purestench

Crown of Cerberus - Salome

2012-02-23T10:58:00.004-08:00

Crown of Cerberus - Salome

Crown of Cerberus puts an emphasis on weaving lengthier tape loops together in a very original way that is hard to compare to anything else going on right now. Taking his source material from all over the place and putting them into sensory engaging motions that have no other choice but to degrade. Beautiful in the same way that death is, Mack referring to his music as "feminine" I see it as a deconstruction of feminine, softness into a quiet conflict, and that conflict into the serenity of resolution. Reflecting my own feelings on to this music I feel a tender perversity (not generally sexual, rather a provocative yet defiant perversity) that eludes most Noise or Power Electronics material.

Side A begins quietly and open, uncompressed sounds scattered about that slowly morph as a female sings, or rather moans, as she begins to become washed out by sharper layers of high-end echoing resonance. The flat yet agile eclipsing of sounds from one to the other makes this less dreamy, somewhat darker, than the other Crown of Cerberus releases to date. The range of sounds here sound organic and perfectly natural while the choice of loops enwrap a series of ideas in a poetic reversal and reaction. Flipping the tape over and the sounds of water appear, the track being called "Watching Her Majesty As She Waves Through A River of Her Enemies Blood" makes this idea clear and only lends itself to the darker feeling of this tape. The wet sounds become layered, one bouncing off the other while the tape hiss below helps these layered sounds not become overwhelming and boring. Like on side A these initial sounds slowly get taken over, put to the side by a sharper sound, almost metallic, until the track washes itself out ending this tape the way it began.

Every little element of this tape is assembled competently and the sounds are well composed, occasionally feeling almost orchestral sometimes making the sound throw the listener into a meditative state, the sounds trumping emotion. This type of Noise can become dull quickly but somehow Crown has not let this happen to his music and the aesthetic of his work is still growing, not pinned down just to one specific area and it never seems fabricated or made just for the sake of making something to release.

Deprivation - Deprivation

2012-02-10T20:37:00.000-08:00

Deprivation - Deprivation

Up-and-coming Italian label Diazepam (that's the chemical name for Valium for all you nerds) put out 4 tapes in the year of 2011, one of them, the best of the batch in my opinion, is a old-school Power Electronics post-mortem serpent by the name of Deprivation. It seems like this is a straight up simple Noise/PE tape not masquerading as anything of major importance making the sounds here all the more valuable to me. This was a great tape to help get me out of the one-review-per-full moon rut I have been in lately.

The production here is familiar like an old room, typical primal and raw aesthetics that one is used to finding in the Noise genres. This does nothing but help in the overall atmosphere of this tape. Freefalling into sharp harsh noise and gritty background ambiance, each element introduced slowly, until blurring oscillations of power connect it all together. A humming drone crackling at every peak picks you up and carries you through rumbling waves until the final track of Side A which keeps that rumbling wall continuing in a linear way making the almost pure energy found on this tape bounce in sparse movements while speaking logically to your instincts, fending off the horrible urge to just let it turn into a "wall" track, valiantly staying away from the easy. Hats off to you Deprivation. Slow moving MB and Mauthausen Orchestra infected Power Electronics is a style that takes patience to pull off, to continue being unnerving but not irritating, and Deprivation illustrates the pay off of having such patience. Side B is a bit more aggressive attacking in short movements with low-end pulsations and uncomplicated underlying synth and tape manipulations, creating a nice counterbalance, to creep about in the damp depth of this cassette.

Deprivation does what material like this is suppose to do: sound good in that strange way that only Power Electronics can sound good. This is probably possible more-so now than ever because we live in a time when "Music" has almost no individual identity whatsoever. This is fine-tuning for the part of your brain that craves sound. Keep it coming.

Interview - Nordisk Klub

2012-01-26T07:33:00.000-08:00

[PURESTENCH: Introduce us to Nordisk Klub. When did it begin? What made you want to start a label? ]

NK: Nordisk klub started in 2010. I wanted to start the label because I heard some different bands which i thought sounded really good and i didn’t think that anyone else was going to put them out. I was also involved in another label/zine project before Nordisk Klub but our ideas about music were too different.

[PURESTENCH: What do you look for in the material you release? Besides sound what (if anything) would make you deny a request from a band or artist to have your label release them?]

NK: Most of the releases just happened, maybe someone handed me a tape with some material or i heard some recordings at a friends place or something. So i haven’t really “been looking”. 

I would deny all people of right wing beliefs.

[PURESTENCH: How did you get involved with Noise and Power Electronics? What about these genres do you like?]

NK: I started out going to punk shows when I was younger and then i met some people that used to play in different punk bands, that were playing noise music at that point, I found it really interesting and started attending the shows. 

[PURESTENCH: Are you a member of any of the bands on your label?]

NK: Yes. I am member of some of the projects. 

[PURESTENCH: From what I have heard you guys are quite young. Does this effect how serious other artists take your label? Does age have any negative effects or has everyone been pretty open to it?]

NK: I don’t think it affects anything. People have been really positive about the things I have put out and some of the tapes have also been distributed by other people that are older or have been “into the scene” longer, whether it’s punk/hardcore or power electronics/harsh noise.

[PURESTENCH: So far all of your releases are bands from Denmark, where you are located. Denmark seems to be swelling with new experimental and metal/punk artists and labels. How is the scene over there? Is it a tight community or are there many separate groups doing completely different things? Do you plan on only releasing bands from your area/country?]

NK: In some way everything is connected, if you talk about the noise scene, but more and more people are getting involved all the time. The punk/hardcore scene is more divided but Copenhagen is a small city, even though it seems like there is an endless amount of bands, so in one way or another people know each other. 

So far I have only released projects that are based in Copenhagen simply because it seemed straight forward, and because there were some good projects/bands that weren’t put out anywhere else. But if I hear a good project/band from somewhere else and it feels natural to put it out, I will do it. 

[PURESTENCH: Does Nordik Klub represent any ideologies, whether artistic, political or whatever, in your labels work? Is there a consistent theme in the work?]

NK: Nordisk Klub by itself does not represent anything but underground music. I don’t have an overall theme for the label, every release has a theme of its own and the releases are not necessarily connected in any way.

[PURESTENCH: The artwork you do is really nice. How important is art to your label? Do you do the artwork or do the bands and artists do it themselves? ] 

NK: Thanks. I do allmost all the artwork myself and I do the layout as well, but always with some of the artists from the band I am going to release. I think artwork is really important and I like when everything is linked together, from the lyrical theme to the artwork and how the overall theme fits with how the tape is presented all together with inserts or whatever.

[PURESTENCH: So far NK has only put cassettes out. Is this the format to be used in all future releases? What is it about the cassette format that you find so appealing?]

NK: maybe I will release something in another format at some point but at the time cassettes seems like the right format to use. I find cassettes appealing because they are so easy to handle. You don’t need any fancy equipment or anything just a tape recorder to record the music on and a tape player where it is possible to dub from one cassette to another. Then you can always find a xerox machine at some school or something where you can do copies of the cover and then you have a release. D.I.Y. style.

[PURESTENCH: What are some of your influences, whether it be bands, artists, painters, political figures or authors?]

NK: I have been listening to Japanese punk bands, like Disclose, a lot the last few weeks. Then a lot of Danish stuff, there are so many new projects all the time, its hard to keep up with everything. The last movie i saw was a documentary from 1977 called “Dressing For Pleasure”. It is a movie about leather, rubber and latex fashion in the 70’s.

[PURESTENCH: What are the future plans for Nordisk Klub? What can we expect in 2012?]

NK: You never know what to expect from Nordisk Klub. Most of the things I have been doing have been quite impulsive. Maybe i will make 100 releases, maybe 5. The next tape is coming out in a few weeks.

[PURESTENCH: Thank you for doing this interview. Any final comments...]

NK: Thank you. Look out for some of the bands/projects I have released. MEGAN has just made a split 7inch with HSV on Release The Bats records from Sweden, there is an upcoming REDFLESH 7inch out soon on Video Disease records from the states and the PAGAN YOUTH demo tape is going to be re-released on a 7inch together with 4 new tracks by Dead Section Records from Denmark.

Interview - Crown Tapes

2012-01-23T10:36:00.000-08:00

[PURESTENCH: Hey Mack, before we get into the meat of our spirited discussion I just wanted to say thanks for doing another interview with me. My first question is basically what was it that made you want to begin the Crown label? When did you "officially" start it? ]

1. Ryan, you are always more then welcome. Its been a pleasure working with you every time, especially since your interest in my work at its earliest stages. Crown Tapes was started out of a desire and want to do a label. Not only run a label, but more importantly doing it right and with much more professionalism then my previous endeavors. I attempted this once with the half-assed Insurgent Records, but was ultimately disappointed with how I ran it, and with the products themselves (Fucking CDrs, BLECH). Lastly, running your own label is nifty in that if you can’t find someone to release your material, you can do it yourself! I officially started the label on October 2nd of 2011 with the release of the handmade Decaying Chandler batch of tape loops. Those are now sold out to which I am happy to report, but I’m super curious as to what others have done with them!

[PURESTENCH: What is the concept behind the releases you are putting out on this label? I noticed they seem to be focused primarily around tape loops and the manipulation thereof... ]

2. As for concepts, I couldn’t really tell you any specific ideas. I chose Crown because with it comes a sense of royalty, pride, and conviction in a lot of ways. The first batch will mainly be on the more “droney” side of things but it will not be the sole focus of the label. The label is fairly open to any and all concepts except the overly stereotypical use of sexual deviance within the Industrial or Power Electronics scenes. Those don’t really have a home here at Crown Tapes. There is already one Filth and Violence, and I don’t need to try and be that. I’m much more interested in going into greater depths then a topic that is only “skin deep” if you will? Sounds pompous and all that but its a topic that has been going on for +30 years now...beating the horses bones into dust if you ask me. I’m looking to step outside comfort zones and stereotypes. The label will be open to any and all genres for the most part.

[PURESTENCH: Where do you see the label in 3 years? How do you see the general Noise/P.E. "scene" in 3 years?]

3. I hopefully see the label doing frequent batches as well as pushing into vinyl territory. I’ve contemplated whether or not to possibly do CDs but I’ve decided that the label will remain as an analog format only kind of label. Also, by three years I’ll hopefully have done at least 3-4 special kinds of releases based around handmade tape loops. I am also planning to do “special” editions of some of the tapes released on the label.
As for the scene in 3 years? Its anybodies game really. A lot of people that I remember posting online or releasing stuff have faded or have taken a step back, but also a lot of new people/acts/labels have been on the come up recently for some time. Much like the ebb and flow of a tide, new people show up, older people fade out, and the worn down, weathered, but still solid rocks still remain on the tide.

[PURESTENCH: What is the process of releasing material on your own label like? ]

4. Well, releasing your own material comes down to a real matter of pride I believe. How proud of the material are you? If you feel its good enough, then go for it. Not only that but if you don’t feel like label hunting, its all in your own hands. Don’t be side lined by negative comments, those can be ones biggest stepping stones in creating and or editing something. Most importantly be true to yourself, your material/vision, and make sure you keep your day job (This is not about making the big bucks). I guess I don’t really have a process quite yet as the first batch hasn’t even come out.

[PURESTENCH: What does Power Electronics/Industrial/Noise mean to you? What do you feel, see, hear when you create and listen to these genres?]

5. Power Electronics/Industrial/Noise hold a dear and special place in my heart. Any kind of music does really, but not only am I a fan of those styles of music but I have been an active participant for about 4 years, a small amount of time when compared to others but as mentioned earlier, it is interesting to see who backs out after a year or two. As for listening and creating, it all comes down to the emotional aspect of what I’m listening to. That is the strongest tie that I have to any kind of music/sound. The closer the emotional connection, the more I enjoy listening to it. Most, if not all of my releases have a very strong emotional presence, whether its the happiness/love of CoC, the utter negativity of Disgust, or the righteous passion of Koufar, my emotions are the strongest points of influence.

[PURESTENCH: Your new project Crown of Cerberus focuses on tape loops as well, and from the tapes I own you have an original and great approach to this style, a style of experimental music which has seemed to all but disappear. What is it about tape loops and manipulation that you like? ]

6. Playing with cassettes can easily be attributed to one of my best friends in the world, Adam Jennings of Winters in Osaka. Many times having performed with Winters in Osaka or just watching him play, he always used cassettes and I thought it was incredible how one could do so much with them. So I got to sitting around and messing around with them, and eventually I fell in love with using them. What I love about using cassettes is ones ability to mold and shape a piece of work, much like someone making a pot on a wheel. You can add layers, modify a specific loop, add three more over the course, remove two, etc, etc. Not only that but what I like the most is the analog sound you get from using them! I love the fullness and warmth that tapes give off. It produces a much heavier and thicker tone that would simply be lost using any sort of digital looping.

[PURESTENCH: Let's talk about your intention with COC for a moment. What was the intent of the latest COC tape before you sat down and put it together? How about "The Awakening"? Did you succeed in creating exactly what you wanted to with both cassettes? ]

7. The intent of the CoC release “Strength” was to express how I felt about (and viewed) a beautiful women that I had met in Chicago. I had met her when I was at one of the lowest points in my life, and she helped me to see the beauty in life that I had given up on. She inspired me more or less to start the project, and I wanted to do a release that was meant to be for her, no one else really. Her majesty was quite pleased with the final product, and I couldn’t be more elated. I hope she is happy where ever she is, I still cannot thank her enough for pulling me out the cement with her smile.
As for “Awakening” the title is fitting, as the two tracks were the first two CoC pieces recorded that I was pleased with. “Sea Leviathan” is easily one of my favorite tracks that I’ve done thus far. “Songs of Glory” is very much an obvious demo track of sorts, but I felt that it would be appropriate to use regardless for the tape.

In the case of both tapes, I am extremely pleased with both, and am eager and happy to be working on more material.

[PURESTENCH: What is a typical Crown of Cerberus recording session like? What do you use? ]

8. A typical recording session for CoC usually last somewhere between 15-30 minutes depending on how long of track I’m doing. Often I’ll go into a recording session with some basic ideas, but discover that the recorded loops didn’t transfer over as I expected, or realizing that I need more layers. Some times a song will take two sessions, as I’ll record onto a single tape using 2-3 loops, and then re-use that tape as well as 2-5 different loops as well. Some times tapes and loops will sit around for awhile until I can find a way to make them fit together correctly./ My setup is pretty basic, including a single delay pedal, 2-3 tape players (some broken for more interesting sounds), and a mixer. As always with what I do, I’m into simple set ups. Less is more has been a staple value with me since I began creating Industrial/Power Electronics/Drone. Loops that I modify and use come from all over various forms of media.

[PURESTENCH: Are there any general themes running through the COC releases? With loops and the very minimal nature of these recordings there can be a wide array of interpretations even if the samples/loops seem to be ideographic. Did you/do you trust that whatever you are trying to communicate is going to translate the way you want it to? ]

9. I’m inspired by beautiful and strong women. I am also influenced by the mystery of tarot cards, wood cuts, and the undeniable power of love and goodness. Motherly love as well comes into play too. CoC also has some darker sides to it as well, but for the most part I’m more interested in positivity then negativity when it comes to the project. The best way to kind of have it make sense to those reading, would be how Tommy Lee Jones states at the end of No Country for Old Men “In a dream, I knew he was going on ahead. He was fixing to make a fire somewhere in all that dark, all that cold...” It is meant to be a light in this ugly world we live in, not in a sense of righteousness but more so in the teachings and writings of Khalil Gibran. Doing good because it feels good to do, not because a reward lays in wait for the participant. Basking in the infinite glory of her beauty and kindness but understanding her ferocity and strength...I feel that each CoC release will be different in its own right. Lately I’ve been on a big “women” kick lately with the project so expect loops of women singing and chanting. As for the interpretations, its irrelevant whether or not the point is made across, I just want people to smile and be happy when they listen to it, as it does for me when I create it. If they can find an emotional connection to it, then my job is complete.

[PURESTENCH: Where does Koufar stand right now? Do you plan on putting any Koufar material out on Crown Tapes? ]

10. Koufar currently is on the verge of a new dawn, one might say. I recently recorded a track for the first time in what feels like aeon's and I’m extremely pleased with where the new direction is headed...Pretty much I’m back in the full swing of things and am ready to start piecing together the new full length. It will be much more confrontational, and I believe it will really end up bothering people and turning off some old fans but that is irrelevant at this point. I’m hoping to get my point across so that way there will never be any more confusion about the project. The phoenix has arisen for the last time...
As for releasing Koufar on Crown Tapes, it probably will not happen but never say never...

[PURESTENCH: Crown of Cerberus is noticably more ambient and "laid back" and less structured than any of your other project, especially Koufar. Did anything influence the decision to go with a more ambient, less structured sound this time out?]

11. Crown of Cerberus was formed out of a curiosity and my attempt at making much prettier sounds, mainly focusing on the droney side of things. As I mentioned earlier, the woman I had met earlier was (and still is) a massive influence on doing this project. Not only that but the acts Concern (Gordon of Oscillating Innards) and Migrations in Rust (Jesse of Cowards) have been huge influences on me as well. What I admire so much about these projects specifically is that they have mastered a way to create beautiful, warm, shifting soundscapes that never seem to bore the listener. Not only that but their seems like there is quite a heavy sense of emotion and sincerity throughout their pieces as well. I feel that being in touch with ones sensitive side, as well as ones callous side, allows for new ideas to bloom forth and aides me in pushing into new territory that I normally wouldn’t traverse. There is some structure to the songs, but for the most part, they can be open ended or wander off at times...much like our human emotions.

[PURESTENCH: Both Crown of Cerberus tapes were put out by different labels (Anabolic Dimensions and Human Ignorance). Why didn't you release COC on your label? ]

12. Well, I didn’t release any of the CoC tapes on the label because I did not have a clear direction in terms of running a label at the time. Luckily, Omar and Joseph took a great interest and were more then happy to release the first two tapes. I couldn’t be more thankful and pleased with dealing with those fine gentlemen and the labels they run.

[PURESTENCH: Future plans for Crown Tapes and COC? ]

13.Future plans for the label include:
-1st Crown Tapes batch featuring:
-Crown of Cerberus “Salome” C20
-Ourorboros Halo “The Chalice” C20
-Empiric “Familiar” C20
-First installment of the Dying Last Word series featuring Deterge.
-Another batch of blank tape loops of sorts.
-Many, many more surprises in the coming months hopefully.

Don’t want to list too much, as the last time I got a head of myself and it all caved in. Currently in touch with some folks about new releases for future batches and I couldn’t be more excited and honored to be working with them.

[PURESTENCH: Thanks again for the interview, this spot is for your to say any last words. Hail the Crown! ]

14. Shukran Katir ya habibi! (Thank you so much my friend!) A massive thanks to those reading and to those curious! You can follow all Crown Tapes activity on my tumblr: www.hailthecrown.tumblr.com

Shout outs to: My no coast family, real talk. You know who you are and I miss you all dearly. Mikkel (Alleypisser), Chris at Trash Ritual, Crimes Against Skin (Honor Among Thieves Forever), Nefarious Activities, Martin (Shift +Unrest Productions), and anybody that chooses to make music from the heart and not their head!

Fuck trends, fuck comfort zones, and fuck those who simply overly philosophize and have nothing to offer to the scene but their worthless and endless dribble!

HAIL THE CROWN AND HER MAJESTY!

Interview - Alleypisser

2011-12-13T16:27:00.000-08:00

[PURESTENCH: Who is Alleypisser? Where are you from and when did the project begin? ]

My name is Mikkel and I’m based in Copenhagen, Denmark. Alleypisser more or less started out as a side-project a couple of years ago with the purpose of exploring more conceptual ideas. It then quickly evolved into my main focus.

[PURESTENCH: Would you say that there was an overall purpose or aesthetic that informs all of your releases? Is there a common thread between them all in terms of subject and concept? ]

The common thread between my releases is the exploration of personal issues, thoughts and subjects, but there is no single one to narrow it down to. I have no interest in dealing with topics that aren’t somehow connected to me as a person – you could say that Alleypisser is more about portrayal of internal concepts rather than the study of external ones.

[PURESTENCH: You seem to use a lot (or only) "acoustics", from metal and junk to tape manipulation. What is the recording process like? Is there any editing or overdubbing that goes into the final product?]

Definitely, I’m very interested in acoustics, both in the sense of the object and the environment around it. I like to retain the acoustic sound without altering it too much through heavy effecting and such and I enjoy the challenge of creating an interesting piece with a minimal/limited sound palette. The recordings have so far all been done completely live without overdubs and with fairly minimal editing in post-production. It usually involves sitting down with a couple of tape machines, tape echo(s), mics and objects with the occasional analog synth, radio or whatever else suits the piece at hand.

[PURESTENCH: Is there much room for improvisation in Alleypisser recordings?]

I always have a compositional sketch or at the very least a rough idea worked out for the recordings, but there’s always space for improvisational reworking of the piece if I suddenly don’t feel like a certain thing fits in or some other idea comes up. Sometimes these improvisations have lead a perfect recording in the first go and other times to several re-recordings of a single piece until it feels just right.

When it comes to playing live on the other hand, I’ve done several sets that have been completely improvised.

[PURESTENCH : Your work seems to get back to the basics of Noise without sounding like you are purposefully under-producing or stripping down your material. Where do you think you fit within the new "contemporary Noise" scenes and what do you think of the current state of the "scene"? ]

Quite frankly I don’t think too much about that. I don’t seek to fit into a specific aesthetic or even necessarily noise as a genre. I rather just identify with experimental music and sound on a larger scale and find inspiration and connection in many places.

I think there’s many, many interesting things coming out of the experimental underground lately and I’m happy about the activity happening here – we’re several people setting up shows, have great artists coming through, good variety, interesting acts and labels.

One unfortunate thing about the “scene” in general, in my opinion, is the heavy fragmentation that’s going on at times – it seems there’s a lot of focus on what style or aesthetic a certain act is following, there’s quite a range of small niche scenes that have turned up within the larger whole of experimental music and they don’t always work together very well, which I think is a shame. More mixing, more doing things together across scenes, would make it possible to go even further with all of this.

[PURESTENCH: A question that seems to always be asked within our small genre is whether or not Noise is a form of catharsis for yourself. Is it (particularly your own Noise)?]

In the sense of some kind of transcendental, euphoric experience then no. I haven’t found sound itself to provide this. I can find the sound itself to be extraordinarily mind-altering and provide a sort of relief, but it doesn’t provide what I’d say characterizes catharsis. The performance on the other hand can provide a wholly different experience (both as a performer, with or without audience, and as a spectator/interactor) – therefore to me these two concepts are very separate, the sound in itself and the physical act. Furthermore this means the experience isn’t exclusive to noise, but rather performance and physical acts that lend themselves to this as a whole.

[PURESTENCH: Who are some of the non-musical influences that have an impact of what you do as Alleypisser? Authors, artists, political figures, whatever it may be...]

I don’t really have any conscious influences that I have in mind when creating material, but of course my background and interests affect my work. Aesthetically, I guess there’s some traces from the artistic avant-garde, such as Fluxus, minimalism, Dadaism and Viennese actionism. The mix of crudeness and intricateness in much of this work is deeply inspirational – as are contrasts in general. I’m influenced by postmodernist and poststructuralist ideas (in art, literature and philosophy), while being based in a d.i.y. background, which could be said to impact my sound endeavors. Most of all, Alleypisser is just influenced by everyday life.

[PURESTENCH: Your music seems to be just one part of a vivid, and refined package. How important is imagery to your project and Noise in general? Do you do all of your own artwork?]

I think visual aesthetics are equally important to my own projects and to noise in general. It’s a complete package - sound and image - that works together to create a whole. One without the other will never be able to obtain the same feel (whether good sound/bad visuals or bad sound/good visuals). I have a hard time appreciating an audio-release, without a fitting and pleasing visual accompaniment, no matter how good the sounds – I’d like the material to speak to both my ears and my eyes. Of course a “pleasing visual aesthetic” means a lot of things.

So far I’ve done the artwork for all my releases except the Tvang cassette on Second Sleep, which Matteo Castro did the artwork for (I haven’t done artwork for neither of the compilations I’ve contributed to – the Unifying Themes LP on Misanthropic Agenda or the Victoria 2xcs on Posh Isolation). Recently, especially with the two latest vinyl releases Kvalt and Savn, I think Alleypisser has reached a visual aesthetic I’m very pleased with.

[PURESTENCH: Sampling/loops seem to play a significant part in some of your work. Can you speak to the use of samples in your work going back to "Dogging"? This seems to be a fairly constant thread in your art, why does this medium appeal to you?]

All my recordings have a heavy use of domestic/field recordings and found sounds, which has become increasingly central through the times. I think Dogging is the only release where sampling seems an appropriate term since it mixed domestic recordings with straight cuts from old porn movies, after this the process has been a lot more focused on the self-made recordings and re-appropriation of old tapes and found sounds. A large part of the appeal is my fascination with re-contextualizing sounds and thereby creating new narratives. Also there’s the importance of format in this case, since I’m extremely into working with magnetic tape and tapeloops – I find the physicality of these to be very fitting for the concrete nature of the sounds.

[PURESTENCH: How many live shows have you played? Which one sticks out the most?]

As Alleypisser I’ve played around 15 shows over the past couple of years (significantly more when including other projects and bands).

I have a tendency to either just remember the last show I played or the ones that went the worst. That being said though, the short tour I went on in Italy with Gerritt Wittmer in October definitely stands out as a great experience.

[PURESTENCH: Who do you feel are some of the more promising new artists and labels coming from the underground?]

Right now I think Italy in general is the place to look for promising artists and labels. The scene is incredibly varied and encompasses everything from electro-acoustics and sound art to free improvisation along with harsh noise and industrial. I greatly admire this openness and experimentalism.

I’m also enjoying some of the newer Midwestern noise acts – I think they represent a look towards the future while keeping an eye on a great past.

Of course I’m also excited about the local and Scandinavian scene, still lots of promising things going on.

[PURESTENCH: Is critical acceptance or rejection important to you, or do you tend to ignore it?]

I by no means ignore it, but neither is it important to me. I’d be doing my things whether or not anyone was interested in it, but I greatly appreciate all the interest I’ve received and am very happy about the opportunities it has given me.

[PURESTENCH: So Dokumentarisk Agenda is your label. Why did you begin your own label? What are the main differences between having a Noise/Industrial project and having a record label?]

I started my label because I wanted to present experimental sounds in a context I didn’t feel like anyone else was (at least not in Denmark) – that is without a specific niche. Since I have a network of friends and people whose material I enjoy greatly and where I, personally, whether or not others recognize it, see a line of commonalities, I wanted to present these together and show them in a context where the style of sound isn’t as important, but rather just let the material speak for itself without being tied down. Getting to know new people and working with a community of experimental and open-minded individuals is definitely also a reason why I started this label.

To a large extent I feel that making sounds and running a label entail a lot of the same things; such as the communication, sharing of views and interests, trading material etcetera. So running a label (at least a small scale one) feels mostly like an extension of the former. The main difference is probably that doing the label is a lot more extroverted than just making material yourself – when just dealing with your own material, except if you’re heavily into self-promotion, you’re in a much more self-sufficient and introverted place where dealing with and relying on others doesn’t really factor in – these things become very obvious when running a label.

[PURESTENCH: What are your future plans for both Alleypisser and Dokumentarisk Agenda?]

There are several new releases in the works for Alleypisser, amongst them an LP called Knust on Trash Ritual, a cassette, Glemt, on Throne Heap and another cassette on Nostilevo. There’s several more that are still being worked out.

As for Dokumentarisk Agenda the next batch has planned releases by Francisco Meirino, Sewer Election and Kam Hassah. I’m very excited about the future for this label.

[PURESTENCH: Thank you for doing this interview! Any comments or last words you want to make?]

Thank you very much for the interview and the interest.

Interview - Anabolic Dimensions

2011-12-05T07:44:00.000-08:00

ANABOLIC DIMENSIONS

[PURESTENCH : Introduce us to Anabolic Dimensions. Why did you start a label? What are your aims with this label? ]

Well, I've had the idea about starting a label for a while now. Anabolic Dimensions is my way of helping contribute to a scene that I enjoy hearing and seeing. Ever since I started going to noise shows my interest in the genre has seen no rest. I live in Chicago so the variety here is pretty dense and frequent. You get to see all aspects of the noise spectrum come through and it's great for the most part. I only have three releases as of now but my main goal is to release projects of artists/friends I enjoy personally and value and feel others should hear. I like to maintain a somewhat professional level with my releases when it come to the art, packaging and duplication etc. But the DIY ethic is very important overall and I feel it shows on all of my releases. The label also allows a way for me to release material of my own.

[PURESTENCH : Is Noise/Power Electronics going to be the main and only focus of Anabolic Dimensions or do you plan on releasing other genres of music? ]

I would say everything that I plan on releasing will have some sort of connection with the noise/industrial genre in some way or another. There are plenty of other labels and such for other types of music. My focus is mostly in the ever so arousing, extreme noise scene.

[PURESTENCH : Are cassettes the best format for Noise/PE? Do you plan on releasing strictly tapes or do you think you will release some wax and CD's in the future? ]

I love the tape format. It's probably my favorite of all to be honest. I'm sure most of my releases will be on tape format but that's just because manufacturing them are just so much easier and more cost effective than vinyl. I might do some CD down the line if it's appropriate. I do have plans for an LP release in the near future but I don't want to divulge any information on that just yet. But it's comming and it will be grand. I think I'm saving vinyl releases for special instances.

[PURESTENCH : From what I know you were or are in a "Power Violence" band. Do you see any crossover between PV and Noise/Power Electronics?]

Yes I do. In a way that's how I became aware of the noise genre early on. I grew up listening to a lot of grind, punk and hardcore. Early Man is the Bastard and Suppression are clear evidence of this crossover. Endless Blockade were another band that had combined the powerviolence and noise/PE together very well. I feel it's a very natural combination of sounds. I definitely incorporated noise with my own bands as well. It's just another dimension in the spectrum.

[PURESTENCH : You definitely "hit the ground running" with your first 2 releases; Abuse Patterns and Machismo. Both of these have violent, sexual overtones. Is this a main topic that AD will be touching on most future releases? ]

No, definitely not. That just depends on the artist and the project they are working on. I know that the topic at hand is definitely a focus for Abuse Patterns and Machismo but not for everyone. A few of the future releases I have planned have no violent sexual overtones in them at all. It's not something I'm restrictive about. Capturing multidimensional severity is what this label is all about.

[PURESTENCH : The Abuse Patterns packaging is phenomenal, the 16 page zine is very well done in both style and writing. The topic of how long abuse continues after the initial assault/contact/etc is a topic not really discussed often, although it seems to be the main reason why people who continue to abuse or "abuse themselves" (prostitutes) do what they do. However, there is only so much one can say. Is Abuse Patterns a "one off" project or do you anticipate more releases from this duo? ]

Abuse Patterns is definitely not a one off project. Abuse Patterns is actually working on new material for a couple new releases and also plans on playing out live very soon. Just like the abuse reproducing itself, Abuse Patterns will continue to thrive. Most likely for worse though in most people's eyes.

[PURESTENCH : Are you in any of the projects on your label? If so, who? ]

I do noise and vocals for Machismo and Abuse Patterns.

[PURESTENCH : Future plans from Anabolic Dimensions? ]

Yes, there are plans for future releases. If all goes as plannedI have tape releases on the way from Deterge, Urine Cop, Shattered Hymen, Hate Basement and more. I have one LP I'm going to be working on soon like I said but you'll know when that drops. Death, jail or unemployment are probably the things that will keep me from continuing Anabolic Dimensions as a label. That and heavy drug addiction.

[PURESTENCH : Any last words, comments, etc....]

Thanks for the interest Ryan. Very much appreciated. Thanks to all who read this. No Coast for life. Fuck the ones who lower their standards in order to achieve acceptance or benefits. You know who you are... Hi Ma.

Interview - Nyodene D

2011-11-28T08:07:00.000-08:00

[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.

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.

Interview - Unclean

2011-11-08T09:17:00.000-08:00

[PURESTENCH : First introduce yourself and give a brief history of the project. ]

Angry and frustrated male from Finland. I have done experimentation with noise (type of) music for 8 years now, mostly into home environment. Starting from recording various different sounds, editing them with computer software and assembling them together in chaotic order. This continued for very long time with no satisfactory results. Serious efforts with more knowledge have come into play in the past 2 years. I am also part of power electronics unit called Insular.

[PURESTENCH : What are your goals with Unclean? What do you want the listeners to take away from the work you do? ]

My aim is to make dirty noise/pe that satisfies my own ear/mind.

If someone else enjoys it as well, that is great. Whatever people want to get out of it; rape fantasies, violent states of mind, hatred towards fellow men, all is good to me.

[PURESTENCH : You have a tape titled "Obscenities" which will be coming out on the great Finnish label Filth & Violence sometime this year (?). How did you connect up with Pasi? Do you believe the aesthetics of F&V fit yours? ]

Tape will come out early 2012. How I hooked up with Pasi? He was the man offering me candy in the park... I have been buying records from him, then me and my friend (Insular kommando) arranged a noise night here in Kuopio (BU, Cloama, Grunt). A year later I recorded material and sent it to him, he was interested right away. Being a F&V fanatic, I was certainly very pleased about that. F&V aesthetics are very close to my own taste and one of the reasons why I think it is superior label. Proud to be part of it.

[PURESTENCH : From what I have heard of "Obscenities" you seem to use the usual Power Electronics gear; synths, processors, samples, etc. Is everything analog or do you use some digital equipment? Do you record everything live? Are there any overdubs or editing? ]

All analog and live. At least so far I have not done any overdubs, very minimal editing, if at all. I record everything straight to tape with an old cassette-radio, gives best results in terms of sound. On "Obscenities" there are no synths or mics used, only digital thing is sample source. Very minimal set; a delay and distortion pedals, more distortion and echo, plus samples. I like to keep things as simple as possible and create within the limitations they set me. It is a bit hard to explain, but I like to try to push as much as possible out of things to see how far they can go and what I can do with them. I think even this set I use now has so much more possibilities in terms of sound variety and decayed noise.

[PURESTENCH : I hear a Mauthausen Orchestra, Felony Sexual Assault vibe on "Deviants" - building chapters of filth and dirty mangled synth work. Who are some inspirations for your work, both musically and aesthetically? ]

I agree on the Mauthausen Orchestra influence, but most important influence is the world today. With all its downsides. Drunks, perverts, junkies, all violence towards teenaged girls/them dressing like prostitutes at age of 13, refugees and their totally corrupt lifestyles. And of course overpowering sexual drive is a big factor. The usual deal, for me it comes off natural that these things give me big impulses to create Unclean.

To see most fucked up middle aged woman drinking straight booze out of a bottle in the day light, face beaten to bruises all the way from neck to forehead and reeking of piss. "Grotesque mirth" indeed! It is a real inspiration. No deep philosophy, just lingering in the dirt that this society leaves behind.

As for musical influences; Black Leather Jesus, Bizarre Uproar, Coma Detox, Mauthausen Orchestra, Male Rape Group and especially old Ramleh. Love the old 80's sound, dirty, screeching, violent and obnoxious vocal work.

[PURESTENCH : What do you think will distinguish Unclean from the other acts that are currently out there? ]

Unclean material is worship of old 80's sound, creating an atmosphere of rotten layers of urban world. Not so fresh or new, but I am obsessed over the sound/themes. I've never had any conscious idea to make something totally new, I create what I would want to hear. Recording sessions often take unexpected turns.

[PURESTENCH : What does "Noise" and "Power Electronics" mean to you? What are some common misconceptions you hear often about the genre? ]

Noise and power electronics are an obsession. It becomes very physical, and just blows everything away, really. Fucked up day, sexual frustrations/obsessions, hatred in general. All these topics covered with fitting music, is there anything better? Years and years ago I used to listen to lots of musical styles, explore endlessly. Nowadays I listen to mostly noise/pe. A little bit of black metal and WP rock on the side. The list of misconceptions is endless. At least from people who don't listen to this type of music. Anyone can do it, why all the shocking images etc. It is pointless try to explain. All I can say is, it is an acquired taste!

[PURESTENCH : Top 3 favorite records or cassettes of all time? ]

I will limit this to noise/pe, even then it is impossible to answer but...

Whitehouse - Great White Death
Genocide Organ - Remember
Black Leather Jesus - Torture Machinist

[PURESTENCH : If you could hang out, drink a beer or two with 3 people either dead or alive, who would you choose? ]

Richard Ramirez AKA Night Stalker, Marquis de Sade and Philip Best. All certainly interesting personalities.

[PURESTENCH : Thanks for doing the interview, any final words? ]

Thanks for interests. Beware of Insular kommando attack!

Machismo - Humiliation in Attitude

2011-11-07T20:54:00.000-08:00

Machismo - Humiliation in Attitude

Machismo is a new act in the American Power Electronics scene that sounds anything but "contemporary". Machismo has taken perverse, diseased electronics and muddy, static-drenched production to a mesmerizing extreme. The idea behind the cassette comes across completed unwashed and unrefined. Each sound and pulsation feels like it was forced into existence, Omar (Anabolic Dimensions) does not let his Noise ride out on autopilot like a lot of the shitty acts coming out of this great country.

Clanging metal scrape's about until some over effected shouting becomes the main focus, the protagonist taking a singular angry tone implying a grim and cold detachment from his audience. You are here to watch, to listen, please don't interrupt. Distorted synth's dance around in a gutturally raw fashion until they almost become rhythmic and the vocals dust themselves off, taking the effects down a notch or two but keeping a certain servility. The soaring and piercing yelps never drone about, they always hit hard and have a very obvious "William Bennett" vibe to them at times, minus the goofiness that William sometimes exhibited when he got a bit too excited. The clashing, the synth bleeding and vocals all mesh perfectly well together and never miss a beat. You really have to give the man a hand at his mixing technique.

Side B begins with a charging drone like water crashing up against a wall in some cellar you're locked up in. Some precise and detailed metal work is heard in the room next door and fluttering electronics twitch about the basement dirge. Chains drag, pieces of metal and junk rattle giving a sordid feel to the whole mess. Nothing is shown at face value until about half-way through when harsh bursts of buzzsaw synths play hit you square in the face. An adept of base and self-seeking pleasures. Vocals, or possibly samples/victim tapes, are buried beneath it all adding to the grim and degenerate feeling of being alone, somewhere distant with nothing but the sounds of an experienced deviant who has proven that he has the ideas, aims, and skills.

Chloroform Rapist - Chloroform Rapist

2011-10-06T12:12:00.000-07:00

Chloroform Rapist - Chloroform Rapist

An anonymous project on the label of Pekka PT of Sick Seed fame. Promised to be a hit with fans of Filth & Violence and TF/PE which, as everyone knows, I am a huge fan of both and I can definitely say this does not disappoint. Perhaps being a fan of these labels has biased me. I feel that I have no use for artists who have lost touch with tradition and sincerity and see the brutality of the modern world only second-hand. Choloform Rapist is far from original, but seeing the eccentricies and interpreting them is something that entertains me and that is what music of any genre is really all about when it comes down to it. Plus there is something intriguing about learning to see the world through the eyes of a pervert and I think that material like this, when it is sincere, gives one a better idea of the vile forms of life without judging them impartially. Human nature demands the satisfaction of vice and curiosity and for me these two things exist perfectly together in these genres.

Side A is minimal the Noise is happening and you hear it yet you're almost completely ignorant of the fact it is there because the malicious sounding vocals which are hard to make out because they exist on the same wave length as the sounds. Halfway through we are jolted with small slices and jabs of feedback that eventually become the main instrument. When all was said and done I felt as if this side of the cassette had left me with the same feeling that the first Snuff album did but it was condensed into just under 10 minutes. I believe it hit its target.

Side B has more "going on". More build up and more nuances. The crispy noise is interrupted by streams of thick rumbles that drag through seamlessly. Like the feedback on Side A this interruption soon becomes the center piece until our vocalist re-enters the picture. The voice is louder this time. Dominating, on top and in control a magnetism making it all come together; the rumbling, the crashing of junk and sheets of noise coexisting with vocals to form a few minutes of intense and pure Power Electronics intoxication.

Interview - Custodian

2011-07-23T02:10:00.000-07:00

Visit Custodian:

http://custodianhn.blogspot.com

[PURESTENCH : What is the history of Custodian? What was your creative influence when you started Custodian and has that influence changed at all since the beginning? ]

Custodian was an on and off "bedroom" project for many years. I started experimenting in 97 which was shortly after I was introduced to noise recordings via a relapse records catalog, but I didn't release anything until 2008 mainly because I was busy pursuing various other projects. My sound is heavily rooted in mid-ninties Japanese and American noise. Here and there my P.E and death/industrial side creeps in but not very often. I don't see my influences changing much/at all as far as what I do with Custodian.

[PURESTENCH : Is there anything specific that you want the listener to comprehend and take away from your sound?

It's not predetermined but I always go into the same headspace when I work on/listen to my tracks. If anyone can catch the same sense of unrest/bleak vibe that I hear while I'm recording thats great.

[PURESTENCH : What was your favorite live show and why? Do you know exactly how many shows you have played live altogether? ]
 So far my sets with Deathjenk (Grainbelt/Gnawed/Custodian collab), and my collab with Gnawed recently stand out as favorites. I like what they do, and what they do works well with what I do. As Custodian I've yet to have a favorite set. I was pleased with my lasT 3 sets but it always can be better. I've played a lot of shows thanks to having the Borg Ward here in Milwaukee. It's a very active location for local and touring acts...usually there's several gigs a month. I've also played out of state fests/one offs and a midwest tour so I am pretty active live.

[PURESTENCH : You released a good deal of material in 2010, 7 to be exact. Which was your favorite? How was it working with that many labels in the small stretch of one year? ]

It went pretty smoothly last year actually. I thought "Toil and Waste" and "Excruciation of Routine" came out really good. I was generally happy with my sound and kept mostly up to date with what I was having to get done. This year I have almost just as much lined up but I've been spending most of my time trying to refine sounds and approach so I'm way behind. I also lost 2 25 minute releases in a computer crash a few months back so that put me back a few steps as well.

[PURESTENCH : What are some of your favorite labels? ]
 
Phage, New Forces, Fusty Cunt, Skeleton Dust, Maniacal Hatred, Factotum, Pitchphase, Malignant, classic Relapse/Release and Cold Meat Industry. I know I'm drawing a blank on tons of others...

[PURESTENCH : Is there any one artist that has influenced you and has had an impact on you and your music more than any other? ]
 
It'd be almost impossible to single it down to one artist. Although I can trace everything I've done with Custodian or otherwise back to DEVO in one way or another.

[PURESTENCH : Your new split with Mania just hit the market. How did that come about? Wasn't it initially suppose to be a collaboration? ]
 
Bill over at No Visible Scars is responsible for the whole thing coming together. My memory is a little sketchy but I believe we came into contact through a trade, and somewhere in our exchange of emails he brought up him wanting to work with Mania eventually. I think it was shortly after that he pitched the idea of a split/collab tape with Mania. Then it got changed to vinyl, which obviously I'd be stoked with.

Initially there was going to be solo tracks and collab tracks. In regards to cover art, titles, etc it was just much easier to do solo sides though.

[PURESTENCH : In all honesty, if Noise/P.E. was to get huge and you were offered a million dollars to put out a record on Interscope of something and it would get constant spin on MTV and Fuse would you do it even if they told you that you would have to change your sound, the "scene" would definitely label you as a "sellout" and you would be taking a very personal and intimate style for a lot of the fans and exposing that to a lot of people who only care about trends. ]

Theres no way anyone could tone it down enough to make harsh noise accessible to a larger audience. If I were offered unreasonable amounts of money to do Custodian AS IS, why not.

[PURESTENCH : What is your favorite format to release your material on and why? ]

I personally like 3"cds/cdrs. I like size, look, and playing time of them. They appeal to my minimalist side. I also really like c10's but not alot of labels want to bother with them.

[PURESTENCH : What gear of yours could you not go without? Is there a consistent "instrument" for Custodian? ]

The piece that has been the most consistant though would be either one of my two korg pandoras. I've used one on everything I've done and would have a hard time going without it.

[PURESTENCH : Is there any symbolic ideologies in your artwork? How important is artwork to your music and do you create all of the art for your material? ]

The first 4 were titled only with roman numerals and the images only were used because I felt they fit the sound well. The last several releases though had more going on with art/title relationship. The visuals are somewhat representative of the titles, but for the most part the title has a more personal meaning that I'm obscuring though an associated image. The titles are only important only in a way that they may give the listener a little guidance into the intent of the recording.

Besides II and IV I've come up with all the artwork as far as choice of image, fonts, etc. I do not have Photoshop however so I take the ideas to a friends house and he then puts it all together for me.

[PURESTENCH : The current American Noise and Power Electronics scene(s); what do you think of them? ]

I don't really have any rants to go on about what I think is making or breaking the scene. Nothing really annoys me because I can choose to ignore, or support it. That, and I've honestly only been paying attention to the midwest... So many good acts and labels it's kept me more than interested and entertained.

[PURESTENCH : If there is anything else you would like to add please do so...]

Thanks for the interview/interest! Keep your eyes out for the LP.

Interview - Bizarre Uproar

2011-07-21T20:10:00.000-07:00

[PURESTENCH : Everyone knows who Bizarre Uproar is so I luckily I can skip all of the introductory shit. How would you say Bizarre Uproar has evolved from your earlier material to your present sound? How would you define that current sound? ]

2005 was changing point due the fact that I got reherseal bunker of my own. I had a possibility start to collect large metal sheets, I bought several 3m long heavy chains(heavier one was/is 15 kg).. you know things got into very physical and loud as fuck. Big amps also got into the picture. Besides environment and all junk etc. one major difference comparing to before 2005 was that I started to aim performing/recording live. earlier it was more or less "studio" tricks. BU sound at the moment is a combination of junk/chain and putrid slowly evolving electronic buzz . Rotten walls of epic filthy noise. Nasty vocals, in your face and buried. I like to mix those 2 styles. Pretty minimal approach not much going on at same time.. usually just two elements going frw molesting the listener. that’s the foundation. tracks usually 15 to 20 min. Its like a fist fuck session. starts pretty mildly to strech your arse hole. one finger, two finger .. .. whole hand. fist forth and back. it hurts at some point but in the end maximum pleasure. feeling a bit dirty afterwards hah. Have you been fist fucked Ryan?

[PURESTENCH : "Lily the Flesh" seemed to be a "turning point" for BU.The change wasn't drastic but was very apparent. What was it about this tape that made you shift the sounds? Also, why did you choice the video Lily the Flesh out of all the XXX videos that are floating around out there? ]

"Lily The Flesh" was aimed for VHS-filth themed compilation, its on progress and I am not sure is it ok reveal details about it. So I shut my mouth. Anyway I went to bunker w/ VHS player and TV. the actual film plus few loose ideas. result was very pleasing, dirty and eerie. It came out such a long piece that it fitted better for BU full lenght release of own instead af compilation. "Lily The Flesh" was a homevideo made by NALLE VIROLAINEN and friends early 90`s .. 1991 maybe? Sold throught XXX magazine`s personal ads. S/M, Piercing, piss/shit etc. one female involved there "IIRIS" what a character, religious person.. Her Monoloque on film is brilliant("Thank you Jeesus") At one scene she is on leach as a dog, outdoor at one small park in Kallio, Helsinki. She starts to eat crass. another scene she is riding on Nalle`s cock and eating raw meat.Doing some animal sounds. hah! IIRIS gave paid sessions back then I gave her a call few times but didt had guts to go see her. She seemed a bit unbalanced person. That was the main reason I decides not to go. NALLE VIROLAINEN was editor of "CHAINS" S/M zine and "LYKANTROPIA" film zine late 80s and one of maker of "ROSKAELOKUVAT" book. Throught his writings I got introduced to ILSA, Cannibal films, Nekromantik, sadism and masochism etc. everything a kid need to grow up. I was 13-14 at time I ordered his zines.

[PURESTENCH : Sex and violence is an explicitly clear influence for Bizarre Uproar. What is it about sex and violence that is so intriguing to you? How does it play into your music? ]

Sex=Violence. What else interesting there is besides Cum and bizarre activities? that’s the reason to wake up in the morning. keeps the putrid wheels rolling. Essence of everything. Those two are true ying and yang.

[PURESTENCH : A lot of Noise/PE artists don't seem to be into what they write about, but from watching the videos on the IOPS dvd's and reading the Puudeli blog it seems that you are completely into what your material is all about. What was it that drew you into humiliation, dominatrix', filth, scat, perversions, etc? ]

You are or you are not. I am. I have always been.

[PURESTENCH : What are some books/videos/magazines that are particularly interesting to you? Snuff - do you think that snuff films exist? If so have you ever seen one? ]

As a younger I did collect stuff a lot. Now as an older gentleman I use all my energy to get real life experienses/sessions etc.
SNUFF as a film where someone is killed for purpose to sell it for big euros. I would say I don’t think so. Killings are filmed for personal pleasure/use/trophy/ of course but not to sell. Intriquing idea. I wish someone could be degenerated enough to do it..

[PURESTENCH : How long has Ms. Uproar/Fallen Angel been your dominatrix? Has any session gone too far, i.e. have you ever had to be hospitalized or hurt really bad to the point that it wasn't arousing but just plain painful? ]
I am a pervert. Pretty much everything goes. I have been w/FA almost 10 years now. it’s a twisted game for sure. At this point I have to state that I show a lot of things in public, but cannot show all. There are things that are better to keep in dark.
Eye infections and once her sharp nail teared big chunk of flesh inside my mouth, after that human toilet paper activity .. Not very wise way to take care of open wound hah!

..But there is more. Everything is not what it seems like to be...

[PURESTENCH : You should write a detailed book with pictures about your experiences with Fallen Angel, I bet that would sell quickly. Speaking of books, can we expect another book in the future? Or maybe some type of collection of Pasi artworks? ]

2012 Feb. I will be part of exhibition in Helsinki w/ SIIKALA & ASPA. There is also 3-way artbook in progress.

[PURESTENCH : The visuals of Bizarre Uproar and Filth & Violence are coherent and obviously very important. Are you involved with the art for every release on the label? How important is art overall to both the label and Bizarre Uproar? ]

I use a lot of time to get dirty enough result. Yeah I am involved w/almost every release artwise. Hmm visuals have been in a big role w/ BU but like last live I played it was in complete darkness. Also upcoming LP going to be just one painting.. Important but might change from minimal to full on fireworks of filth.

[PURESTENCH : How do you choose what to show on the projector or what acts to perform during a live show? ]

 It changes a lot. Like said from total darkness to multi projector thing( like last year one gig w/ one own production female scatloop video and nigger gay porn) Of course there is always some red line some idea, video needs to back up the sounds and other way around.

I belive upcoming live things will be without anything extra just filthy noise.

[PURESTENCH : When you play live do you have a set idea of what is going to be played or is it mostly improvised? ]

Some spine where is a some space for improvising.

[PURESTENCH : Your first project "Aunt Mary" was an energetic Noisecore band. What made you go from Noisecore to Power Electronics? Will we ever hear any new Aunt Mary material or is that a dead band?]

I have said this somewhere earlier.. to make it short. AM demised I did continue alone. Did kind of noisecore stuff. fast bursts of rough sounds. What happens when you put a lot of that kind of stuff together. lots of layers. pretty much harsh noise. I did cut up stuff at some point. idea to make structured pieces came 2005. everything has evolved slowly.. Do you feel BU is Power Electronics?
AM did one session this year. AM is not dead but its not feeling very well..

[PURESTENCH : Filth & Violence has been dabbling with Noisecore and Black Metal releases for a few years now. How do you see the current Noisecore seen now-a-days? In what ways do you think Metal and Noise are connected? ]

Oh well I do not think a much of genres when I am releasing stuff. if its crude,nasty and original.. I am interested. Connection comes from some individuals who are involved in both scenes. Typical ug metal consumer hates noise most likely.. And cannot blame. There are so much utter crap around. Weak shit.

[PURESTENCH : What are some of your favorite releases on your label?]

They are ALL very important for me. Cannot pick any faves.

[PURESTENCH : What are some current projects out there that you have been listening to a lot lately? What are some of your favorite albums right now? ]

I listen a lot of F&V stuff before they get released. Now Its been time for HALTHAN Live, GOLDEN RAIN Live,RAPE, POGROM Live plus new Full length, BIZARRE UPROAR"Viha&Kiima" LP master etc. etc.

[PURESTENCH : What does Bizarre Uproar have planned for 2011? London Live first of October.]

"Viha&Kiima" LP hopefully end of the year. One private Helsinki bunker live. Recording sessions.

[PURESTENCH : Thanks a lot for doing this interview. Final comments.]

Thank you

Interview - Concrete Mascara

2011-07-21T00:31:00.000-07:00

[PURESTENCH : I know you have been creating Power Electronics for awhile now but only just recently you released your first tape, "Dead In Helsinki" on Filth & Violence. Why did it take so long? Did F&V approach you or did you send him your material? ]

Concrete Mascara started three years ago but I did not create the project to rush out shit music. I became friendly with Pasi overtime after I started following F&V and eventually I sent him some material because I felt like some of it was similar to what he was doing. I’ve only sent my demos out to 3 people because I don’t have any interest in shopping around for a label or releasing just anything. As CM matured and I sent more material to Pasi he eventually suggested doing a tape for F&V. The live tape just happened first before a regular album.

[PURESTENCH : Where does the name Concrete Mascara come from? What does it mean? ]

I came up with name while working on lyrics before I had even started the project. Concrete Mascara almost exclusively deals with vanity, narcissism and addiction. The idea behind the name is that Vanity is the ultimate virtue and should be pursued even into death. Addiction is an important and even defining aspect of self-worship. While there are other people that I record with in CM it is primarily a vehicle to pursue my own interests.

[PURESTENCH : You have a unique sound, it took me by surprise and it is really quite good. I guess right now would be a great time to ask the trite "gear questions"; so what gear do you use? What piece of gear could you not go without? ]

Without getting too much into the specifics I almost exclusively use mics, 4 pedals and various tape players. There are two other members of CM who record with me from time to time and add digital synths and sampling to the picture. But it’s all recorded live on amps to tape with minimal editing afterword. No overdubs, no multi-track recordings. I think my Boss DD-20 Giga Delay pedal is probably the most essential aspect to the CM sound so far but nothing is irreplaceable.

[PURESTENCH : What was the theme behind the material your wrote for "Dead in Helsinki"? Who is talking at the beginning of the track? ]

The intro is taken from a drunken recording my friend did and gave to me. I think it’s actually kind of humorous. The lyrics for the first two songs deal with addiction [paranoia and betrayal] and the last deals with some of the themes and imagery from the Dune novels.

[PURESTENCH : How would you describe your music to someone who has never heard it and is new to P.E. and Noise? ]

I’ve always described noise to newcomers as the sound of a microphone in a garbage disposal and I think it applies well to my sound. That and the sound of pure electrical disturbance.

[PURESTENCH : Power Electronics has traditionally been linked with perversions, war, murder and crime. What are your thoughts on this? Do you have any interest in politics? ]

These themes are what drew me into power electronics, humanity at its most primal and pure state. The college I went to is considered the most politically active in the US and one of the most liberal schools. After spending 4 years there I left incredibly depressed and disgusted by the political pontifications of rich students, armchair academics and spineless politicians and have abandoned most liberal notions. I’m only really interested in politics in East Asia now, specifically Japan.

[PURESTENCH : You have a release coming up on Untergeschoss, how did you get involved with Pekka and his label? ]

I started talking to Pekka after my involvement with the Nyrkki & Kyrpä 2 tape. Pasi passed some CM material onto him and we started talking about possibly working together. I sent him newer and much better stuff and he offered to release it. There are also plans for a split/collab in the future but no set date.

[PURESTENCH : As far as I understand it you are an American? Is it strange being a large part of the Finnish "scene" in a way? What is your favorite project from Finland? ]

Yes, I’m from the States. I don’t know if I’d consider myself part of the Finnish “scene” but I’m glad to be working with the people I have so far. I have almost zero interest in working with any labels from the States.

[PURESTENCH : How did the scenes in Finland and America differ? Was there any notable differences as far as the live show was concerned? ]

The work ethic is completely different between most of the people I know here and the people I’ve worked with and spoken to in Finland. I think the scene in the States more often than not revolves around partying and drugs. There often seems to be more interest in getting fucked up than recording seriously or doing a good show. And people love to talk about what they are going to do, how “we should totally do a show, a tape, etc” but then never actually follow through. I think in the noise scene in general, but especially in the States there’s this mentality that if you’re friends have a project it’s automatically good and there needs to be a constant stream of shit releases to prove they have a project. Everyone wants to be the center of attention in their little micro-scenes and no one is willing to say anything negative about anyone else. Shows are billed with known rip-off artists, people cancel last minute, there is often almost no attendance and one-sided tape trades abound. But it’s not all bad there some people doing great shit. I think Far Rockaway is really doing something cool, putting on good shows with a good atmosphere and now they pull some big name guests to their house.

In regards to the show in Finland I think it was unique because it was a private show so most everyone there was part of the scene. I was quite happy with the location because it was a full-on, loud as hell, multiple amp show, no PA bullshit! So far everyone I’ve worked with in Finland has followed through on proposed plans. I’m not very confident I would have had the same result in the States. Grunt is still the master of the craft in my opinion.

[PURESTENCH : Was the show in Helsinki your first show? If not, where else have you played and which do you consider your best? ]

The Helsinki show was not the first CM performance but it was certainly the best (although Bizarre Uproar’s performance conquered the night). I lived in Kyoto for 4 months in 2009 performed twice as CM. I was also in a group with two other Japanese students called Jigoku and we played a few shows under that name too.

[PURESTENCH : Thank you for taking the time to do this interview and being patient waiting for me to get it to you. Is there any comments you want to add before this interview ends? ]

Thanks for the interest and watch out for the CM / Sick Seed and CM / Umpio collaborations in the future.

Interview - Taeter

2011-07-20T06:50:00.000-07:00

TAETER

[PURESTENCH : What was it that drove you to create Taeter? Why did you create a new project instead of record the material under Fecalove, if someone had not heard either project how do they differ? ]

I just wanted to focus on power electronics with some kind of "song" structure. Early Taeter is in debt with Nick/Silvum, who was originally supposed to release my first material (tracks that later became "Absolute Nothing") and encouraged me to record more stuff.

Fecalove is more simple. I like to keep it basic and i think I'll use vocals less and less under that name. Also, Taeter has synth and bass..fuck, it's almost real music.

[PURESTENCH : Who are some of your major influences both musically and artistically? Teater to me sounds like The Sodality meets Whitehouse but with a filthy, darker and more twisted vibe.]

You're spot-on..both The Sodality and Whitehouse are big influences. Don't worry, i will not start to play bongos. Main inspirations are : Atrax Morgue, Intrinsic Action, Sutcliffe Jugend, Slogun, Deathpile, France Gall, Righeira.
As for art : Trevor Brown, Romain Slocombe, Magnus, Stu Mead, Suehiro Maruo..

[PURESTENCH : What do your lyrics deal with? What type of subject matter does Taeter touch upon? ]

As usual, everything comes from my cock. It is its view of the world fueled by personal experience and shrouded in fetid alcoholic fog.

[PURESTENCH : I can understand why you did the Sodality cover song but what made you want to do a Brainbombs track? It turned out really good, by the way. What gear did you use and how did you go about recording it? ]

I like that Brainbombs record (who doesn't?) and i like covers. It's fun ! I also did France Gall and Turbonegro. I planned to do an all-covers release but it didn't happen yet. For "Obey" i think i simply recorded rough junk metal noise with one or two distortions and then added vocals. It was ages ago so i don't remember well.

[PURESTENCH : Has Taeter played a live show yet? If so how was it and what can a fan expect from a Taeter live aktion event? ]

No, but i did play "Mouth" as Fecalove a couple of times. Nobody noticed of course. Someday maybe i'll perform as Taeter but there's nothing planned for now .

[PURESTENCH : Your art has been featured in zines, on a good number of cover art and websites. Out of all of your artwork which is your person favorite? ]

Cock swastikas. Girls sucking canine cocks.

[PURESTENCH : You are the co-founder of Turgid Animal if I am not mistaken? What is it that drove you to start a label and how is it working with George? ]

George and me used to trade years ago (2004?), then we came up with the idea of having a label. We happen to like pretty much the same kind of horrible noise so it was a natural process. Right now each works on his own, in secrecy and extreme boredom. We'll come back with some terrible collaboration tapes soon...

[PURESTENCH : What is up with you guys and the word Mutant? ]

Don't you like it ?

[PURESTENCH : I do, I was just wondering if there was something special about the word Mutant in the context of both you and George's material. What are some of your main Musical and artistic influences? ]

G.G. Allin, Serge Gainsbourg, Caligola. I'd throw a party for them. Enflatable swimming pools, martinis, half-naked girls and boys, nice music..

[PURESTENCH : Let me squash some rumors that I heard on Soulseek and through an e-mail - does the dick on the cover of "Parasite" belong to anyone that our readers and fans of Noise/PE in general may know? ]

It's my pathetic cock. All pictures on Taeter releases either feature me or they are taken by me. That particular picture was taken by Splinter Vs Stalin co-founder Marco during a drunken weekend in Berlin. Whose cock did you think it was ?

[PURESTENCH : What are the future plans for Mr. N. Vinciguerra in general? More Taeter ? Will you again be in the upcoming issue of Exoteric? I hope so because I was asked to do some art for it and it will be a honor to share a spot in an art Zine with you. ]

Definitely, but slowly, more Taeter : there will be a track on a Trash Ritual double tape compilation. I'm preparing new stuff as Fecalove (CDr on Crucial Blaze, some split tapes and vinyl) and Splinter Vs Stalin (a new tape and cd) as well. Yes, i will be in the next Exoteric Zine issue, and i'm drawing a couple of short comics for italian zines. Also i'm messing around with oil painting.

[PURESTENCH : Thanks a lot for the interview. If you have anything to add please feel free to do so here... ]

Thanks for the interest.

Suck my cock.

Mania - Grotesque Mirth

2011-07-19T09:28:00.000-07:00

Mania - Grotesque Mirth 7''

Mania has a deep career spanning 6+ years of dishing out this idiosyncratic blend of Harsh Noise with a P.E. feel and some occasionally strange samples, i.e. "Armed To The Teeth" and the scattered assistance of Aaron Dilloway. All of the Mania material, from start to finish, have the trademark sense of turbid anxiety. Along with his obsession with firearms, it is this anxious feel, this audial frustration that is the standout quality which I have come to know, and enjoy, from Mania.

Sometimes when it comes to such an artist, one who has been releasing material since the early 90's under a few different names, the question may arise as to whether the relentless fetisization of the actual artist and his discography and the collection there-of actually does him any favors within the context of new material. I know, for me, at first, it didn't. I wouldn't let myself enjoy Mania as much as Taint (who you all should know by now is my favorite Power Electronics unit of all time). I've compared it to having a dog for 14 years, a dog you have owned since childhood, and then it gets hit by a car and dies and you go pick up a new one. It's different and takes a bit to "warm up" to. I had to warm up to Mania, and it took some time.

On "Grotesque Mirth" the listener gets handfed two 5 minutes tracks of a more cogent and direct material. Both tracks are very active, yet when compared to his other work there are moments here that seem almost "laid back". It is direct, more exact and meticulous. Side 1 - in full on attack mode, Keith fashions together hazy static hissing out of filtered synthesizers atop some metallic percussion (44 gallon drums?). This is the type of track I think of when I think of present day American Power Electronics; patiently violent, "prowling electronics". The second track is where this 7 inch really shines. A downpour of reverberating bass thunder slams out of the speakers as a small wash of flanged, warbley mid-tones escapes the flood. Vocals are present here, in that archaic-effected-shouting style that Keith is known for, which is always a pleasing addition to any Mania record.

I appreciate Mania on many levels, one reason is because Mania makes sure that there is always an element of diversity inherent in the "music", unlike a lot of the Harsh Noise and P.E. out there today, and in Mania's case this seems to be the crux of his success, in my opinion. It distinctly feels as if there was a good deal of effort that went in to this records construction. By the way it flows, with almost nothing impeding its motion the listener can easily hear what authentic "experimental" music really is. "Grotesque Mirth" is also the result of a long process of evolution; Keith has been cumming material out for over twenty-fucking-years now, and although that little bit of subjectivity allows one to slightly favor earlier releases such as "Isolation Is Lonely Murder" and "Eros + Massacre", it would not be unwise to say that the man is at the very peak of his career with this 7''.

Interview - Coma Detox

2011-07-16T01:36:00.000-07:00

Interview With Coma Detox

[PURESTENCH : How did you first get involved with Noise/Power Electronics? ]

Mainly through the old Relapse/Release catalogs.

[PURESTENCH : Talk about the origins of Coma Detox and what it was that drove you to create the material that you work with. Who were some of your biggest influences when it comes to music, authors, artists, etc? ]

Basically, Coma Detox came to be after i decided to scrap any other previous attempts at power electronics/noise. When i was finally able to record in a more "live environment" things came together a lot better. My anger and disgust with the current times is my main influence.

[PURESTENCH : Your first tape was self-released and then after that you worked with different labels; Nil by Mouth released "Volatile Debasement" and your latest cassette was put out by the well known Finnish Filth And Violence label. Did you send the labels your material or did they contact you? Were these positive experiences and would you continue to work with both labels in the future? ]

I was contacted by both labels to put out tapes. Both were really good experiences. "Volatile Debasement" took a little longer to be released then I had expected but came out well in the long run i think. F&V was really great, I had been doing some trading with Pasi for awhile and he contacted me for the "Concussed & Asphyxiated" tape.

I have a few things lined up right now but i would definitely do another release for F&V and also with Nil By Mouth.

[PURESTENCH : You seem to have a lot of medical imagery in your artwork and track names. Where does your interest in medical/trauma/death come from? Are you lyrics focused around this topic as well? ]

I work for a publishing company that sells and reprints many medical journals so I'm constantly around them and they have always interested me. Plus I've always viewed people as being very fragile, weak and or pathetic and death and trauma proves that. Lyrics are always based around degradation of the anatomy and my daily anger and disgust.

[PURESTENCH : How important is the imagery and why? ]

I think it's very important. I think if the imagery doesn't match the message then what's the point?

[PURESTENCH : Are you lyrics written in detail before recording or are they improvised on the spot? ]

Usually before hand, a few tracks have been on the spot, a few on Volatie Debasement. I plan on printing all lyrics from now on.

[PURESTENCH : Do you record live or use overdubs and editing? What type of gear do you use and is there anything that you could not go without? ]

Majority of the material is done live without overdubs. Again, a few tracks on Volatile Debasement had a few overdubs. Most of my gear is analog and old. I have a few mono synths, contact mics, a few beat up DOD and Yamaha distortion pedals, a small mackie mixer, analog 4 track, analog delay, a crappy ART multi-fx processor and junk metal. I don't like working with a lot of gear. I always use the same equipment but nothing I consider too important.

[PURESTENCH : In an interview I read with Terror you mentioned that you had not performed "live as Coma Detox yet, but if the situation was right [you] would do it.". Have you since played live? In order for you to perform live what would the ideal situation be? Would you travel to Europe to play? ]

I still have not played live and I haven't gotten any offers to do so. I would love to play in Sweden, Italy or Finland if time or money allows it. No real ideal situation, it would just have to be in an environment that made sense to me.

[PURESTENCH : What are your future plans with Coma Detox? I have read that you may be doing some work with Mania, is that a collaboration or a split and can you give us any idea of when we could expect to see that? ]

I have a few releases I need to finish up and a few labels I still need to get back to. The split with Mania should be wrapped up by late summer.

[PURESTENCH : Any final comments? ]

Thanks again for the interest.

Various Artists - Sonno Ferrum

2011-07-15T09:07:00.000-07:00

Various Artists - Sonno Ferrum

I received (finally!) a furtive little tape featuring new comers and veterans all taking on junk abuse and trash art. All you get in order to understand this are the words "Sonno Ferrum" written on the side and a listing of who is on the tape in no order, no track-listing to tell you who is playing what, which track is theirs and if this was released by a label or just a private one off release. All the better I suppose and although I don't think it was the intention of the artists and the person who put this out but this cassette shows how different Noise/P.E. really is. We have probably all been asked how we can listen to this type of "music" and that everything "sounds the same". But it doesn't. You can really tell that there is a group of different individuals doing different tracks with very different outcomes. The only problem I have with this set-up is just in reviewing it because although I know the order of tracks on the A-side and pretty much added up the B-side from that information, I'm not a liberty to tell you who is doing what.

Creating extrinsic and subjective aurally challenging music which is not particularly straightforward nor easy to outline or expound upon is obviously not something that just anyone can embrace. It goes beyond simple sounds almost always and even steps over aesthetics on occasion. When you have decided to go "all out" than you've got to be extra careful to justify the acknowledgment and satisfaction which you're demanding of your audience. Individuality sticks out here by a group of good artists who are clearly not competing for listeners and who completely believe in and understand the sounds of Industrial and Noise music, a genre that sometimes flirts with pretentiousness and exhausted ideas, these artists remain clearly on the side of profundity and creative sincerity.

The first thing, sound wise, that needs to be addressed is that this cassette is dedicated to metal/junk abuse in its finest forms, dripping with progression while maintaining a beauty within its severity. An ambitious idea that works because of the people involved who can communicate their ideas without lyrics or pointing it all out for you. The textures are a lot more varied below the surface, the choice of frequencies and varied metallic objects works well with the hypnotic abuse thrust upon those objects, all of this working out to sound great. And to sound as good as it does I believe that this style must rely on the exact moment when it is happening without any need to contemplate whatever it is to come. Great Noise works like this - to lose the artist in his work at once and the listener cannot helped but being sucked in. A massive amount of different material is being aggressively used all over this tape - chains, nails, drums, most anything you can think of, rewarding your attention with sizable payoffs. Track 1 with its percussive writhing being of primary importance gets trampled by a speaker rattling (literally) track of smothering low-end bass crunch inflating the thick atmosphere with whipping metal work. The first track on Side B is my favorite, I actually have found myself unconsciously listening to these tracks in my head which has never happened with Noise. Other tracks exhibit high-end or mid range tones, some at a tortured pace while others run right through you. This is a great tape with plenty of variation and a great take on one of the best sides of Industrial music. Any fan of Noise and Power Electronics must own this and this will undoubtedly fall into the category of top 3 Noise/P.E. releases of the year for me.

Kakerlak - Crawling to Objectify

2011-06-22T12:11:00.000-07:00

Kakerlak - Crawling to Objectify

Sometimes there is a release that I listen to and just feel like I need to review it but then ask myself exactly what I am going to achieve by doing so. Some releases speak for themselves, not by the past work from the artist nor their stumbling mass of fans surrounding them, rather by defining themselves as true artists with quality releases, and one or two break-thru releases. "Crawling to Objectify" is a break-thru release for Kakerlak. If you are not aware of this artist than you may be aware of his label, Harsh Thorax Cassettes. His label and Noise project both have a decent number of releases under their belts. On this tape, which is a "True Force/Pain Electronics Product" (being TF/PE's 13th release to date without ever shitting out small and quick torrents of rubbish, instead they obviously look towards quality, and not quantity) you receive Harsh Noise delivered without caution or yawning boredom. Kakerlak has always had a somewhat "old school" feeling to his releases and teaming up with this label really brought that mood to a boiling point.

An opening track lasting a few minutes (3-4, maybe a bit more) prefaces this tape with broken metal scraping, splitting and springing shards of basement junk abuse completely strained and wavering through nothingness, just a mass of undiluted and pure metallic frenzy. This track comes to a forcibly abrupt end while the second track quickly jumps in tossing itself headlong into roaring yet dim currents of electrical interfaces building up quickly into a steamroller of driving crunch. Repetition points out traces of something happening, too dark at this point to tell exactly what it is. And then the stuttering of a voice writhes in, calm and focused, far from soothing. No need to hint towards, nor model this, as an exercise in the effects of aggrandizing tension. His previous output of material has helped him with that already. The B-side is cruel and unrelenting low-end textures with a metallic foundation. The sounds are altogether genuine, pure enough so that the audience can find an evolving and varying array of intricacies with each new listen. Progression, sometimes subtle and swift, is continually instituted with building violence, irritation and hate and it is all particularly sincere when it comes to the delivery of this cassette as a whole.

Coprolaliac Press Interview

2011-06-14T13:21:00.000-07:00

[PURESTENCH : When did Coprolaliac Press begin and what inspired you to create it? ]

Coprolaliac Press started when I lived in LA, about 2006. I self-published fragments of Angry Old Hank as kind of a serial novella. Angry Old Hank, a story about a misogynist serial killer, existed in one incarnation or another since 2000. I suppose it was the first work I started for what would become Coprolaliac Press. I created Coprolaliac Press to publish Angry Old Hank and later I got the idea to begin the FORCIBLE series of zines. I wanted to create a press to bring together all those who have similar tastes as mine, which are a passion for true crime, transgressive literature and extreme tastes.

[PURESTENCH : The main outlet of Coprolaliac Press is the zine Forcible. The disclaimer on each issues cover warns readers that the material inside is "Disturbing and Violent Sexual Content. Mature Audiences Only." If one has read the zine they need no introduction to as why this warning exhists. Why did you pick the material you choose to write about and were there any reluctance or doubts as to whether or not it would be accepted at all, even within so called "transgressive circles"? ]

Yes, I had my doubts about the subject matter of my work, but try to quickly get past that. I picked the material, which often relates themes of child exploitation, rape, murder and other violent sexual themes because I wanted to expose the under side of what the news stories portray. So, in FORICBLE, you have your news clippings about various violent sexual themes, and then you have the fiction, which explores what I feel is left out of the news stories, all of the nitty-gritty, sticky, bloody or violent details. I feel these details need to be expressed for those who are interested in true crime, to add a sort of release from what has been built up in the news stories, to peel away the soft, safe confines of “journalism” and transport you directly to the crime itself.

[PURESTENCH : Sotos is an obvious influence, as is Goad. Who else do you take your influences from? ]

Definitely, the master, Marquis de Sade is a major influence. When I first read 120 Days Of Sodom, I was blown away. I also feel that the transgressive writer Pierre Guyotat has been an influence in my work, most notably Eden, Eden, Eden, as well as the obscure writer Jesus Ignacio Aldapuerta, who wrote the brilliant set of stories known as The Eyes.

[PURESTENCH : Have you been in contact with either of the authors mentioned in the last questions? If so, what were some main ideas/points you took from it, if any? ]

No, I have never spoken with Sotos or Goad, but I hope to one day be on contact with them.

[PURESTENCH : I recently received your "Writing of GG Allin: Murder in Society" zine, which was released under the Coprolaliac Press moniker as well. Why did you decide to publish these written works? Has GG Allin been a large influence in your writing and life in general? ]

I came into a large cache of underground zines while in LA and among them was the little gem “Murder In Society”. It is a great little read and definitely fell within the range of what Coprolaliac Press stands for, which is the freedom to publish and distribute works that maintain a darker, more violent underbelly of society. GG Allin has been somewhat of a minor influence, but an important one, especially highlighting his obscene acts on stage and the freedom to do so, no matter how extreme.

[PURESTENCH : All of the fiction found in the Forcible zines as well as your books all has a similar arrangement, or method, which may be a better word. Everything is delivered quickly with no filler, short sentences and a direct story. Why is this? Have you ever considered writing non-fiction or possibly doing a lengthier work? ]

I want to bludgeon my audience with the details of certain crimes. I want to rip off the bandage from the wound and show the audience the brutal, uncompromising truth of various violent and taboo crimes. My “prose” is intended to show an image of what is happening and sear it into the brain, into the consciousness, without any safety nets. This sort of freefall into such disturbing material is what Coprolaliac Press is about. I have written five novellas over the years, all ranging from about 90 to 120 pages. I wish to have them published someday, but I tend to have this drive to further refine the language of the works I have written, refine it down into even more concise material.

[PURESTENCH : Do you have any writing "rituals"? When do you find yourself most creative? Anything in particular where you consistenly find inspiration? ]

No, I really don’t have any set rituals, but I tend to write better at night. I find inspiration from other authors, artists and underground magazines such as Malefact, Answer Me!, Murder Can Be Fun, Timeless and, of course, I have a predilection and get inspiration from these old, vintage pornography rags that I have.

[PURESTENCH : What type of music do you listen to? The Noise and Power Electronics scenes have obviously taking quite a liking to your material, as would be expected. Do you listen to these types of genres? ]

Yes, I enjoy power electronics. Currently, I am on a Whitehouse kick. I think they are an amazing group. Philip Best is an amazing vocalist. All other groups I have come across come second to Whitehouse, in my opinion.

[PURESTENCH : Why did you include the press articals in Forcible? Some may say it is filler, I personally think that they fit well with each issue in some way or another, and were a good choice to add. ]

As I mentioned before, the taste for the extreme resides on what is first on the surface. The tip of the iceberg is the news stories, which only hint at the truth of the actual crimes. It is important to examine the news stories in order to whet your appetite for what’s to come, which are the fictional pieces in FORCIBLE. Examination of the news clippings are essential to understanding the deeper motivations of the fictional accounts of the crimes. I do not believe they are filler, although I intend to publish a collected works of just the fictional crime stories in the near future.

[PURESTENCH : If there were 3 people, dead or alive it doesn't matter, that you can sit around and talk with, do things with, or just have a drink or two with, who would those people be? ]

That’s a good, but tough question. Right off the bat I think of serial killers I’d like to meet (despite the danger in meeting them for obvious reasons). I guess I would like to meet Peter Kurten. I would also like to meet The Marquis de Sade, as well as Peter Sotos, of course.

[PURESTENCH : What is some advice you would give someone who wants to start their own Zine or write their own books? ]

I know this sounds kind of silly, but do not give up, no matter what your circumstances. In the past, I have suffered difficulties; Coprolaliac Press has suffered from my mental illness (schizophrenia) and I left people hanging, whether it was waiting for the next issue of FORICBLE or whatever. Despite my trouble, even when I am frequently in the hospital, I keep the spark going inside me, and when I get out of the hospital, or when I experience a moment of clarity, I try to jump on the chance to create and get back to people that have shown interest in my work.

[PURESTENCH : What do you have planned for the future of Coprolaliac Press? Anything fans will be seeing in the near future? ]

I am now trying to collect resources to try to publish a book of stories from FORCIBLE and other, newer works I have been laboring over.

[PURESTENCH : Thank you for taking the time to do this interview. Any final thoughts or comments? ]

Only that I would love if readers of FORCIBLE and other works I have put out would contact me to share in the tastes that we all have. I have only received communications from a few people over the years, but I know there is a bigger audience out there that has something to say or to share. Also, I want people to know that FORCIBLE is not just a method to get my own work out there, but I would love to someday have guest writers and artists contribute to FORICBLE as well.

contact - coprolaliac_press@yahoo.com

New Forces Interview

2011-05-21T10:02:00.000-07:00

NEW FORCES LABEL INTERVIEW

[PURESTENCH: New Forces - when did you start this label? What were the main influences and ideas that went into the creation of the label? ]

The label was started in the spring of 2010, so it is about one year old at this point. I started New Forces in order to have both a vehicle for releasing my own material under the "Breaking The Will" moniker as well as for releasing material for friends and projects I want to hear more from. Aesthetically and thematically I'm very interested in political violence and history. Later summer / early fall I will be releasing the first New Forces industrial-historical document, which will feature Breaking The Will, Nyodene D, and Steel Hook Prostheses. Thematically the release will focus on the Tuskegee Syphilis Experiment, and will present a variety of archival and historical writings, photographs, and other media in addition to the music. If all goes as planned there will be other industrial-historical documents in the future. In my head they encapsulate what I want New Forces to be, hopefully that translates into reality.

[PURESTENCH: What are the main goals and aims of New Forces and how do you select which artists you want to release? ]

The simple answer is I approach artists I enjoy and follow closely. I also like to put out a lot of material from the Midwest, particularly Chicago, Milwaukee, and the Twin Cities (Minneapolis / St. Paul). Some of the best harsh noise in the country is coming out of the Midwest, and I think here in Minnesota some top tier artists are lately getting well deserved recognition, such as Grain Belt, Wince, Gnawed, Baculum, and several others. I try to push my own work with Breaking The Will to keep up with the high standard being set around here, and I'm excited for the prospect of seeing these projects continue to evolve and improve. Hopefully New Forces can contribute to that.

[PURESTENCH: Like many other labels I have interviewed you seem to have only released cassette tapes. Are cassettes the only means of expression for your label or will you release wax and/or CD/CDr's as well? Do you feel that the cassette format is the best format for Noise and Power Electronics? ]

So far I have only released cassettes, but I would like to release vinyl in the future. That is something to build up to. My obsession with harsh noise seems to be linked to a concurrent obsession with hearing harsh noise on cassette tape that I can't fully explain, but I do enjoy tapes in that they encourage me to sit down and listen to music through my stereo rather than simply putting them on the ipod for listening to and from work.

[PURESTENCH: You have quite a number of "HNW" releases on your label. What is your interpretation of so-called "Harsh Walls" and what is it about this very specific sub-genre that you like? Who are some of your favorite current artists doing "Walls" these days? ]
 
I guess I don't feel like I've released that much wall noise aside from the Richard Ramirez cassette boxes (Werewolf Jerusalem, Fouke, Crash At Every Speed). Richard's material is particularly suited to multiple cassette releases because he is able to bring an incredible focus to a very minimal palette of harsh noise textures and stretch them into a full composition. If you give him several sides of cassette to work with you get to experience a range of sounds.  I certainly don't place the primary emphasis of New Forces on wall noise. For me, wall noise is simply an extremely aggressive and heavy approach to harsh noise that comes out of the work of some of my favorite artists, such as the Incapacitants, The Rita, Macronympha/OVMN, Dead Body Love, ect... Like any micro-genre, there is worthwhile and exciting material that gets released as well as boring, contrived, or unnecessary material. There are certainly elements of the wall noise aesthetic that are appealing such as the minimalism, aggression, textural focus and heaviness, but when people become too rigid in their definition or too contrived in their presentation I tend to lose interest. The harsh noise presented by New Forces will take on a variety of forms and approaches. 

[PURESTENCH: Do you have any personal favorites among your releases? Do you have any projects on your label? ]

It's hard to pick a favorite. I'm lucky in that every piece of material I've released is something I would have purchased if another label had put it out. Visually, I love how the Fouke triple cassette box turned out, the full color jungle images ended up looking amazing. The Koufar - Death of Myself tape is special in that Mack took a totally new approach to the material, went out on a limb and created something very unique, and the results are stunning. He's one of the best current vocalists in power electronics. The Custodian tape I released also stands out, simply because Jon works with a very minimal and familiar set of sounds, but that tape ended up sounding very different than his other releases while maintaining the same Custodian "sound." Quite a bit heavier, like getting crushed to death by concrete.

My primary project is Breaking The Will, which took some time to evolve but has settled into a dynamic and slightly cut-up approach to harsh noise. I've released two Breaking The Will tapes on New Forces, and will probably do more in the future. Breaking The Will will appear on an upcoming cassette box on the excellent Skeleton Dust Recordings alongside Being, Skin Graft, and Weak Sisters, definitely worth checking out for a diverse cross-section of current American harsh noise. I also have a side project called The Sun Turns Black that has made an appearance here and there.    

[PURESTENCH: What do you think of the current Noise/Power Electronics scene? ]
 
There are plenty of releases continually coming out that keep me interested, so I certainly don't have a pessimistic or bad attitude. There is more good noise than I can even keep up with, so that more than cancels out the garbage. I haven't been involved since the 80's or 90's so I can't really speak to how things are now relative to the past. Oskar Brummel, who does White Centipede Noise, commented on the Minnesota "scene" in the interview he did for you so I'll just echo him in that we have a small but strong group of harsh noise, industrial and power electronics artists here. As far as things I've been listening to, I will say that the Joe Colley - Disasters of Self record is probably the best record I've bought in the last few yours, you should probably track it down.

[PURESTENCH: It is not rare in this genre for labels to release "limited" amounts of each title. Why do you think this is, and how has it been for you? Do you ever intend to increase the number of releases which you put out or do you prefer how it is now? ]

For the next few releases I plan on bumping up the edition size to 100 copies. Most of my releases so far have been in an edition of 50; in some cases that was perfect, in some cases I could have done more. From the label-running prospective it has been nice to not have a large inventory as I've been moving around some in the last few years. As far as limited releases, there is certainly a "collector" aspect, which I participate in, that is both positive and negative. I don't need to lend one more voice to that debate here. For New Forces, my goal is to produce releases in a manageable amount for me logistically and financially while trying to make sure there is enough to go around. If the invisible hand of "hype" causes a sudden increase of interest I'll adjust accordingly, but for now 50-100 copies is enough to satisfy the harsh-heads that buy from me, and I'll just slowly change my practices as label growth demands.

[PURESTENCH: Just recently you released a Black Metal cassette by a great American band, El-Ahrairah. Will we be seeing more Black Metal releases from this label in the future? ]

El-Ahrairah is a local project that I came across while working at a record store in Minneapolis called "Extreme Noise." They were selling two of their demo tapes on consignment, and I listened to them on a whim and thought the material was excellent. I don't plan on black metal being a regular element of New Forces, it's not where I want to put most of my energy, but I certainly don't rule out the possibility of there being another black metal release in the future. El-Ahrairah is going to have a full length coming out on wax soon so keep on the lookout for that.

[PURESTENCH: Do you have any advice for someone who would want to go out and start a Noise/PE label? ]

Get advice from people that have been doing it for awhile, they can probably preemptively solve problems that will appear. Take the idea of "quality control" seriously, push yourself to put out excellent releases.

[PURESTENCH: You have been releasing material for a few years now. Is there anything that you would like to change in the future to make it better? If you had infinite resources what would you do with the label? Where do you see New Forces in a year from now? ]

If I had infinite resources I would release vinyl, but beyond that I don't have any grand aspirations. It's not like I could sell 1000 copies of any of the things I've released anyway, so as long as myself and the artist are satisfied with the end result and there are other people taking an interest I'm happy. Graphic design and art aren't things I have a natural affinity for, so I want to keep pushing myself to make each release look great. A year from now I would like to be working on a vinyl release and releasing more material from my favorite artists, as well as expanding the conceptual boundaries of New Forces. 

[PURESTENCH: What should we expect in the near future? ]

The future will see the release of tapes by Wince, Bryan Tholl (who used to record as "Is"), a Breaking The Will / Bachir Gemayel Collaboration, Wood & Rope (the harsh noise side project of the guy behind the black metal band "Altars"), a double cassette box by Vice Wears Black Hose which is a collaboration between Richard Ramirez and Sam McKinlay (The Rita, BT.HN), the first Industrial-Historical document which will feature Breaking The Will, Nyodene D, and Steel Hook Prostheses. There are other things in the works as well, I'm very excited about 2011.

[PURESTENCH: Any last words... ]

Thanks for the interview, folks can hop on the New Forces mailing list by sending a message to newforcesnoise at gmail dot com. You can also keep up at newforcesnoise.blogspot.com.

Wince - Vasovagal Syncope

2011-05-20T21:37:00.000-07:00

Wince - Vasovagal Syncope

Wince is an American Harsh Noise project from the man behind the label White Centipede Noise, who has been interviewed for this blog before. Currently, in my opinion, Wince is one of the best projects to come from both the Harsh Noise scene and America. Wince, who on earlier material had more of a "Wall" sound going on, definitely mines this genre for all the emotional frustration and power it is worth using everything at his disposal to make surprisingly simple, yet long and monumental, passage ways of noise.

Side A begins with a spoken sample of how one should go about checking a male anus for lesions and other fun problems. Beneath the sneer consultation is a wave of long static pieces with rippling feedback interludes until the talking is completely drowned out in the fluttering rumbles. Within minutes the track slowly lets in more sputtering feedback and buried pieces of junk/metal play effected to hell and bent back and forth with stealth pedal work. Vocals never show up in this track, or any Wince track I have heard to date which is good in this specific context; it would simply break the spell. This track has an easy quality about it - a fluid and steady atmosphere from a genre of music that customarily rips and tears apart at any turf it finds room and board at. One could easily just zone out within its terrible beauty.

The first thing that hits me about Side B is the accelerated feel in the movements of Noise. It is enough to give you an anxiety attack. A firm wall of wailing, sharp hissing static forms very quickly at the onset and continues in ferocious sweeps that keep everything in motion through-out the entirety of the track. The very first time I heard this track I thought that there was a good possibility that he was manipulating a tape loop to sound faster than it was. I'm sure this isn't the case now but it gives one a good idea of what to expect. Admittedly it takes awhile to differentiate all of what is happening here. You can hear the feedback and wash of static easily but it takes more listens to hear all the truncated sounds developing below, instead of one big blanket of biting Noise.

POST MORTEM CLOTHING.

2011-05-06T01:23:00.000-07:00

POST MORTEM CLOTHING.

I would like to point everyone in the direction of an excellent new T-shirt/Clothing store specializing in Power Electronics and Noise related shirts. These guys have everything from Whitehouse, The Sodality, M.O. and Slave State shirts to the cover art for Sotos' "Buyers Market" CD. It should be up and running within a few days. It is ran by a reliable source so make sure to check it out here:

http://parasite.bigcartel.com/

Male Compliment - Male Compliments

2011-04-23T00:48:00.000-07:00

Male Compliment - Male Compliments

Male Compliments succeeds at suggesting, at hinting, by use of a strong and rigid set of nuances found in a certain style of Power Electronics that is a are commodity in the current era of the scene. A thought process that can be coherently followed from one track to another even in the dirtiest clamor of an increasingly busy conversation. Every aggressive birthmark is sliced open with the dullest end of a sonic shank dug furiously into your ear. This is far more dirty than anything you will ever shove into your own mouth.

A swirling note immediately puddles up around angry shouting muddled by effects which bestows a hazy, popper fueled orgy of sounds that push through and immediately cut up the disembodied static drones that once laid the scenery. The second track definitely evokes memories of Bastard Noise and the modern worship of units like Disgust and Constrictions who both carved their own names into that specific sound. A towering and surging bass throb crackles and stammers through a devolving lyrical pattern and a roaring hiss escaping it all like some noxious gas from pounding cylinders and leaky vents. This gives way to one of the best tracks on the cassette, "Cruising". I could listen to this one all day. It's greatness lies in its straight forward undiluted power - full-strength without any shading. The feedback is an obvious stand-out but the shuffling and instrumental processing gives it a disturbing undercurrent, implying that something frightening might be hiding just below the surface. This isn't "cruising", it is stalking. The track that follows is simply a gateway into the finale, any movement besides the vocals is minimal thus forming a quick break in the violent and incautious exercise in texturing that has taken the listener this far. The final track is 15 minutes of undying, boundless fury which positions itself within a threatening environment, a return to its home. Like any good Power Electronics album its hammer-driven sounds and gripping vocals, while neurotic and rough, are merely a habitat built to house the perversion of a very simple human emotion. Exactly which emotion that is is what you will need to find out for yourself.

Interview - Pogrom

2011-04-20T12:59:00.000-07:00

Interview - Pogrom

[PURESTENCH: For the readers who may be unacquainted with your material, give us a brief introduction. When was Pogrom created? How many members, just you? Number of releases, and where are you from? ]

pogrom was created some 7+ years ago i think. at first it was more thinking and recording for my own self than releasing stuff. at first i had to agree with myself what i wanted and why and when i was 100% sure about that - first albums appeared. at the moment there are dozens of tapes gathering dust in the shelves with unreleased material, but perhaps it'll stay like that. it is just me. number of releases - two tapes. split with oorchach and a tape on filth&violence. I am from Lithuania. it's in Eastern Europe and people like to kill their selves in here.

[PURESTENCH: Is there much of a Noise/P.E. scene over in Lithuania besides yourself and Clo Goelach/Body Cargo? ]

there exist almost none. oorchach lately was doing more noisier stuff in live performances, there is Vidine Ramybe project, which is becoming a rather decent and interesting project. he started to care more about his sounds. and that's it. there are some noise projects that goes in obscure/art/academic/etc. direction, but that doesn't interest me much so i cannot say anything good or bad about that.

[PURESTENCH: Pasi told me you have a new album coming out, and I then saw it advertised in the mailing list, but he wasn't sure about the format. Can you tell us anything about that (will it be a tape, CD, wax, etc.)? ]

that will be a tape. at first we were talking about cd, but i think tape is better for pogrom at the moment.

[PURESTENCH: What is the name of this new release and is there a concept to it? Did you aim for a new sound? ]

Multicultural degeneration. it's the concept and the possible title. mixture of people, nations and cultures finally resulting in faceless mess. While seeing streams of imigration/emigration that are unbelievable nowadays, I remember USSR where people were forced to move in "great fatherland" from one part of the union to others in order to form a formal "nation of laborers". it's the same nowadays, just nobody is forcing no one. most people are doing the same in their free will. this was the main idea that led me to this album. as for the sound - no, i didn't aim for something new. the album is different though, it has parts of "acoustic noise", but overall - filthy material.

[PURESTENCH: Which came first, the split with Oorchach or Liberal Cunt? 2 albums in one year is actually a pretty meager amount for a Noise/Power Electronics artist. Do you like to take your time with the material or are there problems that force you to only release when possible? ]

split with oorchach came out before liberal cunt. it was planned for a year or more, but finally happened to appear in daylight. as for meager amount? there is no such goal in my list as to flood the "scene" with various sort of releases and so on. I record quite a lot, but the tapes mostly stays at home. I'm slow with releases for I'm waiting for the right and interesting thought to come about the whole conception of the album i'd like to see. i cannot just go and make an album without knowing what I am aiming at. it takes time. sometimes the ideas come during sleepless nights, sometimes I find some thought written on a piece of paper after some massive drinking or something like that. it will be in the future like that too. yet another thing is that I tend to spend a vast amount of time with the recorded material. Listening while every track seems shitty to me and then rerecording or something like that.

when a guy like Pasi writes "hey, let's see what you have" and i send him and mention the problems i see with the record and he write me back "you are hearing something that does not even exist in there", then I agree that perhaps he's right. Listening too much for the same record while you start to hallucinate about it and see it in absolutely different light than everyone else.

[PURESTENCH: There is a very specific sound to it that I can't quite define with words, I guess something like "sunken" or "pale" would be good words to use but they still don't get what I mean across. So what type of gear did you use on Liberal Cunt? What is the recording process like? ]

I use very minimal stuff. a pedal or two, noise generator, contact microphone and that's it. if i remember correctly, liberal cunt was recorded with various types of metal sheets and pipes (currently i share the rehearsal place with a ska band. they were rather curious at first why i am bringing all kinds of shit into the place. bricks, glass, pipes, rusty wires, parts of autos and so on, but now they're OK with that. i do have a corner for my "instruments" and no one's touching them), several cheap microphones, connected through pedals and a bass guitar. i'm recording into 4-track. at first when i didn't have it, the recording process was very long. i was recording material into tape, then transferring it to the PC and mp3 player, playing this track and recording to a tape as the "second track" and so on. it took time. now i have a 4 track that i often use during live performances and that i record to. usually the recording process has beer and nicotine involved, since the rehearsal place is further from home, when i go there, i am ready to spend there 5-6 hours or the whole day, so during that time i record material and while re-listening to it and resting, I decide what I can use further and what not. I think that's it.

[PURESTENCH: Unfortunately I don't know Lithuanian, I can't read it nor understand it when someone is talking. Why not English? Do you think you will ever write anything in English (I couldn't tell if you were speaking English on the N&K Compilation)? What are the lyrics on Liberal Cunt about and what does the cassette deal with overall? ]

I could ask you back - why English? I am comfortable with Lithuanian language much more than English. and I think it sounds nice even though you cannot understand that. I doubt that I'll ever write anything in English. I can translate lyrics though sometime in the future. in N&K it was Lithuanian too. English language is overused and boring already.
I'd like to see some Serbian power electronics project shouting their exploding sentences. Perhaps the most brutal language overall. Liberal Cunt lyrics are about liberal cunts. about women who are most annoying creatures when they imagine that they are the smartest ones on the planet. One track is about a Lithuanian cunt who is some anarcho freak and thinks she's famous philosopher and thus can piss on you with the endless rain of "equal rights". She was even proposed as a woman of a year some time ago. I doubt she's a woman at all... Another track is about a cunt who was a governor of a part of Lithuania and at the start of recession she "decided" that politicians won't be able to do anything about it and thus they are transferring the power to rule to Jesus Christ. That sounds like a nice tale, but this was real. Other songs are about similar cunts of democracy.

[PURESTENCH: What is the sample on Side B from? Or is it a "field recording"?]

That's a "field recording". Feedbacks were collected while walking and recording with portable dictophone by the sea at night and then joined with gagging. It sort of shows a romantic side of myself I think.

[PURESTENCH: If you could do a collaboration with another active artist who would that be? How about a split?]

It depends. If i see that the person has an interesting vision of what he does, then why not. I couldn't mention you any names though for if we agree on the main points of the split and the overall release and I see that a person is interested not only in quickly shooting the record, then I'm in. there will be one split in some months.

[PURESTENCH: Your influences, both past and present...]

Literature, movies, high temperature, insomnia, politics, philosophy, alcohol, confrontation of my "inner world" vs "outer world"... If you're asking about the musical influence, I cannot say who is that. There are artists that I like and that I dislike though I doubt they are influential. People reviewing tapes mentioned names like Bizarre Uproar, Slogun and something like that. Perhaps that would be then? But I don't know. The sound might be similar sometimes, but I doubt they're directly influential.

[PURESTENCH: Why did you begin your web-zine Terror? Do you listen to and critique anything and everything that is sent to you/that you buy or do you choose just what you like? I personally do the latter, I see no reason in talking about music I don't enjoy or interviewing artists/units I could care less about. ]

At the time I've started it, either there were little of these or I didn't know about them so I thought why not. I have records and why not spread the thoughts about them. Also there are interesting artists that would be nice to interview. As for reviews, at first I was reviewing only my own stuff, but now I have a rather big queue of "promos" that were sent to me. So I'm dealing with them for the people are waiting feedback. Though I insert one or two reviews of the release that I really like and that are not from the stuff, sent to me. I don't ever interview artists that I don't know or don't care, but as for reviews, I think sometimes when you force yourself to listening to material that you would perhaps otherwise forget about, it is good, you get to know more and so on. Though of course I could reviews the same Brethren or Grunt album every week and enjoy it.

[PURESTENCH: Will there be another print zine and will it, like the first issue, contain material already on the website?]

yes, there will be. I hope soon, but I'm still waiting for answers to interview questions. It will contain the reviews from the website and not published interviews.

[PURESTENCH: What do you think the current state of the P.E. and Noise scenes are like? Can Power Electronics and Noise grow or will it be forever stuck in the same arena due to the limited amount of sounds one can achieve within these genres?]

I quite like the current state of the scene. Though I think there are too many artists that simply does not care or does not know why they do this or that. I think at first one must answer the question to oneself - why do I record that and why do I want to release it. Would I listen to such release if it would be from a band X? It would go the same for the labels. But overall it's good. You mean like grow to become a worldwide trend? I doubt so. Well, noise serving as a soundtrack for fashion shows or something like that is already possible, but that must be just "weird funny sound" and nothing more. When PE and noise deals with "overall unacceptable themes", they cannot grow further than it is now I think. Of course if you add enough art value to that and prove that your intentions were truly artistic, some strange people with glasses of wine and various colorful robes can give you a chance.

[PURESTENCH: Thanks for the interview, if you have anything you would like to add you know the drill...]

Thank you for interest. It was an interesting time to answer these. Good luck with your blog!

Interview - Institute of Paraphilia Studies

2011-04-18T23:30:00.000-07:00

Interview - IOPS

[PURESTENCH: Institute of Paraphilia Studies; why did you start this sub-label instead of releasing this material on Freak Animal? What are the qualities you look for in an artist that you are putting out on the label? Is the content as important as the sounds? ]

-I did Grunt japan tour 3” compilation titled “Nihilistic Paraphilia” including Grunt, Nicole 12 and Clinic Of Torture. For long time I had plans for both, Hated Perversions and the series of one-sided 12”, or 7” or whatever on Freak Animal, focusing exclusively on sex-noise. Some invitations was made, and discussions had with like-minded people, but eventually most things changed.

I came to conclusion, that I don’t want to “flood market” with huge amount of noise releases what people feel “obligated” to buy, just because they might have been collecting releases of specific label. I wanted to start project from clean table, with minimal promotion where nobody would buy item because who made it, but because it appeared to be something they were interested. And what was not in hurry. People could buy whenever they find out about them or feel need to get them.
This has of course already changed. While first couple of years, nobody paid attention what was "IOPS" and probably majority didn't even notice tapes listed for sale in FA's distribution list. But especially after "Hated Perversions", things started to change when people started to intentionally buy and search for titles related to this label. Now when something comes out, I still don't really promote anything, and majority of items are available, yet the nature of label starts to change no matter if you like it or not.

Content surely is as important as sounds. Perhaps one could say that MORE important. Simply because there is plenty of good noise out there. And anyone can just paste on some cheap porn magazine clippings or internet downloads to make it appear nice. But how to make the content appear to be honest, real and done with passion? With some sort of real story behind it, what noise tries to capture. This is the tricky part. I don't want someone who was interested in something for a while. I want material that should be the type of stuff what HAD to be made. That even without this label, artist would have made pretty much the same thing. Or the idea what should be done, has been lurking in back of their heads with intense power. Without considering issues like audience, label, etc.

[PURESTENCH: Concerning your own personal projects which are on IOPS, like Silence of Vacuum or Clinic of Torture, do you work the material around the label before releasing it or the other way around, does the work just come and then you decide which label is most appropriate? ]

-It's little bit of both. Some of the IOPS "exclusive projects" are something, that never meant to stand out as "real bands" so to say, and some of the stuff was originally not meant for "release", but turned out to be so. Their existence is based on bigger concept of IOPS. Material would exists because I have done it for myself, but it might get released when test of time has proved it is worth to be in ears of someone else too.

Perhaps one could say also that within this bigger concept, role of band is to remain smaller than long lasting "band". Preferably anonymous, preferably underlining the certain pornographic qualities. Where maker itself, might not be that important for listener. I have tried to blur the lines what are "bands", "artists" and what are not.

Most of things I do, don't necessarily make perfect sense why it should be done like this. It's most of all purely gut feeling what makes you do the choices.

Over 10 years ago, Clinic Of Torture material was recorded without any aim to release it. Same with Nicole 12. Original A-side of Playground material existed year before B-side was recorded. While few dozen copies of private edition CDR was sold, actual LP was released again more than year later. Each time there was no long term "plan" to do anything. It just eventually happened. Some of early IOPS tapes was material that existed, and it was simply released when time was right. Some of these "side projects" have been requested by other labels for a release, but most often I simply don't see any point treating them as "bands" what seek opportunities to sign on labels.

[PURESTENCH: IOPS is not tied down to simply releasing just audio. You have videos as well as books and now a "journal". Was this a goal to begin with? Do you feel it is important that the label is recognized as not just a record label? ]

-Idea was not to have “just another label”, but it would kind of umbrella organization name for one single aim of sexualized & fetishized sound & art. Naturally high quality music would be essential part almost without exception, but the main focus would be in content and presentation and overall feeling. Instead of underlining importance of each individual project or its specific album, bigger picture would be in stronger role. Also aim is not to be exclusively sound, but also publish printed matter and video materials under same name.

And yes, I would hope that IOPS wouldn't be seen merely as "noise label", since even with very direct and strong links to noise scene, it's main importance is dealing with pornographic subject matter regardless is it exactly "PE" or "harsh noise".

For example the written & visual material hardly relates to noise directly. It has common theme, but this is perhaps most visible difference, where it is simply removing porn from its "commercial" form and adjusting it to rules of "art" if you may say so. I used to make magazines that were sold in sex shops around the country with circulation of few hundred copies, but in the end, it wasn't exactly the type of magazine I wanted to make. When you made magazine suitable to be sold at "sex shop", you made it under certain regulations. Photoseries, interviews, articles, short stories, etc. Hopefully big & thick enough to fit among the rest of magazines. Of course in was just about as "underground" as IOPS journal, but mentality was different. Simply set by network of distribution. My own favorite type of porn magazines are basically scandinavia in the 70's. Especially Denmark. One could say also some similar ones from UK of Holland. When magazine was A5, often 32 pages. Many had just one photo set, but more obscure ones were collections of all types of wild content (in standards of the time). Perhaps reader letters, perhaps some photos. Couple drawings. etc. One could always refer to Atomage for rubber mags. One could remind about publications like Erotique Grotesque. Or some of these one off magazines like Sexuelle Perversitäten In Text Und Fotos. Swedish magazine from 70's combining anything from Salvador Dali artwork to fags, bondage, corpses, hanged women, rubber fetish, cunt eating dog, etc. It has nothing "neat" on it. Lay-out is clumsy black&white print on glossy paper, with not that many pages. But it's brilliant. Much more so, than 100 pages B5 shining full color sex rag. But "market" for such magazines doesn't exists anymore. There is no sex shop visitors who'd come there for other than 5 euro bulk dvd's. They couldn't care less for 32 pages A5 b/w magazine. It can be only done in method when you simply don't care if it sells or not. You just do what you want, even if it means sex magazine sold totally outside porn distribution.

[PURESTENCH: How did you go about choosing the material for the DVDr's? I noticed that Nicole 12 has a live set that you split up and placed on two seperate collections. Why not put them together, was there a specific reason for this? ]

-It is based on creating balance. Every song from those two japanese shows of N12 work individually, but as soon as you start to watch longer pieces, it becomes visually very dull. Sitting 30 minutes in front of screen, watching nothing really happening on stage, is entirely different compared to impact of 3-5 minutes. One could also ask why Bizarre Uproar material was dissected over 3 parts and not all put in one volume? And in deed, watching the fast still image stream blinking in front of you works just for certain amount of time. With too many similar pieces, it would start to lose impact.

With each volume, I merely wanted to find balance of studioclips & live clips, with variation of subject matter and the sound. Some of the future volumes might be different. There are videos that are so much longer, that in next parts (..assumedly #4, 5, 6) I would say some include nothing but one long video. In those cases, it makes no sense to cut it to parts and spread apart.

[PURESTENCH: What is the process of releasing material on IOPS like and how does it compare or differ from releasing material on Freak Animal? ]

-Freak Animal's main idea is to release the best noise related recordings, and keep them available for decent prices, hopefully get them distributed around the world with the limited possibilities there are available. I just seek for material what is good for inspiring sound and also with strong spirit.
With IOPS, majority of material is released on formats that have allowed replication-on-demand. There are no editions of specific size and I have no goals of selling anything. Some titles have sold perhaps up to couple hundred. Others few dozens. Some of releases are more relevant, while others work on specific context only. Perhaps the changes will appear, when I work with formats that do not allow replication of demand. It is possible that image of IOPS being "tape label" will change and the other formats are much more likely to be pressed only once, for some specific amount.

Some of the material has been available soon for half decade, and I would say that's long enough and some titles are being deleted since I have no wish to stock all various lengths of blank tapes anymore.

[PURESTENCH: Do you create the artwork and packaging ideas yourself or does the artists? ]

-It has been mostly myself, with input from artists. I have handled the technical side, while artists submit the materials. I don't look for specific universal look, except all the tapes has been the soft poly cases since beginning.

[PURESTENCH: Silence of Vacuum is very different from your other work, far more minimal and simplistic, making for a claustrophobic atmosphere which works in perfect harmony with the subject matter. What is the recording process like for Silence of Vacuum? What gear is used and is there a computer used in any of the 3 Silence of Vacuum releases? ]

-There is no computer involved in the sound. Also, creation process for the tapes is, that they were all live recordings. In studio, but all was done live, without loops. Each tape has different sound source, but something, what makes the sound reflecting the stillness of moment when "nothing happens". It has meant to reflect the sound of suffocating gasmask/hood isolating you from the world. Sources may be as mundane as fan of car heater or turntable rotation (without records or needle used).

With computer or loopers, it's very easy to go to route of creating bad minimalism. Where thing is that absolutely nothing happens. While in good minimalism, it may follow the less-is-more method: Finally when getting over the feeling that nothing is there, you will start to appreciate the subtle textures, since nothing is the same twice. Always subject to natural changes and interactions of sound, resonance and textures. With computer loop being just the same, it can be really just the same. To me process is important, not only end result.

[PURESTENCH: At the later end of last year you released two compilations each dealing with specific and explicit content. "Gender With No Purpose Other Than..." is about shemales and transgendered, and"Animal Bizarre" needs not to be explained. Before this your releases a compilation titled "The End For Simulation Of Pro-Creation". Did this V/A also have a specific paraphilia or idea being addressed like the other comps? Was this compilation easier to go about making since each band on it was your own? ]

-It was a phrase, I once used in writing. Just message to someone else, when I tried to explain, that pornography is much much more than simulation of mammals copulating. Doing what they do when they attempt to breed. And the concept of tape, was to appreciate "The End For Simulation of Pro-creation" within pornography: Many of the practices and types of pornography, where it has hardly anything to do with "having sex", if one sees it in simplest form how most people understand sex or porn: Reduced to genital intercourse. Each project merely did what they do. And it gave already enough angles to topic. And diversity to sound.

[PURESTENCH: Speaking of compilations, how did "Hated Perversions" come about? Willfans ever see a Hated Perversions #2 as rumors had once stated? ]

-I don't have any concrete plans, but if enough suitable material would be, why not? I'm not interested in bands picking up to most horrid things they can think of, but something more personal.

[PURESTENCH: What does Power Electronics/Industrial/Noise mean to you? What do you feel, see, hear when you create and listen to these genres? ]

-I got involved when I was 15. And since then, there really isn't any "breaks" on listening or creating the material. So more than half of my life, this is what I do, and if it would mean just some simple things, as "violence", "brutality" or "sleaze" or such, one could say it simply wouldn't be enough!
To me it means everything. And by that, I mean noise has no borders on topic or status limited as "hobby" type behavior. It infects just about every moment of your life. It may be the predatory instincts and moment of abuse or random burst of masculine violence, but as much it may be romanticism, appreciation of beauty or feelings invoked by rural landscape. Where simply standing in a place, it's nearly impossible to not connect it with emotion similar evoked by "noise" of some type.

I know, this may sound pretentious, but this is how it goes. You just happen to lay on the ground next to frozen lake and think, damn these dry reeds make fantastic sound. And wish you had recorder. And perhaps later return. Or you walk around the city abroad, and while tourist would take photograph, you capture sound of construction field, broken ventilation fan, or something, with hand held recorder. May do something about it, or not.

So, to me, it really is about everything. And I don't connect "noise" to be merely some transgressions of dysfunctional kids from advanced rich countries. Even if such quality may be fine source of expression.
That noise I make, often connects with the subject matter that it does, simply tells something about me. Of course not some foolish ego diary, though.

[PURESTENCH: Sexual deviancy, perversion, violence and pornography have always been a huge influence in the world of Power Electronics and Noise respectively. Why do you think this is? ]

-I think there are certain things, that culturally are bounded together. To me, majority of noise is solitary interest, which has very little to do social aspects. When you think, how many noise listeners know other noise listeners and engage into some sort of social behavior? It's very rare occasion of live gigs or occasional meeting and such. I haven't really heard much of cases, where people meet, spend time and listen noise together. In a same way, I don't hear much of "lets get some porn dvd's and see them together". Of course it happens, but probably not in same ways like rock'n'roll connects people or politics or art may connect people.

There is something dirty and obsessive in mentality of the guys, who collect series of all sorts of shit, what hardly interest anyone else. To how many you can say "I got the complete Filth & Violence discography" or "I got entire Slave Sex VHS collection"? You could say merely existence of internet has changed this, but otherwise it would be solitary obsessive collectors of "trophies" of some sort.
When you look at the behavior patterns of sexual predators, they often have extensive documentation. Or pathological need to collect, own, organize,.. etc. There are so many similarities in some catalogues of lowest interests - be it noise or porn. And in a way that you can't really explain why you NEED another tape of harsh fierce sonics, what sounds just like tape before. Same way you rarely can explain why you NEED another film, with exactly same content as film before, merely with little nuances setting them apart.

I'm no expert in studying human behavior, but I wouldn't put this all into simple explanation of "following cliche" or "adjusting into scene routines". Of course there are some of that, but most guys who I know are the most passionate about something, they were in that way long before they knew about "noise" and they connected sex & noise without realizing "everybody" was doing it.

[PURESTENCH: What about projects outside of music. Your drawings, writing and photography have all been released in some form to the public. It seems as if you really invest a lot of effort into your artistic ideas. What are some of your other artistic outlets? Of which outlet do you feel is the best way for you to express yourself? Is Power Electronics a perfect form of expression for you? ]

-Power Electronics or whatever experimental sound, that is one of the things I personally do the best. I think part of my philosophy was explained in "Rather process than result" video clip originally shown in Grunt UK live shows in 2004, later released on IOPS dvd vol 2.
More driven by passion than skills, and more driven by process, and if with result, also then not really with any superficial ambitions. I do not have interest in becoming "professional" in something. I don't have the interest or patience to master skills to be among the highest of cultural elite. My motivation is just to do things that satisfy my own urges, while in world of art, they remain utterly meaningless gutter sleaze. And while I respect many of the groundbreaking and innovative artists, I feel deepest resent towards the foolishly self-righteous wannabe artists.

[PURESTENCH: What does the near future hold for the Institute of Paraphilia Studies? ]

-More printed matter and video material. More sound releases when time is right.

[PURESTENCH: Thanks for doing this interview and if you have anything else to add feel free to do so. ]

-Thanks for interview, and those who feel they do have things to contribute or topics to discuss, get in touch.

Interview - Silent Abuse

2011-03-31T12:09:00.000-07:00

Interview - Silent Abuse

PURESTENCH: [What is the inspiration behind Silent Abuse and what goals are you trying to accomplish? What has the response been like so far?]

Oh well my personal sadism,urge to hurt, interest towards inner human psyche, dark side of brain, hmm others(slaves) reaction to pain/ humiliation I create etc.

My first contact w/ Noise/PE whatever.. was when I "joined" to BIZARRE UPROAR 2005. so obviously that background has influence on my doings w/ SILENT ABUSE. SA is my baby bastard, my own unit. not really any specific goals. I am going to do recording sessions when I feel like it. i got some things in my head that need be done. Cant say much about response as I do not follow "scene" at all. Some reviews has been forwarded to me.. I guess response has been good. 

PURESTENCH: [In a perfect world, if you were able to do whatever you wanted, how would you go about creating the sounds and aesthetic of Silent Abuse? Are you completely happy with what you sound like currently?]

I am living in perfect world to me . Like last recording session was pretty much based me abusing shemale/transexual slave. PERFECT! isnt it? Sound of whip on a fat arse of cunt/cock slave. Sound of sadism. Beautiful!

PURESTENCH: [How long have you been a participating member of Bizarre Uproar?]

Since 2005

PURESTENCH: [What was your approach to sound like with Bizarre Uproar and how has it grown? What have you taken from the experiences with Bizarre Uproar and put into Silent Abuse, or do you want this project to be completely detached and seperate from your work with BU?]

I came to BU member first w/ ideas/art side-  then expanded to do some vocals, some minor noise things, and perfomance/actions. SA is completely different thing from BU. but of course my backround in BU affects of my doings today. I am no longer member of BU. I might be there as a part of some live performance/action in future, maybe.

The recording sessions I have done so far have been "audio stories" small rituals/performances that has been recorded. one w/ baby ... one w/she-male mentioned earlier. I havent done that much yet. So if you ask me today thats the formula of SILENT ABUSE now. In future it might change. who knows..    :) like past 2-3 weeks I havent use toilet paper almost not at all.. I have used someones head/mouth/tongue to clean upp my butt/vagina. Now I am getting used to that , kind of bored , Going to do something else. same thing w/ silent abuse. its not in a static position- Its on a move.

PURESTENCH: [As most people know by now you do some work as a Dominatrix in Finalnd. I assume (and have seen thanks to BU videos) that you have done this on a personal level before working as one. What is it like being a Dominatrix? Does the fact that money is being exchanged alter the process at all?]

Yes its been a lifestyle for 10 years or so on a personal level. only recently (last 6 months) I have started to do it as a part time job. So I do not have that much experience on that side, but it expands your doings as a sadist, more opportunities to fulfill my urge. I choose my customers. I do only things that I really enjoy. That means I enjoy and customer enjoy , so he/she will come back again..   win/win situation.  Money doesn't change the things really..  If you mean the session. As when freetime out of job circles I do exactly the same w/my personal puppie(s)...

PURESTENCH: [Back to Silent Abuse... What is your method for recording? Is the material formulated prior to recording, in your head or on paper, is it spontaneous or do you mix the two techniques?]

Like said, foundation has been so far some ritual/performance that has been recorded then I have added some vocals/noises into that backbone. I plan everything in my head before.. 4-track tape recorder. I use outside producer/recording assistant when in "studio".    

[Sample of new, unmastered Silent Abuse 7'' track "Epäsikiö Lyhyt":]
http://www.divshare.com/download/14456879-63f

PURESTENCH: [Where do you draw your influences from?]

see first answer.

PURESTENCH: [How did the relationship between you and ANTIchildLEAGUE form? Were you happy with the outcome of your split together and can we expect more from this union in the future?]

I met her at BU gig London 2007 or was it 2008..  we came a long very well. co-operation came out pretty much easily/spontaneously. I really do appreciate AcL attitude, that "dark" feeling in her music/noise, and Gaya`s voice is something!! I sent some vocals+noises to her.. and she put them to mix. who knows perhaps something in the future more.  not any plans right now.

PURESTENCH: [Who else would you like to do a split with?]

Co-operation must evolve from personal friendship/samekind of approach to doings to be good IMO. well I do not have anything in my mind... 

PURESTENCH: [You have a fairly unique, particular sound to your material. What sort of set-up are you using? Have you ever used a computer to create or record your material?]

Allready answered some parts. very minimal simple set up.  core of things have been live recording of some ritual/performance/session then I have added vocals, noises(junk/small fm radio connected to big bass) guitar abuse etc. raw and simple 4-track tape. no computers. I hate computers.

PURESTENCH: [Finland has definitely gave birth to a good number of amazing Power Electronics and Noise artists. Why do you think this is? Does your environment play a part when it comes to your sound?]

hard to say. perhaps just coincidence? Some active people , that has spread the interest ..  heh I do not know about the environments effect. Finland is bleak and harsh place. that can be part of reason. 

PURESTENCH: [What can we expect from Silent Abuse in the future?]

....I will be performing live Oct. first in London (SUTCLIFFE JUGEND s warp up) I wont be on stage alone. need a helping hand, perhaps someday I wont need. Would be nice to do live just by myself.  Not any specific plans I do recording sessions when I feel like 

PURESTENCH: [Thank you for taking the time to do this interview. Anything else you would like to add before we wrap it up?]

yeah I got one thing:  KNEEL AND OBEY! 

[Make sure to check out Fallen Angel's blog:] 
 http://enkelinkosketus.tumblr.com/

Interview - Caligula031

2011-03-29T06:40:00.000-07:00

Interview - Caligula031

PURE STENCH: [What was your initial interest in music and when did you get into Industrial and Noise?]

I have started listening music when I was around 10 with a different ear. I was getting bored with toys and cartoons, quickly becoming interested in movies and music through Italy commercial channels. I started enjoying harder contents, theatrical aesthetics, so at first I shifted to metal, to then discover thrash/death/black and hardcore. At 12, I discovered that some friends of mine were lucky to have “alternative” older siblings, and they started taping me shitload of weird stuff that ranged from Oi! to early Industrial music (we were in the mid 80’s). I have been absorbed mostly in hardcore and oi! until my interests were forging a consciousness that was slightly different by the average “save the world” obsession and, although my ideas are still the same I used to have back in the days, my attitude was developing from the safe condition of belonging to a closed scene of people that were alike-minded, to more adventurous environments dealing with unsafe subjects and different conceptions of pleasure and socialization. In the meantime my tastes in music were turning always more radical although I still listen anything I have been enjoying since I was a kid and still respect people from those days that, every now and then, re-appear in my life to stay. I am thinking about the guys behind Scream of Anger, Though Guys don’t dance, Green records, By all means, Think twice, Concrete, Asociale, and many others.

PURE STENCH: [What does the name Caligula031 mean, exactly?]

Gaius Iulius Caesar Germanicus, named Caligula, was a Roman emperor who left an image of himself as a deviant lunatic with an endless sexual appetite who, in order to gain people’s favours, constantly organized massive parties, apparently devoted to debauchery and excess. He’s known for extreme cruelty and perversions, yet big part of his bad fame depends on his opposition to senators, bureaucrats that he never stopped to humiliate and attack until his death by the hands of a group of centurions. Caligula inspired a bunch of sleazy movies in the 70’s, the best of which has been partially directed by Tinto Brass; a flick that was victim of many production problems that ended up being mounted with some hardcore inserts by Penthouse editor Bob Guccione. The movie still has fantastic moments, with colossal like atmosphere, with luxurious scenography and pompous soundtrack. I wonder what Tinto Brass’ final version would have looked like.

Caligula is also the name of a notorious brothel in Berlin, this is where I reminded how nice would have been to name the project as it is now. 031 is the old phone code of my area.
Most of the subject depicted in my work are inspired by things that are happening locally, between the Northern part of Italy and Tessin, the Swiss southern region at the border with my town.

So at this stage of the project, most tracks deals with things happening in my turf.

PURE STENCH: [Caligula031 has a very rigid theme. A celebration of the human trade in the 3rd world. Why did you choose this theme? Will all Caligula031 material focus on this matter?]

I do not consider Albania and the Balkans like third world areas; Serbia, Croatia, Slovenia are definitely not as degraded and poor as Africa. They have their problems, especially after suffering the last three wars, Tito’s iron fist and, talking about Serbia, peace lovers bombings, but you can trust me that I am convinced that places like Liverpool, or some parts of Italy are more 3rd world minded. The thing that got me interested is the quite peculiar ideas regarding family and prostitution some of some gentlemen, which smuggle their siblings here in various way, especially with tourist permissions or as “artists”, to end up being forced working in the world’s oldest trade. I was reading reports about fathers selling their daughter to pimps for something like 200 Euro. And while working here I started witnessing pretty peculiar things and I think this was a good start.

PURE STENCH: [How was "Albanian Meat Market" received? I've seen varied reactions (not many, but some) and wanted to see what you thought.]

I haven’t read many reviews, yet feedback was quite good and people is asking for more. I am enthusiastic that most people understood what I was trying to describe.

PURE STENCH: [Wertham already has a name for itself. Why did you separate these two groups? And sound-wise, what differences are you aiming for with Caligula?]

Working as Wertham involves plenty of recordings, over recording, mixing, sampling, a specific way of working with text, lyrics and images. New stuff is going always more in the direction of the CD, that is more constructed and atmospheric (although definitely not soft). I wanted to keep on working on atmospheres similar to my tape SLEAZE, with less bass frequencies, no mastering and almost no digital intervention. Something constantly in your face based mostly on improvised textures and with a different use of voice. I am still fond of coherent contents, but I want C031 to be more direct.

PURE STENCH: [What were your motivations for forming Caligula? Would you say that there is an overall purpose or aesthetic that informs Caligula? How would you describe the sounds of Caligula031 to someone who has never heard it?]

As said, I needed a more instinctual way to discharge energies in sounds/visual/texts. Something more devoted to pure sound, at full impact with no mediation of post-production apart from samples, where vocals are not as important as Wertham, yet there are plenty of them. I feel the urge to get deeper on certain subjects I am witnessing first hand, especially the decay of Tessin/Northern Italy society during this crisis, with new form of fears, exploitation, etc. Switzerland in many extent reminds me what Italy used to be in the 70’s, when the economic boom backfired. You sense fear for unemployment, there is an high rate of suicide, yet brothels (that are semi-legal here) are always full.

Soundwise C031, plays minimal power electronics, based mostly on medium/high frequencies, indulging with long tracks with aggressive vocals. Nothing new I suppose, but this is the best way to paint some specific images I have in mind.

PURE STENCH: [With Caligula there is a visceral tension, or intensity, intertwining with the repetitive and sometimes unnerving electronics which makes for a lurid mixture. Dark and real. Is there anything positive that you are trying to convey with Caligula?]

The only positive thing is the same I try to reach with all my project. Pure sense satisfaction by reaching some sort of balance between the sound itself and the subjects involved. I am not trying to liberate myself. Yet I feel to share this tension with alike-minded. If you feel it even for a few instants, it means it works.

PURE STENCH: [While recording do you dream up the way you want the sounds to form before hand and work within a certain boundary, or is there room for improvisation?]

As Caligula not always. Differently by other projects I try to let the sound guide itself and develop. I would say that 70% of the result is improvised, apart from lyrics, some minor editing and samples.

PURE STENCH: [Does anyone assist your work with Caligula or is it all you?]

I am going to use some sound sources from John Murphy, who is part of all my projects, but it is 90% run by myself. I don’t know about the future.

PURE STENCH: [If you could do a collaboration with any other artist who would you choose?]

I am not planning many collaborations at the moment since, due to work, I am unreliable, slow and inconclusive. So better to work alone and avoid disappointments and breaking friendships due to inconclusiveness. I admire many people, and I think I would be keen to cooperate with any of the Finnish friends, Shift or Mania, but there are too many excellent people to mention.

PURE STENCH: [Have you played live as Caligula031? If not, do you wish to do a live show under the name?]

I have inserted some C031 tracks in the last Wertham shows. Unfortunately due to an annoying (but nothing dramatic) health condition, I can’t attend gigs, so I don’t foresee playing on stage for a while. Time will tell!

PURE STENCH: [You told me that you are in the process of creating a 7'' (I believe). Is there a title for this new work yet? Are you going to run with the same themes as you did with "Albanian Meat Market"?]

SLAVETRADE 2000 starts from where Albanian Meat Market ended. I have tried to imagine the whole idea of being convinced to move here with the heart full of illusions, and all the thoughts a person may have during the whole process of being smuggled, sold, rented, etc. I plan to finish it in a few weeks.

PURE STENCH: [You have been in the Noise/P.E. scene for a while now. How do you see the progression of the scene?]

I am not very involved in the “scene” as I used to be. Due to work my contacts are very limited since I became extremely slow with everything. I have been enthusiastic by what I have listened to during the last years since more people started using vocals and recognizable tracks in their work although keeping high standard of ultra-violence. Although I am a sucker for pure industrial atmosphere and “ambience” in general, I like this return to crude sounds with radical concepts that make you feel guilty while you listen or hold an artwork in your hands. I like things when they punch you and succeed in making you feel somehow unsafe.

At the same time there are too many uninspired projects that deals with boring subjects or perceive themselves as some form of “art”. There is nothing artistic in pain. It is just part of daily life.

PURE STENCH: [What are some records/tapes/CD's that you have been spinning lately? Reading any good books?]

Recently I have been listening a lot to Human Larvae and Shift tapes on Unrest, then the Russian/Serbian part of Vladivostok FM from the Game GTA IV, and latest Deathspell Omega. I am reading Scerbanenco’s novels. His work inspired many Italian cult movies in the ‘60’s/70s, the most famous being Milano Calibro 9. The way he describes sordid situations is priceless.

PURE STENCH: [Thanks for doing this interview. If there is anything else you want to add here is the space to do it.]

Thanks for the interview. This can be considered a baptism for C031, I really appreciate it. Keep up the great work.

Interview - White Centipede Noise

2011-03-23T19:42:00.000-07:00

Interview - White Centipede Noise
____

PURE STENCH: [Let's start out in the usual inquiries; introduce yourself and tell us when the label was created and what provoked you to start a label in the first place.]

My name is Oskar Brummel, I’m a young man from Minneapolis, MN, USA. I started my own label out of a desire to be involved in the entire creative process in releasing noise, as well as the means of production and business aspect. Having full control to release noise according to my tastes and vision alone was also very appealing. I also feel like there aren’t many labels focusing on quality harsh noise right now, so I wanted to try to represent that more. Having your own label is also a logical next step when you have your own bands, as a vehicle to release your own material without having to be dependent on another label.

PURE STENCH: [Do you belong to any of the groups on your label?]

Yes, WINCE is my solo project. I also play in GRAIN BELT, a 3 piece harsh noise unit with Sam Stoxen (BACULUM/PHAGE TAPES) and Joe Beres (WILLFUL/SMALL DOSES). There are plans for other projects/collaborations involving myself to be released on WCN down the road.

PURE STENCH: [The name "White Centipede Noise" is definitely one-of-a-kind. Why did you choose that as your name?]

I have a pretty significant phobia of house centipedes, which has developed into a deep fascination with them. I think the white centipede image comes from a time when I as a kid and I found a giant centipede floating dead in a cat water dish, and it had turned white. 

PURE STENCH: [The groups on your label all have similar characteristics to them, characteristics which are pretty specific. They are all raw, dirty and violent Harsh Noise acts and a lot of junk/metal play seems to also be a central theme with each release. Is this the type of material you consciously look to put out or is it more of a coexistence that just happened to play out like it did? What traits do you generally look for?]

In general, I release what I like, and raw, dirty, and violent harsh noise is what I like. And yes you are right, there is a certain sound aesthetic I have in mind for the label. There are a lot of bands I really like and/or admire that I would not consider for release on the label, simply because it wouldn’t fit. I do have plans to branch out beyond “metal abuse harsh noise,” into other avenues of noise and industrial. 

PURE STENCH: [ Thoughts on the current American Harsh Noise/Power Electronics scene outside of those involved with your label?]

I don’t particularly identify with it, but there are plenty of great bands in the US doing their thing right now, and some promising newcomers as well. Of course there’s a lot of utter junk, and perhaps even more stuff that I know people are into for legitimate reasons, but that I can not really get into. That’s about as specific as I’ll get. The US doesn’t really have that unifying “Americanoise” sound or community it may have had in the past, while a lot of other countries with significant scenes do have a distinct national style (Italy, Finland, Sweden, etc.) It’s much more diverse in the US, often distinguished regionally. I would even say that Minneapolis has a pretty unique and distinct scene, which is something you would primarily pick up on at shows.

PURE STENCH: [ Like many of the other labels I have interviewed it looks like the same person continually creates the art for each cassette. All are black and white (except for the Grain Belt CD) and all look crude and xeroxed. Is this your (the label) handy work or do the artists themselves create the art?]

Yes, I create all of the art for the label. I’m open to collaborating with the artist, but I like a sense of aesthetic uniformity in the releases. I’m not much of a visual artist outside of the label, but I really enjoy working on that aspect of the total package. The specific aesthetic is a combination of mainly personal taste with the fact that I lack the technical skills to create slick artwork. The GRAIN BELT CD was an exception. Joe from SMALL DOSES designed it, as his label co-released it, along with PHAGE TAPES.

PURE STENCH: [ What is the most difficult part of running a label?]

The biggest challenge for this label specifically is keeping tapes stocked. From the onset, I made the goal to keep all tapes I release in print indefinitely. I’ll usually start off making 50 and restock them in batches of 20 or so there. The restocking can be challenging when someone places an order out of the blue and I realize that I’m out of what they want. I dub and assemble everything from home, and release c30 tapes exclusively, so it isn’t too hard to keep up, but it requires a higher level of organization than I’m used to. This has been the other challenge, just general organization, as I’m a fairly scatterbrained person naturally. Running the label has forced me to set up systems to make sure things stay organized and that everyone gets their orders. This has actually been a very rewarding challenge, and seems to have improved my overall personal habits.

PURE STENCH: [ What made you decide to make your releases unlimited instead of doing small ltd batches like most labels do? What was it about the Wince cassette, "Vasovagal Syncope", that it required a small limited number with a larger booklet/insert than other releases?]

I think a lot of labels and bands use rarity as a crutch. It drums up urgency to purchase, sometimes to a pathetic level. Everyone knows it feels cool to own #2/30 of something, but I feel that it really takes away from the integrity of the material itself. If it’s work that you think is good why not make it available for people to hear? Some label bosses get such a big boner from being able to say “SOLD OUT” on the messageboards, and people congratulate them for it. I often hear people justify super small limited editions on the fact that they only suspect 30 people would want to buy it, but it just strikes me as ultimate trollface, especially when said by established artists who know their ltd. ed. releases will sell out in a day. I decided to make tapes in unlimited editions to challenge this trend, to challenge people to buy tapes that are not going to have increased resale value on discogs.com. I’m confident that the music I release is good, so there’s no reason to limit it. I have had a couple people email me to ask if X cassette is still available, and I reply that yes, all tapes are available indefinitely, and then I never hear back.

As far as the special edition of “Vasovagal Syncope,” I wanted to release something where I was able to extend the artwork to further express the theme of the tape. Keeping the packaging with the booklet in print indefinitely would be unfeasible, so I just made it a small edition, while keeping the standard edition in the Norelco case in print. I like releases with extended artwork or elaborate packaging, and I can understand the fetishism of limited items, so I plan to do more releases like this in the future.

PURE STENCH: [What do you have planned for this year?]

Let’s see… FAUX PAS/GRAIN BELT 7”, which WCN is co-releasing with Small Doses and Phage Tapes. Tapes from DEVELOPER (Matthew Reis of Teeth Collection fame, heavy and psychedelic cut up HN, very reminiscent of cut-up era Macronympha), RESPIRATOR (Fairly unknown from the Houston, TX scene, damaged organic noise, much like a more negative Hands To), SLAVE PATIENCE (HN mail collab between myself and Danny Propert/Legless from Baltimore), ORGASMIC RESPONSE UNIT (Brother on brother from Luke and Nate Tandy, known for Being and Diaphragmatic, respectively), some other stuff surely. There’s a 7” planned with one of my favorite noise artists PARANOID TIME, but it might be a while yet for that one. 

PURE STENCH: [Thanks for agreeing to do the interview. Any comments, last words, quotes, etc. you would like to add before we end our session?]

No, but thanks for interview and interest in the label.

Body Cargo - Secret Domain

2011-03-23T11:18:00.000-07:00

Body Cargo - Secret Domain

Body Cargo continues to play the tempered style of cold Power Electronics with an obvious ambient and "Death Industrial" feel that we have come to expect. You should know, generally, what you are getting when you pick up a Body Cargo release. His sound directs a listener's attention to texture. Once you know you're getting those long rumbles and gradual changes, you focus more on the details and the assemblage of chosen sounds employed to provide the mood. In my opinion this album makes most sense, and is best heard, as a brief addendum to the 2 prior releases which came chronographicly before this cassette. Of course that isn't to say that you shouldn't get "Secret Domain" if you don't own the other releases, this cassette sounds great on its own as well. It can also be viewed as a somewhat methodical recapitulation of his career's primary themes, modes of expression and techniques to date.

On "Secret Domain" you can hear a bit of a progression in those familiar atmospherics, this time around there is more tension, a tension that can come to a climax at times and boil over, this is a bit of a change of pace for Body Cargo. There is more variety with those densely layered and immersive textures as well. Samples and vocals stand out more so than on previous works. These tracks vary from one to another (sometimes blatantly) in their construction materials and arrangements of said materials, yet each of the four tracks seem built to gradually reveal themselves as one seamless whole. I believe that the medium used here (a cassette) was a very smart choice in that the listener has to hear the material from beginning to end without skipping around, and this is the best way to take this album in, as a whole instead of a collection. The cassette is opened by a sample that is eventually capsized, the voice becoming faint as it echos away into the depths of the raw rumbling thickness of the recording. This is, essentially, a good representation of Body Cargo's sound in general. The adjective that I believe best suits the Body Cargo sound is "disembodied". A lo-fi, dissonance of disembodied electronic soundscapes drifting between samples, vocals and repetative Industrial crunch mashed together to create that thick, dense sound.

Overall, the only negative comments I can make is that this cassettes relatively short duration can leave you wanting more. And I also don't like the cover art. I really think that badly generated computer graphics should stay with Power Metal and Pop and should not be used for Noise/P.E. albums. But those are 2 very minor, and very picky, personal gripes. Throughout the album Body Cargo's focus, attention to diminutive details, choice of effects and "hands-on" craftsmanship allow these 4 short pieces to continuously yield new discoveries, while clearing a route for the next stage of Body Cargo's discography. If you can get a hold of this do so. If you can get a hold of "Konkrete" (put out by Waterpower) and the "Conspiracy of Containers" cassette on Autarkiea as well then I would highly suggest that you grab those up and listen to them sequentially in one sitting.

Interview - Body Cargo

2011-03-11T20:14:00.000-08:00

BODY CARGO INTERVIEW 2011

[0] The first question has to be the most obvious; why the name change?  It seemed as though "Cold Womb of The Grave" was already heading in the  same direction as Body Cargo, the splits you did with the Denmark crowd  sound more like Body Cargo as well. What are the differences in the  sounds between each group? Is there a similar substructure or method  when it comes to all BC material?

Hello Ryan, first of all,  thanks for the chance to appear on Pure Stench! These questions I get  all the time and never answer them clearly...maybe it‘s the right time.  As for the CG it was my first serious approach to the scene and in the  same time it was  the unit of research and experiments, so in this  matter it was quite normal that CG has became not what I want to hear or  see after a period of time. The last tape by CG was for sure the BC  already, it was what I want to hear, I was really comfortable with the  old name, but the meaning of the name, the main ideas that standed  behind, was not suitable for the sound and feelings that where starting  to influence my new creations. At the time, it was summer of 2010, I  felt the urgent need to change the name, to create new concept for my  sounds, and at the same time we started to communicate with Lash from Autarkeia. As we where talking and talking we found out that we have  some common interests and ideas so it would be unfair to say that BC  concept was only pure creation of myself, it was synthesis of out  discusions and ideas that I accepted and was interested in highest  level, that was the thing that I was searching for so long. Talking more  about differences between Clo Goelach and Body Cargo – CG was the sound  of anger, power and filth, as I could say power electronics at its  basic matter. Body Cargo is the droning sound of fear and glimpsing eyes  in the darkness, the sound of need of flesh and dripping blood, but not  in so straight way as I was doing with CG. More accurate and  constructed way.

[1] What exactly is the motive behind Body Cargo and what themes and subject matter does it center itself around?

I think answer to this is simple and it‘s write in main BC website. But of course  there is always development and progress, new ideas comes to my head all the time non stop. But the main themes of BC are fear, careless mutilation of human beings, magick, voodoo in some matters. My aim is dirty lo-fi noise, droning and so on; to reflect these ideas, these feelings in delicate way of sound structures.
The "Konkrete“ tape was very good example of not putting myself in strict concept, at least for myself.

[2] The last  2 releases by Body Cargo were great, how did you come about hooking up  with Waterpower and Obscurex? Was there a certain reason you didn't  release them on Autarkeia like all your previous BC pieces?

I‘m  glad you liked them! Oh, my memory is not that good, but as always it  came in flow of communication that is near me as I try to have as wide  as possible trade web. I like those 2 labels very much, both guys are  very communicative and has a great taste for music. There are no  particular reasons, I mean negative reasons, I have not submited those  peaces to Autarkeia. I just always feel the need to contact with labels I  like and of course release my material there if it‘s possible. Other  fact is that Autarkeia did huge work with BC – 3 tapes and as with the  last update I can tell you that 2, personally most waited, vinyl  releases are going to the pressing plant in very very very near future,  or maybe already went? Who knows.

[3] How important are your  lyrics? With the first few Clo releases they seemed to be the most  important factor, comparative to the high in the mix vocals of American  units Slogun and later Deathpile. But it seems like you now deliver the  lyrics with a different style. Why is that?

I think it‘s because  lyrical approach was more important for the CG then the sound itself. BC  is different – it‘s atmospheric and vocal parts works more like another  instrument for the whole structure. But there will be more clear vocals  with exact clear texts in future, in the place they need to be.

[4] Do you have other creative outlets besides your music? Suck as drawing or writing, painting, etc?

I would say no, except of working with some collages for the artworks of my sound works, some fliers and ads. I don‘t do any visual arts, I would say my imaginary factor is to chaotic and abstract to work with my hands and visions and here comes the sound, something that does not have anything to do with material world, the flow of sound that goes through me and reflects sickening entity.
Of course I sometimes I like to do some kind of abstract artefacts, instruments, junk that I can‘t or more likely don‘t want to talk about.

[5] Is there much editing and revision  going on when you record or is it mostly done in just a few takes, like  a rehearsal style cassette?

Oh..no. It takes a lot of time. I record, re-record, re-listen, re-make re-cut a lot of times until I reach the result. A lot of times I use computer to make final mastering and layering, because of lack of equipment I have. But mainly I record separate chapter to 4-track tape recorder or 4-track reel-to-reel recorder, mix them in analog way, rip to pc, then make final steps, but the main thing is to stick with lo-fi aesthetics. Sometimes when tracks are more simple, less layered I rip whole track from analog to pc and avoid pc mastering or editing. But all in all every session takes a huge amount of time and energy.

[6]  Most of the tracks I have heard from you builds up to something, they  never start out violent or messy. Most feel like "chapters" or smaller  phases growing and merging with one another, usually pretty slowly. Do  things just develop organically for you or do you have to trifle with  the sounds?

I would call it the mostly organic way I can imagine  indeed. I like long tracks, but mostly every time I need to over think  everything so long recording sessions don‘t work out, but as you said  there is a merging feeling and this is it, theese are separate parts of  the same ideological and sound flow. Ritual koma as I would call it.
Mostly  every sound I record – field recordings, cut ups, drones – I would find  the way to use them, I think it‘s the same organical feeling, I just  always change the sound or just find the place for it.

[7]What is in the works for the upcoming year? 

For now BC is on the holidays. As I mentioned before 2 vinyl releases are upcoming on Autarkeia very soon, another 7“ release is going to show up on Trash Ritual this year too. And very thrilling thing is pro CD split/collaboration with one killer project. Some updates will reach the web very soon I think.
But have in mind that CG‘s aggression haven‘t vanished in nothingness, particular processes are developing all the time and something can violently rush out...who knows.

[8] I appreciate you taking the time to do his interview. Last words?

It was a pleasure, thanks for the possibility again.
Start to pray for your God, when glimpsing eyes will track you in dark woods.

Interview - WATERPOWER

2011-03-10T08:13:00.000-08:00

[0] What did you find within Noise and P.E. which grabbed your attention? How long have you been listening to Noise?

I first came across noise music about 10 years ago back in the days of Hotline clients/servers. Like many others, Merzbow was my gateway drug. The obscurity and aesthetics that I heard and saw was what drove me in. It wouldn't be till about 4 years later that I'd start attending shows seeing Chicago acts like Panicsville and Mark Solotroff at venues such as Enemy- amongst other places- that I started to really appreciate noise (and at that point venturing into power electronics) to the point that I wanted to participate in the genre.

[1] How did Waterpower start, and when did it start?

WP was born out of failures and frustrations early last year. Preparation began in early February though the first release (Clo Goelach's Cold Womb of the Grave) didn't come to fruition till a month later. I had been putting out some noise/noise rock stuff under the label name Wheaton Records and it just wasn't working out. No one cared, the artwork always sucked, and I wasn't feeling comfortable with what I was doing. I think the biggest issue I've always had and I think many other start-ups experience is that if you're not part of a group, play often, or in general make your presence known outside of forums and blogs, it's hard to get recognized. There seems to me to be very few labels that have grown into a level of notoriety that aren't backed by a well known entity behind them, which was something I've never had, or honestly even reached for. I suppose the difference with WATERPOWER and previous initiatives is just trying to get some known names in the mix of lesser known artists (which is my priority). Of course, even with that game plan nothing seems to go quite as planned, but I couldn't be happier with everything that's happened since day zero.

[2] I believe somewhere during the late 70's there was a "roughie flick" called Waterpower which featured the great Jamie Gillis. Is this where you got your name?

Definitely.

[3] Why did you choose the name "Waterpower", and does it embody what the Label is about? Does each and every release on Waterpower have to substantiate the quintessence of the label itself, meet a certain criteria, or is everyone free to do whatever they want?

When choosing a name, I knew I wanted something that could be recognized and misinterpreted at the same time- a name that when recognized could resonate certain feelings/thoughts while simultaneously maintaining a sense of ambiguity that isn't so up front. There were very few other names I had considered, but none of which followed the latter criteria. WATERPOWER is a name that can seem rather harmless or possibly out of place, but is still a very appropriate name when known.

There was originally talk of having a first release that would have followed in the footsteps of the name, but it never happened. To make matters worse, Gillis actually died about a week after these discussions. Since then, no release has needed to follow any guidelines, or anything of the sort. I do have planned releases that will give further homages to the cinematic masterpiece, but they will be fairly far down the line.

[4] Do you do all of the artwork for the labels releases? For the most part each one looks like they may have been made from the same fingers.

For the most part, artwork is all done, or at least laid out by myself. I'm very thankful for artists giving me free range when it comes to artwork/layout design- it's allowed me to maintain some continuity. It's not to say I'll never stray from the style, but it's just happened that way.

[5] Besides the split between Pale Tongues & Watcher, everything you have put out is in cassette format. Do you appreciate this format or is it just easier to work with? Would you be opposed to doing another CD or possibly wax in the future?

Rarely do I purchase CDrs, so I figure if I don't like the medium, why would I want to be the one to put it out? The PT/WATCHER split was more of an experiment, and one that now steers me in a different direction. I want to do CDs, and I definitely will start. Not to get too ahead of myself, but I would say by this upcoming summer, WATERPOWER will be releasing both tapes and CDs. Vinyl would of course be the ultimate goal, but it's just not feasible at the moment. I do however plan on doing a few private lathe cuts in the future as well- I suppose that's as close to vinyl as it will get for some time.

[6] For myself and others I have talked with, it is hard to tell, especially given the modest cover art and buried vocals, what you guys are writing about on the cassette Deeper Wells. Was there anything on that cassette, in particular, that you two were trying to disseminate or advertise? What type of atmosphere, if any, were you attempting to develop with that specific tape?

The other half of DW- Nick- had everything to do with vocals and lyrical content. He actually sat down and wrote out a couple of songs, but I don't think they ever came out in their planned form. We never really discussed it, but for the most part, I think it was on-the-fly pent-up aggression and anxiety of experiences/feelings we both have, though, I can't speak entirely for him. Personal current issues plus an overwhelming sense of locational and social anxieties was the overall theme I'd say. Though it may be tacky, we're comfortable referencing ourselves as "nowhere power electronics" as we were both located in rural, east-central Illinois upon recording. We may have to drop the "nowhere" as future recordings would most likely happen in Chicagoland area.

[7] Tell me about your other project. Anything new on the horizon for WATCHER?

WATCHER was a solo project of mine a year ago that I was never really happy with. I have no plans on making music under the name WATCHER ever again, though, my most recent project- American Roulette- is relatively close in certain ways. An AR release and possible show are planned at the moment, but I don't anticipate anything not being privately done- it's just not "there" yet.

[8] You seem to have quite a few video ad's for upcoming release, and some releases actually come with a video themselves. Have you ever taken classes for video editing or did you teach yourself? Will we be seeing more videos on upcoming titles?

I try to take the opportunity to make a video at every chance I get. I don't even care if it doesn't seem fitting- I'll at least try it. I wish I took classes in this stuff. In my mind I have the idea of making some sort of VHS sub-label to further create.

[9] What is your favorite instrument/sound source/pedal/computer software/etc when creating music? In other words; what type of gear do you use to create your sound and what's your favorite?

The only reoccurring element in everything I do is my RE150 Space Echo. I wouldn't sell it to save (or even end) the world. I will probably request that my ashes be placed in the tape tank.

[10] Currently, what are some Noise/Power Electronics acts that you have been listening to? Does any of it have an influence on your own music?

Most of what I hear has been through trades which I often do with RONF- I really dig the output from over there. Lots of Vomir as well.

[11] What do you think of the current state of Power Electronics and Noise?

[no comment]

[12] What are the future plans for Waterpower?

While I do enjoy doing tapes, my arms are open wide to CDs, and I look forward to going in that direction.

[13] Thank you for doing the interview. This last spot is yours if you want to say anything.

I appreciate the opportunity to talk, thanks.

Civilian - Unclean

2011-03-09T11:20:00.001-08:00

Civilian - Unclean

If you have even the faintest love for crude noise, industrial and/or power electronics, Civilian may be something of a pinnacle within the current scene. That is in no way a hyperbole. If you are the breed of "artsy cunt", you know the type, those who like Noise for the sake of being "weird" I think you will be scared away. If you are one of those fans like myself who judge the sounds on their own merit and enjoy the originality, brutality and creativity of Power Electronics than I am sure you will like it. What is being generated in these 3 tracks is the evolution of many great traditional formulas. A recorded document of assaults, bare bones assaults of heavy electronic primitiveness.

Each track is very unique, be that as it may you can still understand that each track is by the same group/individual because of his unique style which takes you on a trip across the globe where at times you may think that this must be straight out of Finland, or Italy circa 1985 and at other times it is wholly American. Huge patches of junk metal abuse and grating static crunch melt together. The first track has sparse vocals that seem to be submerged in a sea of effects so, like many Noise artists, the vocals here are used as an instrument rather than a clear message. All of these sounds change directions quick enough as to not dry you out (but the changes aren't so quick as to be laughable or "cut-up" shit). Not too many other groups can pull this off just right, only a few units that come to mind immediately are Mania, Coma Detox (namely the latest output from Filth & Violence) and some Bizarre Uproar material. Imagine this co-existing with the same style of sound of the devolving and crumbling masterpieces evoked by Mauthausen Orchestra. Side B starts out with a track titled "New York Sodomy" and it features some type of soft elevator music loop buried deep in the background as mounds of hiss and distortion drenched crackling junk play tangle themselves up together. The final strike has a backbone made up of collapsing, crashing rummage and scrap metal as chunks of thin static snaps into thicker rumbling Noise. Out of all 3 track this one if the least violent but it stands out as one of my personal favorites due to the basically undiluted spoken vocals and crawling old-school atmosphere. When you think all is said and done a quick little "outro" of completely unaffected and lucid classical music filled with dreamy pianos and droning pads makes you wonder what the fuck just happened. I don't know what the intention was here but it only last but a minute and oddly settles the burning intensity of the past 3 tracks.

Aesthetics, as seen above, meet the usual TF/PE "requirements"; black and white, simple and direct - "Death is Certain Life is not." I beg Civilian to release a full length in the near future as I see this project getting larger than their contemporaries.

Luciation - Occultious Inlightmentsasion

2011-02-08T23:13:00.000-08:00

Luciation - Occultious Inlightmentsasion

With 4 albums released in just one year you would think that the band would start to turn stale. But they haven't. 4 albums in one year, for any band, is going to be a stretch. But Luciation keeps each new tome dramatic and fresh enough as to keep a steady sound and a steady fan base. Any type of music this intense and merciless chokes out criticism with it’s very existence. Try to reason with nihilism. Fuck you if you like it or not.

Luciation pulls off... ritualistic Blackened Death Metal, or Goat Metal, or Bestial, or War Metal, whatever you kids call it these days, these guys do it perfectly. Like they were raised to do just this. It's straightforward in its brutality and has a neanderthal element that bands like Von or Archgoat used to haunt. The core of the tape is a consistent pace of heavily distorted Guitars being picked at quickly creating a roar of quick fire power chords, almost always low enough note-wise to form a hollow and large sound while the cymbals and jackhammering snare rolls create a whirling din of hissing. Add the bass in the mixture and you get a heavy fucking bulldozer of sound. It's like an evil construction site in hell. Bestial Butcher 666, our vocalist, is like the boss who is screeching and gurgling out his nasty plans. With any good album the listener should be led to believe that they are there, in that atmosphere, in that devilish construction site, instead of their mothers spare bedroom. Put your headphones on and you're there. Most of these tracks follow a simple pattern, as laid out above, the exception is one short intermission shoved in between this 7 track binge of unholy atmospherics, titled "Loas Psychosis" which is a little bit reminiscent of Beherit's ambient experimentations without the queer electro-dance drums. The lack of variation is not really a downside. Maybe I have grown used to it, or maybe it is just because I am better than you, either way the repetition and seemingly small changes are welcoming rather than excruciating.

This material still hearkens back to those days of 2nd generation Archgoat and Von demos being passed around by friends, with the already grating production values stewing in an added bath of static. It works perfectly in their favor. Oh, and this is from Denmark and, as we have seen in the past few months, they can do no wrong.

Review - Body Cargo - Conspiracy of Containers

2011-01-26T23:54:00.000-08:00

Review - Body Cargo - Conspiracy of Containers

Clo Goelach was a Lithuanian Power Electronics project that sprung up from nowhere in 2008 offering, from its birth to its death, 11 strong releases including splits with Noise projects from around the world. Last year the project died and was given an afterlife as Body Cargo. If you watched the progression of Clo Goelach you could point to the later releases and see that he was going somewhere different and a name change was almost mandatory. The constrained and prolonged atmospherics of Body Cargo makes it stand apart from both Clo Goelach and a decent amount of active Power Electronics projects who are releasing material in this day and age.

Conspiracy of Containers moves slowly with a measured and cold-blooded energy of rationed movements and withering pressure that can't ever seem to liberate itself. First. A machine sounds as the cassette opens, keeping itself together under the arrangement of static wash that floats to-and-fro like a burning field underlined by an echoed sample who is deep enough with the grain as to be hard to distinguish. Both of the following tracks, "Pyramids of Shining Skulls" and "Feeding The Sharks of Jungle" are convincing and ethereal but they don't give you a clearer picture of what's going on through-out the tape. It does not, by any means, ruin the listening aspect, however. It only blurs the lines more than before. Like Mysticism, where only a "master" and an initiate can be conscious of it all. Like a doomed master in ritual garb evoking feelings of disgust and spite, offering nothing in return. This track,"Pyramids of Shining Skulls" is the most busy of all 5 but even when it's movements are gushing, the atmosphere is always confined and engulfed with Body Cargo's signature crawl. This is an ideal style for which the subject matter explores best, while also a style whom our friend seems to work brilliantly with. That is not to say that the brutality of his past project, Clo Goelach, was great in-and-of itself, it sometimes seemed forced. With Body Cargo you don't get that feeling, quite the opposite. The 3rd track has a pace perfect to act as a sling shot into the 4th track titled "Above The Green Hell of Hungry Beasts" which is a 13 minute long devotion to simplicity in its most cruel form. It impairs your perception and awareness immediately, as some ominous feeling of being deep in the jungle without help creeps over you. Just like through-out most of the cassette there are deformed samples which stand out, "The Green Hell"... is no exception whilst a deep, thinning rumble threads a background, silently. The ender may be one of the more "noisy" tracks found here. Volleys of rumble accompanied by barrels and other various junk being scratched and slapped around.

"Conspiracy of Containers" stalks you, it defeats your sense of space and direction. The entire album, due to its minimalist approach, has a deep feeling of unrevealed deprivation surrounding it, and no matter how consistent the hypnotic stretches of Noise are this is not a harmless tape. The layering is undividedly precise. Rumbling and crumpled up shrouds of static co-exist with simple drones maintaining a slow suffocating momentum. Since the sad death of Clo Goelach, Body Cargo has been busy - 3 cassettes in 2010 and 1 in 2011. If I were to suggest any of his releases as Body Cargo I would, without doubt, put "Conspiracy of Containers" release by Autarkia first, and then "Konrete" which can be easily obtained through Waterpower.

Review - Deeper Wells - Untitled

2010-12-17T21:37:00.000-08:00

Deeper Wells - Untitled

Fans of Noise and Power Electronics often argue about the differences between both genres. In my opinion Power Electronics displays a few characteristics which separates it from Noise, the most important characteristic is methodology, or structuring, followed closely by mood. The structure can be loose, as is the case with stuff like Snuff or a lot of Taint material, or it can be tight, Brethren is probably one of the best examples of this, a lot of his material has a typical verse-chorus-verse structure to it. Waterpower has been squirting out tons of good releases this year, almost all of which fall under the flag of Power Electronics (Richard Ramirez and Skonhet are the two obvious exceptions).

What Deeper Wells displays on this cassette is pure Power Electronics teaming with violence and aggression. Every track has structure, a nice foundation of sounds of which it builds itself into, not around. The menacing pulsations and stuttering synth action on Side A (at least, this is what I will refer to as Side A since the tape is not marked) is quickly and frequently leavened by Vocals and volleys of static agitation. There is a paranoid ambiance to this side of the cassette, a slow burning and threatening mood that retains a cold and "in your face" brand of neanderthal brute violence. The current coterie of American P.E. artists surely must feel a wake up call from this, and we need it. The tape could have ended here and I would have been happy, but flipping it over and letting it get on bottom makes for just as satisfying of a second romp as the first fuck-fest was. This side demonstrates this duo's obvious recognition of the power of "build-up" and setting a mood. Intense feedback interrupted by a thunderous burst of bass filled crunch, and then silence, then an even louder explosion erupts and feedback slices its way back in and then silence. This simple but brilliant scheme goes on for a good amount of time as it becomes a bed over which the tweaking of buried vocals, which could probably evoke Demons if needed, lay down their final demands. The only negative comment I really have about this tape was that the tracks all seem to end abruptly like they are just cut-off out of nowhere, but in comparison to how on point the tracks themselves are, it doesn't take anything away from the overall experience.

Deeper Wells leaves nothing in its wake. It simply implodes in on itself leaving behind a trail of starvation for something that will some how top the experience you just had, but what experience? The feeling that this tape gives off is hard to explain, the nominal artwork doesn't even hint or help you analyze what is happening here. I usually listen to a cassette a good 10-15 times before reviewing it here, this way I can catch the sounds with different moods and through different mediums (headphones, car stereo, etc). I listened to this tape at least 40 times in a two day period. That is the only way I know how to explain what is "happening here": Powerful, intense electronics - Power Electronics. If you are still reading this and you haven't gone to the Waterpower site to buy a copy than you are probably retarded or it has sold out already - get this now.

Interview - Posh Isolation

2010-12-14T15:37:00.000-08:00

[Q] Posh Isolation is a fairly new label, with your first release in 2009. You cover a lot of ground from Minimalistic and droning Noise to harsh Power Electronics to Black Metal and back. What do you feel are the defining elements of the label and how do you view the progression of the label over the past year?

Running posh isolation, and probably any label, you learn a lot. and it should be that way, every new release should be a new standard to how good you can do. Many ideas are changed along the way, some are thrown away.
There is no point in debating a strict concept, because there never was one. The defining element could be that we do what we like and nothing else, that has been the guideline from the beginning, but that must be obvious.
Posh Isolation when it started, and Posh Isolation today is in many ways much alike, but the demand for releases has made running the operation a much bigger task. There is a very big difference from releasing 100 tapes in a batch to releasing 500 and from sending 10 packages to sending a 100.
It is wonderful of course that the demand is growing and that people are interested in the releases, but it is alot of work as well and adjustments are being made all the time to make the label run as smoothly as possible.

[Q] What inspired you to start the label; to go from "just a fan" to having your own label?

The label started when there was an obvious need for it. The main goal was, and still is, to have a platform from where it was possible to document what was happening here, around us, in Copenhagen.
In honesty we did not know at the time, how big a task that would be. Copenhagen and the rest of Denmark has had a massive growth in the last few years and good or at least interesting projects are everywhere. The idea was to document the best, since there was no one else doing it. It has showed to be more than enough to base a label on. That being said, projects does not have to be from Denmark, but Denmark will continue to be the main focus, it feels very natural that the focus is here. If one was to document what was going on in lets say California, the most natural would be that it was one who knew California,
knew the palm trees, and the heat. He or she would be in a much better position to do so, compared to someone who only knew the palms from the Botanic Gardens and some travelling here and there.
We know Copenhagen, we always lived here and most likely we always will, not saying its fantastic, but there is something about this place, if you can stand the rain.

[Q] What does "Posh Isolation" mean?

Hopefully it will at some point mean; the best label in the world. Until then, less will do..

[Q] Posh Isolation has some of the most interesting artwork right now and each release looks like it may be under the watchful eye of possibly the same artist. Who creates the art and layouts? How important is the artwork for each release?

We create not all, but alot of the artwork for the releases. Estetics is a very important factor for the label and has been from the beginning. It is about finding a balance, where artist and label can agree, we dont force anything but we don’t accept everything either. If not both parts are happy, its not good enough. Posh Isolation is a very personal project, and nothing is put out if it does not fit. Something can be good and still not be Posh Isolation, and something can be less good and be Posh Isolation. It can be difficult to explain, there is no dogma and not very many rules but it is a feeling. Every posh isolation release should be looked at seperately but at the same time they are released because they fit as a brick in the monument we are trying to build. If you are building a monument, your bricks has to have roughly the same shape and at least similar colours otherwise it will not be very pretty to look at when finished. But the bricks can come from many places and all tell different stories, and then the monument will be even more interesting.

[Q] What formats do you feel suit Noise and Power Electronics best? How about Black Metal?

Posh Isolation has to this point only done Audio releases on vinyl and tape, and even though there is no rule as such for what formats can be released, these will continue to hold a very important role for the label. They seem generally more suitable for the kind of sounds we focus on. In this manner one can talk generally for both, Industrial, Punk, Black Metal, noise, drone. For everything that could be considered demanding music, a demanding format makes sense.
Analogue formats have their strength in their demanding and impractical nature. The above mentioned genres all have one thing in common; they only make sense if the listener is aware. To understand and appreciate this kind of music the listener has to play along to an extent in order to get the full experience.
With analogue formats you force the listener to act and even though putting a record on, or putting a tape in your tape deck is a relatively small and easy motion, it still counts. The listener gets to hear only half the work and then has to decide whether or not they bother to get up, turn it and listen to the other side.
You don not listen to just your favourite song, you listen to the whole thing, as it was intended, that is the ideal.
Of course it is possible to focus properly with digital formats, and of course still the music should be what is in focus and the format secondary, but mp3s for instance can be problematic. There is too much of the experience that is lost.
That does not mean that one should ban mp3s, and ripping hard to get vinyl and tapes with approval of the artists and labels can be very useful when researching new and unheard stuff. However with mp3s available everywhere the process is in danger of becoming too easy, at least the process is speeded up, and that is not suitable for this kind of music, it is not "ipod shuffle music".
You can download a whole discography of an artist within minutes, then listen to a few tracks here and there and decide if it is good or bad. But experience tells that some of the most beautiful musical releases take many listens to sink in, some music releases needs you to sit down and read the lyrics for each song carefully, needs you to feel the quality of the cover and print, exanimate the artwork in detail, for it to make sense. Then if you like it, you spend half a year, some times many years, tracking down other releases of the artist and every time you get one, you do the same and it makes you feel like you just found a pot of gold at the end of the rainbow. That part of the experience is in danger of being lost with mp3s and when access becomes too easy. At the same time we feel distanced from labels that explore this ebay mentality. As with many things it is about founding a reasonable balance.

[Q] Do you think that both Noise/P.E. and Black Metal can co-exist together and thrive? In what ways are they connected, if at all?

Black metal and noise are different in nature and most projects trying to connect the two do not seem to be very successful. It seems that in the last couple of years using "black metal" as a branding for non black metal is the best selling tactic for alternative releases, maybe even not so alternative releases.. and it seems that if people can draw a vague link from their noise project to some occult, satanic or ritual atmosphere they don’t hesitate to do so, in many cases it seems that this is done more for the sake of doing it than it is in fact what the music is about. Honesty is really what is important, and its important in all forms of art, it has a tendency to always show through the work if it is not done with the needed amount of honesty.
Posh Isolation releases a broad variety of music and we release black metal when not being strictly a "Black Metal label". We don’t feel it is a problem to release black metal along with other kinds of music if each release is treated with the needed care.

[Q] What projects, if any, are you involved in?

We are both involved in projects on the label, but it should not be the focus, who does what. It does not feel so important. Sometimes the artists name is included sometimes it is not, when absent, it is done so for a reason.

[Q] Are there any books or videos that have had a major influence on you, your music and the label?

Inspiration comes in many forms and from many places, some obvious, some less obvious. Sometimes the skies or a facial expression can be more inspiring than the masterworks of the great painters, musicians and writers. Here is a list, most in terrible spelling. Of course there are many forgotten and left out but this was a few that came to mind.

Mies van der Rohe, Michel de Certeau, Edvard Munch, Francoise Hardy, Disclose, DAF, Tom Kristensen, Hans Sahl, Depeche Mode, Sisters of Mercy, Johan Sebastian Bach, Sods, Magritte, Mikko Aspa, GISM, Pan Sonic, Sortsind, Blue Movie, Solmania, Lady Gaga, ULM school, Einar Jonsson, Casio, Tapeline, PJB, Broken Flag, Inger Christensen, Paul Celan, Smittekilde, Xenakis, Joy division, Crass, Virginia Woolf, Søren Kierkegaard.

[Q] What are some bands that are not on your label who you have been listening to lately? Any new bands or labels that you really enjoy?

Gothenburg in Sweden is producing so many great things lately; of course there is the fantastic as ever Sewer Election but also newer projects like Ättestupa, Lust for Youth, Street Drinkers, White, Källarbarnen and many more. Utmarken and Release the Bats are doing a very good job in documenting the acts and what is going on there. It’s rare that so much good and diverse quality comes out of such a small place.
Pan Records in Berlin, run by Bill of Family Battle Snake has been releasing great vinyls over the last year.
Nordisk Klub is a new Copenhagen label and we have much hope and faith in it to grow worthy of its potential.
Second sleeps new releases are all amazing!
There are many more doing an impressive job, some old some new.
Generally the ground is booming with labels, new acts to a point where it is difficult to keep track of it all.

[Q] What can be expected in the near future from Posh Isolation?

We recently got a space/office in the heart of Copenhagen, which we share with two of our good friends. Having a place from where we can run the operation will hopefully make it easier to keep up. There is so much stuff that needs to be done.
We just did the first two, non audio, releases on the label and there will be more, hopefully with English translations as well. There will be a lot of vinyl and a lot of tapes and hopefully a few surprises.

[Q] Thanks for doing the interview. This last spot is for you to say anything you want...

Thank you.

-Loke Rahbek & Christian Stadsgaard.

14-12-2010

København, Denmark

Review 08 - Glossolalia - Gold in the Throat

2010-11-24T03:47:00.000-08:00

Glossolalia - Gold in the Throat (2010)

The Black Twilight Circle have made their signature, carved deep into stone with a whirlwind of musicians and ideas all trying to express themselves while also helping to do the same with one another. Each entity contains within them a few predilections with their label roster: lo-fi atmospherics, despair, fragile tones, creativity (it appears as if they all share the same nationality as well, like it is a prerequisite). Each band, however, have their own unique flavor. Glossolalia fits nicely under the Circle's banner, no doubt, and he (them?) can also work outside of that same banner with relative ease. Because this is a compilation of older material, dating back to 2007, it seems as if this material was unknowingly incarnated to fit into the grand theme of the Circle. It fits extremely well within the catalog while preserving a genuine theme all its own.

The guitar riffs all suggest a level of distinction in metal that transcends black metal convention altogether. The leads are fluidic and one of the definite high points of the album. If this was instrumental it would still be a good cassette, but that is not to say that the Vocals are not fitting, in all honesty any other vocalist would sound entirely alien. If Vidar Vaaer stepped in this tape would make a quantum leap and lose what makes it...it. The scabrous vocals circle the Guitars like vultures pecking at each other over a dead carcass, never getting locked up, continually sharp and distinct. Our vocalists aims stay stentorian from Resurrection and Reckoning to Ropes always making his voice silhouette those images he wishes to paint without ever dumbing it down and spelling it out for you. Every transition, both instrumentally and vocally, glides, no cracks or unnecessary pausing. Glossolalia's drumming is fairly common territory for American Black Metal. They are not so one-dimensional as to fall back or lack their own place in this world but the blast, although steady as a metronome, isn't anything that we haven't heard before. Fills are rare and the trampling bass kicks drive the pace in the right direction at all times.

Production is a familiar ground. It is raw but clear, something that seems as if it was plucked piecemeal from the Black Twilight Circle archives. This crisp rawness is not overly done as to be annoying, resulting in as near to perfection as one would hope to get with this style of music. No need for change, just refreshment. Throughout this tape, the ritual for nostalgia that penetrates so much of our modern Black Metal, gets inverted but one can still pick out each influence if they listen hard enough. The more music Black Twilight Circle release, the more they inch away from the competition. Their work is singular - of course this is basic, to the bones Black Metal - but there really isn't anybody else releasing any Black Metal quite like this. In a genre where the next sound is frequently imitated with no thought, what BTC does is not an easy thing to achieve.

Retrospection: Mauthausen Orchestra

2010-11-19T23:17:00.000-08:00

A misanthropic appeal, the converse to quiet, a pull away from the simmering shit of mainstream music. The deafening structure of Noise is more than art to many. Not even the catch term "acquired taste" will fit each and every time down here. Sound documentation that comes in many forms - sometimes loose and chaotic, sometimes structured and tense, other times playful and settled, always unmitigated evidence that pleasure is in the ear of the beholder. Industrial has been around awhile and, because I become bored easily, I thought that I would take a stab at showing some of the best from the past. A retrospection of sorts starting with my favorite "old-school" act.

1982, Italy. Pierpaolo Zoppo starts releasing his own tapes of his project Mauthausen Orchestra under the label "Aquilifer Sodality". Combing through topics such as sexual violence, perversion, torture and murder and picking them apart with the right maneuver as to not come off as cheap and careless is not an easy task. Where the people of one decade find their horrific scenery another decade finds its jokes. Mauthausen Orchestra's atmosphere, one of true debauchery and calculated sickness, coalescing with the sobering awe of his industrial racket blanketed by the 80's true lo-fidelity, raw recording procedures has yet to truly be matched. His early sound traversed a good deal of ground from the sharp and violent piles of feedback and synth work forcefully fed to you, to long chapters of grinding precision and tape manipulation pulling pieces out of itself and building upon it. Maurizio Bianchi was such an obvious influence on most of his work, especially up until "Bloodyminded", that it would be impossible to write anything on Mauthausen Orchestra without mentioning his name at least once. In all of these early recordings one thing can be agreed upon, it was always dirty. My introduction to this project was "Anal Perversions" and it displays Zoppo's range perfectly in two lengthy and harsh tracks. Some may prefer more variation of material such as "Murderfuck", or the damaging assaults of "Uneasiness", so I also recommend that everyone go out and find "5 Year of Slaughter", or even better, "Gravitational Arch of Sex". Both of which collect the assortment of material from his 3 greatest sound periods (check the link at the bottom of this article to download material from 1982-1986).

The project took a rest in 1986 and besides re-releases of the 1982-1986 collection, M.O. didn't wake back up until 1997 with the creation of "Raising Vapors" co-released by Body and Blood and Bloodlust! records. The sound of "Raising Vapors" took a lot from the old Italian sound they helped create and added variation to it. The violence was not as heavy and brutal as it was before, instead it was more minimalistic, the discipline was more exacting. "Lost Boys In Town" displayed a lot of the same characteristics as the previous works but, to me, it seemed even more relaxed. The reason for the change in name, from Manthausen Orchestra to M.O., is unknown to me but the change in sound is very apparent and it is often argued whether or not these two releases should even be considered "Power Electronics". In 1999 M.O. released one of their most talked about LP's, "Kiss The Carpet", an extremely violent and heavy look at human dysfunction. Wherever the last two releases lacked virility and sheer brutality, "Kiss the Carpet" displayed it in spades. From this point on I lost interest in M.O.'s material. Later material such as "Smooth Hate" and "Where Are We Going?" plays on minimalistic Noise with a deep and, in my opinion, boring ambiance.

A good number of acts followed including his country-mate Atrax Morgue who re-releases many of M.O.'s tapes during the 90's. Later on, groups such as Taint, Liver Mortis and Pleasure Fluids, some of my current favorites, took note and began to dust off the old niche.

Luckily for me, I don't have to do the work. You can download the early M.O. discography here:

http://industrialintroduction.blogspot.com/search/label/Mauthausen%20Orchestra

[If you have any recommendation of who should be next on "Retrospection" throw me a line. Either comment here or e-mail me.]

Piss and Moan. Hiss and Drone.

2010-11-15T19:54:00.000-08:00

Is it a good thing to be open-minded in small genres such as Noise, Power Electronics (even Black Metal these days)? There are all too many people out there who record their static hiss onto a cassette, xerox the cover art and call it a solid release. This is not exciting. Words like "art" and "creative medium" are no excuse. An attention to detail and a clear explanation for action should be upheld as they are in any other genre. The argument that art is not art until it is communicated is a true statement. But what the fuck makes everyone think that they are an artist, or at least that their choice of expression is the correct fit for them? The phrase "I create art in order to _______" (fill in the blank) is a good starting point. Why bother if your answer is "I create art in order to fill in the blank"? Before you set out there and play with your pedals please do keep in mind that bad art is bad because it does not evoke the feelings in which it is supposed to be representing, not because it isn't "pretty" or understood in mass. The lack of intention and sincerity can be picked up on easily.

"...If it is not admitted that art must be intelligible and comprehensible, then any unintelligible or incomprehensible expression of thoughts or feelings may be called "art." If any incomprehensible form of personal expression may be called "art," then the definition of art gradually loses its meaning, until it has no meaning at all."

Review 06 - Antipakt - Fuck Them Where They Breathe

2010-10-29T23:48:00.000-07:00

Antipakt - Fuck Them Where They Breathe
If this is simply "average", pedestrian, whatever, it is only because I hyped it up in my own selfish head. Apparently this sold out quickly so maybe I am not the only one with such a pestering and boring musical life as to excite themselves unintentionally over a 7''. In all fairness, Filth & Violence has such a thoroughly good catalog that doesn't lend itself well as a gauge which to compare new projects, most will crumble under the weight, this did stand up to it so it is obviously doing something right and still wins out over half of the monotony which has passed through these ears since the beginning of the year.

Two untitled tracks. Our first peek into the world of Antipakt doesn't wait for you to join, it quickly harasses with a humid and claustrophobic looped rumble and screech. Vocals soon join in and the first thought that came to my head was to figure out who was in this project, but I can't really put a name to that voice. With lyrics like "Fist and cock" and "Flesh over spirit" I would assume that this may have sprang from Pasi's creative corpus in a way that he may have more to do with this than just releasing it on his label. But I can't be certain. The vocals are up front and dominating almost parallel to Snuff and the lyrics can be easily heard over the washing scrapes and crunch, a necessity for a duo with such a staunch opinion. The mic seems to be let down from the mouth every now and then and some feedback works itself out over the hypnotically repeating loop peppering the track with just enough movement without being overbearing. Flip it over and a deep throbs rattle speakers and bookshelves. The static transmissions rise from the bloodied ground and first impressions reveal a short stretch of fecund hostility, a myriad hate. Our vocalist seems to have changed and makes good use of delay which hints, rather quietly, towards some genuinely ominous scenes - look at the insert. A quickly non-dramatic, anti-climactic end releases the built up vigor and wraps this rough assault up nicely.

Although it is hard to tell much from 2 tracks Antipakt seem to be on the correct brick road. The thematic threads, although not original, emerge explicitly clear yet the sounds are still a bit too faint to trail. My foolish, unconscious "hyping" makes me wonder what else I've missed since falling out from under myself.

Review 04 - Raspberry Bulbs - Lone Gunman

2010-10-21T02:27:00.001-07:00

Raspberry Bulbs - Lone Gunman

A cohesive album is made - only - when all of the songs are fundamentally linked internally by atmosphere, idea and concept while not bleeding into one another. The enigmatic Raspberry Bulbs seem to do this naturally with each and every release, but it feels best on 2010's "Lone Gunman". A simple piece of work executed on an opiate energy and quickly exhausted in a short bath of twinkling post-punk rhythms housed by isolated black metal atmospheres. This tape provides a gray area between many genres and it does so in spades of distinct tension and unease that purges itself by the use of 3 flowing and simple tracks. The jammy approach coupled with the extremely repetitive nature of this cassette makes for its own dissonance, nothing else is really needed in order to taste that "soul swinging" lo-fi punch that breaks itself out of the bindings which held it. And even if the restraints were pleasurable in and of themselves everything needs refreshing and it does so while combining those familiar formulas with an even less expressive sound while being able to remain completely poignant.

For me this cassette is the apex of the material which funneled itself through-out the past year or so, and all of the previous pieces came to a climax which erupted into this short collection of unsettling reveries spun out through a small, quick torrent of expositions. The musical setting for "Lone Gunman" seems "cleaner" than before which lets the audience focus its lonely tastes and ideas into a diamond sharp edge, but sheltered in these cleaner sounds Raspberry Bulbs force down that same dirty raw energy found within the bands past kaleidoscopic take on simplistic Black Metal and jarring "post-punk", whatever that may mean. The 3 tracks here traverse an uncommonly well done landscape and combine simple elements to give birth to something confusing but whole. A few riffs per song is what one should expect but with a flowing style that soars far above the usual rhythmic, monotonous moil while punk beats keep the steady rhythm for the corroded vocal attacks by none other than the sole member, "He Who Crushes Teeth". This sprawling of concise and lucid sounds achieves a rare sense of consequence that is rarely ever heard in music. This will win no races but it needs to be in most collections. The non-existent sonic diversity is, in the end, why "Lone Gunman" makes complete sense. A living idea in a dead world.

BUY HERE
http://www.seedstockrecords.com/store/raspberry-bulbs-lonegunman.php

Review 03 - Absurd - Facta Loquuntur

2010-10-04T23:33:00.000-07:00

Absurd - Facta Loquuntur

How can something so great be described without ruining its originality by muddying up it's waters? And in Absurd's case: How can something so simple be so effective?

"Facta Loquuntur" is an album, that upon first glance, feels like most hybrid Punk Black Metal bands of both the 90's and of today. But it is so much more than that. It is much more than "punky/RAC BM" with predictably minimal structures that turn into a 40 minute hypnosis session. There is a very virile and challenging feeling through-out this entire album that doesn't lend itself to the more abstract, diverse and experimental side of the Black Metal genre which some individuals might pigeonhole this album into. (Well that and the bands "extra-musical" exploits.) No blast-beats or anything that would be considered "fast" in the Black Metal underworld. There are clean vocals celebrating nationalism, which are always perfectly suited to their appropriate stations and (thank Satan or Wotan, whatever) there isn't any over amplified attempts at being cold or sinister.

This is great Black Metal reliant on simplistic and militaristic marching drum beats, raw production, two or three riffs per song and of course great lyrics that aren't super sophisticated, but neither were most of their contemporaries. These should never be seen as flaws. This is real music; there is nothing standing between the listener and the clear intentions of the band, as it should be. There are no middlemen/producers shitting out their own interpretation of the music and stinking up the album. No embarrassed label asking for things to be pacified. The timing was right.

I have heard the argument before so here is my answer: "Facta Loquuntur" isn't the inexperience of youth, it is the exuberance of youth. That is what created this marvelous monument of Black Metal history. I don't ever want to be that middleman so that is how I "describe something so great". Leave them at it. But it is a sad truth that Absurd only continues on in name. I feel that a small select group of bands can come very, very close to meeting the standards set by this album, Akitsa comes to mind immediately. But I honestly feel that no one will ever top this. Not here.

Interview 03 - S.T.A.B. Electronics.

2010-10-03T17:15:00.000-07:00

____

S.T.A.B. ELECTRONICS

[Q] I see that STAB started out some time ago, I remember listening to tracks on Myspace a year or two ago and thinking that this had promise. How long have you been practicing under the name S.T.A.B.?

S.T.A.B'S inception started just after the death of Marco Corbelli! Initially I just wanted to do a one of project as a tribute to him as I had much correspondence with him! Before that I had a project called Einheit 731 which was more dark ambient using evps and such! with the positive comments i got i decided to keep the name S.T.A.B and go on from their!

[Q] When you released your first cassette on F&V there was a notable change in sound from your earlier material. How would you now describe your style as compared to your older sounds?

Both cassettes from Filth and Violence: "Born for Righteous Abuse" and "Temple of Self-Disgust".

Indeed change of sound came about due to a learning curve! Not being happy with sound or gear I was using I'm contantly striving for new gear to make a more nasty sound! I'd say now more violent power electronics.

[Q] Your layering is really well done. The vocals and "instruments" on tracks such as "Stupid Public Persona" progress and sweep perfectly together. Did you edit the tapes yourself?

Well I work with building blocks layering one sound on the other and another. As for editing I just sent the master on to Passi as I'd given him 79 minutes of material so he suggested two tapes! Also it needed a dirtier feeling so it got further fucked up by the masterful hands of SHIFT!

[Q] Do you believe that Power Electronics is the best way for you, personally, to express your ideas and opinions?

Oh yes indeed as I said i used to do dark ambient and was never satisfied with the results! P.E Gives me a perfect platform to vent myself on the world!

[Q] Do you think that the aesthetics, and ideas should influence the music or the music should influence the ideas? And how do you go about writing your material?

Hmmm I'd say a bit of both! One can be influenced from all around us so I'd say both! As for my writing sometimes I will hear a specific line in a film or read a book thats sets the seed Sometimes i will write a lyric or sometimes I will get a nice dirty sound from my synths that then sets the ball rolling!

[Q] Do you think that the cassette format is the best way to release your material?

Personally I love the cassette medium so yeah but i wouldn't refuse an offer of vinyl or cd!

[Q] Personally when I first heard the first release you did for F&V I thought "This s like Taint if he did a collaboration with Sutcliffe Jugend". What artists do you take most influence from, past of present?

Thats an interesting comparison;) Artists i admire and continue to do so Early S.P.K has had a great influence on me as did early Whitehouse albums like total sex and new britain are BRUTAL pieces of work! Genocide Organ and Anenzephalia are also a big influence Also Con Dom whom i was lucky to support a couple of years ago! There are lots others Death squad, Grunt, Of course Bizzare Uproar also SHIFT Sutcliffe jugend and american acts Like Taint and Slogun NTT The vomit arsonist I like a LOT and theres artists Like Anti cHILd league(Gaya is nasty live) Also Iron fist of the sun is great I could go on!

[Q] What books, if any, are you currently reading and has any literature had an impact on the STAB aesthetic?

I'm currently re reading the 120 days of sodom which has a BIG impact on me. Yeah the sexuality is funny but the total anti Religious sentiment in that book is great! I also read a lot on mental illness and war crimes you know nice romantic literature LOL!

[Q] Future planes for STAB?

I'm currently recording my next one "baptised in Brown water" just completed a track called bug chaser! The next S.T.A.B stuff will even be filthier and nastier!

[Q] Thank you for doing this interview, I really appreciate it. If there is anything you would like to say than this spot is all yours.

You are very welcome thanks for giving me the opportunity! A big Shout out to Passi for the opportunity And Martin for further mixing!

Interview 02 - Lyrthas

2010-10-01T18:14:00.000-07:00

"Lyrthas is Lane Milburn’s fault."

[Q]What is Lyrthas?

Lyrthas is a music project I began in 2002, when I was 15 or 16, in high school. I had started listening to underground metal two or three years earlier on a college radio show in Lexington, KY called "Hemorrhaging Abscess" which would play at midnight on Fridays I think (still plays?). Before Lyrthas I was in a couple of other non-bands with other Lexington losers. A friend helped me record one Lyrthas demo tape, "In Shadows Imbued", which was released via Diabolus of Vrolok's Demonic Possession label. The demo is pretty run-of-the-mill I think but maybe it has its moments... In 2008 I put out "Drink the Blood" which has more of a Heavy/Thrash sound.

[Q] What are your other creative outlets?

I am primarily a painter and cartoonist. Around the time I released "In Shadows Imbued" I was doing pen-and-ink drawings for a few bands and publications around the world: Vrolok, Front Beast of Deathstrike Records in Germany, Hellish Massacre, a zine created by Erik of Watain. I play guitar when I take breaks from drawing: that pretty well sums up my musical activity. From 2005-2009 I played in the Baltimore rock band Witch Hat. We went on two brief tours through New England and the Midwest.

Lyrthas - Drink the Blood (cassette)

[Q] What are you doing to confront the endless waves of mediocrity in music?

I will not play Stoner Bike Crust Sludge-Grind or Eco-Feminist Fret-tapped Videogame Covers. I have no interest in "metal" as a set of ideals, as a lifestyle or a 'fashion statement'. I only care about riffs that penetrate.

[Q] Any forthcoming Lyrthas works?

Obsess demo tape now available. Other things coming soon. http://www.myspace.com/lyrthas

More of Lane’s work can be found here:
http://closedcaptioncomics.blogspot.com

Interview 01 - KOUFAR

2010-09-16T21:01:00.000-07:00

Interview 01: "KOUFAR"

_____

[Q] What first attracted you to Noise and Power Electronics?

"What first got me interested in noise would have to be Vomir's "No Entertainment" CDr and The Rita's "Thousands of Dead Gods". I found them both to be completely devestating. I had never heard anything so intense and merciless, so I couldn't helped but be hooked. As for Power Electronics I give my credit to Brethren and Bastard Noise for turning me on to the genre."

[Q]What ideas are you attempting to convey with each Koufar release?

"The ideas that I'm trying to piece together is simple. Bring Lebanon to its former days and to have my people running the country again (fully), with no outside influences. Lastly to destroy the Islamic infestation that has aided in crumbling the country."

[Q]What is a "Maronite" and what is their general belief system?

"The Maronite belief system is based in Catholicism. Technically my people are the last group who have the closest ties to Jesus Christ within the area. My people have thrived in a sea of crescents."

[Q]What was the reason for releasing material under the Insurgent moniker instead of releasing it as Koufar?

"Insurgent is more of an anti-thesis to Bachir Gemayel. The exact opposite values, ideologies, and sound."

"Sacrificial Lamb" - Koufar live in Minneapolis.

[Q]Your new CD is titled "The Purity of the Cedars". Are the Cedars a group of people or are you specifically talking about the Cedar Tree which is also the symbol found on the Lebanese flag?

"It is about the Cedar tree's. There was a militia group (now a "politcal party") known as the Guardians of the Cedars, but this album is not about them in particular."

[Q]Have you had any trouble, especially in the United States, with booking shows or releasing material due to your aesthetics, opinion, art, etc even if certain people don't understand what the content is about? 

"Well there was an issue with Small Doses. Not that Joe was being wrong, but he was just fearful that he would come under speculations selling "Haiawan" with the original artwork. Also while putting together the tour we did on the east coast in May, we got denied a show due to me having a political agenda. No hard feelings to anyone really. At the end of the day I know I'm probably the only person who gives a shit, so fuck it. I have to deal with the consequences."

[Q]How does your family and friends feel about your music??

"My friends support me completely. No problems there. However my family doesn't understand it or I keep it from them. My father though has taken some interest in Koufar as he can actually understand the background and basis of it."

[Q]How often do you play live shows and what can someone expect from a Koufar performance?

"I play live fairly often and when I can, not so much with Koufar as its going to go into hibernation. As for a Koufar performance you can expect me to deliver one of the most "honest" ( Calling R.S. Sezure....) performances you will see. This is all I'll ever fucking have."

[Q]How would you explain your music to someone who has never heard it, nor the genre, before?

"Well, if its Koufar I say: "Its me making awful noises and me screaming about shit that only I care about."
If its Disgust I say: "Its me making awful noises and me screaming about how upset I am."
If its Bachir I say: "You ever go to a tv channel that's all static, well thats it x10."
If its Insurgent I say : "You ever listen to bacon sizzle on the grill? Pretty much."

[Q]Tell me about Disgust. Is it a one-time collaboration," Time Ruins Everything" or are there any future plans? ow did Disgust come into being and are you happy with what it produced?

"Disgust is not a one time collaboration. It is currently my main project. There are many future happenings such as a 7" on Narcolepsia, a full length CS on Danvers State, and  two 4 way splits on Phage, plus more. Disgust came into play when I wanted to express my anger and frustration in a more open way. Also I wanted to incorporate powerviolence themes as well too. I am very happy with what Disgust has done so far, and am excited about the future."

[Q]Is there a message conveyed by Disgust? If so what type of subject matter and conent does Disgust deal with?

"There is no message conveyed but disgust. It's pure contempt on all levels dealing with all situations that may anger someone."

[Q]Who are some artists that had the most influence on you, and if it was possible to do a collaboration with any artist whether active or not who would you want that to be?

"-Vomir
-The Rita
-Brethren
-Man is the Bastard
-Bastard Noise
-Richard Ramirez (and many of his projects)
-SKM-ETR

Currently I have had the honor with working with Richard Ramierz, and am in the works with doing a Bachir Gemayel/Vomir collaboration. I would love to do anything with Eric Wood and thee skull. I've always wanted to work with Brethren and do a split but something tells me he would not be very keen on doing so.....HA!"

[Q]Thanks for answering the questions. This last spot is for you to say whatever you want:

"Thank you Ryan for the questions. I greatly appreciate it.

Be on the look out for the Disgust Canadian tour in 2010! REAL TALK.

W.K.F.E.W. Records coming soon."