Sunday, August 28, 2016

James Shearman: London Wallin'

“Noise is all around us for all of our lives, but it will always take a particular mindset, attitude and approach to sound to begin viewing those 'noises' as suitable for music or sound art.”

Photo by Adam Reid

London’s young noise hero James Shearman has been carving his name firmly into the underground consciousness since bursting onto the scene in 2013 with the mammoth 80+ minutes long ‘My Personal Noise Virus’ to becoming the curator at HNW net label which has seen releases from HNW Heavyweights such as: Vomir, The Rita, See Through Buildings, Dosis Letalis, Natural Actors, Sumbru and KIRA.

With enough solo projects and indie labels to make even Shane Embury’s jaw hit the floor, his two primary music endeavours currently are: the self styled dream sludge / drone gaze outfit ‘Echoes throughout the caverns of Leytonstone” and ‘A Raja’s Mesh Men’ which utilises elements of harsh noise, HNW, and power electronics to name a few. 

ARMM has appeared on many platforms including Vanity Pill (who released the ARMM self titled cassette) the Swedish tape label Hatets Dok, and the prestigious Minneapolis label Altar of Waste. Amongst all this, James secured himself a spot at Tempting Failure, a noise & performance art festival taking place at multiple venues across London.

Listen below for James’ release in the ongoing ‘Blue Velvet’ series, a string of beautifully packaged extra long HNW releases by various artists co-ordinated by label owner Cory Strand.

I caught up with James to learn more about his musical beginnings, his love of painting and his thoughts on the EU referendum…

Editors note: This interview was conducted prior to the Brexit and James’ performance at TF2016. 

DMD: Growing up, what music influenced you and stayed with you the most?

JS: My mother and my father have had a large and lasting impact on my musical taste. My mum would play me a lot of artists I still really enjoy to this day, people like Boards of Canada, Massive Attack, Lamb and Kate Bush. My dad would play me people like Jimi Hendrix, the Sex Pistols and PiL, Nirvana and Jeff Buckley. It was a good vibrant mix of music and of course it joined up and built upon the many other ways music would reach my young ears. 

When I was about 12 years old my South African uncle was staying with us at my mum's place and he introduced me to Slipknot's self-titled album, he burned me some CDR's of albums by System of a Down, Ministry, Placebo, Sublime, Nine Inch Nails, etc. At around that point I was probably opened up to a lot more 'teenager' sounds and got completely sucked into it all. 

Those CD's did stay with me a long time, but you wouldn't really hear any influence from those groups in my work today. It's interesting, music I love the most is generally loved for being some distant and cherished piece of nostalgia- capable of bringing back the most unsuspected emotions and taking me back to another time - it is less-so to do with what really inspires and influences me to make my own music, as the two are not mutually exclusive at all really.

DMD: Where and how did you first hear about Noise?

JS:  I think I first heard about 'Noise', as a subgenre term, on either Soundcloud or I began using both as a result of the burgeoning desire of all modern teenagers to procreate cross-platform social media identities. 

Something you could very well say would later come back to echo itself, if not indirectly fuel elements, in my 'noise identity' (I am of course referring to the popular habit in Noise of one artist having multiple aliases, often a seemingly ridiculous amount).

I've written about my inception to Noise before and tried to mark the exact moment - I gave finding the artist Mutant Ape on as the moment - although in hindsight I'm sure that was essentially a period of finding lots of similar artists like him at the time, and his standing out because of how un-tasteful and offensive it seemed to me at the time, and the large disparancy between what I felt as I first experienced it and how I later felt returning with a better frame of reference. 

I don't think you can really credit any one moment as your catalyst into Noise. In the womb, sound is muffled by a body you're within, and suddenly at birth the world is opened up to your ear canals and the rush and flood of noise begins and never lets up. 

Waterfalls, high force gale winds, being on an aeroplane, being in a car on a motorway, walking past a construction site, the whir of insects at night in an expanse of forest, a downpour of torrential rain - noise is all around us for all of our lives but it will always take a particular mindset, attitude and approach to sound to begin viewing those 'noises' as suitable for music or sound art.

DMD: Did you ever play any 'normal' music in bands? Also tell us the epic talez of ‘A Raja's Mesh Men' and ‘Echoes..Leytonstone’…

JS: I began taking lessons in guitar when I was around 12, I did those for a few years with very limited success but still messed around in some school bands, often just transferring what I knew to bass playing. Then I gave up the lessons and took a bit of a hiatus from it all. 
Later on, I began teaching myself with some classic, cliché Guitar for Dummies, etc. style books, one was a nice one on blues guitar inherited from my dad. It got to the point pretty quickly though where I figured I knew enough chords, I'd taught myself enough 'technical skill' (barely any) and now had to focus on treating the instrument as less something that needed to be learned and more something which needed to be experimented with. 

I would like to think you can receive that attitude a lot as a listener with the work I do with the Echoes...Leytonstone project. 

I was briefly in a band called H00VES playing guitar and we played a mixture of noise rock and grunge, we had a whole ton of jams and stuff but only played two shows and both were pretty weird to be honest - I mean, the very first was more a weird, experimental jam than any of the more 'normal band' stuff we occasionally tried to go for in jams, and the second was just a bit under-prepared I guess (although some people said they enjoyed it).

I also even way-way-way more briefly joined by these two lovely Norwegian dudes in their band Methbreath playing bass in one jam/rehearsal and one gig before they ended up leaving my hometown, London- for theirs in Norway. 

There might be some other 'normal band' stuff I'm forgetting but it's not ever something I've been particularly eager towards, I've always been a lot more invested in my self-directed stuff - and there's been an increasing momentum for the various forms that takes to get more and more experimental as time passes. 

Speaking of self-directed stuff, I did an [attempted] post-rock(ish) project called Overground as well, and this began before any of the projects I've already mentioned. 


As for the epic talez of A Raja's Mesh Men and Echoes...Leytonstone. Well, they really are epics you know, this is going to be a long read. Echoes...Leytonstone (fully titled Echoes throughout the caverns of Leytonstone) began first, and essentially began as I started borrowing my dad's Boss ME50 guitar pedal and experimenting with its long delay and cave-like reverb - at the exact same time I was listening to a lot of Nadja (Aidan Baker & Leah Buckareff) and it suddenly dawned me I could pay some appropriate homage to them and their sound with some of the results of this experimenting I was doing.

I was also listening to a bunch of black metal bands and this along with my various pursuits in creative writing and my attraction to aspects of the post-rock genre, and its silly/long titles, all converged to form the genesis of this moniker.

 A little while into this project I discovered the sustain function on this pedal generated a white noise signal, and that white noise could be distorted and turned into a blinding noise which could then further shift and change with the other modulation FX - this is how the first incarnation of ARMM was born, which was called Self-sustaining Cells. 

I'd called it this because I wanted it to be loosely based around the idea of existentialism; extremophile and microscopic life-forms, and the likelihood that the entire existence of humanity will be just a small grain of sand in the timeline of the world and all of its inhabitants. 

After some time using this name, my dad referred jokingly to this noise project once as Self-defeating Soundwaves, and a few months later I decided I wanted to stop doing 'serious noise' and name myself after what was essentially a disparaging joke. I stuck with that name for a while and played a bit, I even supported Svartvit (the amazing Dutch titan of noise, who is a touring-machine, it was a show I got him to play in London while he was on tour). 

Eventually I got quite a lot of people saying they hated the name and I decided to give in and pander to my audience - I decided to use something which seemed equally inane and insignificant to me but hilariously could still come across as "serious-sounding" to all those caught unawares. 
A Raja's Mesh Men is an anagram of my full name, James Shearman, which I decided upon after glancing over a full list of it's anagrams on an online anagram generator.

The URL to the bandcamp page is Enema Smash Jar, another anagram of my name. (also at one time the name of the ARMM bandcamp's "full name" was Shaman Jam Seer). Many people have told me they had imagined it was in reference to something classical, probably of Indian origin, and this was slightly my deceptive intention - to create this kind of illusion of reference. 

Now I'm beginning to focus on an album series for ARMM which re-imagines these imaginary reference points into a finite form, an actual ongoing piece/body of literature crafted by myself and accompanied by noise to serve as the definitive source of this 'fictional reference'. 
The first piece in this series was the album 'Ugrak' which was released as part of the HNW Tape Swap 2016, co-ordinated by James at Vagary Records, and accompanied by a veritable horde of unimaginably high calibre HNW artists.

 I am astounded and eternally grateful to be working with such great people, both on this swap and elsewhere in the past (a brief shout-out to an amazing friend and artist, Liam McGeorge, of Tsuun, formerly Distorted Souls Within A Corrupt Vision, who was the very first artist I ever made a split release with, and who I have worked with so much and always enjoyed every second of it, and who has contributed an immense amount to the international/internet noise community).

Photo by Naddy Sane

DMD: How did you get into doing live noise shows? Do you just improvise or do you have a setlist pre-planned-? Also, how much have they changed since you started performing a few years ago?

JS: I got into doing live shows for bands before I started even doing noise, and once I began doing noise it took me a while to actually curtail my shows into this realm but it eventually happened - last year it culminated full-force and I had a monthly noise night running in North London from March - August. I got into doing live shows because I knew a lot of friends in bands, and many had a very DIY ethic, and I was brought up around an amazing community of squatter artists living at the now-demolished 491 Gallery of Leytonstone. 

The place is a legend, I won't go into much of the history as I could type for hours and hours on it. There are plenty of resources out there for people who want to learn about it - one of London's longest running squats and incredibly artistic and community-positive social hub. 
Most of my live sets as Echoes...Leytonstone and ARMM began entirely as improvisations - eventually for ARMM I would outline what gear I would use and what I would vaguely do, and for Echoes...Leytonstone I began having specific chords/riffs I'd use and vague ideas of where they might go. 

Since then things have changed only slightly. I do some collaborative work, two duos, one with my good friend Charlie Wheatley called Prolonged Version and the other with my girlfriend Rosie King called The Portable Prison - both are noise projects and both have always been pretty much entirely improvised. 

ARMM is beginning to go the way of always being meticulously planned, or at least having some base concept it works outwardly from - this is all being thrust into motion mostly for the fact I've been accepted onto a local performance arts festival called Tempting Failure - while I am programmed as my own name (something I have done before for site-specific sound art installations and exhibitions), the initial idea was to do a very ARMM-type noise set for it. The initial idea grew into about ten other ideas and each of those has mutated and then been cut up into some kind of hideous Raja'stein Monster. 

I'm really looking forward to how I deal with having such a complex idea of what I'm doing and how it should be, and following a plan/rehearsal with a noise set to this extent for the first time.

DMD: Do you have any pre-show rituals?

JS: I don't have any set ones, no. I conduct plenty of pre-show rituals - drinking water so my throat feels okay and 'braced' if I know I'll be screaming later, drinking a lot of alcohol if I know I don't have to worry about precision and I'm doing some kind of silly, chaotic improvised mess which will not at all suffer for it, talking with people before the set as I would before anyone elses' - trying to maintain a sense of normalcy I suppose. I can sometimes get attacked by nerves but it has become something I have to deal with a lot less as I perform more, and more frequently too.

Photo by Hazel Brown

DMD: Any releases (noise or otherwise) this year that really blew you away?

JS: I always find it really hard to organise releases in my head in terms of the year they came out because I'm constantly discovering new music and, more often than not, there are current releases but they are interspersed with releases from all over the place, many from outside of this decade.
I can say without a doubt that the new collaborative album from Full of Hell and The Body did blow me away, and I know that came out this year. But as for noise releases, Brent Gunn (formerly GRVD) just whacked up a ton of new stuff on his bandcamp and I loved all of it immensely - I'm really, really happy and excited to be working with him on a split release. 

Brent also pointed me towards the new stuff Methlab Explosion is making - his new albums this year have all been killer, what he does with the sound pallette he operates within is exactly what I want from that "subgenre" (I suppose I'm talking about noisecore? but it's more than that, there is a further distilling, which is escaping definition - which is a good thing, there shouldn't be an easy umbrella term for any and every sound, because sounds and our experiences with them just don't work like that).

Maybe this sounds like a shameless plug but I have immensely enjoyed all of the new albums on the Harsh Noise Wall netlabel to come out this year - I'm the curator, but of course, I'm doing this because I want to find and hear great wall-noise releases and showcase them, and this year has seen some really great artists step up to be involved and I'm eternally grateful. 

Also, I just checked and Happy Being Sad by Charlotte Braun came out this year - and this is truly one of my favourite wall-noise works of all time - and as for noise releases from this year blowing me away - half of the label's output falls into that category! It's called GERÄUSCHMANUFAKTUR, and another highlight from this year from it would definitely have to be Alocasia Garden's album Mask of Light. 

Reece who does that project is someone I consider to be a close friend, even though we have not really known eachother that long nor realistically spent much time hanging out, he's had me down to Folkestone, his hometown, to play two of his shows for his label, Vanity Pill, as ARMM. I also did my first ever physical release as an eponymous ARMM c40 on his label. I have really, really enjoyed myself both times and I am always looking for new ways to foster and support his work with both AG and VP, as both are magnificent feats and deserve much more recognition than they currently attract.

I could reel off shout-outs to noise friends for a while I think, it's best to say that in the world of noise, a year is a very long time - you need a smaller frame. But honestly, I've begun to let go of favouritism all together, so many people are doing such great things, it becomes very hard to really hone in on "what I like best" - even making it down to a handful!

DMD: How did you become the curator at HNW netlabel?

JS: I had been collaborating and splitting with the founder of the HNW netlabel, Luke (Social Drift), for some time. As of September 2014, and the Uitgeschakeld and DSWACV releases, I came on board to help run the label by finding new submissions. As of June 2015, Luke asked me if I would like to continue with the netlabel on my own, and I gratefully accepted - and have updated the layout and begun to more actively seek submissions as the sole person at the helm. 

My main focus has been to diversify the roster as well I could - and to begin trying to be a bit more singular in an aesthetic vision (although, there is already lots of room for movement and little limitation in terms of 'fitting in visually' due to the disparate nature of previous artworks). 

At the time I'd always knew I wanted to begin curating a netlabel of my own sometime, and so it was nice to be offered to take over with one which I was already involved with and see it grow and blossom into something entirely new as a result of my own work and efforts - and the gracious help of those who I looked to to help build it into what it is today. 

I'm currently compiling the 100th release which will be a LARGE compilation - I have above 60 submissions in already, and waiting on a number from people who have told me they are in process - I may be extending the deadline so that we can reach 100 submissions, I feel the delay will probably be worth it in the long-run.

DMD: What are your thoughts on the refugee crisis and how did you vote in the EU Referendum?

JS: I voted to remain in the EU. I haven't read enough resources of information about the vote, but at the same time, I feel when decisions like these rest upon this kind of 'democratic process' of a voting system, suddenly the "two battling campaigns" become the only viable resource offered to people, and often both campaigns are just made up of various media-sanctioned pieces of propaganda.
I mean, I love propaganda, there's a poster of Donald Trump making out with Boris Johnson which is part of the Remain campaign and I love it. 

I took A Level History at college and one of my favourite parts was analysing political cartoons. But what I'm saying is, even if I had the time and inclination to seek out [actually-useful] information to guide my opinion on the matter, I'd probably have to sift through so much deceptive bullshit first - it not only infuriates me but it fills me with a lethargy toward the whole thing (and yeah, I know that was the whole malicious intention of the dastardly Lizard Rulers of the Illuminati when they crafted the campaigns to begin with). 

As for the refugee crisis, once again, I feel that I only really know what I know from unreliable sources, but I feel firm in my opinion that "the UK has not done enough to help refugees during this crisis". I'm not about to write an essay explaining why I think that, but there it is! My own personal thoughts on the refugee crisis are muddled and mostly overly anxious towards the whole thing. It fills me with an irreparable dread and sparks some flint under the kindling of misanthropy which rests somewhere deep inside of me, perhaps deep inside of us all, besides our humanitarianism.

DMD: Let’s talk about your career as an artist and painter. What is your ethos as a painter? What painters inspire you? Do you see making art as just a separate entity from the music?

JS: I certainly don't view these things as careers - I've always been making visual art, since I was a small child I would draw. I can't escape the notion of it being a labour of love, it's too ensnared in my personality in such a way it would be crass to "sell myself" by trying to seek a career path out of it. But it's interesting, I have thought about it. 

I try to exhibit when I can, but often feel I shouldn't even try and go for something if I don't think I'll be able to respond to a brief or theme well, because I often feel very modest and perfectionist about past endeavours and artistic responses I've made. 

I love symbolist painting - I looked at a lot of symbolist painters and paintings during my time doing Fine Art at A level. Isle of the Dead, the best-known painting by Arnold Böcklin, is one of my favourite paintings. I have a transcription of the painting and a black and white photocopy of the same transcription up in my room by my bedside, it's nice to wake up to. My ethos as a painter is hard to figure out - I feel like if I had one I would be constantly letting it down, constantly changing my mind. 

I do feel that everyone should paint, everyone should try to see if it will be something they enjoy, and if they do enjoy it they should really try and keep at it in terms of finding the time. 

Some people really, really love baths - but a busy lifestyle leads them to not having one for months and months on end, even a year or more, and I feel like analogously, many painters behave the same way - many who would and could be truly great if they just gave themselves some more time. In many ways, this whole labour of love idea - that I am essentially being very hobbyist with my visual art and can't foresee much 'career' future in it beyond pipe dreams - probably overlaps a little into my music and my noise and sound art especially.

On different days you might ask me this I will differ greatly though - some I will be very set on some day being able to live off some of it (maybe the music, maybe the visual side, maybe artistic practise like performance or sound in a more 'art world' setting), others I will be much more inclined to view it all pessimistically.

DMD: What gear do you use for recording?

JS: I mostly use the gear to hand, that can and often does change. Very recently I was given a digital sampler rack by my dad as an early christmas present since he'll be out of the country come December. I haven't started experimenting with it yet and finding ways to use it in my set-up but I'm sure it'll become a nice addition. 

I mostly use old headphones as microphones and use the feedback from them pitch-shifted with Boss ME50 for most of my wall noise and general harsh noise making. But I also have a contact mic and have only really recently begun to delve further in to the many potentials and possibilities there are for me in using that. My mixer is just a cheap piece of junk - an old four channel Behringer, it does the job, and in spite of numerous bumps and breaks it still works fine which is nice.

DMD: Can you tell me the 5 movies that made you who you are?

JS: The five movies that have made me who I am? Can a movie really make you who you are? I really loathe making lists like this, but I think I can manage it: 
Vertigo by Alfred Hitchcock has had a profound impact on me. There's also La Jetée by Chris Marker. Seven Samurai by Akira Kurosawa is of course in this list. Waking Life by Richard Linklater has had a really lasting impact as well. And what else? Bugsy Malone perhaps?

DMD: Can you give me your 10 desert island disks?

JS: It’s very hard to come to terms with the idea and prospect of this for me lately - there was a time where I could reel this off with complete ease, a very different time for me mentally and musically indeed - now I spend so much time finding and hunting down new music and artists to digest. 
The concept of favouritism and the resultant attachment you feel for particular albums and releases is becoming very strange to me more and more with each day - but I'll give it a shot as I seemed to fair well with the film one. 

In no order:
1. A Winged Victory for the Sullen - S/T
2. Bohren & Der Club of Gore - Midnight Radio
3. William Basinski - A Red Score In Tile
4. Tim Hecker - Ravedeath 1972
5. Alocasia Garden - Visitor
6. Boards of Canada - Geogaddi
7. Cremation Lily - Fluids Of October
8. Lamb - What Sound
9. Burial - Untrue
10. Kate Bush - Hounds of Love

DMD: How many tapes/physical releases have you released in your noise career?

JS: Woah there, let's not call it a noise career! I haven't produced too many really. I'm not sure I'm even really keeping count. My very first physical release was graciously bestowed upon me by Reece of Vanity Pill Records. Based in Folkestone, Reece is responsible for some amazing projects (Alocasia Garden, Flesh Prison, Penetration Colony, Cancer Man) and his label has done some really, really amazing work, I highly recommend them. That was A Raja's Mesh Men's self-titled album - dubbed to a c40. Since then, I've had a noise wall split release on the Black Tape Series by DeathSex Electronics with the US-based HNW artist Big Hole. 

DeathSex is run by James who also does some really great HNW as The Judas Cradle, Cherry Blossoms at Night, etc. More recently I took ARMM in a very ambient direction - with lots of influence from people like Cremation Lily and Reece's Alocasia Garden project - on the Swedish label Hatets Dok run by Tomas - that label is also out of this world in terms of artistic output. 
All of these people I've mentioned so far put so much work in, it really puts many to shame, including myself. 

Which brings me on to my split release with Willowbrook which I put out myself on a venture of my own - This Is A Noise Label - I'd been meaning to start a DIY label for ages before I settled on TIANL, but I still settled too early - what kept me away from it was that I was sure I'd be too lethargic and not productive enough, and exactly that has ended up happening. It's a big shame, but I know eventually, financial and social situations will shift and I'll end up having a lot of time and resources for it and really be able to pick the ball up running.  

There's probably tons I can't recall too - for instance, it escaped my memory for a while but my drone project Echoes...Leytonstone appears on a release on Invisible City Records - a remix I have done of a people-eaters track and a people-eaters remix of one of mine, to close the album "the only thing left to fear". 

Alistair who does the people-eaters project is someone whose sounds I have been solemnly contemplating and digesting eagerly for years and years, being one of the first experimental things for me to ever find when I first began looking on Soundcloud! 

So yeah, I'm sure there's a few I'm forgetting. There's a physical release of the first proper Prolonged Version album on The Junkyard Procession, a label by this great guy Karl from Leeds. Still probably a few I'm forgetting - it's nothing big though, all mostly super-small runs, or large runs that many are leftover from still!

DMD: Considering the existence of your Drone Noise Wall project Gumble, you must love simspons-wave am I right?

JS: Interesting you should ask me that - I would say I like simpsons-wave, I'm not sure about love. It definitely hasn't been given enough time to grow, or even breathe, as an idea, let alone a sub-genre, yet. 
I'm happy it's come to exist, but at the same time it does seem to exist for many people as a meme, or worse, as a simple fad. I'm weary of people viewing it as such, lauding it as such. I really liked the Simpsons as a child, and I have a lot of nostalgia for a lot of the classic Simpsons moments. 
I tried to pay homage to this with my one-off Simpsons-themed wall noise release "Roasting On An Open Fire" by the project Gumble, in a similar way to how I try to pay homage to my childhood memories and nostalgia for Pokémon with my ongoing wall noise project Kamex. 

I seemed to realise directly after making Gumble that certain people feel certain topics and subjects are too silly for noise - I find this really weird, one of the first people to really inspire true awe as a noise-maker for me was Tim Drage, also known as Cementimental, and some of the sets I saw him perform at my earliest attendances of noise shows. Tim was often costumed, if he wasn't he had this long hair swinging about all the over place, he'd often flip his pedals off the stage after a set, he'd be making the most harsh and visceral sounding mess of noise, jumping between pedals and their settings frantically - it was really a spectacle to behold and something about it was so un-serious, so fun! 

So, coming from this background - this fear in noise of being silly, or this idea that certain topics and subjects which are too 'fluffy' or not 'transgressive' enough to fit well with noise - it just doesn't really make a lot of sense for me, but I can respect where they're coming from - I mean, if I can imagine well an outsider to noise's perspective inwards, I'd hope I should be able to imagine well an insider's differing perspective. But it can be hard - there are a lot of complete assholes in the international noise community, and a whole bunch of not ~complete ones~ but just plain ignorant people who would probably be nice people if they just took a bit more time on their education and their personality. But every scene probably has to deal with stuff like this - every society does, it seems.

DMD: Will there be a follow up to Echoes…Leytonstone (live at Bell Culture) released this year?

JS: The live show I did performing as Echoes...Leytonstone in a local church was part of a closing event to an exhibition and residency which involved another opening event of live performance and some film screening events as well - all by the amazing artist in residence Ilia Rogatchevski, who also later invited me on to his radio show with Resonance Extra, "Come On, Come Down" to perform some live minimal drones using loose jack leads, and to talk a bit about my music and sound art and just have some general late-night radio banter.

(listen here: ) 

The show I did for the end of his residency, Bell Culture, was a response to being asked to play - it was my first time playing in a church. I don't have any intention to 'follow up' the set in any way - but I can foresee ways in which the second (if it comes?) time I play a church with this project would end up taking the shape of a follow up. 

DMD: Is there anything else we need to look out for under the Shearman moniker this year?

JS: Well, there surely is - there's tons! I'm always doing tons! I can't help myself. I've been doing this collaborative duo project with my partner Rosie King, The Portable Prison. We're about to begin stepping that up from a simple pedal noise duo to an actual performance art vehicle - submitting proposals for various events and stuff. 

It's exciting but also perhaps a bit too ambitious, who knows. I've also begun this 'vapornoise' (if you want to call it that, I'm not sure that I do) netlabel called SSN Technologies. I’ve been getting some submissions in, in spite of it mostly being my own work still. One of the main ideas beginning it was having somewhere to create alias after alias and for most of it to be kind of anonymous, for most people to not know it's all/mostly me - of course now I'm saying that in an interview it can hardly remain so - but it probably will for some, right? You never know who's out here. Lurking on the web. Nor do you know what they have and haven't seen! What they do and don't know. 

I like thinking about that most before going ahead with a project idea or idea for a label or whatever. I've also recently begun this project called 'Dog Milk', also with Rosie, which began as an artist alias and is now a bandcamp page for several different 'incarnations' - some soloist variants of my own, but some further collaborations which aren't just me or Rosie, or further ones which are but with different and new set ups, and maybe even some day some soloist variants of friends and others...

Related Links:

Want more HNW related readings? 

Click here for an interview with Ben Rehling of See Through Buildings  

Click here for an interview with Vincent Ceraso of KIRA

Click here  for an interview with Nemanja Nikolić of Dosis Letalis

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