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Tuesday, April 7, 2020
Monday, February 18, 2019
D...M...D... highlights from 2018
Fashionably late (As has become a reluctant tradition for me) please behold my 6 favourite records from 2018...
From The Bogs of Aughiska - Mineral Bearing Veins
Released: September 28th via Apocalyptic Witchcraft
Producer: Ronan Hayes
Bringing together the darkest reaches of folk, Black Metal, Dark Ambient and a sprinkling of Noise, this Irish Trio of lone wolves are intent on an individual approach to their art.
In the past the group have collaborated with a plethora of extreme metal stalwarts including Mories (Gnaw Their Tongues) and Chris Naughton (Winterfylleth) as well as acclaimed Irish storyteller Eddie Lenihen (who makes a re-appearance on this album).
Opening track ‘Scubatuinne’ is a peaceful, melodic harp prelude to this noir affair, which soon becomes apparent with the arrival of the follow up - ‘Poll An Eidhneain’ which is immersed in Dark Ambient flair. A field recording of water slowly trickling down a drain drips through the heart of the track, a synth line intertwined with flairs of feedback sets the scene before giving way to chunky chords and guitar harmonies - reminiscent of Mastodon’s early work - that build up to reveal a blasting, unstoppable force that threatens to break out of your speakers. When it cuts out, the track’s final seconds leave us with only the aforementioned field recording. It’s an awesome opening gambit, and only teases us of what’s to come.
You can watch a video for the track HERE
In ‘Wake of Buzzards’ the icy ambience looms ominously, while narration speaks of mythology, folklore and dark superstitions that only add to the overall eeriness. ‘Crataegus’ continues the previous track’s work, with the bird calls remaining audible we’re presented with a new narrator now speaking old Irish tongue. Blasting drums hail the arrival of heaviness, distorted vocals howl over a searing Black Metal passage.
Although this section does admittedly sound a little squashed, I personally feel it works in the band’s favour as it requires the listener to really prick up their ears if they are to gain anything from it at all.
But it’s ‘The One Whitethorn Bush’ that really is the album’s crowning glory, storyteller Eddie Lenihen warns of the danger of disrupting the abodes of fairies who dwell in common hawthorn bushes, meanwhile the group’s spine-tingling synths embellish the darkened soundscape. For me it harks back to my early adolescence, up late at night with my old battered cassette copy of Edgar Allan Poe’s ‘Tales of Mystery and Horror’ (narrated by Christopher Lee) whirring away in my walkman, wide eyed and far too terrified to sleep.
‘The Devil is an Irish Man’ leads us through wails of noise, droning chords, blasting drums and screaming guitars that pick up blazing speed and accelerate toward ‘An Speadaladoir’ where the final notes bleed into a layered vocalising of a traditional Irish folk tune.
Finally we are met with epilogue soundscape ‘Lios Duin Bhearna’ comprised of eerie synth choirs and severe blasts of noise, it’s an unforgettable closer to an unforgettable album.
The fact that this was all assembled on basic computer software just goes to show that the only limits creators place on themselves is their own creativity, not the amount of money available to splash out on pricey audio equipment. Lesser bands take note!
Inspirational, Cinematic and at just under 30 minutes, ‘Mineral Bearing Veins’ is over before you know it, but every step down it’s cold dark path is an incredible audio trip and fully destined to become a future cult classic.
photo by Nina Kristin
POLIVOKS - Origin of Species
Released: August 28th via Spider Baby
Producer(s): Death Tape Super Bass, Angel Marcloid, Dennis Jaymes and LessThanOne
“A man is like a computer. He is programmed by heredity and environment.”
Curated by Alex Steinmetz (Death Tape Super Bass) ‘Origin of Species’ features contributions from LessThan One, Angel Marcloid and Dennis Jaymes - as well as Alex’s own audio experiments - this 30 minute is a shining example of old school electronic industrial mixed with dark ambience swirled through a kaleidoscope of progressiveness while aptly commenting on humanity’s unstoppable downward spiral into automation.
On the opening and title track, a disembodied voice (sampled from an IBM advertisement) and a sputtering effect set the scene while warped field recordings are dialled up to screeching point before disappearing beneath a sea of static.
‘Id Machine’ drives home the point of automation with more voice samples, (who seem to be caught up in an argument) next, ice cold synth tinges on ‘Structure’ brush against a pulsating beat interspersed with spacey sound chimes.
‘Recorded Time’ is a whirr with bleeps and whirrs while short interlude ‘Surviving’ brings together an air-raid siren, clanging metal and some unidentifiable eastern percussion instrument at first beginning life as a soft soundscape but soon the atmosphere turns very threatening, with bombs dropping overhead making me recall groups such as Test Dept but on a more minimalist scale.…
Feedback invades the hearing space on ‘Dream Machine’ before warping into a buzzing drone noise wall, meanwhile ‘Cognitive Electronic’ features a manipulated recording of a piano, our bodiless narrator returns, his voice warped to a slow yet still decipherable jumble. Sound effects squeak away before quickening in pace, giving way to a warped synth pulse works it’s way through a series of filters before emitting short bursts of noise at random.
Closing soundscape ‘Integrated Lunacy’ is a ritualistic feast of dark ambient electronic, feedback looming in-between metallic banging, it’s reverberations bubbling against one’s eardrums make for an ethereal ending.
With a very vintage feel it’s a must listen for older electronic fans but there is plenty here to satisfy any newcomers and I look forward to seeing what the POLIVOKS team put their hands to next!
I briefly caught up with Alex Steinmetz to shed some light on the project as well as his work…
DMD: What was the catalyst in bringing all the different composers together for POLIVOKS?
Alex Steinmetz: My primary recording project and moniker DEATH TAPE SUPER BASS is a very solo-ish recording output. Sometimes I do a one off collaboration with other artists but not often enough. I wanted to create a project where I collaborate with others as kind of a band. Some of my best noise music I’ve made has also come out of collaborations and I wanted to come back to that.
Graham Williams (LessThanOne) and I had collaborated 50/50 on an album called “Eyes Without A Face” after I remixed one of his early albums. It turned out really well and I wanted to continue collaborating with him.
POLIVOKS started as just a collaboration between me and Graham, then I added some other tracks that I requested from my friends Angel and Dennis for the project but Graham and I did most of the recording.
DMD: Will there be another POLIVOKS release in the future? And if so, will it follow a similar concept to ‘Origin of Species’?
AS: Yes! Graham and I are working on a new album. Things are still kinda coming together and in their early stages, but speech synthesis/computer voice and radiophonic sounds are playing a big role in this album. The concept is definitely technology, more about computer sentience and the history of computer voice than anything. If anyone dug the last one they should dig this more.
DMD: Where there any particular releases from 2018 that you enjoyed and would like to elaborate on?
AS: The new Firetoolz album was dope. I also really enjoyed Robert Aiki Aubrey Lowe’s “Kulthan”. Aaron Dilloway’s “Gag File” came out in 2017 but it’s still in regular rotation as well as all new Wolf Eyes and Wolf Eyes side projects. Also always blasting this years new Oh Sees/OCS releases at my graveyard shift job.
DMD: What does the name POLIVOKS mean?
AS: Polivoks means ‘mutli-voice' in Russian. It’s also named after the Polivoks synthesizer that was developed in the Soviet Union. It was made under a lot of constraints and sounded very harsh and heavy and was a pretty unique instrument.
DMD: Finally, what does 2019 hold for you and Death Tape Super Bass?
AS: I make films as well as recording for Death Tape Super Bass. Weird experimental and messy animation. So hopefully more of that. I’m trying to do more fleshed out concepts with my sound recording output rather than “Oh shit this sounds rad”. I’m also hoping to score another short film that my girlfriend Gaby is doing. I’ll be relocating back to Chicago and I'm hoping to do more live shows.
Also Recommended: Death Tape Super Bass - Screamer
A short but intriguing sonic scrapbook made up of with dark synth ambient (‘Born Again’) musique concrete (‘Rubber and Wood’) and Harsh Noise Wall (‘Empty Room’).
A definite highlight for me is the longest and closing track ‘Creature Feature’ featuring garbled, looped vocals over a batch of audio wreckage that swiftly transforms into a sharp ‘ready-for-take-off’ power drone reminiscent of the old school THX Movie sound intro!
It’s jarring, schizophrenic, and over before you know it, but it’s still a fine showcase of Alex’s all encompassing dark, altered sound-verse.
The Wyndham Research Institute (LessThanOne with JG Sparkes) - Selected Notes Vol 3
A beautiful tape.
This is some finely tuned deep space ambient / drone that sounds like it’s just been uncovered from the bottom of the ocean and is - at regular intervals - being brought back up to the surface.
Best enjoyed while contemplating the universe and regretting every wrong turn you’ve ever taken.
Goshen - Self titled
Released: June 9th via From Corners Unknown
Producer: Erol "Rollie" Ulug
It’s always exciting to follow a band since their first release (+ 9,000 hipster points!) and seeing a band advance, morph and transform is always a pleasure to witness and Goshen are no exception. The West Coast quartet who mix together Grind, Mathcore, Noise and Metallic Hardcore influences into a hellish abyss of contorted sound have had my undivided attention since I reviewed their 2017 demo as part of the DMD Discovery Channel...
This self titled release marks their sophomore recording, with the 4 piece upping their game but keeping their output as synapse-boiling as the California heat they’re no doubt forced to endure while rehearsing in their sweltering garage.
Opener ‘G.A.B’ starts as a glitch-ridden mass of noise then repulsive riffs twisted into dissonant stabs force their way through the ether before transitioning into a quieter, more forgiving sounding passage.
Not keen to stay in this limbo too long, the group slowly rebuild the monster, upping the tempo in every whistle-stop section until finally navigating their way into a Thrashing Mathcore tirade before they jump to a blistering speed bringing the track to a pummelling end with all the subtlety of a beer bottle thrown at your face.
‘Sabateur’ sounds built for the mosh pit without resorting to predictability (often a rare occurrence these days) it’s vicious grooves mesh furiously with the ever present time changes while not sounding forced.
On ‘Cave’ (the first of two revved up re-visits to the demo) the chaos feels unleashed tenfold and amplifies the tension in the bridge section. Although I admittedly can’t shake the soft spot I hold for it’s first incarnation, this new edition of ‘Cave’ gives the track a whole new lease of festering life.
‘Man of Gauze’ is a force of nature in itself, a dizzying mathy display married with primal breakdowns that transitions well into Terminal’ (another re-recorded track from the demo) but this is a much dirtier affair than it’s ancestor, engulfed in an indescribable darkness that compliments the clarity (for lack of a better term) of the original track heard on the demo.
Closer ‘Cities’ is a Doom-laden riff-scape that soon becomes flooded with abstract noise and booming detonations of bass and cymbal hits. As the band make a swift exit we’re left with vocalist Kyle Ferguson’s possessed screams that are enough to make the hairs on your neck fall off. Judging by his panting you’ll be damn sure he means every word that falls from his lips.
As a release, ‘Goshen’ is yet another display of brilliance from the group that was well worth the wait, to me it’s slightly longer material offers a deeper gaze into the abyss, not to mention a better chance to indulge in the group’s more complex and brutal patterns.
At 13 minutes long, (only 5 minutes longer than the demo!) it’s a hell of a ride that threatens to derail any second. This is 103 degree garage Hardcore searing at it’s finest!
***Thankfully ‘Goshen’ was picked up by Ryan Knapp at From Corners Unknown (Link) who released it as a beautiful tape which you can purchase here
You can also listen to an excellent interview Ryan conducted with GOSHEN HERE:
Also Recommended...
More Fine 2018 offerings available From Corners Unknown...
Tired Lord (Black Metal)
Barren of Shape (Jazzy Grindcore)
Hacksaw (Old School Death Metal)
Dylan Carlson - Conquistador
Released: April 27th via Sargent House
Producer: Kurt Ballou
For decades we’ve been blessed with many a classic album from solo guitarists such as Steve Vai, John McLaughlin and in recent times Guthrie Govan who channel their inner voice through the medium of their trusty six string they bought at the five and dime.
But as far as guitar records go, Dylan Carlslan’s ‘Conquistador’ is much more of a steady ode to the universe than a showboating note salad full of bends, sweeps, taps and whammy bar squeals.
The third solo album from the Seattle based Earth-ling doesn’t wander too far from from his usual stripped down blueprint of warm, haze ridden, luring guitar-scales except this time around he’s reined in any excess jamming, resulting in a reduced running time comprising of only the truly necessary ingredients.
From the hypnotic, Spaghetti Westernesque tones of the opening title track to the evocative ender ‘Reaching The Gulf’ it’s an inspirational experience, Carlson picks his way through misty pentatonics (‘When The Horses Were Shorn Of Their Hooves’) behind canvases of dazed, bluesy melodic drone with sparingly used noise and sinister, ritualistic percussion (‘With Scorpions In Their Mouths’ / ‘And Then The Crows Descended’) and thus paints a wonderfully layered, blissful exhibition.
Wiegedood - De Doden Hebben Het Goed III
Released: April 20th via Century Media
Producer: Christophe Dexters
I wouldn’t have disagreed with anyone who claimed Atmospheric Black metal had grown a little stale in recent years, that is until I discovered East Flanders based Black Metallers Wiegedood (‘Death in the Cradle’).
Together since 2014, the trio boast members of Post-Black Metal act Oathbreaker and the Post Metal titans Amenra.
‘III’ marks another in a series of 4 track albums under the same title of ‘De Doden Hebben Het Goed’ - which roughly translates to ‘The Dead Have it Good’ - this third instalment cuts right to the core, utilising forward thinking yet straight up arrangements laced with many twists and turns that are undeniably infectious.
‘Prowl’ opens with a hair-raising scream and brutalising guitars kept in check with razor sharp drumming is a fist pumping call to arms stuffed with memorable guitar leads, chin stroking arpeggiated sections and red-eyed, sharpened thrashy breaks.
Up next, ‘Doodskalm’ races into action, it’s shining moment lying in the fantastic midsection which features some truly harrowing clean guitars until all comes crashing down into a slow, distorted section that is nothing short of heavenly.
Just when I thought they couldn’t outdo themselves, the band counter with the dynamic and primitive-yet-progressive title track, the video for which can be viewed here:
Finally the closing track ‘Parool’ scratches itself into being, and it’s a dizzyingly fast array of musicianship, tense riffing embedded against a tornado of drums.
Even it’s slightly slower sections that allow the band to gather their burning speed once again still feel like they are in danger of catching fire rapidly making it’s way toward a frenzied climax.
The song’s visual accompaniment brilliantly captures the degradation of the Downtown Belgian Red Light District and the waste it creates.
Watch the Video for ‘Parool’ Here: (SEIZURE WARNING)
While many of the usual Black Metal elements are at play here (treble soaked riffs, screeching vocals, pounding blast beats) their use is coldly calculated, carefully sidestepping any cliche and no seconds are wasted.
In closing, DDHDGiii is a magnificent masterclass in modern Black Metal, and well worth your time. You can stream or purchase the album here, but if you like it then you should buy a physical copy. You cheapskates!!!
YOB - Our Raw Heart
Released: June 8th via Relapse Records
Producer: Billy Barnett
Shaking the trappings and breaking the boundaries of Doom Metal by employing the use of more psychedelic and progressive qualities, Oregon’s YOB have been on the cutting edge of the genre for nearly a quarter of a century.
‘Our Raw Heart’ the group’s 8th album was marred by singer, guitarist and YOB founder Mike Sheidt’s well documented brush with deathbed (caused by a nasty staph infection amongst other misfortunes) resulted in the vocalist penning many of the lyrics from a hospital bed.
While it is a record wrapped in a sweet, dreamy sludge aesthetic, it doesn’t fall short on crushing heaviness (‘Ablaze’) clashing dissonance (‘In Reverie’) soaring vocal melodies (‘The Screen’) cavernous ambience (Lungs Reach) or intense emotional outpour (‘Original Face).
One of the many high points here is the ever expanding, winding peaks and valleys of the mammoth ‘Beauty In Falling Leaves’ that hits all the right spots, while the epic, I-never-want-this-to-end jam of ‘Our Raw Heart’ that cues the credits to roll on this breath-taking listening affair.
Whilst many (myself included) were in agreement that YOB’s last effort - 2014’s ‘Clearing The Path To Ascend’ (Neurot Recordings) - was the band at their creative pinnacle, ‘Our Raw Heart’ sees the group surpass all expectations, embodying the ultimate form of triumph over tragedy and a reminder to us all to never take life for granted.
Thank you for reading
Wishing you all a prosperous 2019
LOA
xxx
Friday, February 8, 2019
Jott fortysixandtwo: Many Small Steps…
“My goal is to build atmospheres that allow the listener to tell his or her own story.”
Once again, Desert…Mountain…Dust…travels to Germany. This time on our list is Walsrode, a town in Lower Saxony where young Ambient / Drone / Noise maker Jott can be found.
Despite balancing music with becoming a father, Jott’s nonstop flow of creativity has paid off handsomely, with him already making a mark on the US...
Jott’s former primary project How I Met Lauren first caught my attention a few years back with the fantastic ‘//////sixsixsick//////’ originally released on Kansas based label Big Pharma Records back in March of 2016 (BPR would later appoint Jott the head of their sub label Big Pharma Europa in early 2017).
To me, it still holds up as some of his most ambitious and amazing work. Resulting in the successful merging of Brian Eno's positive energies with a much darker, indescribable force. Listen below:
Jott then hooked up with the New York based Ben Hudgins, and released a strew of material via Ben’s highly praised tape labels Endless Landscape of Decay and Zero Sum Recordings (under the banner of Machine Tribe Recordings).
The rest of 2016 and most of 2017 saw many collaborations for HImL, including the elaborate storytelling audio experiment in episodic form ‘the_cyberpunk:episode zero’ with Endless Chasm, and the more Wall Noise orientated release ‘Void’ with Melinoe and See Through Buildings.
But the biggest team up had to be ‘With the Blessing of Satan’ - which saw contributions from Armor Breach, hallwayss and Black Sheet Servitude to name a few, resulting in a unique, multifaceted extreme music experience.
Soon after, Jott joined forces once again with one of the participants - Ben Rehling of See Through Buildings - to form the noise / soundtrack duo ‘a wet palace’ who released an EP entitled ‘[]’ on Analog Cowboy Records and their debut cassette on Machine Tribe.
The following September, MT released the cassette ‘Todallem’ (Death to Everything) an EP by Jott’s Metal band “Dovahkiief” which featured stellar remixes by such artists as Lorenzo Abattoir (Mare Di Dirac) and Jack Lynch as well as bonus Dovahkiief tracks.
As well as the title track, the highlights of the release for me include ‘Schluss Machen Bei McDonald’s’ which is rather an out of body audio experience with haunting vocals that truly stealing the show.
Then ‘Satanic Death Ritual’ personifies a powerful conjuration with thunderous tribal drums and low guitar rumbles, the blackened ceremony reaching it’s climax with a wash of feedback as the drums change up their pace to the fadeout.
Finally the tape closes with the simple but effective guitar delay run of ‘-’ It’s a stripped down and sleepy sound but remains one of the most memorable tracks on the release. In short, Todallem’ balances Jott’s love of metal and more eclectic electronic pallette brilliantly.
Purchase a cassette copy of Todallem HERE
Purchase a cassette copy of Todallem HERE
In late 2018, Jott took another step forward and formed a new solo project entitled ‘Kummer' which saw a release on LSD Induced Nightmares Records in Texas. As well as the creation of a new Ambient duo with his other half ‘K8’ entitled ‘MOMOFUKU’ that fuses both analogue and digital software who were gifted a debut tape release via Chicago based label Lurker Bias ‘Blessed By The Algorithm’ a perfect modern yet minimalistic dream…drift…scape. Listen below:
I caught up with Jott to find out more about his musical beginnings, the happenings of Big Pharma Europa and what the future holds for him and his other projects…
DMD: What artists and bands had the biggest influence on you growing up?
J: ISIS (the band). They are by far the biggest creative influence I've ever experienced. Other people that influence me are The Mars Volta, Tim Hecker and The Boats.
DMD: Where did you first hear drone / ambient / noise / experimental music?
J: I was always interested in audio plays and therefore listened to a lot of ambiences and noises as a kid. I got fascinated by how some noises can give you real shivers.
‘Carry’ my favourite track by ISIS has a heavy drone intro that I listened to on repeat when I was younger. It was used as music in a video about parachuting.
A year later, YouTube added the feature that tells you the song playing underneath the video and that's how I found my favourite band of all time.
DMD: Please tell us the story of How I Met Lauren so far, I am particularly curious as to how you came by the name…
J: How I Met Lauren was the name of my personal music project because I became friends with an exchange student named Lauren from the USA in 2009. She was not the only reason I chose to express myself with music but certainly the biggest at that time.
How I Met Lauren started with a lot of shit songs and evolved into this ambient/drone thing it is now. I had never thought to get into this scene when I started making music at first.
I have put How I Met Lauren on hiatus for now because I felt like I had to leave something for later on. I will return to this project and make some violent ambient again (in the future) but I personally want to focus on more structured music at the moment.
DMD: Is there a strong noise scene in Walsrode?
J: There is none.
DMD: What recording gear do you use?
J: I used to have a studio/rehearsal room with my band Dovahkiief, the hyaenidae. It was a great spot and for two years I recorded most of my music there.
We had to abandon it after moving to another city and now I make most of my music in my bedroom studio.
In terms of software I was using Cubase and Audacity but made the switch to Logic Pro X last year. Recently I got into randomised step sequencing using a digital step sequencer with two oscillators, letting it generate chords within set parameters.
I'm also working with an elektron digitakt at the moment to realise randomised breakbeats and chance-based triggering with samples. I got the digitakt to work less with synths and more with samples but found myself quickly adding synthesisers to the setup since the digitakt has elaborate midi features.
I like to use gear that other people have thrown away. If I have to climb inside a dumpster to get it, it makes it more interesting. I like to use broken gear and I use a lot of circuit-bent stuff.
If I need a certain effect I'd rather let one of my more able friends build it for me to suit my needs rather than buying an expensive pedal everyone else already has.
DMD: Speaking of which, can please you elaborate on any pedals that have been custom made for you?
 |
| J: The metaldrone is a hardcore bend by simon the magpie. It's patch bay enables you to connect the bending points yourself. the barbed wire is functional and serves similar to a Thermerin in some settings. |
 |
| J: The Endless Chasm made by abraxas devotionals (AKA ZS Lawrence from the Futuristic Ambient project of the same name) is a delay pedal with a feedback loop that allows you to process only the wet signal with outboard gear and create feedback with it, for the purpose of creating washes of sound. |
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| J: The phase of the sun (also made by abraxas devotionals) is a circuit-bent phaser that glitches and mangles the input sound then routes it through an echo to create washes and waves. Both the EC and SP are custom build for my needs and basically the only two in existence. |
DMD: What’s going on with Big Pharma Europa?
J: Big Pharma Europa has been releasing free music since May '17. All of our releases are free for everyone from everywhere. Since my personal life has gotten more busy lately this project isn’t that active at the moment. We've had a small hiatus since my life got a bit busy but we are back on track and have just released a new split between MOMOFUKU and Dakota Snaketail's project The Flesh, Full of Black Sand which you can listen to here
DMD: What is your favourite release from How I Met Lauren? Also will there be any more releases in the sixsixsaga?
J: My favourite release is //////sixsixsin///// and yeah there will be more.
DMD: Tell us about your other projects and bands:
J: Kummer is my main focus at the moment. I want to combine ambient music with a more structured, approachable track concept. It’s basically a blend of Drum ’N’ Bass elements and Ambient / Drone atmospheres.
My first full album with Kummer is still in the process of recording at the moment.
‘a wet palace’ is an experimental collaboration between californian noise artist ‘See Through Buildings‘ and me. We’re burying real instruments in walls of terror. We’ve got an album out on MTRec and we’re working on a new EP at the moment.
'MOMOFUKU' is my newest project. In a phrase, it's complicated Ambient. I’m doing this with the Mother of my Daughter. It’s better than couple's therapy, trust me. MOMOFUKU blends digital possibilities like chance based triggering, randomising sample slices and random chord generation with experimental analogue gear that's in part custom build for our needs.
We are two people behind the hardware but we often feel like randomness is our third bandmate as it's the essential part for creating interesting artefacts and sonic environments that feel organic.
‘Dovahkiief‘ is a stoner/sludge band project I founded in 2015 with a good friend of mine. since we had to abandon our studio, this project is on hiatus until we find a place to shred again. The next tape is currently in the mastering stage though!
DMD: Could you please explain the meaning behind the name Dovahkiief?
J: ’Dovahkiin' is the main character in the video game 'Skyrim'. there it means ‘Dragonborn’. 'Dovahkiief' is a word that I came up with, figuring it would translate to ‘Dragonbong’.
'Dovahkiief' also sounds a hell of a lot like 'Doofer kifft' which is german for 'dumb person who smokes reefer’. ’Todallen' would really translate to 'death to all' but it’s actually 'Todallem' which means 'death to everything’ it's a made up word made from 'Tod' and ‘allem'.
DMD: Tell us some of your favourite albums
J: Isis - Oceanic
Tool - Lateralus
Cypress Hill - Black Sunday
Denzel Curry - Imperial
Arsonists get all the girls - Portals
Bob Marley - Exodus
Billy Talent - Billy Talent II
DMD: Any plans to play live with How I Met Lauren?
J: I’m working on a proper live setup but it's not a main concern at the moment.
You can check out my 'Magpie Metaldrone' video (see below) for a How I met Lauren live experience.
DMD: If you could work with any artist living or dead who would it be?
J: Isis or Aaron Turner
DMD: Was there a concept behind ‘NORSEFIRES’ and the ‘A Wet Palace’ albums?
J: Many artists try to tell a story in their concept art. My goal is to build atmospheres that allow the listener to tell his or her own story.
NORSEFIRES was a 'study piece' for me because it is the product of me figuring out a steady effect chain for my guitar setup.
With a wet palace, my partner Ben and I were trying to take this DIY niche music we already make to the next level. Not in terms of popularity, but in terms of production value.
The album definitely tells a story but I am sure mine differs from yours, a wet palace is by far my most complicated album to date.
DMD: How did the record ‘With the Blessing of Satan’ come to be? Are there more plans for another huge collaboration like that in the future?
J: I made WTBOS over the course of 2016, I had so many collaborations going that I found it more a curse than a gift, hence the name of the album. It’s a collection of tracks I made with a lot of great friends.
WTBOS Part II will be a thing at some future time but other things are more important at the moment.
DMD: In the past did you play in any other musical projects / bands? Also how many different instruments do you play?
J: Before going on hiatus, How I met Lauren was my musical outlet since 2009. I didn’t switch from the name but I have switched genres a lot, always doing what I wanted to do.
I’ve played with some bands, mainly keyboard in a metalcore band and vocals in another metalcore band after that.
I own a violin and trumpet next to a variety of synth equipment and my bass / guitar setup but I don't claim to know how any of this works.
DMD: Apart from music, where else do you find inspiration?
J: Movies, people, trash and nature.
DMD: What music have you been listening to recently?
J: I dug up my stoner rock vinyls and got those spinning in the last few days…
At the moment I’m trying to avoid any and all radio music. I tend to stick to Amenra and Old Man Gloom these days.
DMD: Do you have a favourite HImL release?
J: //////sixsixsin//////...However the ////// series is currently on hiatus, as is the rest of HImL. But there is already new material recorded for part four.
DMD: Do you have any plans to play live?
J: it was never my main focus but I am working on a live setup at the moment to be able to play my music in front of an audience.
DMD: Anyone you want to give a shout out to?
J: SHOUTOUTS!
I think I would have stopped making music if i haven't been 'picked up' by my buddy and mentor Benjamin Joseph, the head of Big Pharma Records. What they did for me when they believed in me and my music and challenging me to create a whole album that they would like to put out on CD was the push into the right direction I needed.
If I had to name one person that influenced my music more than anyone else I would name them.
s/o to the three Benjamins, (Hudgins / Joseph /Rehling) who each had their own way to support me and my music.
s/o to the moorstrassegang for being the local support I need.
s/o to Dakota Snaketail for their endless creativity and powerful spirit. The brightest diamonds really are made under the highest pressures.
s/o to K8 and every friendly noise fire out there. You know who you are!
s/o to Dakota Snaketail for their endless creativity and powerful spirit. The brightest diamonds really are made under the highest pressures.
s/o to K8 and every friendly noise fire out there. You know who you are!
Everyone who put me on his or her label, everyone who collaborated with me, everyone who waited days for me to send over files I promised. You are what makes me an artist after all. Thank you.
LINKS:
If you'd like to hear more of Jott, click HERE for a mammoth 3 hour MOMOFUKU YouTube mix!!!
Monday, November 12, 2018
Cousin Silas: The Sound of Silas
“You see these young greenhorns pop up now and then, and they want everything like NOW. Like this, buy this, follow me... and more often than not, people are actually turned away by that kind of attitude.”
Maintaining our focus on the UK music scene we next travel to the Yorkshire Market Town of Huddersfield to meet with David Hughes, AKA Cousin Silas.
A highly respected figure in the online Ambient underground for nearly 20 years, his fantastical progressive and highly captivating guitar ambient soundscapes have appeared on such netlabels as Cerebral Audio, Petroglyph Music, Studio 4632 and We Are All Ghosts.
A dedicated practitioner of what he describes as ‘Sound Alchemy’ David has been the name behind an absolutely spellbinding number of albums and an ever expanding amount of collaborations and compilations.
Most notably the charity record ‘Silas and Friends’ which has now reached it’s 6th instalment features over 10 hours of music and sees Hughes sharing the soundstage with Michael Brückner, Øystein Jørgensen and Kevin Lyons (but these names only scratch the surface!)
Also a big science fiction fan, between 1990 and 2000 David contributed articles and short stories to such renowned publications as Back Brain Recluse and Nerve Gardens to name but a few.
I caught up with David to take a look back on his illustrious career, his beginnings as a musician and to rack his brains for thoughts on the current state of the music industry…
DMD: Growing up, what kind of music was regularly played in your household, and what did you tend to gravitate towards?
CS: Not having any brothers or sisters, I was never influenced in that way. I know lots of friends credit their older siblings. My Mother had the usual Carpenters, lounge music, a touch of classical maybe, and in and amongst those were the odd K-Tel compilation albums. My grandma knew someone who got singles from the old jukeboxes, so I got a handful of those once a week.
I was totally ignorant of genres and styles until I was maybe 12, 13. I remember making a conscious effort to find out what this rock music thing was. I'd started at secondary school, so I was aware of these new bands and artists whose albums I saw being carried proudly under the arms of older pupils.
One weekend I bought a music paper and there was a free gift. A flexi disc with one exclusive track, and a long edit of highlights from the album, and that album was Brain Salad Surgery by Emerson Lake & Palmer. I loved it, it was like nothing else I'd ever heard before. So dutifully, after saving up my pocket money, I headed into Town and bought the LP.
That was my first tentative steps into the world of prog. Of course, being young and somewhat naive I stuck with ELP and bought all their albums. It was about a year later I started expanding, King Crimson, Pink Floyd, Oldfield, The Nice, again, the usual suspects. I wasn't overly keen on heavier bands such as Zep or Sabbath, that came later. Strangely, though, I did enjoy jazz and classical music as well.
DMD: Whom or what exactly made you decide to pick up a guitar in the first place?
CS: I actually began saving up for a synth. The influence of ELP, y'see. I wanted to be a Keith Emerson! I'd seen one in the local music shop (a synth, that is, not a Keith Emerson). I have no idea now what the hell it was. I used to go in on a Saturday and mess around on it.
I eventually got myself about £15 and gave up the idea of being a synth player. I moved sideways and decided it would be cheaper being a Greg Lake. So I bought my first guitar from Woolworths, lol.
A really awful Kaye cheap shit thing, more of a cheesecutter really. I eventually got a fairly decent guitar and just basically messed around on it, no lessons (as many will testify!).
DMD: Tell us about your early musical career - What was the Yorkshire / Midlands scene like back in the days and what kind of bands did you play in?
CS: My first ever band played rock ’n' roll covers (we were all still at school). We called ourselves Bruno, no idea why. Anyway, we jammed together best we could, I was learning chords and all the usual stuff. We entered a local talent competition and came third. I really should add that there were actually only three bands that entered! I was frightened shitless, spent most of my time with my back to the audience.
Fast forward to where I'm now like in my first year of working for a living, still a kid, and punk comes along. Despite the fact that I was essentially a prog type, I embraced punk as incredibly refreshing and just exciting. So, needless to say, a punk band was formed (The Generators) with some old school pals, and off we went. My initial shyness from the rock ’n’ roll band had totally gone. I was acting more like Pete Townsend and loving it.
The scene back then was pretty much like it is now, locally, most of the audiences are what we used to call Working Men's Club types. Anything that went beyond middle of the road, standard songs were viewed with suspicion and devil worship.
But we revelled in that kind of notoriety, the essence of punk. It was only years later when we reformed for a giggle, that audiences were singing along to Pretty Vacant and Holidays In The Sun.... how times change eh?
I have good memories of great gigs, though, from both periods. I remember one especially, in the earlier version of The Generators, where we played, of all places, at a feckin' Parents / Teacher Association dance! There they were in all their finery, trying to actually dance, ala ballroom style, to Anarchy In The UK and White Riot. Precious!
DMD: What lead you into becoming a writer for various publications?
CS: Because I was well into science fiction, I joined the British Science Fiction Association. It gave you access to news on SF, writing workshops, reviews, etc etc. So I began to become aware of a small circle of publications, amateur, although well produced. It was coincidental that around that time I'd started writing poetry, prose and fiction.
I began submitting short stories, etc and some got accepted and published. In some respects, it's a bit like nowadays with the Netlabel scene. Same bollox is attached to the netlabels as was the small press in many eyes, you know, not the real thing, playing at it, etc etc.
I even began my own magazine. It was a great time. I reckon the reason why I started was pretty much the same reason why I do Silas, it was basically a captivating hobby, therapy, if you will.
DMD: How did Cousin Silas get started?
CS: I'd tinkered around with various ideas and recordings long before I went the way of Silas. But what really gave me the true incentive was I used to do a music review magazine. I wrote to a few indie labels asking if I could review any of their stuff. I remember one label in particular, Fflint Central Recordings.
They lovingly sent me everything they'd produced, all on CDR, artwork, the lot. Now whilst I'd being plundering the more stranger (to my peers anyway) music scene such as Henry Cow, Faust, Tangerine Dream, Captain Beefheart etc etc, I'd never heard ANYTHING like what Fflint sent me. I was both captivated and yes, inspired, to create my own experimental stuff.
I had a PC, so I acquired a bunch of software, and basically began using found sounds, and quite a lot of self created sounds, although I couldn't use my guitar for the first year or two due to the price and limitations of the technology at the time.
I used to use Soundforge a lot, initially manipulating the sounds, layering them, mixing in all kinds of stuff. It was a fun time, like stepping into a new world.
I was actually quite proud of my first steps into this new world, so I sent two CD’s worth of material to Fflint, basically wanting to know what they thought. To cut a long story short, they eventually mixed and released them.
My first two albums are on Fflint; Lilliput, and Portraits & Peelings. Technically it's not just me, though. My original sounds were remixed and manipulated by the team at Flint. Either way, I was happy as feck, as you can imagine!
It wasn't long after I then began to hear (due to my music magazine) about Netlabels. The first was Earth Monkey who sent me an email detailing what the label was all about so I thought I'd send them something. That's really how it all started.
DMD: How did you end up venturing into Dronescape territory? Also, when did you first hear about Ambient and Drone music?
CS: I am sure my first introduction to the term ambient was via a Brian Eno album.. I 'think' it may have been Airports, and to be honest, initially, it annoyed me. Here I was, just starting out, and this album just seemed like, well, it didn't go anywhere.
It was just a steady hardly developing long ramble. I've since learnt the error of my ways, because I did hear other Eno, and Harold Budd albums that I thought, wow, this is really conducive to drifting off somewhere nice and cosy. A kind of aide memoir to relaxation. I then began checking out and actively looking for ambient.
Drone was something that obviously came around when I was checking out Ambient. I'd seen the term used on a few netlabel releases. And again, true drone annoyed me, and yes, it still does. Each to their own, I have no real reason not to like it other than the fact that that's all a drone is, a drone.
Half an hour of listening to a non developing drone is no different to being stuck in traffic. I like to think that the 'drones' I do have more development in them, I throw things in there to make it slightly more livelier. So I guess, technically, I don't produce drones in the strictest sense of the word.
My first drone was actually done as a bet. I can't remember the exact conversation, but it was with Thomas Mathie at We Are All Ghosts. I basically said that a true drone requires selotape on a few keys, press record and feck off for an hour until it's recorded.
Or even cut and paste five minutes until you have an hour. I was asked if I could do one and I said sure, but not like that.
That's how the first dronescape was done. Sure, there is a 'drone' in there, but a lot of other things are going on as well. And I enjoyed it that much that I did a few more.
DMD: According to the Cousin Silas Wikipedia page you appeared on John Peel’s Radio show. Is this true? If so, what was John Peel like in person?
CS: I never played on John Peel, I only had a track played. Well, I say only, that was one of the biggest highlights to date of Silas. And sadly, I'd have genuinely liked to have met the guy as he 'introduced' me to several bands via his show.
Here's the link...
DMD: What are the 15 records that you can’t live without?
CS:
1. Brain Salad Surgery - ELP
2. In The Court Of The Crimson King - King Crimson
3. The Modern Dance - Pere Ubu
4. In The Wake Of Posiedon - King Crimson
5. The Faust Tapes - Faust
6. Guitar Solos - Fred Frith
7. Western Culture - Henry Cow
8. Trout Mask Replica - Captain Beefheart
9. Lizard - King Crimson
10. Islands - King Crimson
11. Ommadawn - Mike Oldfield
12. 6 Symphonies - Bohuslav Martinu
13. Sketches Of Spain - Miles Davis
14. The Pearl - Harold Budd/ Brian Eno
15. Sunburst Finish - BeBop Deluxe
The above are on the spur of the moment, and to be honest, I'm not a fan of being tied down to specific albums as I often go with the mood, and can go without playing any of them for months with others taking their place.
Most of them mean more to me in terms of aural bookmarks from when I first heard them, like photos from a certain time and place.
DMD: I know for a fact that you’re a big Sci-Fi fan, so are there any particular movies / novels / TV shows from the genre that really left a lasting impact on you? Are you a bit of a Whovian?
CS: Movies, yes, well, Bladerunner is definitely up there, and I did like many older b-type movies but revisiting them years later was slightly disappointing. I loved Outer Limits and, of course, Twilight Zone and thought rather highly of Sapphire & steel, a strange British TV series that featured Joanna Lumley and David Macallum. Very odd, but that was what was attractive about it (and Joanna Lumley), it was just so different.
As for Dr Who, I always enjoyed Tom Baker, but he was bonkers which added to the appeal. Some of the newer episodes starting with Eccleston were great.
I am more of a novel type SF fan really. I much prefer using my own imaginationary visuals rather than being shown them. I have always been a massive fan of JG Ballard, his short stories and the majority of his novels are, for me, peerless.
DMD: Why do you describe the music of CS as 'Sound Alchemy'?
CS: It was a phrase I actually nicked. Someone was using it and I thought yeah, I like that. Combining the idea of alchemy (transmutation) with sound, the manipulation of various samples and found sounds.
DMD: Any albums from the past few years that you’ve really enjoyed?
CS: I won't name specific people as I am bound to overlook or not mention some of them. But of course, almost all of my musical FB friends have released some great albums and I'd be lying if I didn't say that it's been a privilege to work with many of them when the Cousin Silas & Friends projects are ongoing.
Plus, I've done full albums with several artists who I admire and respect. As for the more commercial side of things, I just spend a lot of time on Youtube digging up old obscure albums, stuff I've never heard of, and listening to them. This really takes me back to the first years of my musical voyage, the thrill and excitement of finding new (to me) bands and artists.
DMD: Who are your top 10 favourite guitarists and why?
CS: Well, I'm not sure I could get to 10. I'll have a go at the ones who have inspired me, and who I still love to hear and watch. My first choice has to be Greg Lake, although not really that well known as a guitarist, as such, more a bass player. But the first 'real' guitarist, I suppose, was Robert Fripp…His sound and style was quite unlike anyone else for that period. Then again, those are the qualities that single out many guitarists.
Always enjoyed David Gilmour, Bill Nelson, and Peter Green from the old Fleetwood Mac days. I always liked Mark Knopfler as a guitarist, but oddly was never too keen on Dire Straits, work that out! And seeing as though I have mentioned a bass player, I have to mention Percy Jones. His work with Eno and Brand X is just stunning.
DMD: Seeing as you used to write a bit of poetry for publications, who are your favourite poets and why?
CS: I used to like Wilfred Owens, now whether that was because he was killed in the 1st world war and didn't live to his full potential I'm not sure what it was, added pathos of his circumstances I guess. And to be fair, I've actually not read much poetry, a bit of Malcolm Arnold maybe.
DMD: Please talk us through your current recording set up and your guitar collection
CS: I have two PCs, Windows 7. I use one for FB, internet, etc etc. The other PC is not on the internet and it's what I call the Silas Machine. I have an Akai Pro EIE that I use for the guitar to PC set up, and quite a few software synths such as Alchemy, Omnisphere, Hypersonic, Absynth and I still use Soundforge.
The DAW I use is Reaper. I use Guitar Rig 5, and have four stomp box/pedal things: A Morley volume/wah pedal, a Mooer compressor, Ditto II looper and a Strymon Big Sky.
I'm a bit uncomfortable talking too much about what guitars I have. It smacks a little of bragging, and aside from the fact that I have some Fenders, Gibsons, lots of Epiphones and a few in between.
DMD: You have released a truly staggering amount of records since CS began back in 2001, what is the official count? Do you have any favourites or any that you’d like to be remembered for?
CS: The official count as of right now is 214, which includes collaborations. As for tracks appearing on compilations I have no idea :). I have no specific albums as faves because they're all special to me, and as long as someone somewhere enjoys something I've done, even just one track, I'm happy with that.
DMD: What inspires you to create music?
CS: Many things. A memory, a photo, a sentence in a story or novel, where the novel is set, i.e beach resort (mainly with Ballard), a geographical location. Even some place names on Ordnance Survey Maps, such as Gallows Moss, conjure all manner of ideas and moods.
DMD: When you are not making music what can you normally be found doing?
CS: I tend to read a fair amount, enjoy wacky documentaries from conspiracy, hauntings, UFO’s, anything related to Forteana. I don't especially 'believe' in most of these unexplained and weird things, but I do find them compelling and they can (and have) created moods and atmospheres for the musical muse.
DMD: Can you tell us about your latest release?
CS: My latest release is Cousin Silas & Glove Of Bones - Spirits of Afrodubism on the Submarine Broadcasting company. It’s available now as a download and/or a limited edition cassette! Afrodubism is the fourth collab album I've done with Glove. This one is very much more dub, spacey dub. We just did the usual 'round robin' of collaborating and completed the tracks as and when we felt they were ‘ready.
DMD: Just to be clear, am I right in believing that you got the name Cousin Silas from the King Crimson song ‘Happy Family’?
CS: You certainly are, Sir. And it wasn't my idea either. I forget what the original non de plume that was suggested, all I do know is I wasn't too keen on it. But it was known that Lizard was one of my fave Crimson albums, so Cousin Silas just seemed a rather obvious choice.
DMD: What is your opinion on the current state of the music industry? Because having lived to see many changes are you happy to sell your music online or do you yearn for the days when physical music was the go to format?
CS: Strangely, I don't feel to be a part of the music 'industry' as such, not in the traditional sense. It has been a massive paradigm shift, totally, to what it used to be. I have had one or two albums for sale, but most of my stuff can be had for free. The whole debate about free or not to be free will rage on for as long as the sun does.
But at the end of the day, that choice is simply down to the musician. There's a real sense, generally, of community and mutual respect among the netlabel family. And if people are comfortable with not having superstardom and a fleet of Lear Jets at hand, then it will work out.
You see these young greenhorns pop up now and then, and they want everything like NOW. Like this, buy this, follow me... and more often than not, people are actually turned away by that kind of attitude. Maybe I'm in a small, a very small minority where everything I do is a hobby. That's what it is for me. I work full time.
DMD: Finally, does 2019 hold for you and your music?
CS: As for what 2019 holds.... who knows :) I just take the time and the ideas one step at a time.
Click here to read a review of the 2016 Cousin Silas record ‘Living in the Liminal Zone’ which appeared on the DMD best of 2016 list.
Hungry for more Ambient related readings?
Tuonela (Prog Ambient) interview link here
Michael Brückner (Ambient / Berlin School / Electronica) Interview link here
Also...Michael Brückner interviewing German Ambient /Drone Pioneer Mathias Grassow here
Graham Williams AKA LessThanOne (Dark Ambient / Drone / Experimental) Interview here
ealing. (Ambient / Hip Hop) Interview here
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