[PURESTENCH : Give us a description of Nyodene D. Your ideas, concepts and aims with the project. What inspires you to create your work? ]
Nyodene D is a harsh industrial project that I feel falls in line with the dark ambient / death industrial / power electronics style. The idea and aim is to observe and reflect human nature and the conditions of society, specifically those that ultimately set humanity on the path towards destruction. My goal is to further the discourse concerning the eventual destruction of modern society and whether or not it can prevented. Keeping this in mind, I am inspired by humanity's own fatalism and acceptance of the status quo, especially in light of evidence that shows us that our global society – not just some petty left vs right charade of American politics – is ultimately doomed to destroy itself.
[PURESTENCH : What do you think distinguishes Nyodene D from any other Power Electronic or Industrial groups out there right now? ]
A lot of people point out that I'm one of the few “leftist” acts in Industrial – a statement which is not necessarily accurate considering both my personal political beliefs as well as the Industrial scene as a whole. I, personally, would point to my own sounds as what sets me apart. I don't have much in common with much of the lo-fi harsh TF/PE and Filth & Violence sound and aesthetic that a lot of people are identifying with . I feel that my project has a lot more in common with the European Cold Meat Industry / Loki Foundation sound of power electronics / death industrial.
[PURESTENCH : What are some of your influences outside of music? Such as art, literature, politics, etc.]
Honestly, I don't get to read much literature or see many movies. I'm kind of a philistine in that sense. I would say a lot of sociological (my day job) and political theory, extremist politics and ideologies, religious zealotry, weaponry and warfare and mythology. Art, literature and film that reflects these topics certainly appeal to me.
[PURESTENCH : How important do you think the role of imagery is and why? ]
Imagery is vital in all extreme music. It adds so much context to my music and gives me a general mood and atmosphere to evoke. In a broader sense, it grounds what would be otherwise meaningless abstraction into reality. It's what I feel makes “Industrial” more than just wandering noise workouts. Notice the projects with a well-developed sense of imagery and finesse at conveying it seem to be the ones that make a lasting impression upon the scene...
[PURESTENCH : How many live shows have you done and have you ever been overseas? Any favorite shows that stick out in your head? Do you have any "crazy" tour stories? ]
In past years, I performed live often (almost too much), but in the last year, I've dialed it back considerably. My upcoming tour (link: http://www.facebook.com/#!/events/176156732479187/)
is the most I've played in months, focusing instead on a handful of one-off performances in the Midwest. I am excited to be playing out again, and have implemented a new tour set-up, technique and two different sets to perform for the 10 or so dates this December. Probably my favorite show in recent memory was the final Chicago Koufar performance; lots of good friends, an excellent lineup, oppressive weather and a good amount of whiskey and Lebanese moonshine to get us through it. In terms of “crazy tour stories,” none that I can really think of, except perhaps driving through a freak snowstorm at midnight following a show in Dayton. It was the middle of March and we got slammed with snow while driving the 75 miles to Columbus.
[PURESTENCH : Which do you prefer: performing a live set or recording? ]
Both have their ups and downs. Recording is much more on my own terms and occurs at my own pace. Live sets are stressful, but rewarding when done well, and the social aspects of performing and going to shows is its own reward.
[PURESTENCH : Do you record in a live manner or do you edit and use overdubs? ]
Since God and Country, or perhaps even earlier, I have recorded directly to my computer and edit / mix everything layer by layer. Most ambient stuff and ritual percussion is done with digital synths and samples, most noise is done through either edited scrap metal loops and analog synthesizers. Vocals are tracked last, typically, at a friend's house or at the university radio station's recording booth.
[PURESTENCH : Besides this new CD and the Phage Tapes vinyl release you have released cassettes. Do you think that tapes are the best medium for Noise and your music in particular? Why did you decide to release the new one as a CD and not a cassette tape? ]
Quiet simply, I released Every Knee Shall Bow as a pro-CD because I was offered the format by Assembly Of Hatred. Most of the formats I release on are a matter of what label wants to put something out by me and on what format they prefer. Most full-length material (Every Knee Shall Bow and the upcoming Malignant Records / Black Plague release Edenfall) will likely be released on CD, which I like for accessibility and clarity of sound. Most cassette releases (which I'm still doing, with releases upcoming on Nil By Mouth and Danvers State Recordings) will likely be smaller in concept or be dark ambient / death industrial workouts. The Phage Tapes Caged Dog / Common Criminal 7” is my first vinyl release, and it is definitely a single. Any longer vinyl releases (10”, 12” will be approached on a more case-by-case basis. I find all three formats equally aesthetically pleasing; I'm not a tape or vinyl snob or anything like that.
Nyodene D is a harsh industrial project that I feel falls in line with the dark ambient / death industrial / power electronics style. The idea and aim is to observe and reflect human nature and the conditions of society, specifically those that ultimately set humanity on the path towards destruction. My goal is to further the discourse concerning the eventual destruction of modern society and whether or not it can prevented. Keeping this in mind, I am inspired by humanity's own fatalism and acceptance of the status quo, especially in light of evidence that shows us that our global society – not just some petty left vs right charade of American politics – is ultimately doomed to destroy itself.
[PURESTENCH : What do you think distinguishes Nyodene D from any other Power Electronic or Industrial groups out there right now? ]
A lot of people point out that I'm one of the few “leftist” acts in Industrial – a statement which is not necessarily accurate considering both my personal political beliefs as well as the Industrial scene as a whole. I, personally, would point to my own sounds as what sets me apart. I don't have much in common with much of the lo-fi harsh TF/PE and Filth & Violence sound and aesthetic that a lot of people are identifying with . I feel that my project has a lot more in common with the European Cold Meat Industry / Loki Foundation sound of power electronics / death industrial.
[PURESTENCH : What are some of your influences outside of music? Such as art, literature, politics, etc.]
Honestly, I don't get to read much literature or see many movies. I'm kind of a philistine in that sense. I would say a lot of sociological (my day job) and political theory, extremist politics and ideologies, religious zealotry, weaponry and warfare and mythology. Art, literature and film that reflects these topics certainly appeal to me.
[PURESTENCH : How important do you think the role of imagery is and why? ]
Imagery is vital in all extreme music. It adds so much context to my music and gives me a general mood and atmosphere to evoke. In a broader sense, it grounds what would be otherwise meaningless abstraction into reality. It's what I feel makes “Industrial” more than just wandering noise workouts. Notice the projects with a well-developed sense of imagery and finesse at conveying it seem to be the ones that make a lasting impression upon the scene...
[PURESTENCH : How many live shows have you done and have you ever been overseas? Any favorite shows that stick out in your head? Do you have any "crazy" tour stories? ]
In past years, I performed live often (almost too much), but in the last year, I've dialed it back considerably. My upcoming tour (link: http://www.facebook.com/#!/events/176156732479187/)
is the most I've played in months, focusing instead on a handful of one-off performances in the Midwest. I am excited to be playing out again, and have implemented a new tour set-up, technique and two different sets to perform for the 10 or so dates this December. Probably my favorite show in recent memory was the final Chicago Koufar performance; lots of good friends, an excellent lineup, oppressive weather and a good amount of whiskey and Lebanese moonshine to get us through it. In terms of “crazy tour stories,” none that I can really think of, except perhaps driving through a freak snowstorm at midnight following a show in Dayton. It was the middle of March and we got slammed with snow while driving the 75 miles to Columbus. [PURESTENCH : Which do you prefer: performing a live set or recording? ]
Both have their ups and downs. Recording is much more on my own terms and occurs at my own pace. Live sets are stressful, but rewarding when done well, and the social aspects of performing and going to shows is its own reward.
[PURESTENCH : Do you record in a live manner or do you edit and use overdubs? ]
Since God and Country, or perhaps even earlier, I have recorded directly to my computer and edit / mix everything layer by layer. Most ambient stuff and ritual percussion is done with digital synths and samples, most noise is done through either edited scrap metal loops and analog synthesizers. Vocals are tracked last, typically, at a friend's house or at the university radio station's recording booth.
[PURESTENCH : Besides this new CD and the Phage Tapes vinyl release you have released cassettes. Do you think that tapes are the best medium for Noise and your music in particular? Why did you decide to release the new one as a CD and not a cassette tape? ]
Quiet simply, I released Every Knee Shall Bow as a pro-CD because I was offered the format by Assembly Of Hatred. Most of the formats I release on are a matter of what label wants to put something out by me and on what format they prefer. Most full-length material (Every Knee Shall Bow and the upcoming Malignant Records / Black Plague release Edenfall) will likely be released on CD, which I like for accessibility and clarity of sound. Most cassette releases (which I'm still doing, with releases upcoming on Nil By Mouth and Danvers State Recordings) will likely be smaller in concept or be dark ambient / death industrial workouts. The Phage Tapes Caged Dog / Common Criminal 7” is my first vinyl release, and it is definitely a single. Any longer vinyl releases (10”, 12” will be approached on a more case-by-case basis. I find all three formats equally aesthetically pleasing; I'm not a tape or vinyl snob or anything like that.
What matters most to me is professionalism, regardless of format. For instance, something with scribbled-on (or worse, spraypainted) art and recycled tapes and CD-Rs from garbage slacker noise labels are things that our scene should try to leave behind more so than any existing format that falls in and out of fashion.
[PURESTENCH : On your new CD "Every Knee Shall Bow" you intertwine a lot of ambient and atmospheric material with aggressive electronics. Old material (at least those that I have heard) used a formula that is somewhat similar but there still seemed to be a decent shift from the sound of past material to the new stuff. Is this a new direction for Nyodene D? What is it about these ambient atmospherics that you like?]
I would say that it's not so much a new direction but a realization of exactly how I want the project to sound. As I mentioned earlier, I'm hugely influenced by the 90s CMI and Loki Foundation sound of bands like IRM, Brighter Death Now, Ex.Order, Megaptera, Inade Negru Voda and others of that ilk. My hope is to combine the whole dark ambient / death industrial sound with more extreme vocals and in-your-face scrap abuse. I think I like the dark ambient sound because of all the drone, post-rock and 70s German komische stuff I listened to in high school. Plus, it allows me to focus on melody and composition while still participating in an “abstract” artform.
[PURESTENCH : "Every Knee Shall Bow" seemed to be "cleaner" than some of your other releases that I have heard. Did you record this in a studio? Did you work with any new and improved equipment while putting this release together?]
I recorded this atnd did the mixing and mastering in my home studio and sent some of it that I had trouble with to Stephen Petrus (Murderous Vision, Live Bait Recording Foundation)for him to lend his hand to it. This was the first release I used the Moog MG-1 for, but it was largely pretty gritty sounding. I think it sounded cleaner than previous stuff because of the CD format.
[PURESTENCH : Who are some of the best new names in the Power Electronics scene in your opinion? ]
I'm enjoying watching the following projects from the P.E. / Industrial scene develop: Crown of Cerebus, Torso, Machismo, Abuse Patterns, Content Nullity, Body Cargo, Tearoom Trade, Magia Nuda, Lungs Of God, Plague Mother, Heavy Breathing, Piglike and many others. The US scene I feel like has finally shrugged off the stigma of hippie slacker jam-noise and is finally catching up to the quality of the European Industrial scene in a lot of peoples' minds and it's about damn time.
[PURESTENCH : There are a ton of Noise/PE artists who have different projects under different names and alias', do you have any more projects that exist outside of Nyodene D? ]
At this time, I am in a dark ambient duo with Stephen from Murderous Vision called Lupus Sol, which is recording a second full-length for release on Live Bait Recording Foundation. I am also working on a demo with a newly formed noisecore act Philosophy Of Knives, which is based on the idea of extreme vigilante justice for rapists and sex offenders.
I am also involved in an old-school "cultural terror"-style project called Objektiv Nihil with my friend Matt McClure, which will have a debut full-length out next year on Live Bait Recording Foundation. It carries a lot of 80s and 90s Industrial vibes, particularly stuff like SPK, CON-DOM and The Grey Wolves
[PURESTENCH : If you could do a collaboration with any active artist who would you choose and why?]
Probably those I name as my influences, especially the members of Inade, IRM and Megaptera.
[PURESTENCH : Final comments... ]
Support professionalism in DIY music, accept no shady business masquerading behind hype, support bands and labels that consistently act professionally and support quality and stop supporting labels that don't. Thanks, Ryan. It was an honor doing this – my first – interview.
I would say that it's not so much a new direction but a realization of exactly how I want the project to sound. As I mentioned earlier, I'm hugely influenced by the 90s CMI and Loki Foundation sound of bands like IRM, Brighter Death Now, Ex.Order, Megaptera, Inade Negru Voda and others of that ilk. My hope is to combine the whole dark ambient / death industrial sound with more extreme vocals and in-your-face scrap abuse. I think I like the dark ambient sound because of all the drone, post-rock and 70s German komische stuff I listened to in high school. Plus, it allows me to focus on melody and composition while still participating in an “abstract” artform.
[PURESTENCH : "Every Knee Shall Bow" seemed to be "cleaner" than some of your other releases that I have heard. Did you record this in a studio? Did you work with any new and improved equipment while putting this release together?]
I recorded this atnd did the mixing and mastering in my home studio and sent some of it that I had trouble with to Stephen Petrus (Murderous Vision, Live Bait Recording Foundation)for him to lend his hand to it. This was the first release I used the Moog MG-1 for, but it was largely pretty gritty sounding. I think it sounded cleaner than previous stuff because of the CD format.
[PURESTENCH : Who are some of the best new names in the Power Electronics scene in your opinion? ]
I'm enjoying watching the following projects from the P.E. / Industrial scene develop: Crown of Cerebus, Torso, Machismo, Abuse Patterns, Content Nullity, Body Cargo, Tearoom Trade, Magia Nuda, Lungs Of God, Plague Mother, Heavy Breathing, Piglike and many others. The US scene I feel like has finally shrugged off the stigma of hippie slacker jam-noise and is finally catching up to the quality of the European Industrial scene in a lot of peoples' minds and it's about damn time.
[PURESTENCH : There are a ton of Noise/PE artists who have different projects under different names and alias', do you have any more projects that exist outside of Nyodene D? ]
At this time, I am in a dark ambient duo with Stephen from Murderous Vision called Lupus Sol, which is recording a second full-length for release on Live Bait Recording Foundation. I am also working on a demo with a newly formed noisecore act Philosophy Of Knives, which is based on the idea of extreme vigilante justice for rapists and sex offenders.
I am also involved in an old-school "cultural terror"-style project called Objektiv Nihil with my friend Matt McClure, which will have a debut full-length out next year on Live Bait Recording Foundation. It carries a lot of 80s and 90s Industrial vibes, particularly stuff like SPK, CON-DOM and The Grey Wolves
[PURESTENCH : If you could do a collaboration with any active artist who would you choose and why?]
Probably those I name as my influences, especially the members of Inade, IRM and Megaptera.
[PURESTENCH : Final comments... ]
Support professionalism in DIY music, accept no shady business masquerading behind hype, support bands and labels that consistently act professionally and support quality and stop supporting labels that don't. Thanks, Ryan. It was an honor doing this – my first – interview.
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