DECAYCAST Interviews : SIGNOR BENEDICK THE MOOR

DECAYCAST Interviews : SIGNOR BENEDICK THE MOOR

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Sb The Moor /// Photo:  @parra.productions

The discography of California based imprint Deathbomb Arc spans across rap, noise, experimental, noise rock, abstract electronic music and more boasting releases from experimental rap group Clipping, and rap/noise crossover Death Grips to the dense lush  pop soundscapes  of Fielded, to the noisy chaotic percussive assault of  Foot Village, but none of these releases seem to masterfully weave so many seemingly disconnected genres into such a dense, queer, volatile, explosion of hybrid-styles future music than one of the the labels newest release, “Spirit Realm.Final” from non binary CA based rapper SB THE MOOR. On “Spirit Realm.Final”, SB takes the extremes from “Pillows” and “MNFST​.​dstnii” and a swarth of self released cassettes and mix tapes and pushes them even farther into the psychedelic netherworld that is their mind. This record truly defies categorization, it’s at once both haunting, beautiful, chaotic, poised, explosive and contained, seamlessly bridging hip hop, post rock, noise, industrial, and avant garde. These terms seem to contradict each other but upon opening your ears to “Spirit Realm.Final” and the work of SB THE MOOR, you’ll find beauty, chaos, anger, confusion, and even peace in the complicated dichotomies of our very existence. Moor has been on an unrelenting tear of touring, recording and collaborations and we needed to know more! We chatted with SB about their newest record, released on Deathbomb Arc, what it means to be a queer working artist, collaboration, touring and how this impacts the creative process. You can order their new record from the label  HERE.

Dr. Decaycast: Thanks for talking with Decaycast! Can you talk a little bit about your project SB The MOOR? Do you consider it more of a band, solo project, or concept?

SB The Moor: hmm I guess when I started, Signor Benedick the Moor was just another name/alias. I think I already finished an album (which ended up being El Negro) and that was just another weird name I picked to call myself. I didn’t expect it to take off. Now, it’s a bit of a mix of all three. SB is sort of a persona, or alter ego with which to experiment and make art with.

DD: You have a new record out on Deathbomb Arc, correct, titled “Spirit Realm.Final”? Is this record a linear continuation of your sound from the previous Deathbomb releases, and if not how has your sound changed?

SB The Moor: This new record…. well I never really know what’s going to happen when I go into album making mode. Even after I’m finished it usually takes a couple weeks of downtime before i really understand what it is. In a way this new record, titled “spirit realm.final” is a continuation of “Toybox”, “cybr.pnk”, and “MNFST.dstniii“. Those records were like…me figuring out how to make spirit realm.final. Sonically, texturally….and figuring out my music making process….as well as how to mix to my liking…those last three records trained me in all of those aspects. Thematically this record reminds me a lot of El Negro, too. It’s almost like a spiritual successor in my mind, because the album was born from a very dark place. This time though I’m experienced enough to identify the darkness and use it purposefully, instead of being used by it. Tbh,  El Negro attracted a lot of attention from people I really didn’t want to be associated with haha.

“Representation is everything! Even on this tour ….. non binary kids have been tellin’ me how much it means to them. ….. But, y’know, seeing artists like Mykki Blanco just tear shit up was crucial for me.”

DD: You’re currently on tour, correct? How does touring affect the writing and recording process? Do you record and write ideas on the road or are the two unique and individualized parts of your process?

SB The Moor: Being on tour and being “in the studio” are really yin and yang to me… I find out what works live, what my vocal and performing abilities are. This really fuels what I decide to do when making a record. Then, having leveled up on stage, I make something with new ideas and abilities in mind. I’m not usually thinking of one while I’m doing the other, so connecting the two is usually a learning process in itself, and another way to level up. I do think broadly about recording when im on tour, like what themes I want to explore and what sounds/textures/genres I might use, but I usually only write when I’m actually making a record, working on a collaboration, or of course, working on a commission.

DD: What is the most misunderstood aspect about your work as SB, or rather of nothing comes to mind what would be one thing you would like to share with your supporters that they perhaps don’t know at this time

SB The Moor: I think I felt wildly misunderstood around 2014-2016. 4chan is apparently a big reason for my success early on and I hate 4chan lol. A lot of sweaty racist white boys, proud to tell me about their obscure music tastes, simultaneously putting me down and looking for me to give them a proverbial cookie. Maybe most artists just ignore them but I felt hurt that by these dorks, I’m sensitive damn it! And I also thought about what that meant about me, what part of myself is being reflected here? When I released Toybox, which was pretty much a pop punk record, a lot of people were actually angry! And I’m like wow I’m way too un-famous and broke for these clowns to be getting under my skin…and where were they when I needed support??? Lol. So now….idk speaking plainly where I need to is a bigger part of my music haha.

DD: Might you talk about the zines and other visual art you’ve been making, are these a direct extension of the ideas and concepts your exploring with SB, or do they exist on their own as well, both physically and conceptually?

SB The Moor: Even before music, I wanted to draw comics and make cartoons. So making the zines is more like a childhood fantasy come true haha. The first one I made was with my partner, Marcosa (@multosa on Instagram) who paints beautiful colorful landscapes and puts poetry on top. I thought putting my cartoony, punk-esque drawings in the same magazine would be a cool contrast, so we did a zine!  Then I realized I could take what I learned and make my own little comics, which I peddle on my patreon. Both of the mini comics are extensions of the record. One is titled “Sexuality in the Digital Age” and the other “What are Feelings For?” which are themes directly lifted from spirit realm.final. I don’t really know where I’m going with comics but a lot of my favorite musicians also work in comics so I figured I shouldn’t let anything stop me haha.

DD: I think the 4chan thing you brought up leads into something else I wanted to talk about. Has your experience as a Black, queer artist affected how you’re treated within experimental music circles? Also, I have heard people talk about on how your work as an expansive and eclectic, radical mixed-genre, queer rapper  has helped give them a voice as a queer or non binary artist themselves. How important is visibility to you as an artist living and working within a world largely controlled by racist, sexist and transphobic systems of oppression?

SB The Moor:  Representation is everything! Even on this tour (Legendary tour with milo, we just played our first date in Denver last night) non binary kids have been tellin’ me how much it means to them. And tbh the first time someone mentioned it I was surprised! But, y’know, seeing artists like Mykki Blanco just tear shit up was crucial for me. And I can understand how I might be something similar to others, especially as I grow more and more into myself. Idk what 4chan thought I was about, I never asked…lol. But the minute I got gayer and poppier, despite becoming arguably MORE experimental and confirmably more skilled at music making in general, I think a lot of 4channers realized I was not for them haha. The contrast between people showing up for my shows back then to now is great, and I look forward to my crowds getting gayer and browner as I grow. Haha

DD: Do you see the politics of representation changing for the better or for the worse within music communities for queer people of color, disabled people and marginalized communities in general?

SB The Moor:  Tbh I….idk if I’m qualified to answer in an intelligent way lol. I know it seems to be easier for me and others like me, but this game is still a lot about privilege and I wield mine like a sword. I don’t have kids, I have a great support system, I’ve been lucky enough to work on my mental health with professionals…I’m tall and scary looking…haha. But many of my friends do not have these advantages, and even just working a full time job can really drain you when you’re black/brown, trans, and disabled as many of my friends are. How can they tour, or find enough time to finish projects for themselves? And of course, some do anyway, but….idk I’ve drifted from the question haha. I’m not political, or rather, I’m a political skeptic. Like the police, politicians just aren’t our friends. And as more people like us make music that people can’t deny, then yeah certain things get easier.

DD: Can you elaborate on your (apparent) affinity for collaboration ? You also accept commissions on occasion and can you talk a bit about that process and how you started to be so open and prolific with your talents?

SB The Moor:  I love collaboration for a couple reasons…I love to experience newness. It’s a great way to train your brain. I believe if you can look at something new and just accept it, even if u don’t like it, you will never be stuck in your ways. And that leads to learning faster and reaching a certain level of mastery faster. And I accept commissions as often as I can, it was a large part of my smol income last year and it was fun to do, fun to see who is listening and who wants a piece of the pie I’m baking and what kind of weird underground shit is out there. Once I conquered my fears it seemed like the logical step. Honestly I was inspired by Lil Wayne’s prolific output too haha. Saturate the market and have fun widdit. I still have songs poppin up on spotify and bandcamp and I be like, oh damn I made this??? I’ve done like 150 commissions so I really be forgetting lol!

DD: Future plans for SB the Moor ?

SB The Moor:  future plans:

  • keep bein’ dope

  • stay in the dojo

  • upload to the spirit realm

DD:  OK, Finally, any shoutouts, closing statements etc

SB The Moor:  Shout out to milo, the ruby yacht, Randal bravery, Pink Navel asleepin like a angel beside me, my Taurus Moon Sweetie back in Port Orchard, our families, my big little brother and my little little brother, the ancient ones, the future ones, shout out ratskin for the continued and future support, and lastly shout out to myself cus I couldn’t have done it without me.

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DECAYCAST “Deathquestions” AKA An Interview with Anti-Fascist Metal Group NECKBEARD DEATHCAMP

DECAYCAST Interviews: “DEATHQUESTIONS” AKA An Interview with Anti-Fascist Black Metal Group NECKBEARD DEATHCAMP

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Black Metal, as many forms of extreme music has often taken an ambiguous stance when it comes to politics, if not outright fascist stances exemplified through the racist ideologies darkly and morbidly cloaking bands and labels who define (or disguise) themselves within NSBM or National Socialist Black Metal. Do these same types of ideologies exist in other scenes without us even knowing? The answer is an obvious yes, however due to metal’s historically unrelenting use of extreme imagery and themes celebrating death, mutilation, war, lynchings, white supremacy,  terror/terrorism etc, usually in the most fetishistic way possible, many times  devoid of  any inherent critique  for said content, it beginss the question, is there more overt racism in extreme metal than other genres? Probably not, however it often seems this way due to the outspoken and upfront nature of the rise of “edgelords” in extreme music (see: white supremacists) . In an age where the “leader of the free world” aka some grease encrusted orange, sniveling worm, criminal  uses racist policies and language, othering and institutionalized racist and sexist tactics to “drive the nation” and “Make America Great Again” and magnify hate, racism, and xenophobia around the globe, many extreme music fans are often left wondering where the artists and musicians they support stand politically within a constantly emboldened right and a flaccid left, well extreme black metal band NECKBEARD DEATHCAMP doesn’t sit on the fence. In fact they burn the fence down and stuff it’s simmering embers down the throat of racism, transphobia and many forms of oppression and hatred within the metal scene with their debut album, “White nationalism Is For Basement Dwelling Losers” that took the internet by storm  They were kind enough to grace us with an interview to deep dive into the ethos of ND. Also buy their record here and go see them at the esteemed Maryland Death Fest  this year whose need for an antifascist presence has been long overdue!

 

Dr. Decaycast: Thank you for uniting with DECAYCAST to talk about how racists are trash humans, wait maybe I jumped the gun, .Can you describe the philosophy and ethos of NECKBEARD DEATHCAMP for those who might not be aware

KH:  NECKBEARD DEATHCAMP IS A MILITANT REPLY TO THE FASCIST SEIGE OV HEAVY METAL ENABLED BY CURRENT POLITICAL TIMES. WE ARE AN ANARCHIST WAR BRIGADE ASSIGNED TO THE MANUAL EXTERMINATION OV THE RACIST BEDROOM KEYBOARD WARRIORS AND OUR DIRECTION IS SINGULAR AND UNSTOPPABLE. OUR PHILOSOPHY IS ONE OV ABSOLUTE HATRED AND CRUELTY FOR THEIR DISGUSTING WAY OV LIFE AND OUR OATH IS TO ABSOLUTE INTOLERANCE OV THEIR CHILDLIKE ANSWERS TO THE HARD QUESTIONS. THANK YOU FOR HAVING US. HAIL BLACK METAL. HAIL VICTORY.

HK: OUR GOAL IS THE COMPLETE ERADICATION OV  NATIONAL SOCIALISM

DD: Why is it important or isn’t it important for bands to be political?

KH: AS A BAND YOU’RE ALLOWED TO MAKE MUSIC ABOUT WHATEVER YOU WANT. I’M NOT IN THE BUSINESS OF TELLING ANYONE HOW TO MAKE THEIR OWN ART. BUT I THINK MUCH OV THE CONVERSATION WE HAVE IN BLACK METAL IS ABOUT HOW ASSHOLES TRY TO ESCAPE THEIR OWN AGENCY IN THE ART THAT THEY MAKE WHENEVER CONVIENIENT.

AND THAT IS SOME SHIT BY WHICH WE SHALL NOT ABIDE. DOUBLY SO IF YOU WANT TO PRETEND YOUR BAND ST8RMKR8EG SS IS AN “APOLITICAL” BLACK METAL PROJECT. YOU FUCKING DORKS.

CONVERSELY I THINK THE WARRIORS OV THE WORLD MAKING PROTEST MUSIC. AND ESPECIALLY HEAVY PROTEST MUSIC IN TIMES LIKE THESE ARE HUGELY IMPORTANT. AND THEIR VOICES SHOULD BE HELD HIGH AND HEARD LOUD.

YOU HAVE A LOT OV AGENCY IN YOUR ART. AND WHAT YOU MAKE WILL NEVER ESCAPE WHO YOU ARE. NO MATTER HOW HARD YOU TRY. SO TRY TOMORROW TO BE LESS OV A DICKWEED THAN YOU WERE TODAY IF YOU’D LIKE TO SHARE THE COMPANY OV ANYONE OTHER THAN MISERABLE UNAPOLOGETIC DICKWEEDS.

HK: I DON’T THINK IT IS NECESSARILY IMPORTANT FOR BANDS TO BE POLITICAL; THIS IS BECAUSE MUSIC IS AN ART FORM, AND SOME OF THE EMOTIONS EXPRESSED THROUGH MUSIC ARE APOLITICAL. WITH THAT SAID, IF A BAND HAS ANY STRONG POLITICAL LEANING OR BELIEF, BY ALL MEANS EMBRACE IT. SOMETHING I HAVE DONE PERSONALLY, IS TO HAVE SOME OF MY MUSICAL PROJECTS TAKE A POLITICAL STANCE, WHILE OTHERS REMAIN APOLITICAL. THIS PREVENTS THE MUSICAL DIRECTION FROM GETTING CLOUDED WITH TOO MUCH CONTENT, WHILE STILL GIVING AN OUTLET FOR POLITICAL VIEWS.

DD:Do you think the black metal scene harbors a disproportionate amount of fascists, racists, and homophobes/transphobes and just ignorance in general, as compared to other genres, or are these notorious NSBM bands just more becoming with their beliefs,  because of artists like Varg, GAAHL, and others alike perpetuating these beliefs through their music and writings?

KH: 
NO. I THINK BY VOLUME MOST RACISTS (AND CERTAINLY MOST RAPISTS) LISTEN TO DANCE MUSIC AND DO THAT THING WHERE THEY WEAR BOAT SHOES AND CHUBBIES SHORTS IN GROUP PHOTOS. HOWEVER HEAVY METAL HAS ALWAYS ATTRACTED THE EDGIEST PERSONALITIES. AND WHERE THOSE GUYS WILL SAY SHIT LIKE “I’M JUST FISCALLY CONSERVATIVE” AS CODE FOR “I DON’T REALLY CARE HOW SYSTEMIC RACISM HAS EFFECTED THE BLACK COMMUNITY”. OUR ASSHOLES JUST PUT A FUCKING SWASTIKA ON THE ALBUM COVER AND WILL CALL YOU SLURS OPENLY. IT MAKES THEM EASIER TO POINT OUT AND TALK ABOUT. LOUIS CACHET CERTAINLY PLAYS A HUGE HAND IN THIS PHILOSOPHY OV MOST OV THE DUMMIES HERE IN HEAVY METAL, BUT MOST OV THEM ARRIVED STUPID AND EDGY WITHOUT HIS HELP.

HK: INARGUABLY, YES. JUST SURF THROUGH SOME BM BANDS ON METAL ARCHIVES AND THAT WILL TELL YOU EVERYTHING YOU NEED TO KNOW.

DD: Who would be three bands or humans you could eradicate from the music scene altogether,  and why and never bat a lash?

KH:  FAMINE OV PESTE NOIRE HAS TO GO. AS PER OUR CONTRACT WITH PROSTHETIC WE ARE REQUIRED TO PRODUCE THREE RECORDS OVER THE COURSE OV THREE YEARS. FAMINE IS ACTUALLY SO EFFECTIVE AT MAKING A MOCKERY OV BLACK METAL HE MAY ACTUALLY BURN THE GENRE DOWN BEFORE THAT TIME. THAT GUY CAN SUCK MY ARISTO-ASSE.

NYOGOTHABLITS. THOUGH OUR FRIENDS STILL SEND EACH OTHER HUGE WALLS OV TEXT ABOUT SILLY THINGS TITLED “TRANSMISSION 616: DECLASSIFIED” ONLY IT’S ABOUT WHOEVER ATE THE LAST TOASTER STRUDEL, OR WHOSE CAR HAS ALL OV US BLOCKED IN THE DRIVEWAY. I’M MAD THAT THOSE GUYS EXPECTED US TO READ THAT MOUNTAIN OV SHIT BRANDED AS A PUBLIC STATEMENT AFTER THE HELLVETRON SHOW GOT SHUT DOWN.  THERE ARE PLENTY OV OTHER DUMMIES IN FASCIST BLACK METAL DOING MORE HEINOUS SHIT THAN THESE GUYS BUT ALL THOSE DUDES DON’T USE THE PHRASE “APOLITICAL NEO-FASCISM” UNIRONICALLY.

I’D ALSO SEND DER STURMER HOME. I DON’T HAVE A PUNCH LINE FOR THESE GUYS, THEY’RE JUST BAD AND I FIND THE DISCUSSION SURROUNDING THEM REALLY BORING. SOME OV THE OTHER NAZI TURDS ARE AT LEAST MARGINALLY SELF AWARE OR INTERESTING TO SHIT ON. BUT LIKE PEOPLE CAN TALK SHIT ABOUT US ALL DAY FOR HAVING NO RIFFS YET UNIRONICALLY GAS THESE GUYS. WHO ARE LIKE UNFLAVORED OATMEAL SERVED WITH A MAYONNAISE SANDWICH ON WHITE BREAD WITH A NICE GLASS OV WATER.

HK: ANTICHRIST KRAMER, LAURI PENTTILA, DER STURMER

DD:  In a time where many systems like white supremacy and the justice system have rendered political neutrality in ones daily life dangerous and impossible, do you think/hope by taking such a strong stance against white supremacy, you hope to nudge younger bands and artists to create passionate anti- fascist music and art? 

KH:  FUCK YEAH. IT’S ALREADY BEGUN. THE AMOUNT OV PROJECTS CROPPING UP WHO ARE ALREADY PLAYING BETTER THAN US, TELLING THE PUNCH LINE BETTER THAN US, AND THROWING HEAVIER PUNCHES THAN US IS GREAT. MORE PEOPLE SHOULD DO IT. WHEN THE FIRES OV FASCISM ARE DISTANT AND EXTINGUISHED. WE CAN MAKE ART AND MUSIC AND JOKES ABOUT THE NEXT ISSUE. WE’RE FAR FROM THE FIRST. AND WE WON’T BE THE LAST. MORE.

FOR WHAT IT’S WORTH. MY ACTUAL POLITICAL INTEREST AND BEST TALKING POINTS ARE ON HOW MONSANTO AND OTHER MAJOR FOOD CONGLOMERATES HAVE BECOME A CORPORATE OLIGARCHY AND PAVED THE WAY FOR THE PURCHASE OV OUR HUMAN RIGHTS BY LOBBYING FIRMS.

BUT THAT WAS BEFORE A TIME IN WHICH AN ADULT MAN IN AN ILL FITTING MY LITTLE PONY T-SHIRT FELT COMFORTABLE SCREAMING DIRECTLY INTO MY FACE ABOUT MY SOY INTAKE. SO HERE WE ARE.

HK: ABSOLUTELY YES. I HOPE TO CONVERT AS MANY PEOPLE TO ANTIFASCISM AS POSSIBLE. MANY PEOPLE, INCLUDING A YOUNGER ME, WERE SCARED OF ANTIFA MAINLY BECAUSE OF THE WAY IT’S PORTRAYED IN THE MEDIA, WITHOUT ACTUALLY KNOWING ANYTHING ABOUT LEFTIST PHILOSOPHY. I HOPE THAT THE MUSIC WE MAKE WILL HELP PEOPLE SEE THE ERROR IN THEIR WAYS, AND EDUCATE THEMSELVES ON LEFTIST PHILOSOPHY. ONCE YOU ACTUALLY LEARN WHAT IT MEANS AND WHAT IT’S ABOUT, YOU’LL FIND IT’S NOT SCARY AT ALL.

DD:  Who would you rather see drawn and quartered, David Duke or Richard Spencer?

KH: YES.

HK: YES.

DD:  Can you talk a bit about the process of forming this project? Have you all played in bands with each other before, was it a long time coming or a reaction to specific event or point in time?

KH:  IT WAS A REACTION TO AN ONLINE ALTERCATION BETWEEN ME AND AN UNNAMED LOSER WHO RUNS A NAZI LABEL OUT OV HIS MOMS BASEMENT. I POSTED THE BAND NAME AND ALBUM IDEA AS A JOKE TO FACEBOOK. THE NOW RETIRED SUPERKOMMANDO UBERWEINERSCHNITZEL, WHO I HAD BEEN TALKING TO ABOUT OUR MUTUAL DISTASTE FOR NAZI BLACK METAL IMMEDIATELY WANTED IN. HE RECRUITED HAILS KOMRADEZ WHO HE HAD BEEN WORKING WITH ON OTHER PROJECTS AND WE FORGED THE ALBUM.

WE SAY THIS OFTEN BUT THE FIRST ALBUM WAS INTENDED TO BE A ONE OFF. HAILS AND I DECIDED TO SET DOWN THE OTHER STUFF WE WERE WORKING ON TO PURSUE THIS FULL TIME AFTER PROSTHETIC EXTENDED THEIR HAND TO US.

HK: BASICALLY THE OLD GUITAR PLAYER ASKED ME IF I WANTED TO PLAY DRUMS ON AN ANTI-NSBM ALBUM AND AFTER HE SHOWED ME THE SONG TITLES I COULDN’T SAY NO. I WAS IN SEVERAL BANDS WITH HIM PRIOR TO NECKBEARD, BUT NONE WITH KRIEGMASTER.

DD: You just signed with Prosthetic Records, Will you be recording an LP for them, and any plans to tour Europe or The States?  There’s A LOT Of fascist scum to melt if you so choose to come to this trash pile of a country.

KH: YES. THE LP IS ACTUALLY ALREADY FINISHED. ON TOP OV THAT THERE ARE NINE SPLITS COMING OUT NEXT YEAR WITH SOME CO-CONSPIRATORS I’M PRETTY EXCITED ABOUT. WE’LL TAKE WHATEVER COMES OUR WAY. OUR PLAN IS TO REMAIN GROUNDED AND ENJOY THE GOOD GRACES OV THOSE WHO LIKE HANGING OUT WITH US.

I FIGURE IT’S WORTH MENTIONING THAT WE’RE ACTUALLY FROM THE US. WE HAVE A FULL US TOUR PLANNED THIS COMING SUMMER. BRING YOUR SKI MASK.

HK: THE LP IS ALREADY DONE, SHOULD BE OUT SOMETIME IN THE FIRST HALF OF THIS YEAR. WE’RE PLANNING AN EXTENSIVE US/CANADA TOUR RIGHT NOW, MAYBE WE’LL HIT EUROPE NEXT YEAR.

DD:  Any other upcoming releases, tours, or other vital information that should be known about NECKBEARD DEATHCAMP?

HK: I JUST WANT TO SAY, DON’T BE SCARED TO READ THE COMMUNIST MANIFESTO JUST BECAUSE IT HAS “COMMUNIST” IN THE NAME AND YOUR SEVENTH GRADE HISTORY TEACHER TOLD YOU COMMUNISM WAS BAD. CHANCES ARE THEY DIDN’T READ IT EITHER.

KH: NEVER LET SOMEONE PISS ON YOU AND TELL YOU IT’S RAINING. TAKE NO SHIT SUPERS OLDIERS. BLACK METAL FOREVER.

DECAYCAST Interviews: ROSTOV’S HATCHET: AN INTERVIEW WITH JAY PAUL WATSON of Dental Work / Placenta Recordings

ROSTOV’S HATCHET : AN INTERVIEW WITH JAY PAUL WATSON of Dental Work / Placenta Recordings.

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I’ve been following the work of Michigan based surrealist artist, label head, musician, and all around intellectually deep and philosophically and visually  rewarding stalwart of the noise scene Jay Watson for over ten years. I first met him in the flesh after trading tapes online at a show i put on at our old house in Oakland, The Razorwire Compound, and we instantly became great friends and collaborators. It’s been great to see Jay’s projects evolve over the years including his main recording project, Dental Work expand into a three piece entourage and his label, Placenta Recordings slowly inch it’s way toward its  500th release. After many years, we finally pinned him down for a short penning of the strategies and philosophies of his past and current practice, enjoy!

Dr. Decaycast: Please introduce yourself, and introduce your various projects?

Jay Watson: Hola! Thanks for having me. My name is Jay Watson, I am the leader of an international collective/record label called Placenta Recordings. I also participate in a number of musical/non-musical endeavors but my main squeeze is my project Dental Work.

Can you talk  first a little bit about Placenta Recordigs? When and why you started the label, and how has it changed over time?

Sure! The concept of Placenta Recordings came to my head in 2005. I was making really weird music, and I was looking for a way to release it. I was 18 years old and I saw an actual placenta for the first time when a litter of kittens was born at my apartment. Disgusted and intrigued, I asked my roommates what it was. The told me about it, and that we all had one, it’s vital to life, helping us with nutrients. Apparently some have even grown hair and teeth! I knew then that this would be a fitting name for my new label. The first actual releases were in 2006 and 2007, when I switched from one project “Jehova Wrinkle” to “Dental Work”. I really didn’t even know what Noise was, I was listening to stuff like Agoraphobic Nosebleed, discovered Merzbow, and wanted to make something a bit heavier, and that’s when Dental Work was born. The first releases I put out were on handmade and distributed CD-R, probably around 50 copies of each of the first EP releases. I never intended on releasing other people’s music, but that quickly changed. What started as a bedroom “noise” label has evolved into an entire international family of artists, over 700 projects deep.

We surpassed our own expectations to the point that we actually released our heroes and idols including Agoraphobic Nosebleed AND Merzbow. Now we are releasing everything from Detroit Rap artists like Menacide, Esham The Unholy and Team Eastside to Doom Metal legends like Black Mayonnaise, Canadian Gorenoise, Norwegian Black Metal, the list goes on. If you would have told 18 year old me this, I would say “ha, right”…Now our aim is mainly to document and archive extreme pockets of diverse music from all over the world, in a variety of formats. We also organize and host shows, run a distribution for underground artists, do printing and manufacturing work, release films, have a dedicated team of alternative models who represent us, graphic design, charity work, you name it.

How has Placenta Recordings became so diverse in the genres represented, it seemed to start as mostly a noise label, but now you’re releasing  everything from hip hop to gorenoise to black metal, can you talk a bit about how that progression took place?

I have always been into all kinds of music. I started collecting tapes at 5 years old, I would save up quarters I earned for stacking firewood and buy cassettes from the liquor store down the street. My first tape ever was something called “Rap The Beat”…My 2nd was some Metal mix that I can’t recall. This was around 1991. My obsession continued to grow, I started buying CDs and digging through my relatives vinyl collections, picking up whatever I could get my hands on. My Dad was into psychedelic music and Jazz, my Grandma was into classical, so I absorbed plenty of that, and continued to soak up as much music as possible, which definitely reflects. Magazines and the internet definitely helped later on.

With the label I realized that there weren’t too many labels releasing more than just one kind of music. I wanted to share diversity with people in such a narrow minded world. Just because you listen to 80’s Hardcore doesn’t mean you can’t enjoy Rap, Techno, Noise, or whatever you find to get into! Pretty much as long as your music isn’t racist, it deserves to be hear somewhere by someone!

Interesting, yeah it boggles  my mind how many labels stick to a very formulaic presentation through the  artists and genres they work with. Was this a conscious decision or did it happen more naturally?

I would say it started to begin naturally, and over time I really started to zero in on this being a certain code to live by!

You also have a very longstaning recording project, Dental Work, can you talk a  little bit about this, it’s philosophy, and how it has evolved over time?

For sure! I got bored with the confinement of my previous project Jehova Wrinkle, which was a quirky Industrial/Trip Hop mutant offspring thing, and wanted to create something with less rules, and something to reflect some of my own internal struggles. I have always loved aggressive music since I discovered it, Death Metal, Horrorcore, Grind, Hardcore, and stuff so I definitely draw inspiration from all of that, Horror movies, etc. – anyway I’m rambling on. I was heavily influenced specifically by Agoraphobic Nosebleed’s “PCP Torpedo” which came with this remix disc that blew my fucking mind. Still does. So yeah I wanted to push the limits making really fast, untraditional, loud, almost Punk but not…You feel me? That’s when I cranked out the first DW release, “Mike Vick Raped By Pit bulls” EP, self released on CD-R via Placenta Recordings, which was my version of a revenge fantasy scenario against Micheal Vick, who was a football player who was involved in dog fighting rings. I am firmly against all forms of animal abuse and cruelty. So yeah it was a total platform to get out all of my aggression, weird, uncomfortable thoughts, anything.

Over time i developed multiple split personalities within the project, becoming some sort of bizarre anti-hero out for all of the underdogs…I ended up adding 2 full time members after a variety of live collaborations and ghost members, and since around 2014 we have been performing and releasing albums as a trio, merging Noise, discomfort, BDSM, Comedy, and a trash attitude with plenty of sarcasm, inside jokes, political unrest, anti-society ethics, and general distaste. We like to leave our fans, family, friends, and haters wondering “what the fuck just happened?” LolZ

Is Dental Work more of a live based performance project or are the recordings more important, less important, or incomparable?

It started with recordings. The first DW EP was released in 2007, I believe there were about 6-7 more releases before the first live set in 2008. Both have been evolution. When I first started doing live shows I was wearing normal clothes during the sets. After a few years performing in the Midwest and8fee5225-22ee-4918-82ec-21de4f73ab00 east coast, I did my first west coast tour and saw what people in California were doing, so I took all of that in, and decided to craft my own aesthetic, which I have been building upon, manipulating, morphing, and upsetting people with since. Now I even have other people joining me and ordering raincoats from China to collaborate with us…It’s crazy. So yeah I think that you really need both the albums and to catch a few performances to complete the puzzle, to understand some of the humor, inside jokes, sarcasm, and love that is put into it all.

Would you ever allow a Dental Work performance to happen without you for any reason?

Actually, yes. It’s already happened twice. Once around 2012, when I couldn’t make it to one of my shows in Chicago I had my friend Billy Sides perform as Dental Work, he wore a hoodie and bandana and only a few people noticed. The other time was literally last week, I couldn’t make it to one of my shows, ironically because I just had oral surgery…So I asked if Justin and Sean could pull it off without me. They did, and it was fine. The project will die with me though.

Talk to me about the connection between your art and food, because between track titles, cover art, and photographs that my pop up online, it seems to permeate your artistic practice. What role does food play in your practice, and if none talk about some of your favorite foods.

Food is crucial. Food is life. Food is death, and death is important. I love food. I grew up eating food. I’m not vegetarian, but I respect every creature that feeds me. Man has been eating meat since the dawn of time. I am totally against unfair treatment of animals in any way, like fuck Tyson. You would definitely catch me at a Halal butcher shop though. I started working at 14 in restaurants. I did prep cook and line cook for years. I’ve always been into writing my own recipes, and the last 10 or so years I’ve been working on a cookbook of all original recipes with my own photography included. It won’t be available another 5 years I would imagine, but I will be publishing it. I’ve also always had a dream of running my own food truck. I come from a diverse background, I am part Lebanese and learned a ton of middle eastern recipes and skills from my Dad and Aunt…I worked in Mexican restaurants so I have a huge background there, and I grew up in Michigan so I have a ton of BBQ knowledge and a growing obsession for Canadian favorites like Poutine. My favorite foods besides what I just mentioned would be Pizza, Chorizo, Tacos, Shawarma, Indian food (hotter the better), Pakistani cuisine…Coney Island (Detroit or Flint), Gyros, Korean, Japanese, Chinese, even recently got turned onto Portuguese. Fucking A I love food, dude.

Can you talk about any up and coming acts that are inspiring, or new music or art that you’ve heard or seen which has made an impact on you as an artist?

I’m inspired in some way by everything I come in contact with…I am always peeping what cats in Oakland are up to, some great stuff seems to be coming out of Toronto lately, definitely digging a lot of Gorenoise, basically Goregrind but even more liquified…lots of wild mutations always seeping out of Japan, but I can’t name any specific acts.

As far as shout outs, totally. I have so many people I want to thank, but I’m gonna keep it pretty simple for the interview. Definitely number one to my parents, my cats, my girl, the entire Placenta Recordings Family, Ratskin Records, Grindcore Karaoke, Jay Randall, Agoraphobic Nosebleed, Patrick Doyle, Trashfuck Records, Morgan Feger, Will Olter, Justin Lee Smith, Sean Barry, Krysti Mathz, Doc Colony, Nice, Clee, Billy Sides, James Lee Jones, Dan Bale, Menacide, Bad Mind, Esham, Jon Pilbeam, Nerfbau, Styrofoam Sanchez, Coral Remains, Tommy “2 Blades” Kittendorf, Bobby Waters, Hex, Project Born, Bonus Beast, Ben Durham, Craniophagus Parasiticus Records, Lexie, Luke, Nirma, Todd, Caleb, Aaron, Vincent Trotto, Watabou, Cock ESP, Evan Glicker, McCarthy’s Pub, Lob, NorCal Noisefest, Caroliner, Denver Noise Fest, WZRD FM, and R.I.P. Heidi Johnson. Dental Work is forever dedicated to YOU, and everyone who ever gave us a chance…R.I.P. Jsun, R.I.P. Uncle Charlie, love and miss y’all.

 

DECAYCAST Interviews: Oceans of Blue, Forests of G R E E N : AN INTERVIEW WITH ANNA LUISA PETRISKO

Oceans of Blue, Forests of G R E E N : AN INTERVIEW WITH ANNA LUISA PETRISKOimages

The  work of multi-media artist Anna Luisa Petrisko has been making waves in the bay area and beyond for years under her own name, the longstanding JEEPNEYS project which mixed recording, performance and video, which culminated in a video game project “JEEP JEEP”, The Black Salt Collective,  and now her new album, titled “Green” , released on LA’s Practical Records help solidify Luisa as one of the most important contemporary artists working today across many different platforms while still retaining their roots and radicalized aesthetics. Luisas’ tour with XINA XURNER , “The Royal Hearts Tour” stops in Oakland this Wednesday at Pro Arts!

Hello Anna, thanks so much for taking the time to speak with Decaycast. Can you introduce yourself and speak a little about your current performing/recording project?

My name is Anna Luisa Petrisko and I am an artist working across many mediums. I recently released an album called “Green” which was co-produced with Julius Smack and features guest vocalists Adee Roberson and Ana Roxanne, and piano by Gavin Gamboa. I’m getting ready to tour (with my friends Xina Xurner) in support of this album. I’ve been calling it “tropical new age pop” but you could throw in “synth” and “experimental” too. It is definitely song-based. I live in LA and although there is a ton of nature, it isn’t the greenest kind, especially in the summer and after several years of drought. The “green place” I dream of through these songs is this lush space where we can all chill, heal, and play. And pray for rain! Green is the color of your Heart Chakra and I wrote this album while grieving, so the green place is also where we process grief and connect to the ones we’ve lost, our ancestors and whomever else we keep close.

Thank you  for going in so deep, how has the sound of “Green”, your newest recorded work, changed since previous works such as the esteemed JEEPNEYS project? Also is collaboration a main theme of all of work audio works?

JEEPNEYS was a project that was in and of itself constantly evolving and was a way for me to process coming into my self as a multimedia artist, rather than somebody who was always in bands, as well as processing my identity and culture as a Filipino. When I decided to retire JEEPNEYS (in the form of a video game JEEP JEEP) I knew my next album would be something different. But it is still a lineage and a continuation because the theme music from JEEP JEEP evolved into the first song Offering on GREEN. Damn I guess I cannot escape myself! The songs on GREEN feel different than music I released as JEEPNEYS, and they are not tied to specific performances whereas JEEPNEYS releases are more like opera soundtracks.

I am mostly reclusive in the studio so collaboration is really fun and a way for me to get out of my insular world. I love my friends so much but I am also a create-aholic so collaborating is how I hang out with my peeps without having to leave the studio! Working with Adee, Ana, Gavin and Julius Smack on this album was absolute pure joy and lots of snacks. If we collaborate, I will feed you.

So in a way, the work under your own name is less tied to multimedia works? Are you still working in other mediums, and if so, will they work their way into these newer works under your own name?

I don’t have plans for Green to become a large scale performance project, but I did make music videos for “Mountains Gold Rivers Green” and “Maintenance in Loving” and they will be premiering this week! In terms of my other work, I continue to do the Sagittarian most. I am currently in a group show in Oakland at Dream Farm Commons with a bunch of amazing peeps including my longtime collaborator and friend Grace Rosario Perkins. I have plans to collaborate with The Creatrix for a special residency with Practical Records in Berkeley in November. I am also working towards my next experimental sci-fi opera premiering in 2019 which will have holodeck-inspired mixed reality experiences and space cult vibes!

Wow, thats a lot of projects in the  works How do you manage to  balance so many projects at once in so many different mediums? Do they all inform each other, or do you attempt to operate in different mind sets for the work flow of  each project?

To be honest my flow often feels like a sporadic and heavy gas pedal / sudden brake situation but I thank my lucky stars every day for my completely nonsensical & non-linear process because it usually comes into focus at some point. Not always but that’s ok. I mostly just follow my intuition, make lots of mistakes, and try not to get anxious thinking about it all by doing lots of self-care. You seem like you are doing a million things, and supporting not only your own work but so many other people’s work who are all very unique. What’s your secret?

Honestly I’ve  always respected you as an artist  for many reasons, but one of them being you seem to have so many different projects going, but they all are fully realized and it seems as if you’ve successfully cloned yourself.  I am doing a million things, but i have so much unseen support, mostly from women of color, and all of the amazing radical art that gets produced by folks that have exponentially less privilege than i do is a constant inspiration to do better, and do my part in documenting all of the amazing work thats being produced right now, also strong weed.  

Is there anything else you’d like to talk about within either the context of your practice, or the world in general lol?

Thank you! I totally feel you and resonate with what you are saying. I have so much seen and unseen support from friends, family, and history in general! There’s a long lineage of artists who came before and after, and had/have it way harder than me! Grateful is a small word to describe a big feeling. Can’t wait to see you in Oakland! Take care

 

Being The Machine : DECAYCAST Interviews Derek Rush (Chthonic Streams, Compactor)

Being The Machine : DECAYCAST Interviews Derek Rush (Chthonic Streams, Compactor)

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Compactor live at Knockdown Center, NYC during the No Workers Paradise release show. Photo by Kim Wirt.

Derek Rush is a man of many hats in the contemporary noise/industrial scene; like many artists these days, Rush has taken a ground-up, DIY ethos to his various musical projects, his imprint Chthonic Streams, his DJ sets, as well as mixing, mastering, and designing artwork for his releases. Many times, when artists spread themselves this razor-thin, for a myriad of creative, philosophical, and logistical reasons, aspects of the work suffer, or appear rushed, but not in the case of Derek Rush. His commitment to the preservation and documentation of the New York City and North American noise and industrial scene is impressive to say the least. Make sure to keep up with his various projects here and here.

Hello Derek and welcome to Decaycast. Can you talk a little bit about your current creative projects and what you’re up to these days both with your label, Chthonic Streams and related projects?

My main current project is as SysAdmin for Compactor. This means I’m overseeing the production of recorded Documents, and I handle tech, setup and breakdown of Live Shifts. Compactor is a machine, or series of machines, operated by a uniformed person called The Worker. The idea is that this is an anonymous figure who could be anyone, they represent everyone who works for a living. The project is a series of ongoing statements about work and its place in society, the dehumanization of people, the focus, fetishization, and trust in technology, the push-pull of how it can be pretty cool but also pretty destructive. In May 2018 Oppressive Resistance Recordings released the full-length CD “Technology Worship.”

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Chthonic Streams started as an outlet to release my own work when other labels are unavailable, as well as distribute the work of others I’m even tangentially involved with. Recently I’ve been expanding it to put out short-run releases of artists I like. I usually collaborate on some aspect, at least the design, sometimes a bit of mastering or even mixing, it varies. The latest release as we’re talking now is a tape by Endless Chasm, a dark ambient/experimental artist from Kansas. I also try to combine the release with a show I present under the Chthonic Streams banner with a variety of complementary artists.

As for other related projects happening now, I’ve been contributing to Theologian, which is the project of Lee Bartow. I recently sent him some melodic/harmonic elements which were turned into a track on the cassette “Reconcile,” and we have been sending files back and forth for the next major album, “Contrapasso.”

How did the collaboration with Theologian come about? How do you (if at all) separate the sounds you use for Compactor vs. the sounds you use for Theologian or other collaborations, and also how important is collaboration to you on general?
Theologian is Lee Bartow, but sometimes he likes to collaborate with others. We’ve known each other from a distance for years, but connected more in 2010 when I asked him to remix a song from my band Dream Into Dust. In return, he asked me to contribute to a project called Love Is Nothing, and then he sent me material which I added to along with others that became the Theologian EP “Some Things Have To Be Endured”. I mixed the “Forced Utopia” album last year, and I’ve been editing/producing material for the forthcoming album “Contrapasso.” The “Reconcile” album came about because of the Darkness Descends industrial festival in Cleveland put on by Stephen Petrus of Murderous Vision. Lee asked Stephen, Andy (The Vomit Arsonist) and myself to send material that he would turn into an album (mixed by Mike McClatchey of Lament Cityscape), and the four of us played in Theologian for the fest.

The mindset, sound, and material for Compactor is very different from other projects or collaborations. Compactor sonically is all about different textures of primarily atonal sounds. The material I sent in for “Reconcile” was very melodic and droning and in a specific key. In general when working on Theologian, I know what that sound is and where Lee is coming from, and I’m just trying to do something that goes along with that but adds a dimension he doesn’t usually do when working on his own, things like trying to add a different structure or little synth melodies and string parts.

I think in any collaboration, it’s important to find out what the other person wants and needs, which may not be the same thing. I’m mostly just trying to help their project be the best it can be to my ears. But in the end, they give the final seal of approval and may even change things I’ve done initially. I find that totally democratic collaboration often doesn’t work. Someone has to be in charge of a project and someone else in more of a supportive role.

Seems like the sounds of Compactor and your collaborative projects come from very different places, intention-wise. Oftentimes in experimental music artists can take an “anything goes” approach, but that might end up not working for every situation, or even many situations. Do you think noise and experimental music, more than other genres, emphasize collaboration, or on the contrary does it discourage collaboration and focus on promoting the individual. Is removing yourself from the identity of Compactor a conceptual move or does it occur for different reasons? 
I think noise music by its nature might not discourage collaboration, but it’s kind of unnecessary and sometimes a bad idea. With many types of noise, the more distortion and frequencies that are happening, the harder it is to fit in other sounds. It needs to have people even more attuned to each other than in conventional music, to know what and when to play or not play. Otherwise it can just become total white noise, filling up every space. There’s a place for that, obviously HN and HNW, but even one person can generate that on their own. So collaboration usually seems to come more out of a need for cameraderie and community. I think there’s a lot of loners, myself included, for whom noise has somehow had the opposite effect of connecting with others on the same wavelength. So it’s not like a rock band where you’re a guitarist who needs a bassist and drummer. You can do it all yourself, but you want your buddies with you, especially if they by themselves create something you respect.

Compactor being the machine, operated by the faceless figure of The Worker, is something that naturally came about from the early titles and imagery. It basically wrote its own backstory. Once that was in place, other details just obviously follow. The Worker’s story is a conglomeration of what goes on in this country and other parts of the world. The greed and inhumanity of corporations, the constantly working, often exhausted working class and shrinking middle class. It’s more important, and more interesting, to refer to these things than just say, wow work sucked today, I’m going to write a song about that. Because it’s not about me, it’s about everyone. And it’s sadly a pretty common feeling.

Can you talk a little bit more of the aesthetics of “The Worker” or “Compactor” from the mask/outfit to the unified aesthetics in the artworks well as music videos?

The predominantly black, white, and grey color schemes are just naturally bleak, and also give things a vintage or archival quality. A lot of the look of things is intentionally old, outdated, and ragged looking. For all the advancements in technology, there’s still a lot of old stuff being used by businesses that aren’t upgrading in order to save money. The Worker is kind of a personification of that, wearing a gas mask from 30 years ago, always the same worn-out shirt and work boots, and a generic cap, sometimes additional tools that are old, dirty, rusted or cheap-looking. It seems like a lot of companies are providing the bare minimum, or even leaving it up to employees to take care of their own uniforms or supplies.

Most of the videos in the past were outsourced to F Squared Media, who do some amazing work. Something to note is that there are never any people in them, in order to increase feelings of dehumanization and isolation.

Speaking of unified aesthetics, let’s talk about your imprint, Chthonic Streams. Most of your releases are rather involved with artist editions and elaborate packaging, including a boxset housed in a tool box?!? Is this true, care to elaborate?!

I’ve only started doing more elaborate packaging in the past few years, but have always strived to make sure there is really something to hold in your hands and look at. Also, it has to make sense and have a purpose. Although I appreciate albums that come with buttons and stickers, that’s not my thing. So I come up with images, words, and objects that bring the meaning of the music into the physical world.

The boxset you’re talking about is “No Workers Paradise”, which is 8 x 60-minute tapes, each one from a different noise artist. Compactor, Gnawed, Redrot, The Vomit Arsonist, Filth, Blsphm, Existence In Decline, and Work/Death each recorded a full album’s worth of material, so the total time is 8 hours, the standard American work day (although many people work longer than that). It also includes a 7″x10″ 12-page booklet with images, credits, and an essay I wrote about the prevalent relationship of people to work these days. Putting it in a tool box just made the most sense to me, as though someone woNWPboxuld carry it to work with them and listen to it all day. Though this was my concept I have to give serious props and thanks to all the artists, who did some of their best work.

What is the most difficult part of running your own imprint and also what is the most rewarding? Also please discuss any upcoming releases you have for both the label, and Compactor.

The most difficult part is dealing with money. While I can save money doing pretty much everything myself, as soon as you start adding in the kind of crazy ideas I have, the cost goes right back up again. Not to mention the time and labor. I’m cheating myself in some ways, but I guess I’d rather do that than cheat an artist. Then again, probably a lot of labels at this level operate this way, which is sad. We’ve become so used to busting our asses incredibly hard just to get anything done and not lose our shirts.

On the positive side, it’s so rewarding to hear from other artists that they’re happy with how a release came out. These are people whose work I respect a lot, and we are friends and peers, so that’s the most important thing. Though we’re also happy to sell out of things too!

Just released is a compilation called Prematurely Purgatoried, which is a benefit for fellow musician Casey Grabowski (Nearest, Obligate Surrogate, Secret Societies) who has cancer. In the works is a release from Seattle-based artist Morher, who was until recently known as OKA Amnesia. I’ve booked her a number of times, and she recorded several long pieces live to multitrack at my studio, with plans to do more and make it a full-length, which I’ll be mixing, as I did with STCLVR’s Predator. She’s also a visual artist and we hope to collaborate using her work to come up with some kind of special edition that suits her and this material, which is incredibly open and visceral. It’s gorgeous sung and spoken word live and looped vocals, with ethereal backing based on field recordings bleeding into harsh noise.

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By winter there will also be a special edition cassette by Mortuary Womb, a duo project between myself and the late John Binder of Exhuma and Arkanau. It’s full-on death industrial in the vein of early Cold Meat Industry and Slaughter Productions, recorded in Winter 2014. The limited edition will include a second cassette with the final recordings John did before he left us.

Compactor will have split releases with Vitriol Gauge and Ruiner. coming in Fall and Winter, respectively. There will also be tracks on compilations from Black Ring Rituals (for Fargo Noise Fest) and Spiricom Tapes, as well as a remix on the deluxe reissue of the Theologian/Lament Cityscape album. Beyond that, work has begun on a gabber album for Sonic Terror Recordings.

Chthonic Streams: www.chthonicstreams.com
Compactor: www.wastemgt.info

DECAY CAST Interviews : STATIC AND SOUND; An Interview with DEREK PIOTR

Sound artist Derek Piotr is releasing a new  record coming out in late September on the DSPR imprint, titled “Grunt”, so we decided to have a short conversation about Piotr’s work as “Grunt”, specifically on their new record.

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“A grunt. That most primal and animalistic of utterances. The new project by Derek Piotr, his eighth solo record and a set of short-form brutalist shards of human-digital noise, is

named for this sound. Had Xenakis bought a laptop in 1999, he may have produced something comparable to Grunt and its post-human #voicenoise aesthetic. Yet this is a wholly unique piece of work. As with Xenakis, Piotr takes recognisably analogue sounds – particularly the voice, but also drawing on acoustic instrumentation and found-sounds from nature – and reconstructs them into 21 intricate ‘electroacoustic’ miniatures. Yet

Piotr is less interested in dissolving these boundaries between electric and acoustic than he is in hybridising the organic and the digital. Grunt is subversively queer in its post-human composition”

 

Dr. Decaycast:  “A grunt. That most primal and animalistic of utterances” would you say that this  quote sums up the Ethos of the Grunt project perfectly?

Derek Piotr: Grunt has a separate meaning in Polish which is “earth” or “ground”. In general this project is trying to remind people of awareness of the physical body and reconnecting with nature in a really direct, almost clumsy way. I feel society has totally gone ethereal with apps and phones and I wanted to hit listeners lightly over the head with this project.

DD:   Can you talk a little bit about the strategies of creating the sounds on this new record?

Piotr: Granular synthesis and heavy edits. In my earlier work i did a lot of very klobig cut and pastes, just lines and lines of small repeated glitches, then got further and further away from that idea as I moved on in my work. I wanted to return to some of the earliest ideas I had about sound, but in a way that is closer to my own vision than it was before…it always takes many tries circling around something before you reach the center.

DD: Would you consider yourself a concept based artist? If so, How does this record differ in concept from your previous seven full length albums, if at all?

Piotr: I think every record does fit into a concept. Drono was about drone music, Forest People Pop was of course more of a Pop record. I think I need a fence to work in or I would just be utterly lost. It would be interesting to me to create an album with no borders, every track a different flavour or feeling, but I feel ultimately that may result in a very uneven album. Something close to this happened with my fourth record Tempatempat. I tried many different sonic environments and, to me, that effort is my weakest. Consistency is important. I think grunt may be my most thematically consistent record. Most of the tracks are within the same parameters of length, and very similar processing is applied to the sounds across the entirety.

DD: Xenakis was mentioned in reference to this album. Can  you talk a little bit  about the impact his work has had on your  process and  aesthetics, if any?

Piotr: Xenakis is amazing, the press release was not written by me, but I definitely suggested that visual “if Xenakis had a laptop” to the PhD who wrote the liner notes. I think a lot of Xenakis’ work is very rough and direct in a way I tried to be on this album. I was not thinking of Xenakis when writing, more after I had the record done I tried to tie touchstones to it. Some of the work on this record sounds like Xenakis chamber music. Some of it sounds like Stockhausen. Some of it sounds like Pita. Some of it sounds like Kit Clayton. But I only drew those threads together after.

DD: The last track on this record is a reworking of a Kevin Drumm track. Can you talk a little bit about that collaboration and how that came about?

Piotr: I’ve known Kevin for years and we’ve emailed back and forth. We’re on the same label with some of our stuff. As I did with Drono (where I collaborated with Thomas Brinkmann for the last track), I invited Kevin to edit some of the material I was working on for this noise album. I sent him a bunch of demos and he chose Redirect to work with.

DD: Any collaborations planned for the  future?  Did you learn anything from that particular collaboration with Drumm?

Piotr: Didn’t really learn anything from Kevin, we work pretty similarly…that said I do have more collaborations coming in the next few months…

DD: What is some of the best new music (noise or other that you have heard)

Piotr: AGF – Dissidentova

Dirty Projectors – Lamp-Lit Prose

anything from Don’t DJ

but i am bad to talk about “new” music, I mostly lately listen to Jean Ritchie and old Thai music on youtube.

DD: Do you think queerness plays a  big enough role in noise?

Piotr: No. It’s very much a boys club still. I wanna wag my finger a bit: many successful noise artists feed into boys club energy; use guitar and have kind of a postrock shoegaze situation going on. I think it pulls in people and feels like stretched out major power chord business, just made slightly weirder or dilute. Then you have harsh noise which is almost mosh-state sometimes. Definitely macho-ness going on, at least with some of the noise scene figureheads. I wish for more alertness sonically, use of differing tonal systems, general freakiness, softness and sensuality.

DD: What are the next plans for your project?

Piotr: Tour and remixes and videos…

 

You can Pre order  Piotr’s new  album, Grunt, here:

 

DECAYCAST: MATMOS INTERVIEW (Nerfbau Interviews Matmos, remastered)

DECATCAST_MATMOS

This interview was conducted as the first official interview by Decaycast aka NERFBAU jsun Adrian McCarty and Michael Daddona interview experimental music underground stalworts M.C. Schmidt and Drew Daniels of Matmos, in their then SF Mission District Studio/apartment.

We did this a long time ago, but i think many of the questions and content holds up really well and also it’s nice to hear Jsun’s voice as a distant snarky beckoning to the past and future Matmos was a rather big influence and Jsun and my early work as Nerfbau and later as Styrofoam Sanchxz and Coral Remains and were without a doubt monumental in the formation of Ratskin so I thought it would be nice and fitting to re present this. We stayed up all night the night before, myself on speed and dope and Jsun chain smoking cigarettes to prepare for this, arguing over
questions, prepping cassette decks withpre recorded hidden questions on time travel and the sound of dreams, we ended up hiding several cassette recorders throughout Martin and Drew’s studio oinged with questions which interrupted the normal interview. In our early morning franticness and nervousness (we approached the interview more like a performance / collaboration than a traditional interview ) we even managed to spill coffee into a tape machine which housed some really important master audio tapes containing interviews with Drew’s mother before she had passed We told that story for years, how if it was our studio and some high kids came in to interview us and nearly ruined a priceless historical document we would’ve kicked them out and dragged to no end, but they didn’t do that, we were welcomed, as peers, collaborators and family. One of the most fun interviews I’ve ever done. Enjoy.
-MD for Nerfbau, 2018

follow matmos at :
http://vague-terrain.com/