awful local "industrial" rock group... I messed it up and caused it to stop completely for a couple seconds because I was trying to change the visualizations on the media player out of boredom. That threw their whole show off for a moment... because I didn't really like the lead singer very much I kind of left it ambiguous whether I'd done it on purpose or not!

The last time I did a live set it was a DJ session. I teamed up with a friend of mine at the time named Zach who was really into Minimal techno and Tresor type stuff. He and I put a lot of thought into doing something cool, talking about all these concepts we had for an amazing, personal show. We got some black construction paper and a label maker and made business-cards with very vague information about the show we were doing. Eric bought some lights for us to use, this was before he and I started doing music together actually, and one of them was this really cool thing that created wave type effects of blue and green light. We were playing this place called The Blue Room, which is this actually very horrible, shitty small venue connected to a billiard hall. We brought several cones of incense, all of them ocean-themed scents, and lit one in each of the ashtrays. I played first, a set comprised of a bunch of atmospheric chillout and ambient music, plus a lot of stuff from different artists on my Noise-Joy label. Very, very few people showed up because we didn't work very hard at spreading the word that anything was even happening that night. It was like, this really amazing event and we had managed to transport for a brief time some shithole room at a billiard hall into the depths of the sea, but it was a mostly wasted effort! Like writing poetry and throwing it away. One of the people who did show up, though, was this girl who's music I had released - and I had actually used some of her music in the set - so afterward she and her boyfriend were talking to me about music, we had some laughs and then they took me on a surreal drive around downtown in their car while smoking blunts and drinking jungle juice! I felt totally out of it, kind of frightened we would get pulled over really, but it was fun. Would have made a very bizarre episode of Cops!

What are your plans for the rest of the year?

I hope to continue writing a lot more reviews, definitely for more albums on Sirona-Records and SPNet! I'm working again on some more music and have a lot of ideas in my head that could be cool. One by one I'm putting the Noise-Joy catalog back together and will have surely made good progress on that in a year's time. We've got a couple people asking me and Eric to do something live as Material Action, and I think it would be cool but feel we need a little more demand for it. My idea is to continue on in the way of transforming shit places into magickal zones of freedom and art to hang out in for free and hear music, and my other idea is to transform Material Action material to suit whatever environment we play in, in keeping sort of with my own interpretation of what a Material Action is or should be. Other than that, I'm just going with the flow!

You have a coming EP called "Obelisk EP One" in Sirona-Records, could you speak to us more about this one? How do you record it? What this one means to you? Some sort of symbolism?

Obelisk EP One is the first part of a 2 part series. I had the idea to do 2 albums that mirrored each other in terms of titles, sounds used, lengths, concepts, etc. so that they could kind of be taken as a whole or understood by how they play off of each other. They represent duality... I consider them to be sister albums, feminine, but Obelisks I am amused by because they are so obviously phallic, probably the most overtly penile of all statuary. Both EPs will have 11 tracks total, meant to symbolize the 2 obelisks standing side by side. There will be a total of 22 tracks then, which is supposed to be an important number in mysticism. Beside that, all symbolism and meaning to the albums is forming in a way that I'm mostly unconscious of. How I recorded each of the tracks is a little different. I use a lot of digital effects and mastering, plus several vsts, but it's hybridized with live synth sounds and hand playing. I'm trying to incorporate a lot of bass frequencies, too, even though the material is largely ambient. Some of it was taken from the cutting room floor of my first album on Sirona-Records, Amos In Flames... I'm still really happy that album got as much praise as it did at it's release because it was definitely a personal album for me. Lauri Iltanen's review I can remember vividly for thinking how incredible it was that he picked up on certain elements of it, like when he mentioned how so many of the tracks sounded unfinished. I started working on that album and carried it through two breakups, the loss of a job, a bout of homelessness, off and on drunkenness, all the way back to the light for a period of 3 years. It became very full sounding, "completed" halfway through that ridiculously long recording period, but because I never stopped working on it it got to the point at which my recording sessions, during which I'd maybe add sounds or little bits here and there to a track to create interest or even add whole tracks usually, started to become more like removal sessions. I would sit and take sounds out of tracks, like lead sections, all of the major harmonies, or sometimes entire tracks would just get scrapped. If I didn't like how a preceding piece flowed into the next, I wouldn't even spend time moving it around to make it fit elsewhere, I'd just decide it was "bad" and toss it. The end result was an album of mostly those little things that you add during the tail-end of recording an album. Flourishes, lots of space and such. I would elevate those aspects, removing most of the real body of the material. Very few tracks evaded my scalpel. Conceptually, all of the titles, as well as the title of the album itself, are just like those meaningless little bits and pieces of my life that are of little relevance, except in relation perhaps to larger currents - all of which are omitted. You're left with ghosts, really. So, with Obelisk, I've been taking some of those things that were dropped out of that album and re-working them, mutating them into something new. It could relate in some way to where I'm at right now, mentally, in comparison to then.

Last words are yours!

Keep supporting the free music scene, because it's awesome! Also, big <3 to Sirona-Records!!! And, um... HADOUKEN!



Websites:

http://www.discogs.com/artist/Alex+Spalding
http://yeahiknowitsucks.blog.com
http://www.myspace.com/noisejoy
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Interview - Golgotha Communications Ltd.

2/19/2013

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Artist(s) based in USA - Lead: Jozef K·rpovsky
How and when did you start to make music?

If we don't count some very early informal lessons that I took, with some old musicians who lived in my neighborhood, it started at the age of 10, when I briefly attempted to play the Trombone in my grade school band. I wanted to be Glenn Miller in those days(laughter). But, alas, determination wasn't my strong suit at that time, and I ended up going in a very different direction, which I think now was for the best. As a teenager I got really into experimental projects like THE HAFLER TRIO and :ZOVIET-FRANCE:, and in February, 1996,  began doing experiments with tape. Cutting, splicing, looping various bits I would pull off of the TV or radio, making 45 minute long suites with a couple of well-worn double cassette decks. Those were the days(!). Within a year or so of that, I had acquired a magnificent old synthesizer, a used TEAC 4-track machine, and some discarded effects pedals, and, decided that it was time to make sound artistry my main activity, apart from the other things that teenagers normally do, of course. But it was 100% analog for the first five years, and I'm proud to say that I didn't touch a computer for the first time until I was 20. One does have to move with the times, sooner or later(more laughter).
 
Could you explain to us why the name "Golgotha Communications Ltd."?

It originally came from a dream I had around the time the project started out. In that dream, there was a sort of faux church, with Gnostic symbols everywhere in lieu of traditional Christian ones, and GOLGOTHA COMMUNICATIONS LTD. was printed on the hymnals, latin characters but in a kind of pseudo Greek or Coptic style. For whatever reason it made a deep impression on me, and, at the time using that as the name of the project seemed the natural thing to do. It stuck, and, no sense changing it now =$. I invite everyone to read into that dream as much as they like(!). We have also recorded under the name FARS, which came from another dream that I hardly remember at all.
 
Do you have some special ways to record sounds? Some rituals?

It usually starts with an idea for an album, which in turn usually starts with whatever I happen to be obsessed with at the time. I'll go and collect audio that I consider to be related to whatever I'm thinking about, cut it up, work the bits into patterns that seem appropriate to me, work those into other soundscapes or rhythms, add this, subtract that, and before you know it you have a dozen tracks or more. It all depends on the idea, but I definitely prefer to work on the album basis. Very rarely will GCL just crank out a track that's not part of a larger project. 

Why the choice of putting your stuff in free download? What's your opinion about musical industry? About the netlabel scene?

To be perfectly honest, GCL chooses it's labels entirely because of the aesthetic or 'feel' of the label itself, it has very little to do with anything else. I doubt very much whether GCL could ever make any real money from it's activities, since this kind of music appeals to such a very narrow audience. The only way you make real money doing what we do is if you're scoring films (which I would not necessarily be against doing, by the way), so, with that in mind, I'm perfectly happy digitally releasing things for free, if I happen to like and respect the label. 


I also think that physical releases are important, and those pretty much have to be sold, rather than given away,  if only to cover the costs involved in making them. So I think we should have both. GCL have released cds and cassettes before, and, would like to again, and I would hate to see physical formats disappear altogether. Why anyone would PAY for a digital download is beyond me, if you're spending money on music, you should have an interesting and unique physical object to show for it, I think. So you can always expect any digital GCL release to be free, you won't see us on itunes.

As for the mainstream music industry? Ha, I think most of us will agree that it's worse than it's ever been, by far, both in the quality of the music itself, and in the way that it's marketed. Pre-fabricated, auto-tuned crap, on albums sold by the song at 99 cents a pop, is a sign of the apocalypse, if you ask me! I think that pop music is more disposable than it's ever been, and the industry more cynical than it's ever been, probably because it knows that it's dying.

 

Do you play some live? If yes, how do you work on live? 

GCL has played live, yes, but only rarely, the main reason being that we are almost never asked to. The other is that, as we learned the hard way many years ago, what we do dosen't very easily lend itself to live performances, and we don't like playing off of too many pre-recorded things, so we have to plan ahead very carefully when we do that. It's better that way, I think. Many of my favorite bands turned to shit once they started doing long tours and playing lots of live shows. I won't mention any names.

What do you consider the coolest moment of your musical "career"? A moment you will never forget!

We have SR to thank for one of them, actually, was very pleased to see our most recent(and, to date, only) live release pass 10,000 downloads last month! Hope that everyone enjoyed it, that release is very special to us, definitely a success story. Another would have to be an early cassette release, Contact Binary, which was the first GCL product to be distributed overseas, over a decade ago, before we had any kind of internet presence. At the time that was a big deal!
 
Could you speak to us about your new release in Sirona (Music that dosen't exist)?

This is kind of funny, but Music that dosen't exist is actually the rare GCL release that wasn't conceived of before hand, it's a compilation of tracks recorded over the last few years that didn't make it on to any of our main albums, not because we didn't like them--we're very proud of MTDE and everything on it--but because they all of them ended up just not fitting into the projects that they were originally going to be a part of. The title was conceived as a joke, and, it just stuck, but, I'm very happy to be releasing it finally.


What are your plans for the future (soon & later)?

In the near future, releasing some more things on your wonderful label, haha, particularly Life on a piece of tape Pt.2, which, like MTDE, has been on hold for various reasons. You'll be hearing from me about that soon! Further down the road, would very, very much like to release more cassettes, and hopefully vinyl or lathe records, eventually get involved in some video projects...many, many things, if this lovely planet of ours can avoid total catastrophe for another few decades. 



Websites:

http://golgothacommunicationsltd.tumblr.com
http://www.discogs.com/artist/Golgotha+Communications+LTD.

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Interview - Kai Nobuko / Toxic Chicken / Covolux (& Others)

2/14/2013

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Artist based in Bangkok, Thailand
How and when do you started music?

It was very easy, when I finished creating the earth, Adam and Eve and all the other things you might be familiar with, i had the feeling that something was missing. I realized the world needed music so i created birds equipped with singing primitive loops and patterns, after growing a massive grey beard; I implanted rhythmic skills in the other freshly shaped organic beings which resulted in a high variety of music. It was just a matter of clapping my hands and spitting on the passing clouds to get things done.

Obviously the above part is yet again a total expression of pure bullshit. It is actually a difficult question as my memory is comparable to a block of cheese with holes in it. After a bright moment to think I believe I first started at a unknown young age with a Atari ST as my best personal friend. Next to playing some crappy games and trusting my deepest secrets into stacks of unreadable text files, i was producing many floppy disks full of midi files. I programmed all note for note as i didn't have the luxury of a midi keyboard. This was probably my first and natural way into the world of notes and making music.

But my real eye opening was when I met this friend at his family house. They were living in a community for the mentally disabled. Which was a lot of fun to go too, as you could just acted as weird as possible and every visitor would just assume that you were a patient too. Anyway this family where not actually patients or disabled themselves (well..) but worked on the compound to organize events or daily stuff like playback shows and retard dancing contests. My friend’s Mother and father where a singing duo of Christian God-and-Jesus-loves-you all, kind of songs. And he was highly involved with this church thing but let me use the audio equipment his god praising parents where using to record their praises on. Which I’m very thankful for, as this resulted in my first crappy recordings. One day they came home early and kicked me out of their house as the loopy hardcore I was making at the time was definitely the work of the Devil.

This resulting in selling my Atari to the guy to get my first massive keyboard and a computer with the best possible thing ever: Fasttracker2. With this as a sampler and a crappy microphone, I sampled everything around me and milking every sound I got my hands on. This way of making music is now so natural for me that it is like writing notes in a note book, quick and efficient And even now in 2013 this kind of old-school stuff is still the main source of my main audio outputs.

You are very involved in the netlabel scene since a lot of years. Why this choice of putting your music for free and what's your actual feelings about music in the internet?

This is a good question and I can probably answer this in a few answers. Why I choose to put my music out for free in the netlabel scene could have a few reasons. One of them is that I’m extremely messy. I have lost so many good tracks, albums I once made just because of lack of parenthood. By releasing my music with labels I trust, it feels like I’m bringing my children to an orphanage. And people who like them are able to adopt them and enjoy them, or at least take care of them better than I could possibly do myself. And when a netlabel is stable, it is always nice that there is also an option to visit my donated eggs to hear them back and to know that they have a safe place, where they are cherished and hopefully loved. (or even hated, I don’t really care..)

My actual feelings about music in internet? I think it is totally wicked! And perfectly suits me!
The thing is that even though I understand that some people out there who are quality artists are hoping to make some dime on their musical skills, but I honestly love the free music brought by the netlabel scene. It is for a couple of reasons, but mainly because of my unstable and my perhaps slightly weird lifestyle, I’m trying to be a bit of the radar system-wise. Because of this, I have no bank account or really a clue what will happen next week. So I’m not able to buy touchable releases, but as all the albums I ever bought are long lost on my journey’s I can’t seem to attach to physical albums. It is not safe with me, and even though I appreciate it i will guarantee everyone who reads this that everything i got will be lost one way or another. Clothes, a laptop, a headphone, slippers and that’s about it. So Yes, I love the netlabel scene as I love music! And this is a way how to still enjoy fresh music, or even golden oldies without losing them or not able to listen to them because of not having printed paper, or silver coins with numbers stamped on it. Also I think from my own experience and opinion is that there is so much great music out there, that you simply don’t need the commercial chosen superstar or your ‘alternative’ poop star to listen to a variety of honest made music of choice.

Since you're on the brother label SP, you also putted some of your stuff in some DIY physical releases. What do you love in this DIY way to releases?

I do love and respect artists and labels who make their hands dirty by creating physical releases themselves. It takes a lot of love or creativity (or both) to come up with ideas, artwork and putting it all together. Especially because most underground labels have no funding or a pipe smoking joker in a suit who gives them bags of money for material, or promotion. I truly think it’s awesome these labels who manages themself independently and get CDr's, DVD's, MD's, vinyl, tapes, floppy disks and other material out and about. I guess that's why i got involved with the SP label, as they are not only doing this, but also they are a great bunch of insane people. I mean cd covers smudged with blood to floppy disks packed in recycled elephant shit! as mad as you could possibly think of, with the great family behind SP and its different branches everything is possible! 


Unique material made by the artist or label owner with a great collectable value is absolutely an honor to be involved with. And i recommend everyone who does got money to spend and a stable place to take care of such treasures, to invest in these creative and handmade releases instead of the machine pressed bullshit that hits the local supermarket.

You're very involved in the low bitrate (aka lobit) scene! Running Tibol, recently founded a sublabel of SP called SPTOtfSP, Top Of The Flops Netlabel, and producing tons of lobit music. What is the signification of low bitrate for you? How do you discovered it? What are your hope for?

The significance of lobit? Are you kidding me? What is the significance of the sun, the moon, the sky? Lobit is significance. Lobit is life, the air that we inhale and exhale. Lobit is every possible music genre squeezed in one delicious compact warmth! Lobit is possibly the healthiest addiction a person could have!

To be honest i don't remember how i came across lobit. It could be the awesome 20kbps label, it could have been Microbit Records, it could have been Floppyswap. It could have been digging a hole in the ground, finding a dusty box of lobit, from the depth from the underground. I don't remember the first release or track I heard, but i do know that i was instantly hooked on it. I loved the warm sound of lobit tracks. The so called data-loss is by my own ears perceived as data-gain. Nothing beats the warm bubble bath sounds of lobit encoding. The fact that there are no waiting lists for downloading lobit music is also something i enjoy, as it is compressed so tightly that it is quicker on your speakers than any mega bandwidth eating piece of clean cut music. I actually enjoy lo-fi, lobit and raw recording sounding music much more than super stereo, 3d, Dolby surround mega productions. It is just personal taste i guess.

The future of Lobit? I think it will probably stay the way it is, perhaps with steady little growth in listeners and artist who discover it and start to experiment with it. I don't think it will turn out the same way as chip tunes did as that has got a large cuteness to it and youth recognition for everyone who grew up with Tetris and Mario. Also Lobit can be anything, from rock music, some drunken geezer falling asleep on a keyboard, techno, ambience, mental outburst of insanity and every possible thing you could think off. Lobit as a genre is one genre that surprises the listener and contains pure freedom. Lobit feels like a playground where everyone who wants to, can experiment perhaps, but it could perhaps be too much of a blast to be enjoyed by everyone who comes across the phenomenon as a listener. But what the hell do i know? The last year we have seen a huge explosion of music makers diving into lobit, some of them liked the bubbles and got inspired and most moved on to their regular drugs...


The lobit scene to me personally is just a blast, good music, and a group of dedicated people (strange characters) from all over the world enjoying and creating the output. Lobit is a nice place! i hope it will always be a good place to have a nice vacation or recreational time in.

I know you have tons of different names in the musical scene but 95% are secrets and nobody know that's you. Why do you love to make some sound with anonymous (or close to) projects?

Ah this question is easy! one word: *#*FREEDOM*#*

You was originally from Netherlands & England, then you moved too Thailand. Did it changed your vision of life, and also your vision of music and your methods of creation?

In the Netherlands i felt frustrated. Got easily freaked out by whatever was happening in the country. I hated the fake open mind-ness, the hypocrites, finger pointing idiot s and the mass opinions. I was an introvert/extrovert person and felt like a walking canon trapped in an idiotic system I so wanted to take a massive shit on.

 
In England I went more outwards and forget how to hate and basically embracing fun and survival. Also I start to care about love and learned valuable lessons by having outer body experiences, driving off the hills on tricycles and attaching bread with peanut butter on the flat windows.

Thailand calmed me down as I encounter it as a beautiful magical land. Every day when i wake up i believe I’m living in a dream. The Buddhism of the country intrigued me but also affected me. I have never been so calm, healthy and relaxed. In some ways it made me perhaps lose some fire. But I have to say, I’m thankful for this and hope the adventure will never stop.

Music wise i think it means something like this: in the Netherlands the music was probably more hyper? In England it was all about love? And in Thailand i started to be more minimal as I’ve become some kind of dusty pensioner?(read : Lazy) seriously, I’m not really sure... But I do not think the actual music around me (country wise) has affected my music big time, as it comes from a mechanical crazy source deep in my cuckoo heart. Or maybe alien transitions? Or perhaps musical parasite’s in my brain?

Could you speak us a little bit more about SPTOtfSP? What it is and how you had the idea to create this sublabel of SP?

SPTOtfSP started as a sublabel of Top Of The Flops and SP, purely focusing on lobit and other material that could be fitted on a floppy diskette. It got the best of both worlds as all releases from SPTOtfSP could be downloaded for free or could be bought as a real touchable floppy with the unique pay for print option. This physical release also contains an extra bonus collectable that is limited and furry. In fact SPTOtfSP is run by a Koala. Because my Koala friend is not bilingual and most of the time high on eucalyptus leaves, I’ve been his personal manager ever since. Actually Koala let me use his cuddly image for the commercial family value of the label, which indeed was a successful thing he thought off. Many young teenagers as well as mothers are the groups of customers we focus on, and damn Koala have been receiving lots of dirty underwear and other fan mail, which is delightful to see!

So without doubt SPTOtfSP wants to broaden its horizons and is all ears for demos of aspiring artists.
Of course Koala's main focus is a diversity of quality lobit music, but also very welcome for all who want to experiment in the space of a floppy diskette. Movies, images, books, obscure formats and other ideas are welcome at our headquarters!

the idea to setup SPTOtfSP came from the love for a label i simply consider home, Proc Records. Actually it's sub label called 4m@ records that focusses on virtual floppy disc releases. Proc Records label owner has gone for physical releases now because of the lack of internet connections, so there was a real gap when the output of 4m@ where frozen. That's where Koala and Shaun Phelps came in to create something similar with an added DIY vibe to it. And me behind my mysterious hangout came to the rescue to guide Koala and Shaun Phelps (who is the one printing the floppy disks) in their difficult but fun venture.

You run with the fantastic Alex Spalding the awesome Yeah I Know It Sucks review blog. I know you said to me it was a sort of addiction for you. Could you tell me more about that?

Yeah I Know It Sucks, but writing on this "music' review blog is indeed something that could be compared to an addiction. When you start to review you are obviously blessed by hearing uncountable good music. You are hearing things you will normally not hear before, and actually try to write an honest review about it. It is a rewarding challenge and where the lobit addiction is quick and efficient, YIKIS is a time robbing one that will let you experience sleepless nights when you didn’t write a review, or didn’t do it correctly. 


Also it is very cool to see how many people actually visit the site, and the amounts of request we get by email is piling up like a mountain. Pushy dealers stalk the YIKIS team with the newest releases in our mailbox or personal internet pages.. It is that fact that it takes sometimes a long time when a review actually hits the internet, plus the fact that we like to review also the non-requested releases for our self-contagious fun. S
o yeah in case you don’t know it yet, take a look, if you like to read underground music reviews by non-pretentious weirdo's. 

You seems to be close to Your Name, and we didn't had news since long time. Have you heard a little about him recently. Could you tell us more about the guy for people who don't know him?

The last thing i heard about Your Name was that he was sitting on a blowup doll in the middle of the Indian sea. Actually he connected with me not so long ago if i could make a track in his name for the upcoming Microbit Celebration Compilation. Of course I obliged because obviously Your Name is one of these artist who is really out there with the talented stars. Able to make every possible sound, genre and musical outburst in an amazing experience! We all could learn from him and we can all hear little parts of us, in his amazing skills. He is probably one of the most profound characters that could capture everyone's style and blow you away with it! It is no surprise that he took a break from the music business to sit in the sun, enjoying the comfort of a plastic floating doll with (knowing Your Name) a cocktail in his hand. 


He was chatting something about a new album on Sirona in the future, which he was creating a brain and talent sucking device for at the moment. Obviously sucking other people's creativity and skills would only mean that the already highly talented underground superstar will be even more powerful and sexier in the days to come! Now you mention it, i seriously can't wait to hear some of Your Name's newest amazing skills!

What are your plan for 2013 (and why not for after)?

I cannot answer that as I hardly know what will happen tomorrow, or even tonight. I live day by day as the future is right now. This very second! 
I hope to stay in Thailand with my love and family, but it is getting harder and harder because of the crackdown on foreign criminals, pedophiles and other penniless weirdo's.

Websites:

http://www.youtube.com/user/toxicchicken1
http://soundcloud.com/toxic_chicken
http://topoftheflopsrecords.blogspot.com
http://www.sprecordings.com/sptotfsp.html
http://yeahiknowitsucks.blog.com

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Interview - Swin Deorin / Bash Nova (& Others)

2/13/2013

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Artist based in Darvel, Scottland
How and when did you started music? Electronic producing?

I started in early 2005 or 2006 after playing about with Audacity after hearing a friends musical cybergrind project (dj screwloose) I was very interested in it and things like playing guitar werent going so well when I was playing with other people. After that it was all up-hill! No-one really heard my first projects, A Kind Of Painless Skin or Poinless Course Of Action which was made with Guitar Pro or even Dj Lohphlo.

Could you speak a little bit about every of your actual projects?

Because i've lived with them for so long each of them has their own personality as well as musical style.

Swin deorin is the main one. He is more or less the one i feel closest to in terms of personality. His musiccan be beautiful but i can also be just garbage and experimentation on how i focus my energy on what he wants to do.

Bash Nova is largely a feeling I get. A vibration. Through my depression he came into being and has stayed. He has now seen the light at the end of the tunnel and is running for it. His sound is ambient soundscapes mashed with a large horror tones.

Icolmkill is my guitar project. I like to improvise it completely when recording. He feels that its best that way. He comes from what I am like and how I feel when I play my electric guitar. I feel a sense of calm.

Shooting Birds Out The Sky is the newest one. He is my anger. He is my rage and confision that the other 3 dont have time for. He is my angst, my fear and he is the one that takes the most out of me when recording something.

This is the 2 years anniversary of Bash Nova, what does it represent for you? What is the thing you are the most proud with this project and for which reason?

Its marks my turn in mental health from which Bash Nova stemmed from. Im so proud that he has made me known a little bit more and that people embrace his other wordly tones. Im not proud of one thing I have done with him, I am proud of all we have been through together, every release, every experiment, from the first incarnation of him as a joke to the overwhelming depth of him being attuned to my depression.. I am happy for it all!

I heard some legend about you, apparently you takes your power in your beard, is that true?

My beard is the source of all creation. Chuck Norris has nothing on my beard. My beard was the one that said to nature "Dude, its boring here, invent Arnaud Barbe and lets have some fun!"

Have you some sort of ritual for recording music? Some influences? 

Each one has their own ritual. With swin i'll start with a beat. or fuck about with a synth patch on Absynth or Fm8. Then i'll see what happens from there. There is no structure to how he makes it.
Bash Nova is recording and playing, evolving live, with metaphysical function on Reaktor 5 and then stretching those recorded things out and making them my own. If anyone makes something that way after this, tell me so I can hear what you've done!

Icolmkill is just press record on my voice recorder and start setting up my amp, put the delay on the longest it can be and just go for it. Editing, a little bit of reverb and eqing to make it seem nicer, 
Shooting birds... I record like Icolmkill but no guitar, just touching the input jack that connects to my amp and maybe use pots to hit or my Didgeridoo to add more to it. Editing, I put a overdrive on everything and see how it sounds when eqed.


The big majority of your releases are in free download. Why this choice?

I do things for free because I think music is love in its purest form. Love is always free, no matter what kind it is. Every free release is a little bit of my love given to who listen to it. As well as that, I do not like what big record companies have become. I like to do things myself too. Learning from doing things my own way, and there is no way cpmpanies like that would release half the stuff netlabels create. They want to control everything in case their audience might be offended. Its just art! Take it or leave it.

Another thing relating to that, some people like Hendrix or Captain Beefheart got complete control of what they were doing while being signed to a label, if that happened more it would be nice, but since this would never happened, the underground is the only way to achieve success with such matters. Complete creative freedom and no restrictions matters to me.

I feel like if your music is very visual. Would you love to make a soundtrack for a movie, shortmovie, videogame?

I have wanted to do that for a long time. When you, Arnaud, created that video for me, it was such a relief to have something like that to put my music to. I'd love to make music for a short movie for anyone! Bash Nova is best for that! I'd like to make my own dogme 95 film, that would be fantastic.

What your plan for 2013 and after?


I have no plans at all. Justy keep doing what I am doing and hope I can get better at it somehow. Maybe a few split releases with some people here and there. Who knows?!

Last words are for you!

Turn off your television. step outside. look what nature offers you. it sells nothing. you are the only you in the world, enjoy it. I am trying to enjoy my life at the moment, if we can all enjoy it together, then the better it will be for everyones future.

MON THE SIRONA!
SINCERITY IS THE KEY!


Also, I want to thank Rainbowdiving Butterflies, Kitty On Fire Records, Trashfuck Records,  Love Torture Records, Section 27, SP Recordings and every single person I have talked to in this scene, you people are so talented, I am just so humbled to be part of you. I never fit in with anyone, I think I have with you beautiful misfit creatures of love! 


Websites:

http://bashnova.bandcamp.com
http://swindeorin.bandcamp.com
http://icolmkill.bandcamp.com
http://shootingbirdsoutthesky.bandcamp.com
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Interview - Dingle (& Others)

2/11/2013

1 Comment

 
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Artist based in Fort Myers Beach (New Orleans), USA
How and when did you started music?

I started recording music on my own in 2001 at around age 12 after being in a few bands for a year or so before that. It started out as a simple hobby to prevent boredom and loneliness.

Could you explain us why "Dingle"? What does this artist name means for you? Where does it come from?

'Dingle' is a silly nickname from my days as a teenager that just stuck. I was in detention at school and the guy behind me wrote me a note asking if I could sing. I replied to it with a simple "no", so he asked me to be the vocalist in his pop/punk band 'The Gnomes'. The first day of band practice I showed up at his house wearing a brown button up shirt, a brown tie, brown cut off shorts, long brown socks and brown shoes, so he and the other band members jokingly started calling me "dingleberry" because of my physical resemblance to a piece of shit. I hated the name, so, naturally, they continued using it and it was eventually shortened to 'dingle' and it just sort of stuck.

You have or had tons of different projects. Could you speak a little about every of it?


I think my fascination with multiple aliases came from listening to compilations and hearing a song that stuck out to me where I could find relatively no background of the artist that made it, and with enough research finding out it was another alias of an artist I had already liked. Uwe Schmidt is a prime examples of this. I suppose i just like the confusion. At this point I have 16 (I think) different projects that I have either worked on in the past or still work on. Some are collaborative efforts, others are just solo projects with different styles. I've never really understood the concept of releasing music on opposite ends of the spectrum under the same name. It's almost more confusing than one person working under 16 different names. At this point in time, I'm focusing on roughly 3 different projects. dingle - noisy, distorted, sample-heavy beats inspired by hip-hop, mostly. Spacings - acoustic ambient/noise dealing with a lot of live recording of instruments I don't know how to play. The Circulatory System - physical cut-up experiments with cassettes and vinyl records combined with harsh noise. I'll be working on new Peppermint Pony material in the future (my first, probably most well known project, dealing with experimental chiptunes). Other aliases pop up here and there for remixes and compilation appearances mostly.

You seems to be a live artist for what we saw (I think we all remember the noisy performance in Siro500 videos compilation), what is the most crazy thing you've done in a concert?

This is a very good question. Damn... In my earlier days there were a lot of food fights and ridiculous outfits, which just turned into blood and full frontal male nudity. It's all relative really, but the first thing that comes to mind is when I tattooed a 'Q' on my arm in the dark while extremely drunk during a show I played with Quintron here in New Orleans. We don't really have a noise scene down here and I tend to make the audiences really uncomfortable, so I just thrive on trying to push them to a state of uneasiness that they've never experienced. Lots of mixed reviews from local crowds. I once played so loud (with one project Massive Junk) that everyone walked outside of the bar until the cops came and told them they had to go back inside, so they were forced to watch us. That was definitely a highlight. But the craziest thing was probably the tattoo.

You have a floppy tattoo in your sexy body, what does it represent for you?

Dedication to the underground.

You run the very cool label Flaccid Plastic Records. What was your motivation to started it? to make this one still alive after years (founded in 2008)?

Dingle - 2008 is correct. It started with wanting to put out a Peppermint Pony floppy disk and not being able to find anyone who was doing that at the time (maybe I wasn't looking hard enough). So the label started for that release, and just kind of started happening. We moved from floppy disks into cassettes and CDs and I figured why not do free releases as well...So now we do all of that and are progressively adding more and more formats and names to the roster. I also just recently started helping run the southern division of Brokecore Records here in the US after it's long hiatus.

What / who are your influences for your sound? Do you have some rituals when you record?

I just try to imitate the way I feel and think with sound or just get ideas out of my head. I have a lot of musical influences, but I don't try to sound like any of them. The list really is too long to even start. It mostly comes from every day experience, interaction (or lack thereof) and emotion. Things other than music. And recording for me is really sporadic and informal. I don't have to be in a certain area or in a certain mood. An idea just comes to me, (or the lack of an idea) and I just start doing it.

What are your plans for 2013, and maybe for after?

Right now, I'm working on getting back into doing shows. I took a relatively long hiatus from it and nothing is in order anymore. I don't really have much I can offer to a live set right now, so I'm working on that mostly. New equipment and stuff. Also, just trying to re-establish Flaccid Plastic by upgrading the quality of our physical releases and being more consistent in communication with artists and everything. Things have been hectic. Really, my goal for the future is just to have things flow more smoothly.

Last words are for you!

Thanks for the interview!

Websites:

http://flaccidplastic.com
https://www.facebook.com/flaccidplastic
https://www.facebook.com/brokecore

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Interview - The Captain Kirk On LSD Experience (& Others)

2/9/2013

1 Comment

 
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Artist based in Berlin, Germany.
How and when do you started to make music?

I started creatin music at the age of sixteen. Me and some Friends had a Band, we played only Punk and Goth because it was not so hard to play, first three Months I played Guitar, than I changed to the Vocals. After some Experiments with Nu-Metal and ThrashMetal I left the Crew and discovered the World of Electronic Music.

My first Demos was some Mix of 90s Industrial, PsychoWave, MeloNoise and Spoken Word, I tried some more Experiments with other Projects till I founded in 2007 "The Captain Kirk on LSD Experience". If I really remember, the Net-Label "TrashFuck" was in search for some acts for a 99-Bands-Sampler with only 5-second-songs, so i did one with TCKoLSDE, this was the first Kirk-Track and is also on the first EP "God blast my Ass", the Beginning of my personal musician new Age. All the last Years I was Vocalist of different Bands, most time Punk or HC influenced.


Since a little more of one year, you started a lot of new projects like roMeow, iampervert, the Un-zen, Cunt Fuckula,... sometimes far away from the power violence of your main project The Captain Kirk On LSD Experience. Could you explain us what pushed you in this way?

In 2011 i realized that i have to work with my Mind in another way, so i tried to give some special feelings special Sounds, "iampervert" (4-way-Split under construction featuring the excellent Viktoriya Natoloka and other Friends of me and their Ritual-Ambient-Projects) and "Cunt Fuckula" (Remix-LP under Construction, working Title is "Pariah Dance Party Vol. 1 - Cunt Fuckula is remixing a lot of Acts like System of a Down, Britney Spears, David Hasselhoff, be sure this shit will be deep) are dark, but "iampervert" is melancholic and "Cunt Fuckula" is full of Creepy Thoughts.

 "roMeow" is some special, because it's more cheesy and glitchy but it's more crazy and danceable than the other Projects. "The Un-Zen" was born on a live Kirk-on-LSD-Show, April 2012, Merlin (second Kirk-on-LSD-Live-Vocalist and sometimes Studio-Singer) created some Ideas about a new Band with more Live-Rockabillity on Electro-Trash-Style, so we wrote the EP "The ultimate Violatör" and workin now on our second Release with more tragic'n'danceable Melodys and a Live-Guitar, so the demos soundin like an insane mix of 90s-Power-Industrial and a special Voodoo-NintendoCore-Bastard, i'm very excited for some Live-Shows.

"Jane van Noise" is my Melo-Psychelic-LowBit-Project where i start some Journeys into nostalgic Melodys and acoustic Spells. In 2012 i did a Live-Show at Sean Derrick Cooper Marquadts "Friends of Sagittarius"-Festival #3, was the first Live-Show where i only played Synthesizer and did no Vocals, only drinkin, smokin and playin, was a special Trip, the Music put you far in another Time because of the wonderful LowBit-Flow and the sweet'n'Horny Melodys, it's an other Feeling than the 8-Bit-Chiptune-Nintendo-WhatEver-Sound of "The Captain Kirk on LSD Experience". So I gave 'em other Existence.

"Vincent DeVine" is in the most way like "TCKoLSDE", but it's my Project where I want to sing only german, because of the Lyrics, it's important to tell People in my Country in my Language what's wrong, because it doesn't matter, if I sing this in English and now one knows what i'm tellin. And I think this Year Vincent DeVine will start some other ways, next CD is under Construction, 
I will sing on a lot of international UndergroundBeats of Musicians I prefer to sing on the Beats like "V3rb Th3 N0un", "IKILLEDTECHNO" , "Mstr Cylndr" and some other Dudes, be sure it will be a cheesy EP.

So i'm thinkin about other Projects, so i'm startin now with "Muspelhain" (Ritual/Doom/Electronica) and "Fuck you for loving me" (Acoustic/Melodramatic Pop-Song/Anti-Pop) some Stuff with other Background and I got some more Ideas for 2013. Music is the best we have.


What's are your past or actual influences to your music, from the underground to the "mainstream" scene? Did some band really changed your vision of music?

For me is no "mainstream" or "underground", for me is only "Emotion" or "no Emotion" - i hate it, when People got no Feeling or no Idea of a Feeling and to make it, when they only do anything - so I understand Artists, which do this under Drugs and yeah, I like what they found out, but it always should have a special background, formed by an Idea or a Thought, a Picture in mind, something what is inside the Artists, when I feel something like this, when I listening to Music, fuck off which Genre, than I like it, than I can feel what the Person feel or I can try it, than it's interesting for my Mind to fight with some Sounds or relax on some Melodys, than the Mind is workin, but is the Music boring because of uninspired StandardBullshit or when I know the End of the Song before the Song is endin, it's the Sign to search for some other Sounds.

Now I prefer some Ritual-Doom, spheric or melancholic BlackMetal, PowerViolence/Punk, DarkWave, Italo-Pop, something with interesting and fuckin deep german Lyrics like "Janus" or "Samsas Traum" and a lot of different Ambient-Stuff. I think a lot of MusicStuff did something with me, but sometimes I'm sure that Artists like Meat Loaf, System of a Down and Daft Punk are the "MainBase" or "really important" for my musician Understanding. So since i listen to Music in this special way of healing the mind, I realized thousands of wonderful sounds in all Generes, so many fuckin interesting Ideas to dance on it, chill on it, swing on it, fuck on it - I can't really say where I got all the Input, it's too many Stuff, i'm always open Minded for new Ways of Music and I love it, when someone mix some totally different Genres to One.


How could you describe a typical Captain Kirk On LSD Exp. concert?

A "TCKoLSDE"-Show is even a Space-Show. We play a Mix of different songs from different LP's, all time Best of, never the same Live-Mix on a second-Show. So Classics are "Electro is dead" or "Hey Rebel, it's da Pussy in me", they are in every second LiveMix, because on Life-Shows they got the most Bounce-Sounding.

Goreky is the Master for the Live-Electronic, because he got the technical Know-How for installing, mixing and controlling on Live-Shows. Sometimes he created really great SoundEffects and Live-Effects for the Berlin-Shows, like to work with him on TCKoLSDE-Shows, it's always a funny Trip. Merlin and me only singing and performing but not in an "Electro"-Way or something like this, we come from the MetalPunk and so we sing and perform on Live-Shows, always dancin, screamin, bangin, growlin in some special Dadaistic Ways, because on Live-Shows we do some more spontaneously Vocals with Input from the last Days of time before the Live-Shows, Problems with Friends, Problems with Work, Problems with Desire, something what we feel in this Moment, when we're live on stage, only actual, no phrases.

Most Times we played on the local "Trash'n'Core"-Shows with a lot of interesing Underground Experimental-Acts, and everytime we got a crazy Light-Show. But in the End a "TCKoLSDE"-Show is more HC-Punk-Show than a Techno-Event. On the most Shows we played we got some mixed Crowd, but the People was always open minded for this awesome Disco-Trip. Most Times they dance their fuckin Ass off.


You're, if I make no mistake, exclusively involved in the free download, netlabel scene, and this for years now. Could you explain us this choice?

Yeah, I like the Idea of free Music for all People, so I try to be a Part of the Free-Download-Scene, because no One should pay Money for Art. I can understand the People which want to make Money to live from the Music, but when I do this, than I would only take the Money for Live-Shows and Merch, Not for the Music, you can always download all my Stuff for free. It's important that People try to take the Money out of their real Life. Money is for the Life in this artifical World, not for the World in me, for my own Universe, my own Experience.

To find out what i am, I don't need Money, I need Music, Life, Contact, Love, Breath, a second being, but no Money. For some Special Shows like "Friends of Sagittarius" or the first "TCKoLSDE"-Show I did some special DIY-Physical-Releases, but this was really for the special Moment of the Show, not for Money, these CD's was always Gifts. I think I will do this 2013 in the same way. I tell you, what I see, that's why my Music is free.


What do you plan for 2013?

So I told a lot about all Side-Projects for this Year. With "TCKoLSDE" I work now on the Jubi-Release "Mental Throatfuck", this will be a special CD with Back-to-the-Root-Sound meets Fuckin-more-Psychedelic. If this LP is ready I want to try to release this on "Sirona Records" and "TornFleshRecords" at the same time, because both are important for a lot of Kirk-on-LSD-Releases, and this is the "5-Years-of-Kirk"-Birthday-LP.

So I got some other Live-Projects in Berlin. With some Dudes from my Hometown I start now a melancholic HC-Metal-Punk-Band with german Lyrics and I play Drums in a experimental PowerViolence-Band. In 2013 I will try also playin Bass in a Stoner/Punk/Doom-Project and a Powerviolence-Crew headed by Scomba, the Vocalist of "Nina Tendo".

I hope I can play a lot of different Live-Shows this Year. I want some more different Experiences when I do some Punk or Electro, i'm excited what awaits me, I think it's fuckin important to do everything live, and if it's only for one Show, programmin can every Human, but do that Shit in a Live way, than you earn the most Respect, I can give to you.

Specially for 2013 I work now with Scomba on a special Order-Service for Tapes, Shirts, Patches and other special Music-Shit for DIY-Releases. I will start to release a lot of different Types of my favourite Music from Ambient till Thrash, from Ritual till Electro. I'm also thinkin about special Collabs with Net-Labels like a "Sirona Mixtape" with collected Tracks from all Releases, bounded by me for a special Tape. But I need more Time for all the Details, I hope we start in Spring/Summer this Year. There will be also official "Kirk-on-LSD"-Shirts, "iampervert"-Shirts and "The-Un-Zen"-Shirts.

How would you describe your own Style of Sound?

Most times when I talk with People about my Music, from Kirk-on-Lsd till RoMeow, from iampervert till Jane van Noise, People don't know what Music I do, because they never heard some Music like this before. It's always confusing for me, because I like the real tagging of some Music, the talkin about the Mixin of different Ideas and Desires when someone creates something, but when People don'know how to describe my Music, it's confusing for me, because of my Thinking of the World is in this Moment under Construction.

I'm always tryin to put a complete strange feeling in a song and to produce with 100% Emotion inside, if People don't understand this, what am I? That's a little strange thinkin, but most time i'm wondering when People say me, that I do a lot of Party-Music. I think I do always Melancholic Music. It's funny to discuss about this and what People see and feel in my Sounding. I take my Music to set my Mind free, so when It's powerful and tragic, than it's not partylike for me, but interesting that some People enjoy this in the other way.




Websites:

http://www.youtube.com/user/NinaTendoSpaceCore
http://www.youtube.com/user/TCKoLSDE
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Interview - 2nnt / glasscarpenter / Static Noise Bird (& Others)

2/9/2013

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Artist based in Helsinki, Finland.
How and when do you started to make music?

Nokia had a cool online program for that in 2005 and I made a lot of short tracks on that. Later I searched for other producing things, which I can't really remember anymore. In 2006, I moved on PS2's MTV Music Generator and in 2008 I got FL Studio 8.

You started electronic sound with EDM (with 2nnt) and progressivly added more noisy & experimental touches to your sound (with Static Noise Bird & glasscarpenter). Could you explain us this necessity of going deeper into experimentation?

I have been listening to Future Sound of London for my whole life (they had a track on wipEout 2097 which I got when I was like 4 years lolol), but back in 2010 when I joined Breakbit, I wasn't really into them anymore. Then on 2011 spring, when I found them again, I got full on into other ambient too, and started working on "Unwanted". Back then I thought it will be my only ambient/noise release but apparently I was wrong!

How do you feel about the actual music scene? About the one you can find on the TV & Radio? About the one you can find on the internet?

I don't really listen to radio. But I know that 99,5% of it sucks. I don't know about internet music scenes either, but the circles where Sirona, Breakbit, DANCE CORPS etc. and affiliates are in, are definitely the most awesome. Another cool community is Ektoplazm, which shares Dub, Psytrance, Ambient etc. from many labels.

All your albums & EPs are in free download, could you explain us why you choosed to put your sound for free in the internet?

It feels wrong to make people pay for something I like to create for them. I make it for others and my own happiness, not for money, even though Unwanted and Atmospirit were both being sold for a small price for a moment. But the case was that when they got released, I simply needed some extra money for school things.

If you could work on a track with a famous electronic producer, who will you choose and for what reasons?

Tough question, there are so many. I'll name five here: Jikkenteki, Choongum, Globular, Hinkstep or Zastabuj Kopec. They are not really popular, but ridiculously talented anyway.

What are you plan for the rest of the year?

In 2010 2nnt was born, in 2011 glasscarpenter got created and in 2012 Static Noise Bird appeared, so in 2013 I must create another alias! Just kidding.I will aim to make at least one glasscarpenter release this year, and two releases for SNB, one LP and one EP.

Also one 2nnt EP is done and will possibly be released soon.


Last words are yours!

I'm eating a delicious-as-fuck swiss roll. Damn. Also tip to you not-anymore-a-kids: Stay fresh, #YOLO


Websites:

http://2nnt.bandcamp.com
https://soundcloud.com/2nnt
https://twitter.com/staticnoisebird


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