INTERVIED 2000
1.How and when did you start Sickness?
The old story goes that I started SICKNESS after having no way to successfully express myself in the punk and hardcore bands I was in when I was 16 (1986). They were lazy, and unmotivated with lots of big ideas, but no real action involved. It was always "if...", "when...", "we should...." I wanted to start doing, and since this band was a group of friends, and I was added for musical talent it was hard to get any input into their fixed brains. They all had ideas of what they wanted to do based on other artists while I wanted to express something new. I wanted to do something based on what was going on in my head. So, I started doing vocals and noise, and feedback using a ZOOM effects processor. I built my own tape loop machine, and some pedals to do what I wanted. I multi- layered my tapes using the old Les Paul method of recording and as I went along after so many dubs the loops I that I was using turned out muddy and noisy. This layered with screams and a lot of delay was how SICKNESS started out. I had no idea about any other noise artists at the time. I started recording my own tapes, and quit the bands I was in to work on this project full time. I started a few other projects but SICKNESS was my favorite and what remains today. It gives me the greatest freedom to do what I want. I started basing my releases around disease, filth, rot, and decay. As my intersts broadened so did my subject matter. Now you have this.
2.There are many ways to express your feelings,why did you choose music as your weapon?
Writing, art, and many other methods of expression are passive. Music is one of the few mediums that is active and the audience can be present when you are creating your art. You can use them as part of it, have them receive it, work off the reaction, or attack them as subjects. Music was more alive than the writing I did. I went to college for English and Psychology so I did my share of writing. Music, I felt, allowed me to express more. Now I have started to incorporate writing back into the music. Frequency, Sound, Vibration, Feedback can all evoke feelings quicker than writing can. People tend to separate themselves from writing, and you are dependant upon their imagination too much to create and identify with the setting you paint with words. Music is more accurate. Though I do have to say that because of the flood of crap noise being done people start to turn off more and more when you present you work.
3.You always express your hatred against ,say, fun-noise etc.Why?
Its the idea of a work ethic. Its the idea that I am doing this as an expression of self. That I put a lot of work into releases that others simply crap out in 5 minutes because they believe they have achieved something. They are wrong. If you are doing this to express shit go play in your own feces. Give up the idea that you are doing it simply for yourself. If you release it its for the world (except possibly if its simply for trade then you can trade all you want) It just tires me out that people pass of a noise release because there is no structure, and those who have decided to goof around on something that I work hard at simply add to that illusion. The work I, and several other noise artists, put into work shows. You can tell the difference between a good noise release and a bad one. However, due to the abundance of these unprofessional, low fi, half assed projects people are less interested in the quality work that is out there. It is easy to understand since noise is a difficult genre to adjust to as it is, and when you spend money on releases that suck, they don't necessarily give it another chance. This isn't the idea that noise has to be popular, but that it lowers a standard that was difficult to define in the first place. Regardless of how you do noise, what genre it is in, where you do it, who you are or what you achieve it is still about presentation and the results that come from it. Noise has become an effortless, repetitive and expressionless idea. The idea that the Mona Lisa is the same as a painting with someone barely smiling on it is completely wrong. There is a difference, and well-presented noise no matter how ugly (or beautiful or ambient or harsh or experimental) is what we need. The point of this discussion I feel is that the genre is flooded with releases for the sake of releases, or to make a name for yourself. Ground out conveyer belt noise. Noise is not for the mainstream, but we are adding the production values from there. We need a control of it. Noise allows access. Since it is fairly free form there is no set of instructions on how to make it, express it, etc. everyone has access to it. However, wave after wave of the same recordings, similar sounds, etc are simply unneeded. Expression needs to develop with the artist. An artist (noisician or otherwise) that does not grow, expand or think doesn't need to be doing this. This makes all sound commonplace as any that is brilliantly executed and contains something unique which is unnatural. All things are never created equally. It痴 too easy to play in the mud. Children play in the mud, animals play in the mud. Its harder to raise yourself above it all Showing what could have been done with it rather, the possibilities in all sounds, rather than simply destroying it. Destruction is easy. A good destruction and creating something out of that is hard. It is more than just the sound itself.
4.I think many so called power-electronics bands popping up everyday,your comments?
Power Electronics has come in to its own. Now, it seems to be a popular "trend", though trend isn't the right word, perhaps idea or style. There are few real, of what I think, Power Electronics bands out there now. People see the "success" of something like Genocide Organ where the releases sell on EBAY for 500 dollars, and they follow the formula that they set up. Power Electronics also reflects a higher standard. There seem to be fewer releases from established artists, and the labels that release this music take the time to work through and produce a quality product each time. There are, of course, these labels in noise, but there doesn't seem to be a flood of independent labels like in noise. Maybe its because there is a market. Maybe its anything than be herded in with the the overcrowded noise idea. Though the more time that goes by, I believe, they will suffer the same fate. Even now Power Electronics might be suffering from the overflow of bands and releases that noise is buried under. If they continue the current trend those bands that have a real love for the genre will slowly begin to melt in with countless others.
5.What do you want to express through your music/noise?
Anything I want. The idea differs from each release. From Rot, disease, and decay to the human condition and what can be done to it. The key to all this is that it needs to fit in with my interests. If you look below at my motivations you can see that my expressions come from how I view the world, and how I see others act in it.
6.Do you have any favorites that effect your thought,music and your attitude toward life?
In my music I would have to say the Sought for Slaying was my favorite. I am actually thinking of having a label release it on heavy gauge LP or at least on CD without the extra tracks or packaging, but possibly some remixing. It seems the most focused of the releases that I have done. As for bands that express what I like there is of course: Taint, Slogun, Skin Crime, Control, Grunt, Macronympha, Facialmess, Survival Unit, etc. I am sure I forgot some, but those are what first come to mind. Peter Sotos's writing gives me an interesting view on the world. In general my motivation comes from the people around me. My world view is distorted, and it appears I have higher standards than most. I always love watching what people will and won't take as acceptable, although it does sicken me at times to watch how low some will go to get what they want. To watch someone eat themselves away, crawl on their bellies to achieve something like love, money, sex, acceptance, popularity, etc (which are all so temporary) ends up disgusting me most of the time. People need the quick fix so much more now than ever. The greatest experiment is to see how they react when you throw out the right motivation, and then just throw it away because you don't need it.
7.Now you are doing many collaborations,why?
Most of these collaborations are the results of when I first started out. I asked a lot of people that I had wanted to work with over the years to do splits with me. It has taken some time but most of them are out, some are still being perfected as I trusted people outside my circle of friends to do the mastering. This is also a good way to give people diversity when they listen to an album. I try to pick artists whose ideas work within my way of doing things. Who attempt to express similar ideas, or sounds through their music, or who have really impressed me as an artist who is doing something that stands out. It presents an interesting contrast when two projects work on a similar theme or idea then put it all together on one release. It tends to make a third view. I am, however, now turning to work on full length solo releases, and would like to start doing material on vinyl.
8.Any future plans?
I have a solo full length CD coming out on Self Abuse in the near future called "Another Lamb for the Slaughter" based on the idea that we are all in some form victims. I have been asked to do a CD for TRONIKS that will be coming out in 2001 that has a working title of "Intolerance and Inquisition". I have a little known side project called OMEI that will be released on ECODISCOS in the next few weeks. This release combines my writing with my music for the first and only time, with the themes of Distance, and Stigmas. Nice and cold. I have finished mastering the material for a 4 way split release on Hospital Records dealing with the interesting subject of Bestiality. The split is with Macronympha, Skin Crime, myself, and Stegm. Keep an eye out for the limited edition form of this one. Hopefully, I will hear back from all the people I have sent the masters of split material to. I have begun work with Slogun on a split entitled "What is Power". (This might also be my last split CD for SICKNESS). I am still working on some new VD material. And finally I am working on a side project called DSA whose first CDR will be a split with SURVIVAL UNIT. I did another interview and compilation track for the AUDIO-INTRUDER PAIN MAGAZINE that should be out soon. I am promised this will be a high quality release.
9.Thank you for your answer.Anything you want to add?
Yes. I want people out there to fucking listen. I can't say this enough to all those pieces of shit out there who don't understand you have to listen to the music that you make or that you are reviewing. You look for all this crap in your favorite Merzbow album now look for it in bands that you haven't heard of. There are new ideas out there you just have to think of them YOURSELF. Understand the equipment you are using. Look into what it can do. Plug stuff into the wrong ports, etc etc. Don't just do it by the numbers. There are enough major label bands out there plugging away at a simple 4 beat formula. I am sick of these fucking whiny ass bastards who flood the world with 8,000 crappy releases. All in the name of self expression. There have been a few people who listen, a few who have made changes but most of you just keep plugging away in the same tired hole. Any comments, contacts, release ideas, threats, etc. can be sent to sickness999@juno.com
Additional question/I send this after reading his reply.
Do you think you/your commrades can change this decaying/rottenning underground noise scene?
I don't know. I don't think so, but I have to voice what I feel about it regardless of what I think will happen. Do I have any comrades? I guess the ultimate result will be what happened when this subject came around a few years ago. Those that aren't serious will just fade away. Their tapes and Cd's unsold, etc. etc. Then a new crop will appear, but those who have proven themselves will remain involved. There are interesting artists out there who are new, but each time there seems to be a smaller percentage of the whole. People are too fixed in their opinions about something as personal as their releases. It blinds them, and causes them to look elsewhere for problems. They figure that their noise isn't being recognized for a thousand other reasons than what is painfully obvious. Sometimes its a simple lack of motivation or insight, but to use a better phrase "a lack of understanding" (in a variety of areas), that keeps them where they are. However, there has been change. There have been people who have come to me asking what they can do to improve what their sound, though this is really something they should look for in their own music, or have changed their attitude towards the way they do things because of what they have read, heard, etc.. I appreciate the contact, but don't consider myself an icon for their change. Changes will happen in a few, when they think they need it, but the scene as a whole will continue to be weighed down. It would be fine if people would step to the next level. Experiment. Attempt. Evolve. But I guess as in life they enjoy playing in their shit. This may seem harsh, but if it hits the mark too well then maybe those artists need to look at what they are doing. This whole PC attitude of everyone loving each release adds to the rot.
POSTED 2000
Survival Unit
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The events of cultural dispersal or the final overtaking of an autonomous society by an alien culture have throughout history been characterised by a lack of defined structure within the dying system, or a disability within the system to behold the surrounding world in all its hostile glory.
For beneath the static surface of foreign relations there lie cultural bondings of more importance to peoples who're shared great parts of their social evolution, or other aspects which affect peoples views of their indigenous cultures and so also, by identifying themselves at different levels of society and of their personal sphere of social interaction, with the character of another culture.
Peer groups and subcultures shape individuals, and in a nation where influences are felt from all over, the individual also has to face the next man, not improbably, with a native culture different from his own. This, the interaction between two human beings, or, representatives of two marginally, or radically differing world views is a process that has been going on for longer than we've had evolved human language, which with a low scale of measurement would be 30.000 years. But words lose their meaning over the decades, and so do the values they describe and the symbols whose imagery they convey.
Culture is also manifested through action and thought to a very high degree. In a society where you have the right to speak and express yourself freely, within the standards of western democracies, voices airing concerns about the situation of the world have to be suppressed by the ruling elite, whether bureaucratic, tribal-judicial or as in some cases, purely market-related. Manifold and ingenious be the ways of media: rats of the modern world. And propaganda is no longer a means to control the outlook of a nation; it is a means to define every facet of daily life, total destruction disguised as over-consumerism. For while our modern all-encompassing consumer society is not totally unaware of its own existence, it has no idea of how to revert to another management of operating the lives of its people. Therein lies the key to all acts of sabotage. For the system can only guess and safeguard so much, as to leave a complete vacuum for actions to be made and thoughts to be made manifest through violent displays of social uproar.
Finally: which are the options for having at least ten percent of todays population figures survive unto a new era? The answers are two: total war or random acts of cultural terrorism, uncoordinated and with an intent to destroy; well-planned and-executed, aimed right at the groin of the system. You know where it hurts! Remember, though, war is good for the economy, whereas constantly having to piece computer networks, day-care centres and libraries, not to mention government controlled plants and authorities together, makes for a troublesome task for those charged with the full force of culturally dis/oriented survival units.
SURVIVAL UNIT, Fall of 1999
INTERVIWED 1998
1.How old are you?Do you have family?For how long are you doing TAINT?
I just turned 28.Yes,I have a family but I do not have a wife or children.I have been doing TAINT for 7-8 years. Started in late '90 or early '91.I can't remember.
2.How is your group organized?Are you the only member?
I am the sole member of TAINT though early live performances had an extra member.
3.How do you write your pieces(improvised or carefully worked out?)and what are you trying to achieve/express with your works?
Sometimes lyrics or a title is written before electronics are done.Other times,the electronics are done first.Most tracks are half improvised while other sounds are experimented with until the right sound is found. The only thing I'm trying to express is personal pleasure.
4.Who has influenced you most?And do you have any favorite musicians(not only noisemakers)?
Whitehouse,Sutcliffe Jugend,Mauthausen Orchestra are all big influences especially in the very beginings of TAINT.Also pornography,The Marquis de Sade,and Peter Sotos.
5.How do you perform in live performance?
There are no theatrics.Vocals,feedback,and electronics with occasional backing tapes are used.I perfom live very,very rarely.Two live shows were done summer 1997 in Houston Texas and Bellmead Texas.In Houston,TAINT perfomed with Death Squad,Richard Ramirez,and Rotten Piece.But the Bellmead show was the best!Bellmead is a small trash area of Waco.Bikers,prostitutes,drug dealers,meth,cheap bars...TAINT opened for a Dallas,TX gothrock band called Nocturne.Feedback &white noise was performed for 18 minutes in front of teenage goth kids & hardcore barflys.People began to leave due to excessive volume so I was told to stop by the management but best of all,a drunk/high biker chick came on stage SCREAMING at me to quit playing!
6.Most of your artwork/records/pieces are violent or sexually obsessed.How do you think about violence and sex?Include sex-industry,rape,killing and often mentioned child porn/kidnaps.
I find sexual violence extremely exciting so it's only natural to include these subjects in my music.As everyone knows,the US has no shortage of child rape/murder and kiddie porn is HIGHLY illegal.A boy fuck ring was recently busted in Waco...Actually in Bellmead and included homemade videos & the murder of a teenage boy.I didn't know any of them though.
7.And most violent artwork is your LP "INDECENT LIBERTIES".How did you TAINT that LP with cat/dog blood?
A secret group of Devil Worshippers helped with the bloodied covers.
8.Speaking of covers,I think TAINT/STRICT 7EP's cover is very kinky & cool(Especially yours).How & who took that photo?Who is she?Your neighbor?
The little girl is a neighbor of a friend of mine.Or I should say WAS a neighbor;she was murdered by her step-brother a few weeks after the photo was taken without her knowledge(Spring '97).I took the photo for no real reason.I think I was just trying to finish up a roll of film so no deviant reasons for it until after we found out she had been killed(She was strangled to death with a telephone cord & then supposedly raped).
9.What is your career in your ordinary life?
I am a perttime gun dealer.I also occasionally sell & make pornography.
10.Please let us know your future plans.
Picture disc LP on Ajna Offensive.LP on Harbinger.Victimiology2 cassette.Compilation tracks on cd's by Malsonus & Self Abuse plus 2 tracks on a double LP comp. on Harbinger.(As far as I know they are not out yet-ed)
11.Thank you for your kind answer.Any final words?
Perverts are encouraged to send uncensored/homemade sex videos with shit,piss,fisting,blood,vomit,dogs,rape: TAINT-PO BOX 7150 WACO TEXAS 76714 USA
RECEIVED 1998
Have you got his 10"single from Tesco?I have.It is really nice death-industrial/heavy electronics masterpiece for my ears.I sent him a fan letter and got an answer.Followings are his statements, history and future plans.I am receiving more long answers from him.After receiving it,of course I will update asap.If you don't know him,I recommend to remember his name!
1.ABOUT ART SHOCK It is to give impressions by means of powerful artistic support;monumentals,decors,banners, armbadges,flags... Art shock look back,work and make a study of history for his artwork.
Art Schock work:
26.oct.96 Deadly action festival realization:decors of LES JOYAUX DE LA PRINCESSE
aug.97 realization:Gothic writing for the picture disc of THE GREY WOLVES "ZERO TOLERANCE".
jul.98 realization:banners for DER BLUTHARSCH.
15.oct.98 realization:banners for the dolxxx Rite congress in London. (I cant read dolxxx.pls let me know if you have any idea-ed).
17.oct.98 realization:banners for BLOOD AXIS consert in Paris
nov.98 realization:all decors for DOUGLAS P/DEATH IN JUNE tour throughout Europa.Concert with DER BLUTHARSCH,FIRE ON ICE & special video displays by BOYD RICE.
2.ABOUT NOCTURNE NOCTURNE-it is an expression of the ART SCHOCK work by means of powerful noise music,heavy electronics.Nocturne uses the same technics of Art Schock:look back,work and make a study of history for his work.
Nocturne work:
95
"Frieden/Krieg"-war document.30 min. tape.Heavy electronics.
97
"Cendres"-war document.30 min.tape.Heavy electronics.
98
"Offensive/De paix"-war document.10'ep.from Tesco.
Future
Mcd-about the great French atomic test.
Collaboration between Smell&Quim
Last Comment
There is nothing between NOCTURNE and LE JOYAUX DE LA PRINCESSE.It is a mistake by TESCO.My participation in LJDLP was just aesthetic one:banners,armbadges etc.After different problems, I have nothing to do with LJDLP. My work is my honor.
INTERVIWED 1998
1.How old are you?What are you doing in your everyday life?For how long have you been ATRAX MORGUE?
I dont like to talk about my age;Just let you know that I am feeling unborn....I am doing ATRAX MORGUE since 1993.I dont have ordinary life....My life is completely sick and nothing is programmed;I just live like a living dead;My bigger enemy is boredom.
2.What does ATRAX MORGUE mean?
The name ATRAX MORGUE is a combination of two words:It means nothing;ATRAX comes from the name of a big dangerous spider called "ATRAX ROBUSTUS",and MORGUE is the place where the dead are.
3.Judging from your cd titles and song titles,you are interested in serial killers.Do you have any favorite serial killers?I am interested in Peter Sutcliffe and Jeffery Dahmer.How do you think about them?
Yes,I find the life of some serial killer and murderer really interesting;The wish to kill is hidden into everyone and only few "humans" touching this dangerous key....I am also find Jeff Dahmer and Sutcliffe interesting,especially Dahmer I think he was really obsessed by death, and I can find more common with him....Another interesting murderer was Dennis Nilsen,I think he is a great personality and he is very deep introspective man,Kurten was also great.He never stopped his nature.Everyone must do what feel inside.Murder is part of nature.Death is part of life.
4.I think almost all of your works are death-oriented.How do you think about "death" itself?I think it is the end and very merciful.
Death means more and more things for me.I can consider it the end or the beginning....Death is just pure,the most bigger great thing,I like death,I enjoy death....I play with her,she plays with me,we have a fun together.She is indestructible.I consider myself as a corpse,like a dead; I think it is necessary living to be dead.It is a cycle.
5.Do you believe in god?I do.But I dont want to share my god among others.How about you?
I agree with you.I also believe in my own god.
6.In your CD "CUT MY THROAT" you express your hatered toward society and mass.I agree that society destroys a lot of people.By the way when I was an univ.student I have a conversation with my professor about society.In that conversation I sai "Maybe I have to be in society after my graduation." And he just replyed "What is society?".Hearing his reply I fully understand that so-called society is just an illusion made up by the mass.How do you think about this?
Yeah,"CUT MY THROAT" was an act,a scream of hate upon society and the masses,but it was also reflected to myself and it talks about my self-destruction cause half of my personality is really masochistic....I remember I wished to burn the CDs after releasing them;society sucks,yes,as you sai most people are contaminated by society,or better,they are only stupid stereotypes that repeat themselves.Stupid sheeps.Yes,society is an illusion.Everything is an illusion....
7.Your CD "CUT MY THROAT" is dedicated to MAURIZIO BIANCHI and from your label "SLAUGHTER PRODUCTION" 12 cassettes-box set of MAUTHAUSEN ORCHESTRA has released.Do you have any comments on these great Italian industrial giants.Have you met them?
I enjoy very much the early works of MB;He was very twisted at the time and he did great noise soundtrack to his obsessions and visions;I have never met him but I consider him a great guy.... MAUTHAUSEN ORCHESTRA also did interesting brutal works and he is a must of the early powerelectronics scene in Italy,like THE SODALITY and BRUNO COSSANO.Ihave met Pierpaolo Zoppo two times.He is really a funny guy,very twisted and pleasant.
8.We Japanese tend to think your motherland Italy as nice and good place.But on the contraty horror movies,noise bands from Italy are quite dark and grim.Can you explain this conceptual gap?
I dont know about this.By my side,I am always out from everything and everyplace,I just look out at the world from "MY" personal world that is very "PERSONAL" and have nothing to compare with the world outside.I like Italian horror movies,there is really much nice stuff here,like Dario Argento and Lucio Fulci.They are rules!
9.What do you want to express with your music?
I think my sounds are purely cathartic,like an exorcism.I am constantly attracted by the things that scare me....Fear is a key.You can just use fear as a natural process to learn more about yourself.
10.Do you often play live?How an audience react?
I played some live show here in Italy,but there is not more interesting audience at my performances;It can be easily understanding.
11.Please let me know your future plans.
Some new releases by ATRAX MORGUE will be out soon this spring 98.My latest CD is called "DISCONNECTED" and will be released in a strictly limited edition of 250 copies by the Italian label SIN ORGANIZATION.Just out for the American labael AVA/LIVE BAIT is the re-issue of "WOUNDFUCKER" that was released on tape in 1994(This CD contains some extra tracks).
12.Thank you for your kind answer.Anything to add?
Nothing to add.Thank you for the interview.
1.私は今でもCON-DOMの名は単に避妊器具だけを意味していると考える人がいると思います。そのCON-DOMという名の背景にあるものについて語ってもらえますか？
CON-DOM＝CONTROL-DOMINATION（操作と支配）であり、コンドーム（CON-DOM）=避妊器具、それは、ペニスから流出される精子を操る（Controlling）仕組み、つまり、男性の生殖器官を支配し（Dominating）、去勢する仕組みともとれる。 CON-DOMは社会的、政治的、宗教的、哲学的、心理的、性的、、、など人類における、あらゆる明白な操作と支配（Contorol,Domination）の形態に関わっているんだ。
2.なぜ、あなたはノイズミュージックを演奏する事に決めたのですか？そしてあなた自身、これからもこの活動を続けていくつもりですか？
ノイズは、CON-DOMのコンセプトにとって完璧な手段なんだ。ControlそしてDominationの関係性はCON-DOMプロジェクトの非妥協的なテーマとメッセージに、絶対的に賛成する、対立的で非音楽的なハーシュというサウンドフォームを要求するんだ。 そして、CON-DOMは、何か言うべき事、また、それを言う力や欲求がある限り、続けていくつもりだ。
3.あなたは、２０年に渡って見てきた、いわゆるノイズミュージックと呼ばれるシーンをどう思いますか？またそのシーンにおいて、興味を持ったバンドなどは居ますか？
こういうタイプの質問は我々にとって全く面白くもないし、関心を示すようなものでもない。もし、CON-DOMがノイズミュージックシーンの一部だと見られているなら、それは全然意味の無い事だな。それは、浅薄で怠惰な個人が我々をそこに配置する事を選んだって事だろう。こういうことをする必要性は見当たらないと思う。我々はあらゆるそういったシーンの一部としての自分たちとは関係したくないし、見たくも無い。 CON-DOMは、個人が表現を必要とするっていう、シンボルなんだ-------それは、色々なシーン、そして他のバンドに関与していないことであり、必要としない事を指す。GREYWOLVES,GENOCIDE ORGAN,我々がシーンと呼ばれる中に興味を持っているアーティストや、目的地の同じ者が居るのは、我々が何年も掛けて同じ関心事やアプローチの仕方、価値観を分け合った上でのことだ。 我々はただ、他のシーンや、本当に他のアーティスティックだと言えるメディアから出ているアーティストに興味を持っているだけなのさ。
4.あなたは、CON-DOMとしての活動は世界、またはイギリスからの影響を受けていると思っていますか？そしてあなたの国の社会状況に何かコメントはありますか？
CON-DOMは、我々が住む世界を直接反映している。ControlとDominationが礎石となってる世界のね。周りを見回して、そして、その世界の真実を見てみるといい。あらゆるところで、人間性が、犬のように四つんばいになっていたり、束縛されたりしているだろ。勿論、文字通りにじゃなく比喩的だが、生まれてから死ぬまで多くの条件という拘束着を着せられてるってことだ。イギリスは、こういう点で、世界のどことも変わらない。歴史、伝統、規律、ルール、政治、そして生活状況は異なるかもしれないが、最終的にはどこも同じなのさ。 CON-DOMはControlそしてDominationの要素を再生する-----レコーディング、パフォーマンス、アートワーク、フィルムなどにおいて。彼等個人の存在の真の意味に付いて考えさせたり、教えたりすることがその目的だ。そして、彼等に他人の意志によって服従させられるという光景、感覚、感情、経験を押しつけるんだ。
5.Freak AnimalのMikkoによるあなたのインタビューを読んだ時、私は、ノイズの為のノイズとコンテンツのあるノイズという認識があることに気付きました。そのアイディアはとても興味深く思えたし、同時に私は、シリアスなノイズのコンテンツに目を向けるようになりました。そして、「State Art」からリリースされた「Natural Order」を聞いた後、あなたが真剣な関心も無くイメージや論議を呼ぶような題材を弄ぶような商売人ではないと100%確信しました。そして現在、私たちはたくさんのパワーエレクトロのバンドを見てきています。彼らのうちのどれだけが、あなたと同じくらいシリアスかは分かりませんが。以上の事について何かコメントはありますか？
本質的に3の質問の答えとほぼ同じだ。少しもこれら無数のバンドの無価値な活動に我々は興味や関心が無い 。それは誰かの足に踏み潰されるために繁殖しているアリみたいなもんだ。けど、どんなアリのコロニーにも、女王アリがいる。この無知や愚かさそして無意識の服従の広がりの中で、時たま沸きあがってくる知的な物に出会うことは常に喜ばしいと事だ。
6.先日のトウキョウでのライブパフォーマンスについてですが、私はあなたがオーディエンスとコミュニケートしようとしたり、または彼らを引き付けようとしたりしていると思いました。最終的にオーディエンスはあなたが命令した時、立ち上がりましたが、それは本当に印象的でした。あなたは、いつもこのようなやり方でライブを行っているのですか？
先に言った様に、CON-DOMのパフォーマンスの目的は、Control/Dominationの威力をオーディエンスに感じさせることだ-----直接的なオーディエンスへのコンタクトはこの目的に沿う物だ。君の言う東京でのパフォーマンス、”Many Are Called But Few Get Up”では、オーディエンス達を無感動でまるで羊のような集団の様にしり込みさせるんじゃなくて、強制的に立ち上がらせるようにしたんだ。逆に言えば、もちろん、“立ち上がる”という大きなアクションで、彼らは、パフォーマンスの（Control,Domination）の命令に答え、従っていたことになる。そして、立ち上がった事で彼らは新しく、羊の集団に仲間入りしたのさ。
7.あなたが日本で使った背景の映像や詩について聞かせて下さい。
映像と詩は、三島、麻原彰晃、そして現代の日本の右翼団体についてのものだ。あと我々の本国イングランドの戦争捕虜の余り知られていない書簡も使用した。西洋的な物を扱うよりも日本のオーディエンスが自分に関連付けたり、それに反応しやすいと思ったから使ったんだ。全てControlとDominationの表れとして選び出された物だ。
8.私が日本に来てライブをやってくれるよう頼んだ時、あなたはどう感じましたか？
もう一度日本でライブをやる事は、名誉だし、特典だと思った。違う文化、伝統、期待を持ったオーディエンス、自分達の予測をためそうという見込みを持ったオーディエンス、おそらく意外な反応やレスポンスを持ったオーディエンスの前でパフォーマンスをやったり、彼らを引き付けようとする事は最高に楽しい事だ。
9.あなたは、日本のミュージックシーンに関心はありますか？
日本は所謂「ノイズミュージック」の世界で最も重要で興味深いアーティストを輩出してきた。Merzobow,Hijiokaidan,Incapacitants,MSBRなどね。多くはアートやパフォーマンスの伝統に根ざした物だと思う。彼等のうちの何人かは我々の活動に色んな形で影響を与えたり、貢献したりしている。ただ、ここには君が言うような、メッセージのあるノイズ、所謂、「パワーエレクトロニクス」の伝統が無い。日本のその他の芸術活動、例えば舞踏のラディカルな伝統を考えるとこれは不思議だといわざるを得ないな。
10.あなたが興味を引かれた、もしくは、影響を与えられたという、作曲家やバンドはいますか？
すでにあげているけど、三島とか先に挙げたバンド達だな。ただ実を言うと、我々のインスピレーションは（ここで重要とされているのは影響というよりもインスピレーション）色々なソースから、もっとはっっきりと言えば、我々の住んでいる世界から来ている 例えばイギリス人の冒険家で作家でもあるT.E.LAWRENCE（初期作品である「The Eighth Pillar」や「Prince Of Our Disorder」の源泉となった）は名を挙げるに相応しい人物だ。彼の生き方や哲学においてね。勿論、Jesus Christもそうだ。 CLUB MORALのメンバーであるDDVからは、CON-DOMのパフォーマンススタイルや行動倫理に、早くから、かつ永続的な影響を与えられている。 だが、時としてそれが無名の個人である時もある。平凡な人間が行った注目に値する行動や我々の作品の中で光り輝くある短時間の業績という風にね。例えばそれは、カルカッタの石屋の殺人鬼、ミズーリのガス室犠牲者、David Lawsonであり、空想的な小説や映画の第三者だったりするのさ。小さな世界の出来事や命の音が人類全体に反響するんだ。
11.あなたはアメリカとイラクの戦争に関してどう考えていますか？
現実や芝居じみた行動におけるコントロールや支配の勢力から出来た多数の層になった機械国家を観察する良いな機会だね。ブッシュが絶対的なコントロールを握る者。ブレアはアメリカの支配下に置かれ、イラクの人々の支配者であるサダムは、逆説的ながらも、支配されながらも人形使いで居続けている。戦争というステージに世界から役者を集めてきてる。これらの国に住む人達は無力でこの成り行きをどうすることも出来ない。で、今まで歴史で起こってきた事、これからも起こるであろう事が進行するんだ。
12.あなたは2001年の9.11の時、どこに居ました？
家に居たよ。仕事中で、この出来事にはっきり気付いていなかった。パートナーが、仕事から帰ってきて初めて、何が起こっているのかを知り、テレビやラジオを通して並外れているけど、どういうわけか、仕掛けられているような、非現実的で信じがたい光景を見ていた。まるで「タワーリングインフェルノ」の出来の悪い再映画化のようだった。
13.これからのあなたの計画を教えてくれますか？
１２月にプラハ（チェコ共和国）でフェスティバルに参加するよ。2004年の10月、11月にロシアで、多分3月にはベルリンでライブをやる予定でもいる。 あと、とても長い間掛かっていた、「Bible Right」をリリースをする。２トラック１６分のもので限定テープ、限定MCD（両方ともスペシャルパッケージ）、そして、普通のMCDのフォーマットを出すよ。CON-DOMとTESCOから出ることになる。 ２００４年の初めに、何年か振りにコンピレーションに参加する予定だ。その他に未だにタイトルのついていないMCDのコラボレーション様に新しくレコーディングをして、さらにはメインのCON-DOMプロジェクトの新しいレコーディングを開始する。
14.最後に、他に何かありますか？
彼は長く真っ直ぐな通りにいた。夥しい人々のほんの一部分がそこにいた。しかし彼は自分の周りに、その向こうに、巨大なレンガの山の向こうに隠れた水平線のぎりぎりの所まで、物凄い数の人の群れがいると感じた。彼等は蝗のように大群で、蟻のように勤勉に、自然の力のように無分別に群れ集っていた。盲目的に、又、規則正しく、又、我を忘れて前進していた。まるで感情や論理、恐らくは恐怖にさえ無感覚である様に。
INTERVIWED 2000
1.How and why did you start Slogun?
I started Slogun because I wanted to do something where I could combine my interests (art, noise, writing) in one package. I was already very interested in Power Electronics from my work with Intrinsic Action and my good friend Mark Solotroff, that it all seemed perfect to start Slogun.
2.Your music/noise is really violent. Is that reflection of your daily life/surroundings or just violent fantasy?
I guess you can say that it's a combination of both actually. I grew up in a somewhat violent area, and all the energy that I used to put into fighting just went into creating chaotic noise. This worked well with my intense interest in the True Crime genre, so everything meshed together I guess. I can't say I have a real "violent fantasy-life" actually. I think to have a fantasy life filled with violence is quite sad to tell you the truth. I'm always trying to get away from violence, so I certainly would not be fantasizing about it.
3.You are living in NY. Do you think it gives you/your music some effects?
Living in New York is not as bad as people make it out to be. It is the safest "big" city in the country! It's true! But seeing certain things over and over can have an influence. It was really my particular area of Brooklyn that formed my thoughts going into Slogun. Not really the NYC aura that people think exists.
4.I have read your interview few years ago and you said you wont play live, because serial killers wont appear in public. But now you do some live perfomances. What makes this change?
I did in fact say that I wouldn't play live, but when Stephane and Sylvie from Nuit et Brouillard offered to fly me out to France to do the Deadly Actions festival with Genocide Organ and Ex Order, I couldn't pass it up! When would I ever get the chance to do this again!? So after thinking about it for a while, I decided to go, and I am so glad I did. Besides, Mark from Bloodyminded told me I'd be a fool not to go, and I agreed! I met a lot of nice people, and had a real good time. After that festival, I decided it wouldn't be too bad to do a show every once in a while! So now expect an occasional Slogun performance now and then.
5.You seem to enjoy Deadly Actions. Maybe you have some interesting/funny stories?
Well, Lina Doll (Deutsch Nepal) drunk out of his mind, naked in the parking lot was funny, and seeing the all too serious fans was a little funy too! I was trying to make everyone laugh, yet there were some that looked so serious they wouldn't even crack a smile! Some people should really lighten up! I'm a serious person myself, sometimes too serious, but in a situation like that, where we're all meeting each other for the first time, RELAX!!
6.Serial murder is one of the important subject, ( I think ) of Slogun.Why? And who is the one you are most interested in?
Well, I've always been very interested in serial murder. I can't really explain why, but it amazes me when someone destroys their lives by destroying the lives of others! It's incredible to me. The depths to which a serial killer falls, to satisfy a primal need is amazing! Can you imagine how lonely the life of a serial killer must be? and all for the satisfaction of some primal lust!? amazing. The most interesting of all for me is the Green River Killer from Seattle in the early 1980's. He killed over 40 prostitutes while being intensly hunted himself by the local police, yet he was never caught, and suddenly there was a rash of similar prostitute murders down the coast in San Diego when the Seattle muders stopped...I'd love to think it was him, and that he just stopped one day and lived out the rest of his life. But it probably didn't happen that way. He probably killed himself or was arrested for something else.
7.Do you have any favorite musicians,writers etc that affects your music,way of thinking and attitude toward life?
Wow! There are so many I respect and that have affected me. Well, I will just list a bunch of people: Dead Kennedys, Crass, Nick Blinko, Brighter Death Now, Intrinsic Action/Bloodyminded, Virgin Prunes, Dead Can Dance, 4AD Label, Joy Division, Velvet Underground, 23 Skidoo, SPK SPK SPK!!, serial killers, 20th Avenue Boys in Brooklyn, Wax Trax, Vaughan Oliver/23 Envelope, Princess Tinymeat, early Current 93, Death In June, Coil, Exploited, Non, Swans, NYC Goth/Industrial clubs (1988-93), NYC subway grafitti, and many more! Hope that helps a little.
8.Cd "Kill to forget" is a reissue of your LP. What does it like? Ltd 100 or so? No one around me knows about this LP.
The LP was a very limited acetate (33 copies), that was incredible as far as packaging goes! Jeffrey at Jinx did an amazing job! It was the same material as the cd, in a bound hardcover case (like Genocide Organs "Remember") with an original piece of my collage artwork. It really came out nice and I wish many more could have gotten one, but it was so expensive to make!
9.Any future plans?
Well, I have a few more releases coming out, and my web site is still up there for all to see (www.slogun.com). As for the future of Slogun, who knows? I may stop it soon, or I may stop it in a year or so. Too early to tell!
10.Thank you for answering long questions.Any final words?
Final words...hmmm...well, anyone who wants more info on my shit can go to my site, and you can also link up to my other site "Circle of Shit True Crime Pages" for serial killer profiles...thanks to you for the interview..f.t.w.
1.グループはどの様に結成されたのですか。貴方が唯一のメンバーでしょうか。 |
Mortiis -Ånden Som Gjorde Opprør/Keiser Av En Dimensjon Ukjent
