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

 

PURESTENCH : When you play live do you have a set idea of what is going to be played or is it mostly improvised?
BU: Some spine where is a some space for improvising.PURESTENCH : Your first project “Aunt Mary” was an energetic Noisecore band. What made you go from Noisecore to Power Electronics? Will we ever hear any new Aunt Mary material or is that a dead band?
BU: I have said this somewhere earlier.. to make it short. AM demised I did continue alone. Did kind of noisecore stuff. fast bursts of rough sounds. What happens when you put a lot of that kind of stuff together. lots of layers. pretty much harsh noise. I did cut up stuff at some point. idea to make structured pieces came 2005. everything has evolved slowly..

(Source: http://purestench.blogspot.sg/2011/07/interview-bizarre-uproar.html?zx=584af03834c53fcd)

THE WHITEHOUSE FOUNDING MEMBER CHATS ABOUT GHANAIAN PERCUSSION, JAPANESE THEATRE AND A BERLIN POWER STATION

TL: You just came back from playing Berlin Atonal – how did it go?
WB: It was an unforgettable experience – the Kraftwerk venue is the disused heat power station in the East of the city and they’ve converted it into an enormous, incredible brutalist cathedral-like space with a huge laser-sharp sound system, and visuals and lights to match. It’s an absolutely fantastic place for seeing live music.

TL: What’s the plan for the Summerhall show – will there be any of the visuals from previous live shows (featuring African subtitles, voodoo and joujou inspired symbols, monochrome scribbles etc…)?
WB: Oh yes! Since that last time, lots of new stuff has been added and adapted to many of those original themes and best of all is the recent exciting transition to full colour.

TL: In your Whitehouse days, you once said you wanted to create, ‘a sound that could bludgeon an audience into submission’. When you first started Cut Hands what did you hope it would sound like?
WB: Until I began learning more about my collection of Ghanaian percussion instruments, I was never really sure how it would sound. Only that the Haitian musicians I’d seen were making some of the most mind-blowingly intense music I’d ever experienced, with almost none of the electronic technology that I felt that I’d become addicted to deploying.

TL: Last year’s Black Mamba was a very full-on, beautiful, polyrhythmic exploration of drums, ritualism, darkness and driving energy. How did it differ from your first Cut Hands record?
WB: The debut album Afro Noise I could probably be described as more eclectic in scope and certainly has more abrasive noise elements, probably because it was recorded over seven or eight years, some of which were during the Whitehouse years.

TL: What would you say were the themes influencing Black Mamba?
WB: It’s very hard to distil all those individual often complex themes, however in general terms it is to make things happen that you previously thought were impossible.

TL: Any plans for other releases coming up? As Cut Hands, or anything else?
WB: The new EP, ‘Madwoman’, on the Downwards label, just came out this week which is exciting, plus some music on new film soundtracks too including the just-released Kings Of Cannabisdocumentary.

TL: Besides your own record labels, which labels do you keep an eye on for interesting releases?
WB: It’s really a golden age in underground music at the moment. In addition to Blackest Ever Blackand Downwards, I also closely follow what comes out on Hospital Productions, Modern Love, Panand others.

TL: You seem like a tireless trawler of all kinds of musical styles to find new rhythms, artists etc – have you made any interesting discoveries lately?
WB: It’s true, I’m constantly lusting after potential new inspirations. Most of that comes from the voracious consumption of books and films however, rather than the musical domain. Currently I am wallowing in the brilliant treatises of Zeami Motokiyo, the Japanese 14th century Noh playwright. Despite never being an actor, I love finding ways to apply the principles of drama across to musical performance.

Summerhall, 8 Aug, 8pm, £8 (£7), with support from Stefan Blomeier and Claire.

More Info At: http://edinburghfestival.list.co.uk/event/355418-braw-gigs-presents-cut-hands-stefan-blomeier/

(Source: http://edinburghfestival.list.co.uk/article/53446-interview-william-bennett-aka-cut-hands/)

Anyone who has caught Knifeladder live can testify to their powerful performances. The trio – John Murphy, Hunter Barr, Andrew Trail – deliver a sound that is equal parts physical, visceral and spiritual.

Organic Traces is their first full-length release, following a split CD with Shining Vril, and it augments their live set-up with studio techniques and additional percussion. The core Knifeladder sound revolves around solid bass throb, industrial electronics, and an array of percussive devices and rhythms. From soft percussive flourishes to rhythmical tirades; swollen beats and rhythms are the lifeblood of Organic Traces.

‘Faultline’, ‘Scorched Earth’ and ‘The Wilderness of Mirrors’ are perhaps the most immediate tracks here as they adopt a song based structure albeit with experimental touches. Andrew Trail presents the vocals on both ‘Faultline’ and ‘Scorched Earth’. Where ‘Faultline’ features a whispered anguish over restrained percussion, ‘Scorched Earth’ builds into something more frenetic and aggressive eventually yielding to a crushing crescendo. ‘Ossirian Window’ achieves a hypnotic ethno-trance presence via wailing voices played off against an eastern flute.

A more experimental edge is achieved on ‘Feline’ where the voice of English folk-singer (and Operative labelmate) Andrew King is heavily treated and echoed amidst a jittery atmosphere and intermittent drum rolls that cease to subside for theduration of the track. Organic Traces closes with the shifting looped sounds of ‘Dervish’. The fast, frantic percussion of this ritual invocation bring to mind the ritual drums of Calanda.

There are predecessors for the output of these Antipodean industrialists – elements of Crash Worship ADRV, Test Dept, Einsturzende Neubaten, Muslimgauze and even Adam and the Ants can be detected here. However none have been able to co-opt the studio with such precision and skill. The delivery of percussion and the devices used on Organic Traces vary so widely this review can only touch upon but Organic Traces features such a spirited and dynamic delivery it really does deserve your attention.

In a remarkable career that has spanned over 20 years John Murphy has performed with some of the more illustrious groups of the post-industrial genre and more besides. An early member of Currrent 93 he performed on the terrifiying Dogs Blood Rising, a member of Graeme Revell’s industrial percussionists SPK, he performed drums on the Associates marvellously flawed classic Sulk - one of the finest albums, ever. He’s even performed with doomed rock star Michael Hutchence as part of Max Q, and took a bit part and provided soundtrack to the Australian movie Dogs from Space. Hell, in the course of this interview it transpired that he had also drummed for Shriekback, Gene Loves Jezebel and Nico. If I could be bothered to check out other releases from this period then I’m sure he’d be on them too.

Over the past few years John Murphy has become involved in the Death In June axis performing live with Death In June, collaborating with Boyd Rice and Douglas P. as Scorpion Wind, drumming for Sorrow, Ostara and occasionally Der Blutharsch. More recently he’s provided percussion for Andrew King, Naevus, and provided material for the intriguing US outift the Sword Volcano Complex.

Every time I meet John Murphy I always bend his ear about the late Billy Mackenzie of the Associates. Misguided pop star or tortured genius? He’s related to me several funny anecdotes. Tom Doyle in his compelling biography of Billy Mackenzie, The Glamour Chase, described John Murphy as mooching around in a dirty old raincoat with a Burroughs’ paperback poking out of the pocket.

John Murphy

And of his own projects; during the post-industrial scene of the early eighties and the then burgeoning cassette culture he was releasing tapes as Kraang (Tesco records released the URO: 1981-1983 Vinyl LP), Krank and Orchestra of Skin and Bone. Today he records solo with his on/off project Shining Vril, and as part of industrial power electronic outfit Knifeladder and as a member of folk-noise outfit Foresta Di Ferro, with Marco Deplano and Ostara’s Richard Leviathan.

This interview was originally intended for Richard Stevenson’s Spectrum magazine but due to the pressures of deadlines he offered it to Compulsion online, and as it coincided with the release of Knifeladder’s first full length CD, Organic Traces we revised the list of questions to keep it pertinent to John Murphy’s current projects.

There’s still many questions unasked but this should be regarded as a starter for those wishing to piece together the industrious career of John Murphy.

Our thanks go to John Murphy for taking the time to completing this while in the UK, Australia and during his travels throughout the USA with Death In June.

i) Compulsion Online (CO): First of all, when one looks at your extensive and lengthy involvement with the industrial / post-industrial genres, you have had a rather illustrious career. Could you provide a historical rundown of your involvement with industrial / post-industrial music, relating to both your own projects and collaborations with others?
John Murphy (JM): My so-called career has been shaped as much by chance as chosen design. There hasn’t ever really been any overall master plan, which may have hindered me at various points along my route to oblivion. Some people might find my tale fascinating others an abject lesson in how NOT to have a coherent career path – perhaps I am my own worst enemy in some regards.

The so-called evolution of my musical interests has taken place over many, many years. It is so convoluted even I cannot accurately remember everything. Over the years I have been involved with many different styles of music besides the whole industrial / post-industrial thing but in regards to my so called more industrial / experimental / electronic – whatever side of things – I became interested in the genesis of this sort of thing firstly in the mid 1970s, just before the advent of punk when as a teenager in Melbourne, Australia, I was first exposed to the joys of Krautrock, European prog rock, early 70s Glam rock and 60s / early 70s psychedelia. I started collecting and listening to all sorts of music at an early age and became involved in bands, properly from the age of 8 years old onwards. I could go on and on about this period and my influences and experiences for quite a while but won’t bore the pants off you. I was always an ardent Anglophile from a very early age onwards mainly through the influence of my mother and various relatives, so British music and culture was always very important to me.

I was heavily involved in the early Melbourne punk / new wave scene of the late 70s and after playing with local politically orientated punk outfits I helped form one of the southern hemisphere’s first sort of electronic acts called Whirlywirld in late 1978. This was a 5-piece outfit perhaps somewhat similar in some ways to early Clock DVA, Tuxedo Moon and Cabaret Voltaire with a dash of late 70s Low period Bowie. There was also a slight bit of a TG influence in some of the songs – though we did vary quite a bit over a 2-year period. We folded in late 1979 as we had hit a sort of artistic ceiling locally.

I ended up in London very early in 1980 basically to form another outfit with one of the other members of Whirlywirld, who is now sort of an Antipodean electronic dance music icon. Because of my percussive ability and certain contacts I became involved as a sort of permanent session drummer for the Associates. During the early 1980s I also worked as a session drummer for Shreikback, Gene Loves Jezebel, Nico (briefly) and a few others.

My European industrial / experimental experiences started towards the end of 1980 when I started working on the whole Kraang thing, purely as a bit of interest and fun for myself. At this stage it was called Krang Music and I released a cassette mid-81ish, which seemed to gather some sort of interest in certain quarters. I had always been a noise freak from an early age much to the despair, anger and head scratching of many of my teenage Melbourne peer group who just could not understand why I wouldn’t just stick to playing the drums and leave the music to the professionals. I think I may have had the last laugh, perhaps.

Through my friendship with Jim (Foetus) Thirlwell, who I had known well since 1978, I somehow met both William Bennett of Whitehouse and also Steven Stapleton of Nurse With Wound. I was asked to perform live with Whitehouse playing modular synth throughout 1982 / early 1983, as well as recording one album with them. I also did some Kraang performances in London around this time and also did some live work with a sort of improvised experimental outfit that was sort of in the style of AMM. I’m afraid I can’t remember the name.

I did quite a bit of stuff with various people during 1983-84 including tours and recording with SPK, recording for a video soundtrack released through Twin Vision, SPK’s video company, recording on one Nurse With Wound album, recording with Lustmord (the Paradise Disowned album), recording and live work with the early Current 93/Dogs Blood Order (the first few C93 albums) more Kraang material, another duo outfit called Krank which eventually had a European and North American CD release many years later in the early 1990s of material recorded in mid-1983. Some of this material was originally used for the Twin Vision video release. I also contributed tapes and primitive loops / sound samples via mail to an Australian quasi-industrial outfit called Hugo Klang, old pals of mine.

I returned to OZ after 5 years away in the mid 1980s mainly because of physical illness and general exhaustion. I got my health together and helped form an OZ based experimental, post-industrial act titled Orchestra of Skin and Bone. This outfit was in the same general area as mid-period SPK but had a darker, more ritualistic sort of tone, perhaps. Live it was a very confrontational sort of act indeed. We were quite influenced by the music of Harry Partch. We released one album in OZ in 1986, and did some soundtracks for local underground films. A CD of one of these soundtracks and a live 1985 Melbourne performance was released in Europe and USA in 1991 under the title of 1984-1986 (on Unclean Productions). As far as I know it received a good response and reviews but the band somehow or other ground to a halt during mid-1986, rather a pity as I always thought we had the potential to be a world beating act, as I knew what was going on elsewhere. Locally in OZ the general response was not good. We were basically feared by local audiences and had much trouble getting shows or local interest. An unfounded reputation of being sort of occult weirdies and on-stage bloodletting at times did not help matters. The album we released in late 1985 garnered some overseas interest, particularly in the USA, but fell into obscurity locally. The label collapsed soon after – typical of an OZ indie label of the time. I lost a lot of money, which caused me a little bit of grief.

Various members of the Orchestra of Skin and Bone including myself helped co-ordinate and record the soundtrack and incidental music for the OZ film Dogs In Space during 1986. I also worked on soundscapes for local video clips, underground films and did quite a bit of session work with various locally based acts between 1986-1990. Some of this was semi-experimental in nature but a lot was quite conventional and pretty straight. Some of the acts were The Index, Shower Scene From Psycho, GUM, Bum Steers, Box The Jesuit (well known Sydney based gothicy act), Max Q (semi-solo experimental project of Michael Hutchence of INXS), Not Drowning Waving and a lot more that I can’t and don’t want to remember. A lot of it was purely for the money.

In the late 1980s Kraang did the occasional local performance and recordings in both Melbourne and Sydney, though not to any sizable interest. Some of these performances went under the name of My Father of Serpents. In the early 1990s I did some more ritualistic, dark ambient performances using the name Ophiolatreia (its Latin for serpent worship) and had a track titled ‘Mirror to Dionysus’ on a compilation CD released by Dark Vinyl in Germany in 1992. This was just after they released the Krank material that I had originally recorded in mid-1983.

In the OZ experimental industrial area between 1986 – 91 I also worked with Ulex Zane of Zone Void, who had some recordings I participated in later released on Cthulhu Records of Germany; GUM – a local industrial duo who put out two local albums; Stress Of Terror – one cassette tape; Disciples of None – another project of Ulex’s; Sootiken Flesh – a friend’s semi solo project in the style of Whitehouse meets early Non with ritualistic drums – pretty good actually. Two tapes were released and an unreleased album for a local metal label; Browning Mummery – old OZ friend of mine doing classic style industrial sound. Two CD releases feature myself amongst others; Nada – a local Sydney based art ritualistic performance troupe; Jaundiced Eye – a Sydney based experimental / post-industrial three piece which at times included myself. The music was a mish mash of experimental techno cum ritualistic dark ambience. Unfortunately nothing has ever been properly released, only short run CD-Rs I believe.

Subcutaneous Theatre was a ritualistic sinister, industrial dark ambient duo that I was involved with that also featured Debra Petrovitch, a Romanian Australian performance and sound artist. In some ways she is like a cross between Jarboe and Diamanda Galas – a very talented intense performer. She has also appeared on some Shining Vril pieces, on the “Split” CD of Shining Vril / Knifeladder. Subcutaneous Theatre appeared at some Sydney art experimental events in the late 1980s and released one cassette on the local label Cosmic Conspiracy Productions and were planning to record a proper album in late 1990 with Andrew Trail engineering. For various non-musical reasons this never happened.

In slightly more conventional terms I also became involved with two acts from 1986-87 onwards. The first group was called The Slub something I originally put together as a sort of revenge cum musical joke in early 1986 as a one off event. I originally tried something sort of similar nearly 8-years before in Melbourne a feedback no/wave one off act called The Alan Bamford Musical Experience named after an old friend of mine. This eventually petered out in the early 1990s, quite a while after I made my escape. This was a noise guitar orientated act and could be at times alternatively brilliant and utterly appalling – often in the same show. It was sort of like a cross between a deranged Plastic Ono Band, Trout Mask Replica Beefheart, early Swans, Butthole Surfers, Whitehouse and Skullflower. Though all these comparisons do not quite do it justice. We were probably one of the most loathed acts ever in the whole southern hemisphere but even so we put out one cassette which got international interest, one locally released album titled Rootman which got rave reviews in the USA, and we released quite a few singles on the USA based label Sympathy For the Record Industry which seemed to do okay. I should also point out that I was one of the two singers in this act plus I was responsible for the majority of the noise and atonal sounds playing feedback drone, Slub guitar at intolerable volume, my trusty old EMS AKS synth and a primitive sampler/tapes. The other guitarist playing in a Beefheartian deranged style. It was through this band I originally met Andrew Trail later of Knifeladder as we once shared the bill with his act (Ministry Of Love) in Sydney. He still thinks that the Slub was one of the most “out there and plain crazy” acts he has ever seen anywhere. This group also used to make some of my more muso friends – guitarists especially virtually froth at the mouth in anger as we were so unmusical in their correct eyes. The fact that I was also much better at getting extreme guitar feedback frequencies than they were didn’t help matters at all.

The general negativity of this band left me with many bad psychological and physical scars and I eventually got out and sort of saved my tattered sanity and soul in late 1989 after leaving Melbourne for Sydney where I briefly drummed for Box The Jesuit, did the odd performance with Subcutaneous Theatre, Jaundiced Eye, My Father of Serpents, Browning Mummery, recorded with Max Q and some of the aforementioned acts and developed my friendship with Andrew Trail later of Knifeladder and lived a fairly degenerate lifestyle if the truth be known.

The second act was called Dumb And The Ugly, which released one 12-inch mini album, and one CD. We performed in Melbourne with the odd show in Sydney. This was a 3-piece outfit in which I played drums and some samples. This was formed with some very old friends from my teenage years who also played with other acts. This act was in the style of Sonic Youth meets Hendrix and Chrome/Helios Creed. Personality clashes eventually destroyed this outfit. I had had enough and couldn’t deal with music any more.

In the early part of the 1990s things were generally spiraling out of control in my tattered existence and I slowly curtailed many of my musical activities as I was not finding a great deal of personal satisfaction with any of them at all. I did some performances and recording with a Sydney based ritual, dark ambient, experimental techno hybrid sort of act, which was originally called Jaundiced Eye, but somewhere along the line the name somehow changed over to Dweller On The Threshold. We played at quite a few rave cum pagan orientated events in and around Sydney including a support slot for Meat Beat Manifesto. I also guested from time to time throughout the first part of the 90s with some other live local acts playing drums synth, samples and lo-tech electronics/tapes on both recordings and live dates. These acts included Monroe’s Fur, Psychic Date, Harpoon, Louis Tillet (OZ singer, writer) Monkey See Monkey Do, Beastianity, Extinct, Hugo Race’s True Spirit (industrial Nick Cave like blues), Blood and Iron (which also featured David Booth, who now plays live with Der Blutharsch, this act had a sound somewhat in the vein of Laibach, Autopsia and similar acts) and possibly a few others. It is actually rather hard to remember everything from this time. I also continued to do the odd bit of session work for more conventional musical acts – all OZ based so the names wouldn’t mean anything to Northern European or North American readers. It was mainly recording with the odd live show – I needed the cash! Even that didn’t always come through – such is the foibles of the music industry.

In the early 1990s I did some recording and 3 live performances in and around Sydney with an old friend of mine, Dominik Guerin who was one of the original founders of SPK. He was with them up until the time of Leichenschrei. Along with another old OZ experimental pal named Jon Evans who now lives near Berlin, we recorded and performed together under the loose name of DOM. 8-9 tracks were somehow recorded and the remastered tracks (which I did with Hunter Barr of Knifeladder at Retina studios in mid 2001) which may be at last released, sometime in the next few months or so…under the name Last Dominion Lost. The title will be The Tyranny of Distanceand the music has at times some resemblance to Leichenschrei era SPK. Others may beg to differ about this – there was certainly little local interest in what we were doing around this time..so once again things slowly petered out.

Around mid 1993 I literally by chance (fate perhaps??) bumped into Douglas P of Death In June at some sort of semi-industrial event in Sydney during one of his periodic visits to Australia. We renewed our friendship and acquaintance and later in the mid 1990s or whereabouts the Scorpion Wind album, Heaven Sent, was recorded. This also featured Boyd Rice of Non. A few months later I was asked to play live percussion on some DIJ live shows in Europe and I have been doing this ever since.

While I was in and around London in early 1997 I renewed my friendship/acquaintance with Andrew Trail whose previous outfit Autogeddon had just finished and slowly and tentatively Knifeladder was formed – even though at this stage it did not really have a name as such. We did a few live rehearsals and the hard graft of sound source and sample making at home, building prospective pieces from literally the ground upwards. Soon, Hunter Barr, an old pal of Andrew’s, joined and Knifeladder was properly formed. We played our first proper live date towards the end of 1997 at the Bull and Gate in Kentish Town. I also did a little bit of drumming recording session work with Strength Through Joy in the middle of 1997, I seem to recall.

Since 1997-98 besides live shows and tours with Death In June in many different parts of the globe I have also mainly worked on Knifeladder and to a lesser degree on my own solo ritualistic experimental soundscape project Shining Vril.

As well as this over the past few years I have done quite a bit of guest and session work (both live and recording) with various acts scattered all over the place. These have included live percussion with Der Blutharsch in 1998-99, some live percussion on a few Fire and Ice shows in late 1998, some recording and live shows with Ostara, Wertham, Andrew King, Sleeping Pictures and Foresta Di Ferro over the past few years. I have also contributed sounds and samples to album and CD releases by the Sword Volcano Complex, Genocide Organ, Brownning Mummery and Subcutaneous Theatre (both in Australia). Recently there have been a few other artists scattered in differing parts of the globe who have also asked me to possibly contribute “bits and bobs” to their forthcoming recordings and I may possibly do so – depending on time and what I can possibly come up with. I am currently trying to keep most of my ideas and sounds for Knifeladder and Shining Vril recordings. I have also recently decided to reactivate my old-school industrial noise project Kraang for a round of new recordings sometime soon.

I hope this gives something of a general idea of my personal musical history and collaborations over the years in the general industrial / post-industrial, experimental areas of music.

ii) CO: What introductory information can you provide about your solo project Shining Vril?
JM: To explain the whole concept of Shining Vril is rather difficult but I will attempt to give it a go anyway. This particular project came into being somewhat slowly towards the end of 1999. Without really attempting to give it a great deal of thought I started to record a few solo pieces that were due for various compilations around the globe. I had made quite a few potential contacts with my various live tours with Death In June and had received a few offers for contributions to various compilations and samplers on European and American labels. I had also met Stefanos of the Greek label C.A.P.P during a Greek Death In June tour in mid-1999 and somehow or other we got talking and he offered to release a “split” vinyl release of my solo recordings and some Knifeladder material on his label. This eventually turned out to be the Split CD release that came out in mid-2000 that seemed to gain a reasonable critical response in Europe and North America.

Basically Shining Vril is an ongoing solo project of mine to explore my own interests cum obsessions. It does not encompass any one particular musical style or aesthetic. Anything can or will be used in the construction of the compositions. The line-up is flexible with myself being the only constant. It can be anything I want it to be. There is also an esoteric / spiritual side to the whole thing but I am trying not to make this too obvious or self-evident. It is there for potential listeners to discover and contemplate for themselves. A form of self-initiatory gnosis perhaps using musical and other sounds in a ritualistic and a subconscious way, to aid the process of self discovery and awareness along somehow. I find all this very difficult to accurately put into words as I generally find they can be quite inadequate for the task.

I have contributed to quite a few compilations over the past few years and will continue to do so for the immediate future. Hopefully a proper full-length release will happen as well as I have quite a few unrealised ideas and plans.

iii) CO: As Shining Vril as a moniker has a rather esoteric/spiritual connotation, what led you to choose this and does the name signify a specific pursuit with the ritualistic soundscapes you produce?
JM: My reasons for using the name Shining Vril as a moniker are many and varied. Many years ago, as I said earlier, I used the moniker My Father of Serpents as a name for some solo recording and live performances in Australia, but I was never entirely happy with this. This name mutated into Ophiolatreia which basically means serpent worship in Latin but this was a bit of a mouthful and didn’t really do what I had in mind justice. I found it very difficult to actually settle on one particular name but the word Vril kept cropping up, so it was destined that somehow or other the word Vril would be used somewhere in the name for my solo material.

I have rather a deep interest in esoteric cosmology and hermetic, gnostic philosophy especially in the areas of ancient sacred sites and the still potent power associated with them, the old Mystery religions, rites and practices, the Northern Mystery tradition and what you would call “the Perrenial Philosophy” of mankind. I’m also interested in the more esoteric work of Jung, Reich, Evola, and associates; the Grail Myth and the work of Otto Rahn which encompasses a few different paths that interest me such as Catharism, the Thule Myth and also esoteric Christianity and the whole Black Sun thing. The whole Vril belief as espoused by the Luminous Lodge and the Vril Society in 1920s Germany also personally interested me. I believe there is something undeniable and powerful in all this – call it what you will and me gullible perhaps. Vril, Chi, Odic Force and a thousand different localised names in many differing cultures. This force seems to have been in existence for perhaps forever, even if a lot of the interest over the past century or so has been due to many reading the book The Coming Race written in the late 19th Century by the English occultist and novelist Edward Bulwer-Lytton which seemed to be taken rather seriously in certain parts of Northern Europe in the early 20th Century.

On a slightly different level I have also in the past 10-12 years learnt various forms of healing techniques such as Seichem, an ancient Egyptian derived healing technique supposedly and I’ve seen various forms of Taoist Asian chi energy techniques performed often in front of dozens of people. This is really what inspired the name Shining Vril as in one demonstration in Sydney in 1992 the Korean chi master produced a shining wavering sort of chi energy ball which every one in the room could see – and certainly feel. I prefer to call this sort of energy “Vril” as this may have been it’s primordial name many thousands of years ago and it was probably a lot more potent and powerful than today.

iv) CO: Split was a shared CD with Shining Vril and Knifeladder. How was this disc received by the underground?
JM: This CD release seemed to be received reasonably well and received some decent reviews in various magazines and websites around the globe. Personally I cannot actually say how the “underground” received it overall but the reaction in general seemed to be quite positive. I am still not actually sure how well it sold but apparently it was pretty widely distributed through the many distributors worldwide that Stefanos of C.A.P.P deals with. Some people found it slightly confusing as to which pieces were by Knifeladder and which pieces were actually Shining Vril. As I mentioned earlier it was originally intended to be a vinyl release with one side each for each act but it somehow ended up being a split CD. Reviews in general were quite good especially from some Northern European based magazines. I receive feedback from time to time especially from places like North America, Germany, Scandinavia and Italy but not much from Australia I’m afraid. Both acts names seem to be slowly but surely getting around in various circles. I suppose my past-reputation may have been of some help in this area. One never knows!

v) CO: In that the Shining Vril tracks on the split CD featured female vocal contributions, is this person a full time member of the project?
JM: The membership of Shining Vril is basically myself and anybody I feel can make a positive contribution at the particular time of recording or live work and who wishes to do so. I have collaborated with many others during my so called long and illustrious career. I have done a lot of recordings and work over the past 10 years under a few different names with the woman who provides the female vocal contributions. At the moment though our relationship is perhaps unclear. Her name is Debra Petrovitch and she is an Australian performance artist cum experimental musician of Romanian extraction who I have known and intensely argued with over many years. We did some work together some years back in Sydney under the name Subcutaneous Theatre. Andrew Trail of Knifeladder also knows her quite well. I would be happy to work with her once again but she can be a rather formidable and difficult personality at times. I can assure you that the Vril sessions for the Split CD became a rather an intense emotional experience for both of us. We sometimes rub one another the wrong way around literally. Both of us were also having minor emotional crises at the time, which perhaps did not generate a particularly positive atmosphere. Still some people do their best work when they are like this.

vi) CO: It would appear that you use a mélange of electronic samples, processing equipment, tape loops etc along with real instruments such as bells, chimes, singing prayer bowls, flutes etc. how do you approach a writing composition particularly as Shining Vril tracks inhabit a free-form flowing style?
JM: This is rather a difficult question for me to answer I’m afraid as I actually have no set, regular pattern in composing. This may disappoint some people out there who worry about such things but things generally come together out of their own accord. I use whatever and whoever is available: a combination of high and low tech in equipment, borrowed, found and abused. I suppose my subconscious, musical, life experience and dreams in general play a large part in my writings. I decided some time back that there would be no definite musical “style” to Shining Vril so I may “dip my wick” – to use such a charming expression – in a few different genres. I am interested in many different things and these perhaps come through in my work and compositions. Sometimes the pieces just write themselves and I perhaps am just the chosen channel. I also often work from a very gut-level feeling and often find words fairly inadequate to properly express what I am trying to put across. I also do not claim to be particularly original or indeed inspirational in my so-called compositional style. The pieces / tracks whatever just sort of evolve in the actual process of recording – make of this what you will. My only actual musical rule for myself is “try and keep it simple” which I seem to inevitably break almost everytime I am doing my own material in the studio. My complex restless mind seems at times to be my worst enemy especially when making new music.

vii) CO: You stated on the Death In June discussion list that you were not too enthusiastic about performing as Shining Vril and more specifically performing solo. Can you elaborate on this? Likewise was this aversion to performing solo the reason for recruiting live support from Marco Deplano (of Wertham and Foresta di Ferro) for the show at the Hinoeuma Club in London?
JM: I have never particularly enjoyed doing solo performances of my own work. A few fairly disastrous live performances mainly in Australia in the mid to late-eighties sort of confirmed me in this view. For some odd reason I find it far more comforting to perform in a group mode – safety in numbers perhaps? I have played thousands of live shows over the past 25-years or so in various parts of the planet but these have mostly been with some sort of band or other musicians. I have also done a lot of session work both live and recorded where I have been an anonymous backing musician. I used to take to this like a duck to water and never really felt any pressure or nerves. It only seems to be that when I do my own solo live stuff that the inner demons seem to rear up their little pointy-heads. Still this is something I am slowly getting over. Unless you have actually been a performer it can be difficult to describe the inner tension that can go on when presenting your own work by yourself to a potentially hostile and contemptuous crowd. My OZ experiences were not particularly pleasant and maybe it scarred me somewhat.

Last year Gaya (Donadio) of the Hinoeuma Club asked me to do a performance and didn’t seem to take no for an answer so I eventually relented and started to plan something without banging my head against the rehearsal room wall in frustration, something that has indeed happened more than once in the past.

I asked Marco to give me a helping hand as he is a good friend and rather supportive of most of the things I am involved with. I have also helped him with live Wertham and Foresta di Ferro shows at Hinoeuma in north London over the past 2 years or so and he was quite keen to return the favour. So yes performing with one other person on stage, for me anyway, can sort of relieve some of the internal doubts and pressure somewhat. I am rather a perfectionist unfortunately and I only want to present a Shining Vril performance that would be out of the ordinary. Ideally there would also be a visual element as well but I suppose I will have to leave this for the future – once all those performance and songwriting royalties and checks start to roll on in once again. I may be waiting a long time.

The show at Hinoeuma actually went a lot better than I expected both musically and as an actual performance. I was reasonably pleased with it for a change and as a result have considered doing some more as a few people in various parts of Europe have requested some. There may be some in the not too distant future in Italy, UK, Poland and maybe Germany/Scandinavia as well. These will probably on the same bill as Foresta di Ferro or Knifeladder. I was also asked a while back to do something in the USA but whether this ever eventuates is up to the gods. We shall see.

viii) CO: I understand that you collaborated on a musical project with members of Knifeladder in Australia prior to forming Knifeladder. Could you tell us about this? How did Knifeladder come about? What was the idea behind the project?
JM: I will have to answer sort of yes and no to this particular question. I have known Andrew Trail of Knifeladder since approximately early 1988 when I first met him in Sydney, Australia, when my act at the time titled the Slub; a noise guitar outfit sort of like a combined Skullflower meets Butthole Surfers cum Plastic Ono Band performed on the same bill as his band of the time called Ministry of Love. We sort of hit it off at the time and when I returned a few months later to Sydney – after recording with Michael Hutchence of INXS, for his experimental group project called Max Q, – we resumed our budding friendship. Over the next 2 years we saw one another pretty regularly. For a few months in 1990 I helped out on drums for some mutual pals of ours in a Sydney based gothicy orientated band called Box the Jesuit (at times slightly in the same area as the Virgin Prunes) after their drummer disappeared. Andrew also mixed Subcutaneous Theatre, an experimental, ritualistic duo I was also involved with which included the performance artist, Debra Petrovitch.

We sometimes appeared on the same bill as Andrew’s act, Ministry of Love. Andrew was also due to engineer an album for Subcutaneous Theatre towards the end of 1990. This was going to be released on the local experimental label Cosmic Conspiracy Productions(run by Alex Karinsky – who later moved to New York and promoted some Current 93 shows there in 1996-7) which had also released some Ministry of Love material. Unfortunately this never happened mainly due to financial reasons and Debra’s unforeseen pregnancy, which put a spanner in the works and pretty much curtailed everything for a while, rather unfortunately in my humble opinion, as I’m sure it would have been pretty impressive.

I saw Andrew quite regularly and he also sometimes mixed another ritualistic experimental act I was involved with at the same time containing ex-members of Box the Jesuit called Jaundiced Eye, who also played quite a few shows around Sydney, especially at 2 notorious venues called The Evil Star and a local arts centre/squat called the Gunnery. Books have been written about the Gunnery in the last few years in OZ.

Andrew formed another EBM orientated act called Psychonaut in early 1991 which played around the traps to little response and decided to head to London in mid-1991 or thereabouts. He was tired of the inevitable ceiling you reach if you are doing leftfield music in OZ and the Antipodes. Overseas is often the only option…that or slowly implode and decay. . . and recede into alcoholic, drug orientated despair and bitterness over what could have been. I meanwhile stayed in OZ and entered what I call my “dark years” which were not particularly pleasant on a personal level. I was still involved with music but was basically slowly killing myself in various ways. That is all I will say about this unfortunate period of my life but people who really know me will be well aware at what I am referring to…

Andrew and myself sort of kept in touch through various means and mutual friends. I returned to London myself in the mid 1990s for live touring purposes with Death In June. I had bumped into Douglas P. completely by chance while he was in Sydney in 1993 visiting different parts of OZ. He remembered me from the early 1980s and early Current 93 days and we renewed our acquaintanceship. Sometime later this led to him asking me if I would be interested in doing the live percussion for some European and possibly US dates and not being an idiot, of course, I said yes.

After returning to London I soon moved into a spare room in a flat in Kings Cross with both Andrew Trail and Andrew King and slowly but surely that was the genesis of the entity called Knifeladder. This was early 1997, I believe.

Some of the ideas behind Knifeladder I had sort of previously explored some years back in 2 OZ based outfits called the Orchestra of Skin and Bone and Stress of Terror which were both around in Melbourne from the mid-1980s to early 1988 – until I left that city under murky circumstances.

Andrew Trail was one of the few local OZ musicians I felt pretty much at ease with who knew of my overseas history and adventures and was eager to musically explore uncharted terrain. Unlike quite a few of my so-called “friends” back there who were not very supportive at all, and slaves to the latest trends from abroad.

When I returned to London we renewed our friendship and without really meaning to we slowly started the gradual formation of the concept of Knifeladder, by working on sounds cum samples in his home studio. I had tried doing some solo recording in OZ in the early 1990s using the name Ladder of Knives, due to a friend of mine visiting China who brought back a photo of a Taoist ladder statue of swords. These recordings were not particularly successful in concept mainly due to the rather disturbed state of mind and body I was in at the time but once I got myself reasonably well I intended to pursue the ideas I had with hopefully more suitable companions.

The general concept behind Knifeladder started to develop in London during 1997. Over a period of a few months we worked on soundsources and original made samples, often quite primitively recorded and processed cum treated from their very low-tech origins. We started to have some live rehearsals cum semi improvisation sessions and then later on with Hunter Barr – an old pal of Andrew’s at various London rehearsal rooms. An important part of the sound of Knifeladder pretty much from day one has been the live semi-improvisary trance (in it’s proper way) repetitive aspect – which to a certain degree is an integral part of every piece we record and perform live.

If there is a main concept and idea behind our sound it is that we are very much into the live performance aspect of doing so called electronic based music. Loops and various soundsamples put together in a cyclic hypnotic semi-repetative manner with organic trance wind instrument drones and exotic and heavy ritualistic percussion plus repetitive bass drones are pretty much what we are currently about.

Unlike loads of other electronic acts we tend to play our equipment and instruments “live” in the manner of a traditional 3 piece band (though we are much more flexible in instrumentation and members roles than normal rock acts) and prefer not to rely on sequences, backing CDs, DATs or everything being generated by the mixer using laptop facilities and the like. Live semi-improvisation over carefully thought-out backing is critically important to the Knifeladder sound in both live and studio work. Generally we do not play any of our tracks exactly the same way twice. There is always some sort of variation – also the live mixer is of great importance to the overall sound. We know a few really good ones fortunately. It is not that we are Luddites or anything similar it is just that most electronic orientated acts nowadays seem to hide behind their computers and the like in live performances with little thought. The best exception to this I have seen in the last few years are some Coil shows in Europe, 2nd Gen, some Ant Zen acts and possibly some of the acts on at the Hinoeuma club in north London. The audience is often an afterthought and many times you may as well stay at home and just listen to the recorded output on CD or vinyl.

Also unlike many electronic orientated outfits no matter what the style, the 3 members of Knifeladder are influenced by and enjoy many different styles of music and sounds. We have also had many years of experience in live performances and playing many differing styles of music in front of sometimes hostile audiences worldwide. I for instance have had close to 30 years experience in live work playing many different forms of music such as Jazz, Blues, orchestral, Scottish pipebands, musicals, various forms of rock, session work etc and have personally performed in front of some of the toughest and most contemptuous crowds in the world, especially in OZ where you can play like God and still be totally ignored by the local crowds who will be the first to cheer some 3rd rate over the hill act from abroad.

Hunter Barr is also classically trained in different instruments and has also a lot of experience working as a studio engineer for all sorts of differing types of acts and music over the past 5 years or so. Both he and Andrew Trail are experienced and qualified sound engineers for recording and live mixing and they have a sort of professional studio and rehearsal set-up connected with Knifeladder called Retina II. So there is quite a bit of experience and knowledge between the three of us.

ix) CO: It’s an unusual sound comprising looped sounds, various percussive devices and solid bass throb. How do you compose / construct songs? How important is the studio to Knifeladder? What do you mean by voodoo power electronics?
JM: Knifeladder pieces cum songs are composed/constructed in a variety of ways. It is very much an organic intuitive process between the three of us. Often a piece will be built upon from an original loop or sample that the three of us have had a hand in making, often from very low tech origins and by constant rehearsal and improvisation in both the studio and rehearsal room a song somehow forms itself. Tracks have also been built…constructed…from the percussion and sampler upwards…with gradual and cyclic changing of sounds/samples etc overlaid…over time. Other tracks can be constructed differently – beginning with the bass harmonic throb or the Moroccan horn that Andrew often plays. There is no one set way of working for us. Some songs write themselves literally and we just go with the flow. A track can also end very differently from the original conception but we seem to allow room for this as construction of songs and soundscapes is a very organic process for us. There are no real definitive versions of songs in the Knifeladder side of things: pieces change and evolve constantly everytime we perform them live. The tracks ‘Dervish’ or ‘Scorched Earth’ for example have evolved of their own free will over the past three or so years and can vary quite a bit in live and recorded performance, especially in the use of rhythmic dynamics, and length. We very often use a call and response instrumental / soundscape aspect between the three members in a live performance context.

For our more soundscape and non-rhythmic orientated tracks – only some of which have been presently recorded – and haven’t really been featured on Organic Tracesdue to time restrictions. We have used different methods again in song construction, often constructing a piece from the voice used in a harmonic overtone manner or as an under lying drone or Moroccan horn with other sounds added on at will, playing off one another in a live rehearsal context, working out which sound sits best with another and constantly remembering to not be too self-indulgent and to keep things relatively simple, and to use the recording studio as an instrument in itself. Our ways of working and constructing songs are constantly evolving and changing and we have a few surprises in store for the future in this area.

The studio is critically important to us as is live rehearsal. In the construction of the whole Knifeladder sound and way of being we try and record regularly in our own studio, and as soon as we come with the basis of something new, we attempt to record the bones of it and flesh if out. Some of the material including two tunes (‘Born Under Fire’ and ‘Carousel’) due for release on 2 different Italian label compilations were completely constructed in the studio from literally nothing. This was also sort of the case with ‘Hymn’ our piece on the Operative First compilation, which was built in the Retina studio. All these tracks vary quite a bit from their studio versions when done live. We don’t really think of the studio and live aspect of Knifeladder as 2 completely different things. The studio is really another creative tool for us and unlike some other acts we tend not to be passive, overwhelmed participants when in the studio. Quite the reverse, as we often really go for it!! – ‘Dervish’ being a very good example of this in both the studio and live performance contexts. Many different ideas /sounds and overdubs are tried and perhaps used if they are deemed suitable by the three of us. If not then we often keep these for future use – for other tracks and blueprints.

I am not really sure if Voodoo Power Electronics is an entirely accurate description of our sound anymore. Perhaps we have somehow gone sort of beyond this convenient description now. The others may disagree perhaps. The sounds we use probably are quite a bit more varied than the Power Electronics description. We even attempt to use – horror!! – some melody on occasion from the keyboards, vocals and horns. We have been known to dip our wick into the ritualistic trance, industrial, dark ambient, soundscape areas at times – all these terms don’t really do justice to what I am attempting to say. We try to use many different sounds and do not limit ourselves one particular area which can cause some confusion when people try to pidgeon hole our sound. Still people love descriptions, don’t they??

In the percussive side of things there are a few different things at work besides Voudoun Drumming and rhythms. I have studied middle eastern and Indian tabla percussion, some years ago plus the master drummer aspect of different forms of African drumming which sort of rears its head in some of our work, especially in live performances. Pipehand side drumming which I did for 5 years as a teenager in OZ with a Scottish pipeband…these influences all sort of blend together in the percussive assault on stage and in the studio. Maybe we will have to think up a new more exact and detailed description of our style and sound as unlike a lot of acts around now we are not easily classifiable and cut across a few different musical boundaries and styles.

I hope this sort of answers this question for you – apologies if you all are still scratching your heads in bewilderment.

x) CO: What artists/projects currently hold your interest?
JM: I personally enjoy many different types of music and have a very diverse appreciation of many different musical styles and artists. As far as I am concerned there is only good and bad music. I try to keep an open mind about almost everything I hear and try not to fall into the all too familiar trap of musical cynicism, something I semi-regularly did when younger.

In regards to the current industrial and experimental music scene I appreciate many different artists and acts. A few examples would be the various artists sort of connected with the Hau Ruck label such as: Novy Svet, what I’ve heard of Dernière Volonté, PPF, Der Blutharsch; various Tesco acts such as Anenzephalia; Stateart releases including one from Cyclotimia; other European acts would be Deutsch Nepal, Inade, Tribe of Circle, Thorofon, Scivias, Dieter Muh, Amenti Suncrown, Nocturne, Arkkon, Cyclobe, Coil; some of the Ant-Zen acts such as Imminent; a new Antipodean dark ambient act called Isomer; anything involving Zev; the last 2 NON releases on Mute; Browning Mummery (an old Industrial act and friend from OZ – very good); 2 Polish acts: Spear and Le Plastic Mystification; Aube; various releases from Daniel Mensche, Lustmord, Nurse With Wound, Illusion of Safety and Voice of the Eye over the years; Andrew Liles, Muffpunch, Anti Valium and White Dog all based around London. These are all just examples. In the neo-folk area I think Naevus, Of the Wand and Moon, A Challenge of Honour and the work of Andrew King are the most interesting acts personally speaking. Even though it is difficult to keep up with all the new and latest releases constantly going I try somehow to do my best in these areas. Looking at it objectively I think the whole experimental / industrial / dark ambient / ritualistic whatever “scene” is probably more vibrant than ever – though a touch more originality could be added at times. Still this is something I have never particularly claimed to be.

Outside of this area I personally enjoy a lot of serious classical music (straight and avant garde), film soundtracks, all forms of 50′s/60s early 70s popular music and folk, rock and jazz. Too many composers and artists in these areas to mention and I often forget the names that go with different pieces and songs sometimes. I will always keep an open ear and mind to pretty much anything though most rave, dance and rap / hip-hop music doesn’t really thrill me or indeed attract my interest much. The culture with all this stuff sort of passes me by completely.

xi) CO: You split your time living between Australia and the UK. Why do you choose to do this?
JM: The reason I do this is because I actually can. I have never felt 100 per cent comfortable anywhere and have never really been one of the local lads, so to speak. I have always had an overwhelming urge to see the world and possibly discover myself (man) ever since I was a young sprog. I am usually in Australia for a few months each year where I tend to keep a fairly low profile doing lots of non-career related things. There is no exact reason why I divide my time between both countries it just seems for a good proportion of the last 20 or so years that most of my creativity and work happens in Europe, especially the UK. When I am back in OZ I usually do a bit of recording at a local studio near my mother’s seaside house which is probably one of the best studios I have ever worked in anywhere and for some bizarre reason is situated in the boondocks of southern Queensland, miles from any large town. Other than that, as I said before, I keep a low local profile and do not receive much Antipodean support or interest at all.

One other reason could be that I have a reasonably large support network and musical peer group in London and parts of the rest of Europe who sort of understand where I am coming from and are generally supportive. In Australia I have a network of old acquaintances who often aren’t very supportive at all. Quite the reverse, in fact: some are down right contemptuous and hostile, while others are totally bewildered by the aesthetics which seem to guide my path. The majority of the projects that I have been associated with over the years have received either little or indifferent response from Australian audiences. A lot of the people I know their have become increasingly parochial over the years which has always alienated me. I have had many discussions cum fruitless arguments with various Antipodean pals over the years about what I do etc so in general I no longer bother to keep the majority of them informed of my activities – musical or otherwise. This is just one of many reasons why I spend quite a bit of time outside of Australia. I have had many unusual experiences which would just not have been possible if I had stayed in OZ and I would be a far lesser person for it. I march to a different darker drum so to speak than the majority of Ozites who mostly consider me (if at all) a weirdy ratbag eccentric, if not worse. Why should I bother to have to put up with a local insular mindset when I know that others elsewhere will be more appreciative.

Also another reason is that I personally love being an expatriate from my homeland. This is very stimulating and intellectually satisfying. I feel somehow more alive and this in turn stimulates my thought processes, musical composing and general pursuits. I use my time in OZ as a bit of a breathing space and regeneration period before venturing out once again to parts unknown. I could say a lot, lot more on this particular subject but will shut up for now.

I should also point out that I have met other people from various parts of the globe who have similar things to say about where they came from so it’s not confined to one place.

xii) CO: You seem to be able to travel through Australia and UK/Europe on a reasonably regular basis, how are you able to manage this? I suspect that this might lead to some interesting jobs in order to finance such travels?
JM: This would be telling somewhat but let us just say that I sort of get by – not particularly well admittedly. I do lead a somewhat primitive lifestyle which certainly wouldn’t be for everybody, and I would certainly not recommend it if you want to hang on to your sanity and health. I have paid a heavy price in terms of lifestyle for the musical and artistic adventures I have had over the past 20 or so years. Quite a bit of sacrifice has gone into my endevours and international travels. I am also something of a “scammer” in regards to accommodation, musical equipment and such like, and currently at least do not really have a settled abode anywhere in the world.

Yes I have had many interesting and mundane jobs over the years in both Europe and OZ, which have helped finance things a bit. Examples include: running recording studios and rehearsal rooms in both OZ and London, lots of restaurant work in London and OZ; bar tender; theatrical hand and stage manager; new-age and alternative bookshop co-owner in Sydney some years back.; working in record stores; packing records at various distributors in UK and OZ; session musician in both UK and OZ; telesales marketer; actor in underground videos and films; soundtrack designer for similar sort of films; extra in TV commercials and mainstream films in OZ; antiquarian bookseller in Australia (briefly); assistant in jeans shop (late 1970s); and industrial cleaner at various times. These are just a few jobs I have had to do to earn a crust to continue on my merry bohemian way and enjoy what the world has to offer.

xiii) CO: I believe there is also another John Murphy operating in a similar experimental and /or soundtrack field of music. Is this the case and how much actual confusion has it created?
JM: Yes, apparently this is indeed the case, and it has caused some confusion with a few people, which I have attempted to clear up. Certain friends and acquaintances of mine have occasionally seen a documentary or something similar on Channel 4 in Britain or SBS in OZ or elsewhere which mentioned in the credits that a John Murphy was listed as responsible for the sound design and soundtrack, and that the music or whatever was in a sort of industrial / experimental mode. They just sort of assumed that it was just little me. I had to disappoint them by saying that I had no personal knowledge of the aforementioned documentary or indeed the person involved. This incidentally is an area I would like to explore and possibly get involved with as I have had a little experience in this particular neck of the woods in years past both in OZ and the UK.

There hasn’t been a great deal of confusion but this was possibly the catalyst to me to again start spelling my first name as Jonh, something I used to do many, many years ago in the days of punk in the late 1970s. Running into quite a lot of other John Murphy’s in various parts of the globe may have had something also to do with this. This in turn seems to have confused a few people out there in the international experimental / industrial music arena. Obviously I have shot myself in the foot once again by over estimating people’s general intelligence in the first name department. I will just have to persevere in that I suppose.

xiv) CO: You are involved in is the relatively new Operative Records. What comments would you like to make about the concept of this emerging label?
JM: Well for a start Operative Records as a label and so-called collective came into being towards the middle of 2001 in London. Members of Knifeladder, Naevus, Muffpunch, Rective, Andrew Liles, Ruse, Andrew King, Anti Valium, Gaya of the Hinoeuma Club and a few others got together at a series of meetings cum drinking sessions at various people’s abodes around London and slowly but surely the idea of some sort of supportive label cum collective sort of emerged out of the fog. Some of us felt that there was quite a bit of interesting and innovative stuff happening at various venues such as the Hinoeuma Club in Finsbury Park without much local interest or label support. We sort of perhaps foolishly attempted to do something about this by putting together a compilation CD titled First that sort of showcased what we all felt were the most interesting and innovative acts who hopefully would eventually release their own CDs or vinyl through or on the Operative label. This would be financed partially through the money earnt in sales of First, theoretically speaking, of course.

The basic concept of Operative is to have so called Outsider sort of acts that we all felt were being ignored locally as they didn’t conform musically or conceptually to Brit fashion dictates. It was to give these acts a sort of vehicle; a way in which to get their releases exposed, distributed and to provide a support network. I’m not actually sure if I am explaining the whole thing properly but it is slowly but surely reaching towards its goal. Besides First which has received some interesting reviews internationally, CDs have also been released by Leisurehive, Naevus, Knifeladder and a few more are being planned for the future. These include a possible split Shining Vril CD with Lloyd James of Naevus and his solo project called Retarder. An Antivalium / Andrew Liles split release, a White Dog (Gaya and Joanne of Naevus) CD. All these releases will be self financed so Operative is also an avenue for innovative acts to put out releases and gain distribution through Shellshock in the UK and abroad. That is sort of it in theory and hopefully it will eventually all work out for the best. The concept behind the label is best explained on the website at www.operative-records.co.uk

The Naevus release Behaviour and the new Knifeladder CD release Organic Tracesk have both received more than a bit of interest and appreciation internationally though this is still early days. Both of these acts have also performed outside of London at the Leipzig festival in Germany and have therefore garnered some international fans and interest, after a lot of hard slog around the local traps to little avail at times.

xv) CO: What’s next for Knifeladder / Shining Vril / Foresta Di Ferro and any other acts you’re involved in? Any closing comments?
JM: First of all I would like to say that Knifeladder is not my band!! And I am not their leader. Some people, especially in Europe, seem to have got this idea into their head, at times, so I would like to point out that I am only one of three members who are all treated on an equal basis in terms of song writing terms and in all aspects of the group. We discuss all ideas and plans fully before putting them into practice.

Over the next few months I would say that our main priority is to get Organic Traces properly distributed and sent out to all the people in various parts of the globe who seem to be interested. We also plan to perform live outside of London hopefully. We would like to take up some possible offers of shows in the north of England, and different parts of Europe mainly Italy and possibly Germany and Belgium. We also have some tracks appearing on a few European compilations and samplers. Some of which are due to be released very soon – though you can never really tell with these sort of things. Two pieces are on two different Italian based compilations: one track ‘Born under Fire’ on the Oktagon compilation Audacia Imperat and another piece titled ‘Carousel’ which is a recorded reinterpretation of an early Knifeladder live track appears on the Italian compilation Tal Mont De Lune due for release soon by Nail Records. I should also mention that Shining Vril has two tracks (‘Conquest’ and ‘A Secret God’) on these compilations as well.

We also intend to record (for an eventual second CD release plus some possible compilations) over the next few months. Some of our newer less rhythmic orientated material – which will certainly showcase other not so obvious aspects of the Knifeladder sound and maybe introduce some new unusual sounds, recording techniques and instruments. These may also feature some unexpected “guest ” vocals/voice. These are ways to widen our sound and to introduce the unexpected. We all enjoy confounding expectations and are determined not to fall into recording or live/performing clichés with all our newer material especially. We are worried about falling into a formula in our general approach.

Finally, very recently someone in Europe has just approached me and Knifeladder about something new which may open up a whole new field for us to possibly explore in the long term. I will leave this for all of you out to ponder. . .

Shining Vril will continue to appear on various European and perhaps American compilations and samplers. I have quite a few tracks appearing on various so called European based V/A tribute “compilations”: including one for Ain Soph which was supposed to be released by Oktagon; a track on a sampler being put out by Die Tat mag of Germany; the two aforementioned Italian based compilations and maybe a piece on a Scott Walker tribute that someone in Spain (I think) is putting out in early 2003. I also intend to slowly record more material and eventually release a full scale self financed CD or album, probably through Operative Records, though this will entirely depend on personal finances. One or two European based labels have also expressed some interest in releasing some Shining Vril material as a CD or similar so we will have to see. Lloyd James of Naevus and myself have occasionally talked about doing a joint Shining Vril/Retarder CD release sometime in the future. Retarder is the name of his solo project. Anyway expect some Shining Vril full length release sometime in the not too distant future and also expect some possible Shining Vril live performances – probably in London and maybe Italy, Denmark and Germany. It’ll probably be with both Knifeladder and Foresta Di Ferro or something similar.

Two other releases that include sounds cum “bits and bobs” from me are the second full length release from Sword Volcano Complex on Triumvirate Records in the USA and the debut full length CD release from Foresta Di Ferro, Marco Deplano’s project. This will be released released through Hau Ruck – Albin Julius’s label in Vienna. Both releases should be out early in 2003 or thereabouts.

There may be some new recorded KRAANG material out through Tesco from Germany some time in the not too distant future. I am due to start work on new tracks pretty soon. These will be the first new pieces recorded since the late eighties.

Tesco will also be releasing some old material recorded just over 10 years ago in Sydney, Australia, which I was involved in along with my good friend Dominic Guerin who was one of the main and original founding members of SPK back in the late 1970s and another old friend known in the experimental scene in Oz named Jon Evans. This will be released under the name of Last Dominion Lost, and the title of the CD and vinyl album will be The Tyranny of Distance. It is in parts somewhat similar in sound perhaps to Leichenschrei period SPK – make up your own mind. That seems to be about it for now I guess!!

(Addendum: after this interview was complete John Murphy reported that a Whirlywirld CD – The Complete Studio Works had been issued on CD by the Australian label Missing Link.)

(Source: http://www.compulsiononline.com/falbum7.htm)

More Info At: www.knifeladder.com

Heathen Harvest (HH): Can you discuss how Von Thronstahl came into being and who the founding members are?
Josef Klumb (JK): The general idea was conceived around 1995 when I was still in Forthcoming Fire, playing Gothic and Darkwave. I was searching for a way to express the European identity in a musical way. That’s how Von Thronstahl came into being.

HH: Can you explain what the name Von Thronstahl means or what significance it has for you?
JK: The prefix “von” indicates aristocratic nobility when put in front of a name. And “Thronstahl” translates “the steel of which the throne is made”. The whole name stands for being untouched or irremovable by the constant change of the world.

HH: What was the initial founding vision of Von Thronstahl?
JK: The idea of the REICH for Europe, or Europa, as I’d prefer to call it. The terminology is stated in the song HEIMATERDE MUTTERBODEN VATERLAND (native soil, mother soil, fatherland). It’s about the general idea of the Reich, of identity more as a feeling, an emotion than something concerned with parliaments or a supposed “democracy“.

HH: Can you explain the previous musical experience of Von Thronstahl’s members prior to joining the band?
JK: Both Raymond and myself used to play Punk, Rock’n’Roll and Gothic. Marcel has played in Rock and Metal bands and worked with various Folk projects (and he still does). René comes from a Metal background. Both of them play a variety of instruments in different bands and projects.

HH: How did the band feel particularly inspired or drawn to the post-industrial music scene and to Martial Orchestral music in general?
JK: I wouldn’t say that the scene itself inspired us, the inspiration came and still comes from life in general and the musical creation happens organically. Our music reflects the longing for the true European identity and soul, as well as a kind of underground thinking, so to speak.

HH: Are there other bands within the post-industrial music scene that have had a direct impact on the formation or sound of Von Thronstahl?
JK: There are a lot of bands and project that we enjoy. As I may be a bit older than some of the others my taste goes more to the origins of the scene. Cabaret Voltaire, Clock DVA, Throbbing Gristle, Thomas Leer, Industrial and Electronic, I’m not a Noise fan, I need structures. Very important in this decade were Allerseelen, which I’d recommend to all the people out there. Plus I enjoy most of the material released by the label Cold Spring Records.

HH: Von Thronstahl debuted the first full length CD title “IMPERIUM INTERNUM” in the year 2000. Looking back how was this CD received by the post-industrial music community?
JK: The debut CD was a big step for the project and it was very well received; in fact the first pressing was sold out some time ago, but it has been re-released by Cold Spring (remastered, plus now it’s a digi-pack instead of a tray) recently. The press reactions, both to the initial release and to the re-release were very positive.

HH: ”IMPERIUM INTERNUM” established a particular aesthetic that would continue to define Von Thronstahl for sometime. This aesthetic was founded on a romantic remembrance and exaltation of Europe’s past. Can you discuss what inspired this aesthetic why the band chose to pursue this aesthetic?
JK: The basis for all the aesthetic creation of Von Thronstahl is emotion. Emotion in a sense of really being “moved” from the inside. From heart and soul, so to speak. And emotional longing to reach the shores of our secret home that is Europa.

HH: Can you explain what significance the albums title had for the band?
JK: The title stands for the feeling I’ve just tried to explain. The emotions, thoughts and dreams don’t just need a “vessel”, they also need a name to be written on the flag; a title that implies attributes like “holy” or “sacred”.

HH: ”IMPERIUM INTERNUM” contains a recurring theme of medieval Europe and the Arthurian legend of the Holy Grail. What significance does this legend have for the band?
JK: It’s almost too perfect to be used in a symbolic way. The “true belief” that is connected to the legend and the combination of a true kind of Christianity with the old, deep pagan roots.

HH: Does Von Thronstahl strive to explore or comment on European history before the Christian Medieval era or does the band see its interest deriving from medieval Christianity to the modern era?
JK: Raymond and myself are deeply inspired by the traditional way of Catholicism. The so-called modern Christianity seems to be on a spiritual level that you’ll likely find at an esoteric fair. If you explore the old Christian tradition you’ll find so many influences dating back to the pagan times, but most of the people who call themselves Christians nowadays aren’t even aware of that.

HH: Does Von Thronstahl express any interest in the pagan or heathen origins of Europe and its peoples?
JK: Raymond and myself are Catholic, but we also are interested in studying the pagan roots, which I’ve mentioned before. Through studying I came across a common theme in both the Old Testament as well as pagan lore (like the Gilgamesh epos) which one could interpret as an insertion of knowledge. “God” or “gods” who came “from the skies” to teach man, inspiring religion and tradition. These passed down stories about god-like beings could be interpreted as records of contact with extraterrestrial beings visiting earth. Although this may sound strange to some folks: Keep the idea in mind and then read the bible (try to picture the Nephilim for example). Marcel and René are both atheists, but both of them are interested in religious tradition in a philosophical way. And after all religion keeps influencing political decisions each and every day all over the world.

HH: ”E PLURIBUS UNUM” was Von Thronstahl’s second full length CD and was released in 2001. “E PLURIBUS UNUM” is a collection of rare and unreleased tracks produced by Von Thronstahl. How did the band come to have such a wealth of secondary material so early in your career?
JK: Well, I suppose we’ve had more time back then. And we participated on a lot of compilations which mostly were sold out at that time and we felt that people who were interested should be able to get a hold of that material all together.

HH: ”E PLURIBUS UNUM” saw Von Thronstahl beginning to comment on modern politics and current events. In fact the title of the album is taken from the American one dollar currency. Can you explain what shift occurred that directed Von Thronstahl to embrace current affairs as well as the past history of Europe within your music?
JK: The connection of these topics happened organically. There’s something like a spiritual war going on between the traditional and modernistic thoughts, which influences modern politics very much.

HH: Several songs on “E PLURIBUS UNUM” garnished fierce criticism from far left anti fascist groups. Songs such as “Verein(sam)t” contain text from German writer and physicianGottfried Benn who was criticized in his lifetime for his involvement with National Socialism in Germany. How does Von Thronstahl reconcile the artistic and philosophical achievements of such historical figures as Gottfried Benn with their involvement in National Socialism?
JK: Gottfried Benn was enthusiastic about the National Socialist movement during the early years, but soon he recognised that a lot of things simply went wrong with the movements direction. He was taken in by the potential and the power of the movement but disappointed when he saw some of the results. Actually I can relate to that; there are thoughts in between the world of, say, a totalitarian approach from the right and the very same totalitarianism from the left which is slightly disguised as “anti-fascist”. People like Stefan George of Ernst Jünger did never belong to just on side of this conflict that nowadays is mostly being projected as strictly “black and white”. The world needs men who stand for something all by themselves.

HH: ”Hail You Captain And Thy Guard” also commissioned outcry from far left activist as the song was created for Daniel Ghettu’s “Totalitarian Archangels Foundation” in Romania and pays homage to “The Iron Guard” and Captain Codreanu. The “Iron Guard” remains notable amidst armed fascist militia groups as they promoted a religious doctrine amidst their ranks. Can you discuss your interest in the “Iron Guard” and the “Totalitarian Archangels Foundation”?
JK: The Codreanu tribute compiled by Dan Ghetu featured a lot of different projects which, Blood Axis aside, I’ve rarely seen blamed as “right wing” or something. That should make one think how the “far left activists” choose their targets. Actually Marcel is even more educated on the subject than I am, but the history of the Iron Guard and mostly the personal struggle of Codreanu, who stood up for his belief and his men to the very minute he was murdered, is very inspiring. To western Europeans the old Romanian tradition may seem a bit “dark”; the musical works of the Iron Guard convey that feeling to many listeners, but it’s also full of “light” with regards to the religious tradition and the tremendous dedication.

HH: What is Von Thronstahl enduring interest in the fascist era of European history?
JK: It is unquestionably a very interesting and diverse field. In terms of what is kind of appealing to me I would say that it is the honesty about it. The European nationalist movements were very frank and open about their beliefs and politics, which by no means can be said about the self-proclaimed “democratic” politicians. Most of them are front-men for a hidden agenda. People should be more educated about the facts that the controlled media won’t report. In a side-note I’d ask the question of “style”: Do you see style in Brussels? I don’t. I see clowns, and the hidden powers behind their masks.

HH: Does the band believe that there is knowledge or guidance to be drawn from this tumultuous era of European history?
JK: I don’t suppose that there is any era from which knowledge shouldn’t be drawn. The human life is a constant learning process, both for the individual and humanity as a whole. The official attempt to black out knowledge and wisdom from sources that do not fit the “Zeitgeist” is one of the most spiteful crimes against humanity.

HH: How does Von Thronstahl feel about the societal and cultural censorship of ideas, art, and philosophy from this era?
JK: That’s what I was getting at. In the western democracies there’s actually more censorship going on today than we are told that there supposedly was during the “forbidden times”. Especially the German political system has its very own “democratic” ways of silencing people.

HH: Is Von Thronstahl’s exploration of fascism inspired at all by the belief in an imperial ruler unifying Europe?
JK: That is, to some extend, a religions question. A leader or ruler in my eyes is someone to work in between, who has to prepare for the true order. For someone “godsend”, which is to be understood literally. There will be now European Imperium without divine order!

HH: Von Thronstahl does not seem interested in Europe’s communist era. What has drawn the band towards the Fascist era and away from an exploration of the cultural and ideological era of communism?
JK: I do perceive both Communism and the freemasonry ideals of western materialism as the exact opposite of what Von Thronstahl stands for. So in a way we have dealt with the topic.

HH: ”E PLURIBUS UNUM” showcases some of the first reworking of traditional rock songs by Von Thronstahl as is illustrated in songs such as “Bells” which samples a guitar riff from AC/DC and “This Is Europe Not L.A.” which reworks “Mr. Blue Sky” by the Electric Light Orchestra” What inspired Von Thronstahl to infiltrate and hijack pop music?
JK: We like to work in this manner sometimes; to use (and maybe sometimes abuse?) this great material for our creation. For an upcoming more Folk-oriented release I would like to use the first 20 seconds of The Who’s “Pinball Wizard” from the rock-opera Tommy!

HH: Has Von Thronstahl ever received a backlash or feedback from bands whose material they have reworked?
JK: Not really. I have informed the managements, partly copies of the CDs were sent, but no real feedback.

HH: Von Thronstahl faced a lot of critical press and an attempt was made to keep the band from performing at the Leipzig music festival in 2000. Can you discuss how you overcame this attack and were able to play the event?
JK: Well, we did not actually “play” the event. I was surrounded by all kinds of secret police, even the MAD (Militärischer Abschirmdienst; translates something like „Military shielding force“, a kind of military police / secret service ) was there to prevent me from entering the stage. But all these people weren’t familiar enough with the bands or the people to recognize that the line-up of The Days of the Trumpet Call used to be the basic line-up of VON THRONSTAHL in those days. And I managed to tool the agents, telling some guys of whom I knew that they would report it, that I would enter the stage, so that they were using all their men to “guard” me. Meanwhile, as I had told them before, the line-up formed on stage with the spade bearers left and right and the flag bearer in front of the microphone. Raymond started the E PLURIBUS UNUM CD instead of the backing music, so my voice was coming over the PA which the agents did not recognize, but the crowd did and applauded frenetically. And all the while I was standing very satisfied in the midst of the crowd.

HH: Does Von Thronstahl face opposition everywhere you play?
JK: The only problems were in Germany (where all other concerts, apart from the one mentioned above, did go ahead as planned!) and Austria. We haven’t had any problems like this in the rest of the world. But about ten years ago the opposition used to have a face of some sort. Today it’s either bureaucracy or faceless and cowardly internet threats and accusations.

HH: Has the band ever incurred threats of violence by censors?
JK: As I said: In former times they did show their faces. And, to some extend, their fists, although this was not related to Von Thronstahl. But the one thing that made me crumble in some way is the sharp weapon of bureaucracy.

HH: Do you feel that closing discussion and exploration into the fascist era of European history denies Europeans the opportunity to understand and explore their history?
JK: It seems to be only a question of time until the people realize that the self-proclaimed democrats deny them, among other things, the exploration of the truth. By truth I do not mean something in particular, but merely the right to ask any question you like, as an expression of true freedom. But the truth, the ideals and thoughts are more or less everlasting, whatever the politicians of today decide. So we could be seen as a generation “in between” (times?). We’re the one who can merely proclaim. Others will come later (to reign?).

HH: Do you feel as if discussing the fascist past of Europe has the potential of opening old wounds or stirring dormant resentments in Europe’s population?
JK: The only thing that is able to truly heal the wounds of the past is truth. Total truth; although all information always has to be renewed. But without truth, there can be no real understanding among peoples. And regarding the wounds: Some do not heal because the truth hasn’t been spoken (i.e. out loud) while others are being kept open artificially due to certain people’s interest in it.

HH: In America we have a long standing tradition of freedom of speech. Though this freedom often faces challenges we have been able as citizens to maintain our right to explore any subject matter we choose artistically regardless of who it offends. Do you feel as if Europe has a different standard of freedom of speech?
JK: Well, first of all, American civil rights activists have been shouting it from the roof-tops that the USA are rapidly heading towards a police state, so enjoy jour freedom while it lasts! Any American who feels offended by this statement should read the two so-called “Patriot Act” legislations. The basic concept of “freedom of speech” may be right, but even with the police state aside: Is the freedom to say what you like worth something if it doesn’t make a difference? Is the freedom of choice worth something if you can only choose between “Burger King and McDonald’s” (or say, between one of the two political parties in a two-party-system in which both presidential candidates are members of “Skull&Bones” and even belong to the very same family bloodline)? All in all one can say that we’re in the same boat, which is sinking ever faster due to the globalist agenda, or, in freemasonic terms, the “New World Order”.

HH: On “E PLURIBUS UNUM” Von Thronstahl features the song “Fahnentrager” taken from the “Thorak” compilation which paid tribute to the sculpture Josef Thorak? Can you discuss what you enjoy in the artistic expression / aesthetic of Joseph Thorak?
JK: Strength. Glorification of the sun. The victory of beauty. I truly believe in art as an expression of the soul itself. Von Thronstahl has drawn a lot of inspiration from art in its various forms.

HH: To fully understand the music of Von Thronstahl listeners have to conduct their own research in order to fully grasp all the influences and artists that have inspired the band or even a single song. Do you believe this scholastic approach to music creation has helped gain Von Thronstahl an audience?
JK: Yes, indeed and I think this is one aspect of the underground music scene which attracts many people from the “outside”, keeping in mind that music like ours is not played by radio stations and music television.

HH: Do you think most of your audience takes the time to research the references within the music of Von Thronstahl?
JK: We sincerely hope so. Plus we’ve received a lot of feedback indicating just that.

HH: Do you ever receive feedback from your audience concerning new artists or influences that you may have introduced them to through the music of Von Thronstahl?
JK: Yes, we constantly receive such feedback and the relation with our fans, so to say, is very warm and friendly. Recently we played at the COLD SPRING anniversary festival in London and people came there to see us from virtually all over the world! There were people there from England, Ireland, Germany, Austria, Switzerland, Holland, Belgium, France, Spain, Norway, Lithuania, Romania, Hungary, Estonia, Russia, Italy, the USA and many more. We were truly overwhelmed. And this made the fact even worse that we had such a lousy sound-engineer. To be blunt: We were playing “blind”, nothing came out of the monitor system except noises, plus the guy hooked the mini-disc device on the same connection as Raymond’s electronic drums, so the two kept causing interferences in each others signal-flow. That caused the backing music to skip a couple of times and to top it off the guy tried to “solve” the problem by gradually lowering the volume of the drums. Later in the set and after some complaints which didn’t amount to anything, Raymond simply left the stage because nothing came out of his drums pads. That guy truly wrecked the show for us, but somehow we tried to give the audience as much as we could. After the performance we were truly pissed. Marcel, who had put a lot of effort in the preparation, was devastated afterwards and it took quiet a few people who thanked us for the “great performance” to lighten up his mood again. At first none of us believed that the sound for the audience had been better then what we heard on stage (to be honest: during some songs we were surprised that the people weren’t leaving!) but after talking to a lot of them we got convinced of the fact that they actually had a good time. We all agreed that meeting all these nice people (a lot of colleagues from other musical projects were there) was the highpoint of our trip to England. But one thing can be said about this “horror show”: It was closer to my Punk roots than anything we ever did with this line-up!

HH: Cold Spring Records recently re-released “IMPERIUM INTERNUM” and “E PLURIBUS UNUM.” What influenced Von Thronstahl to re-release these albums?
JK: They had been sold-out for some time and people kept asking about them. So you could say (and I even think COLD SPRING advertised them this way) that they were re-released due to public demand. Although there are some limited edition releases by Von Thronstahl I’m not really a friend of limitations with regards to the music, which I like to be spread.

HH: ”BELLUM, SACRUM BELLUM” released in 2003 was Von Thronstahl next full length release and it saw the band focusing upon modern politics. Images of American politicians such asGeorge Bush and Defence Minister Donald Rumsfeld appear in collages displayed in the packaging alongside other prominent world leaders like Pope John Paul the II. What inspired Von Thronstahl to engage in modern political commentary?
JK: As I explained earlier the interest in politics has always been there and it is organically connected to the interest in the tradition mentioned above. The modern US-lead wars are a phenomenon you can’t hide from and we took up the challenge to give an artistic comment to what was and still is going on. Some people have compared the album to the LAIBACH release NATO, which was also a “musical statement” about a political and military conflict.

HH: ”BELLUM, SACRUM BELLUM” also saw Von Thronstahl take on pop culture with new strength. Samples of songs and appropriated songs from sources as wide as The Clash, The Exploited, Crass, Killing Joke, The Stranglers, Michael Jackson andThe Beatles. Can you discuss this emphasis on adulterating pop music and pop culture?
JK: I think this kind of artistic expression goes back to my punk roots in general. Von Thronstahl took up the punk tradition of, in a way, shoving that so-called “ pop culture ” right back at society in a distorted way; a kind of rebellious approach, if you like. And much of the material that was used is part of my cherished past, like THE CLASH, KILLING JOKE, THE STRANGLERS, CRASS, Conflict. Although I don’t follow the anarchy theme (anymore) I can praise these groups for their energy and creativity and punk in general for the rebellion. By the way: .J.J. Burnel, the bassist of THE STRANGLERS did inspire me a lot with his though about Europa on his album EUROMEN COMETH in 1979. And The Skids from Scotland are recommended. Richard Jobson had a great voice and proclaimed a lot of European thoughts. You should check out the albums DAYS IN EUROPA, JOY THROUGH STRENGTH, CIRCUS GAMES and their debut album. One of the first punk bands that brought “traditional” thoughts across to me was KILLING JOKE. In a way I feel connected to Jaz Colemen whom I admire as a great artist. He has an immense amount of knowledge and wisdom behind his lyrics about society’s problems and the criticism of modern (American) politics.

HH: ”BELLUM, SACRUM BELLUM” seems overwhelming inspired by themes of war and resistance even more so than previous releases. Can you discuss the focus on war and conflict and how the band came to settle upon this theme for “BELLUM, SACRUM BELLUM”?
JK: The (first!) war on Iraq and the American politics in the middle east in general inspired the album simply because we saw an agenda (the so-called New World Order) unfolding in front of our eyes that even we (not being scholars, but simple musicians) have been warning people about long before (see, for example, the Forthcoming Fire album “Illumination?”). Plus, after all, “wars and wounds” seem to be true European topics, if you consider our history.

HH: Do you feel as if Von Thronstahl gives equal emphasis to the glory of war and victory as to the darker side which encompasses the human suffering and loss that results from armed conflict?
JK: I don’t believe that the two sides can be separated in any way. Plus I think a form of “transformation” is possible to turn suffering into “light” (speaking in Alchemical terms). The result will be golden; like the golden age.

HH: Von Thronstahl seems to have America in its cross hairs on “BELLUM, SACRUM BELLUM”. Was this album influenced at all by the events now commonly described as 9/11 or the subsequent “War on Terror” launched by America?
JK: Yes. But we were often misunderstood as being simply “anti-American”. We do not have anything against the American people nor have we ever made any statement against them. In fact the American people themselves wake up to the hidden agenda in growing numbers. We’ve received a lot of material from the USA; among it there are some truly revealing documentaries about the 9/11 incident. More and more people are demanding answers. Some of the material was used for the new version of the BELLUM, SACRUM BELLUM title track released on the STURMGEWITTER ZIEHN DURCHS LAND split-CD. There is strong evidence that 9/11 was a planned catastrophe, the so-called “new Pearl Harbour”, which would get the population to back the policy of the elite. Many researchers have put a lot of effort in this. The basic principle is “problem, reaction, solution”: A problem is created, like a terror-attack, to achieve the reaction “something must be done”. After that the politicians can present their solution, which they had planned all along. I’d advise all sceptics of so-called “conspiracy theories” (a term mostly used to slander and ridicule people who found out crucial information in the eyes of the public) to take just a few minutes to check out the information sources on the web. There’s a lot going on behind the scenes which the corporate media does not report.

HH: Can Von Thronstahl offer any personal insight into the mounting war between the Christianized modern West and the Muslim traditionalist East?
JK: At first you’ll have to understand that it is the old game all along: Two sides being played off against each other while a third party sells arms to both of them and gets rich. Even if you only take the official documents under consideration you’ll find out that for example Osama Bin Laden, “the” face of Islamic terror in the world, used to work for the CIA. His whole group was created by the US secret service to have them fight against the Russians. And this story goes on an on. Many people wonder if Bin Laden is still on the CIA pay role. To sum it up: Much of the conflict between the “ Christianized modern West” and the “Muslim traditionalist East ” (a discussion about the accuracy of these terms would be too long I think) is phony. It’s a scam. It’s a lie. Then the questions should be asked “who stands to gain from all of this?”. The cultural aspect is a totally different issue. One should respect other cultures, but there’s a growing problem that could destroy both the Western and the Muslim heritage. The so-called “multi-culturalism“ is another one of these lies; it simply does not work. It only creates a mixed population without any real culture. And such a population, without roots, without identity, is much easier to control. So again: “Who stands to gain from all of this?”. The current discussion about Turkey joining the European Union is a farce. Trade agreements and partnerships maybe possible, but it is simply a different culture and the “clash of cultures” already has caused a lot of damage in big German cities, where you can see and feel the spenglerian “decline of the west” simply by taking a walk through some streets.

HH: ”BELLUM, SACRUM BELLUM” also seems to incorporate a commentary on globalization. Can you discuss your thoughts or impressions on globalization?
JK: Globalization is an important part in the “hidden agenda” to which I referred above. It is, if you think it through, an act of crime. It robs countries of their sovereignty and peoples of their identity. In the end you’ll have a “world population” living in the so-called “one world” which can easily be ruled be a supposed “one world government”. In short: We’re against it and we see through the disguise. In fact, one of the first two Von Thronstahl tracks ever was WIDER DIE MASSE (translates “against the mass”, a hymn to individualism), which was re-recorded recently for the STURMGEWITTER ZIEHN DURCHS LAND split-CD. On a personal note I used to say that I favour a good old Whiskey over a *censored*tail with too many ingredients. Globalization and multi-culturalism mix too much together and in the end, nothing has a taste of its own anymore.

HH: Without a doubt the music and artistic vision of Von Thronstahl could be described as Eurocentric. Do you believe that globalization and the new industrialization of culture is eroding the identity and traditions of Europe?
JK: Yes. And I think I explained that I do see a pattern in all of this which should really be hard to ignore. Yet still many people choose to ignore it and even ridicule those who try to explain the connections.

HH: ”BELLUM, SACRUM BELLUM” was released on Fasci-nation Recordings. Can you discuss the origin of Fascination Records and who runs the label?
JK: Fasci/Nation is only myself. I started the label for “special” ideas of mine, plus I liked the name. When the album is totally sold out there might be a re-release on COLD SPRING some time, because we’re very happy with their distribution work.

HH: Can you explain the rather derogatory title of the label?
JK: I wouldn’t say that it is derogatory. It has many connotations; after all, art should always be open to interpretation. The inspiration is mostly drawn from the art and style of fascist Italy. It’s my own form of rebellious neo-classicism. It is more “ Rome and style” than “ Berlin and politics”.

HH: In 2004 Von Thronstahl released a split release with Days of the Trumpet Call titled “PESSOA / CIORAN.” Can you discuss the relationship between Days of the Trumpet Call and Von Thronstahl?
JK: THE DAYS OF THE TRUMPEL CALL is Raymond’s solo project, serving as a vessel for his ideas to combine religious ideals with artistic expressions to create neo-classic with a sacral element. Recently the project evolved by adding Carl from MEGALITH and Marcel, who also participates in VON THRONSTAHL. Both the more recent recordings in that line-up plus the live performances were very well received.

HH: What distinguishes these two musical projects from one another?
JK: The topics of THE DAYS OF THE TRUMPEL CALL are more of a spiritual nature. The music has a different mood; it is not as rebellious as Von Thronstahl and where Von Thronstahl has a wide variety of styles, from folk to wave, from neo-classic to electro, from rock to industrial, THE DAYS OF THE TRUMPEL CALL is, a few guitars aside, pure neo-classic.

HH: The “PESSOA / CIORAN” features songs based upon the writings of Fernando Pessoa and Emil Cioran. Can you introduce these writers to the audience and discuss what influenced you to record music around their writings?
JK: The CD was released to accompany our concert with both projects in Portugal and we wanted to do something to honor the country and the Portuguese audience. So we read up on Fernando Pessoa after attending a reading of some of his works in Munich around that time we started the recordings. And to us it seemed that material inspired by Emil Cioran, whose works we knew before, would make a fine addition to the Pessoa material. I really like this CD and it has received very positive reviews.

HH: The songs featured on “PESSOA / CIORAN” between 2002 and 2004. Why did it take so long to compile and record the music for this release?
JK: It didn’t take so long, we just took some material we had recorded earlier and used it for the CD. As I explained above: We thought it would fit, and we still think so. Actually the material for the CD came together really quick, simply because the literature did inspire us so much.

HH: The Von Thronstahl website features a sub section that contains articles on “The Occidental Dandy-Pose.” Can you discuss the bands interest in Dandy fashion?
JK: It is not so much about the fashion in particular, it is about the “taste” or the “style”. Having an eye for the beauty of things or just having a nice cup of coffee in some inspiring European coffee-house where you can literally feel the ambience of style. Try to imagine something between the Grand Hotel at Lago di Garde and the BURLINGTON BAR near Piccadilly. Nowadays the so-called Dandy’s are more into clothing and fashion, but have no background; there’s no thinking going on. The early Dandy’s did share one cup of hot chocolate with 5 guys, but they were discussing poetry and visions for society. These days everybody gets a cup of his own, but the discussion if about Business on Wall-Street.

HH: Do you feel as if Von Thronstahl’s intent is ever misinterpreted?
JK: Our work has been misinterpreted by many people, but we don’t really care.

HH: What has inspired Von Thronstahl to promote this particular fashion?
JK: I suppose my personal history. I grew up in the 60ies and 70ies and we children and teenagers had to dress like our parents told us to. And I hated it. I wanted to change it as soon as I would earn my own money. Then I got into punk, which set me free of all the clothing I hated. But after years and years of rebellion in leather jackets it turned out that leather jackets weren’t rebellious anymore. But there was something else, the “fascist fashion”, so to speak, the exact opposite of worn-out t-shirts and leather jackets. It’s always been there, it never died. It’s Avant-garde and it’s sharp. Look at the early times of THE CLASH: Terrorist chic, tight bondage trousers; maybe there’s so room in between the two for a new creation. I started to work on something like this, but I haven’t had the time to pursue this any further.

HH: What can Von Thronstahl fans expect from the band in the near future?
JK: We’ve started recording some purely acoustic material, after having played acoustic encores at all the latest concerts. Also the performance in London was recorded on film by a TV-crew. I haven’t seen the results yet, but according to what we heard during the set, we’d rather not see this released in any form, although that was initially the plan. The one thing that is still on our minds is that, again, we would like to apologize for all the mess regarding the performance in London. We need to get ourselves a sound-engineer of our own. Thinking about all the money many people spent to see this concert gave us a hard time sleeping that night in England.

HH: And lastly is there anything you would like to contribute in parting?
JK: We’d like to thank you for your interest and wish you all the best for your magazine.
And to all the readers out there: Never stop questioning what you are being told!

“Wir kämpfen nicht für die Wahrheit, sondern für die Suche nach der Wahrheit!”

(“We’re not fighting for the truth, but for the search of the truth! “)

(Contributed By  Malahki Thorn)

(Source: http://hh.heathenhideout.com/article.php?story=20051207145142661)

BEATS FROM THE VAULT & X-RAY (Radio 2) PRESENT:

Dark Music Festival ‘BODY MACHINE BODY IV’
- DIVE (Belgium)
- AUTOGEN (Latvia) (More Info)
- FREAKANGEL (Estonia)
- PROTECTORATE (Finland)
- DJ EMANON (Finland)
+ Others

DATE: 19 October 2013 (Saturday)
TICKETING:
€ 22 (Pre-Sale Until 30 September 2013)
€ 30 (Normal)
€ 35 (At The Door)

VENUE: VON KRAHL THEATER, Rataskaevu 10, 10123 Tallinn, ESTONIA

More Info At:
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DIVE

AUTOGEN

FREAKANGEL

FTAM, RUSHMOR RECORDS, CALLOUS MUSIK AND KOALA BUTTONS PRESENT 2013 MILWAUKEE NOISE FEST

Thursday (22 August 2013)
- The Haters (CA)
- Frank Rosaly (IL)
- Hal Rammel and Jim Schoenecker (WI)
- Lucky Bone (WI)
- Hostage Pageant (OH)
- KrampusØ (WI/MN)
- Blessed Sacrifist (WI)
- Fake Blood Universe (WI)

Friday (23 August 2013)
- The Rita (Victoria, BC)
- Steel Hook Prosthesis (TX)
- Reptile Worship (WI)
- Dan of Earth (WI)
- Startless (IL/MO)
- Wapstan (Montreal)
- Anal Hearse (WI)
- Nummy (WI)

Saturday (24 August 2013)
- Negativland (CA)
- Pedestrian Deposit (CA)
- Peter J Woods (WI)
- Climax Denial (WI)
- Jason Soliday (IL)
- Dr Rhomboid Goatcabin (OH)
- Urth (MN/IL)
- Mildew (WI)

+

SPONSORED NOISE FEST EVENTS:
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23 August (Friday Afternoon) – Screening of “Milwaukee Noise 2012″
https://www.facebook.com/events/180337808807956

24 August (Saturday Afternoon) – Screening of “A Noisy Delivery” by GX JUPITTER-LARSEN
https://www.facebook.com/events/568056556577797/

DATE: 22-24 August 2013 (Thursday – Saturday)
DOORS OPEN: 1800hrs
TIME START:  1900hrs
TICKETING: $16.00 Per Night/$41.00 3-Day Pass
- Thursday: http://www.themiramartheatre.com/event/274363
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- Saturday: http://www.themiramartheatre.com/event/274381
- 3-Day Passes: (Any of the above links)

VENUE: THE MIRAMAR THEATRE, 2844 N Oakland, WI 53211, USA

More Info At:
http://experimentalmilwaukee.com/
https://www.facebook.com/events/641750259184172/

THE HATERS

NEGATIVLAND

STEEL HOOK PROSTHESIS

Whitehouse just could be the most extreme form of music ever created. They may be the most repellent as well. Regardless of whether or not you can stomach their brand of aural torture, they’ve maintained a unique form of purity that is unmatched in the world of pop sell-outs and media marketing rock ‘n’ roll whores. In fifteen years, and with that many releases under heir belt, Whitehouse have never even broached the edges of the commercially acceptable music business. Carving out a private niche for themselves, the band refuses to deviate from their trail blazed path of relentless, uncompromising deviant noise.

Beginning in 1980 as a phantasm in the mind of Essential Logic guitarist William Bennett, it wasn’t long before an electronic project called Come mutated into Whitehouse after a few singles. Fed up with New Wave and techno pop, William began to finally reach his goal of a veritable “electronic maelstrom” which would leave audiences either reveling in unbridled power or begging for mercy, depending on one’s predilections. Over the years Whitehouse has peripherally and directly involved an astounding number or underground luminaries, including Daniel Miller (The Normal), Kevin Tomkins (Sutcliffe Jugend, and now Body Choke), Philip Best (Consumer Electronics), Glen Wallis (Konstructivists), Stefan Jaworzyn (Skullflower), Jordi Valls (PTV, Vagina Dentata Organ), David Tibet (PTV, Current 93), Peter Sotos (of Pure magazine infamy, now publishing Parasite), and most recently, Jim Goodall (Medicine). On top of this cast of players, recent Whitehouse efforts have featured the production/engineering input of Steve Albini and the incredible artwork of Trevor Brown.

Since day one, rumors and innuendo have followed William and Whitehouse like the plague, and many of them are still bandied about over a decade later. In an effort to set the record straight, the following interview sheds light both on the band’s history as well as it’s controversies. In spite of an often frightening reputation, William Bennett is in reality a charming and personable fellow. Don’t let that fool you though, as the sheer determination and unswerving dedication of Whitehouse to their violent appetite, which remains unquenched after fifteen years, should warn beyond a doubt that they will not be denied in the end…

Michael Moynihan (MM): Daniel Miller, who founded Mute Records, was on some of your early releases, right?
William Bennett (WB): Yes. On the Come stuff, which was like the crossover, or the bridge between the two sounds [leading to Whitehouse]. He recorded things like The Normal and the Silicon Teens album in a little studio in London called IPS, and he kindly took me down there and did two or three sessions together, and he helped me mix it. I knew nothing about that sort of thing, and he also helped releasing it, as he’d just done The Normal single ["Warm Leatherette"] and he gave me contacts for distribution, where to get the sleeves done, the labels, and so on…

MM: What was the original idea behind Come Organization?
WB: It was essentially a record label for Whitehouse. I can’t really remember how the name came about, but the ‘organization’ part was inspired by a pornography company called “Private Organization”, which ironically is the one that publishes the magazine called Whitehouse. So there’s two things that got together a little bit there.

MM: And why did you choose the name for the band?
WB: It was just the idea that there was a pornographic magazine called Whitehouse, and then of course Mary Whitehouse, who I’m sure you’re familiar with, being the anti-pornography campaigner.

MM: Was that a coincidence that the porno mag had the same name as the censorship activist, or was it a deliberate effort of the publisher’s to rub salt in her wounds?
WB: That’s what I’m not sure of, I don’t know. But it seemed like a classic bit of irony, and I love things with two meanings or three meanings or more…

MM: Does Whitehouse, the magazine, still exist?
WB: I think so, but it’s a crap magazine-I wouldn’t recommend it to anyone!

MM: What fueled the ideas behind the Whitehouse releases at the outset?
WB: Bits and pieces. It didn’t really have much direction at the beginning I suppose. It was only later, with Erector. That was the first time when I thought there was a sense of direction.

MM: How did the obvious interest in the Marquis de Sade come about?
WB: Initially, that went back a long way, from about 1977, when I was at University in Glasgow, Scotland. I was very good friends with a guy called Alan, who’s now the guy from Postcard Records. At the time he wasn’t involved with music directly but he put out a punk fanzine called Chickenshit. The Marquis de Sade books were banned everywhere, but he had access to some special library where he could get a hold of a copy in French. He used to translate a couple of pages of it for each issue of his fanzine. And that’s where I was first familiar with it, and I really loved reading it. It was until a year or two later that I actually managed to get the Grove Press editions, and I’ve just been collecting his stuff ever since.

MM: Have you read it in the original language?
WB: Oh yeah, I do read the stuff in French. In fact, it’s much better in French. With the English, although they’re beautiful translations, there is a lot of embellishment to make it sound of the period [18th Century]. They use a very sort of floral language, whereas in the French it’s much more simplistic, and there’s a lot of humor that doesn’t seem to translate. I think they’re beautiful translations, but reading it in French makes for an entirely different experience. And he uses very simple sentences very effectively; it’s a very interesting style. The books certainly haven’t lost any of the power over the last two centuries. What people forget is how much black humor there is in it. They are serious books, but there’s a lot of black humor in there. Unfortunately they haven’t translated the [Sade] biography by J. J. Pauvert, three huge volumes that have come out in French. I don’t understand why they haven’t been translated into English, because they make all the other biographies totally obsolete, as almost works of fiction. He’s had access to all the letters from the Sade family’s mansion, chateaux, and some of the revelations in there are just extraordinary.

MM: Was there anything else that had impact on you like that of de Sade?
WB: Anything in that genre, things like Krafft-Ebbing, Venus in Furs, and I enjoy reading things like Naked Lunch-other books of that ilk.

MM: So whatever was explicit in one way or another.
WB: Yes. And then in the next year or two, having finished reading all that, I moved across to start reading more non-fiction books. I didn’t like any fiction after reading de Sade, it all seemed really tame. And then it was biographies of murderers and a lot of stuff on the two World Wars.

MM: True crime books must have been a lot harder to come by then, as opposed to the glut of them today.
WB: Yes, that’s right. It’s a big industry now. There was no such thing as a “true crime” section in a bookstore 15 years ago. Certainly not of contemporary true crime. The books about someone like Peter Kurten were very rare, but we just spent lots of time hunting around all the stores in London, hunting for the stuff, and you got lucky.

MM: Your interest in Nazi imagery was growing then as well.
WB: Yes. I read a lot of books about the concentration camps and biographies of people like Himmler, especially. It was an amazing period for that sort of thing, where there was seemingly a license for these guys to do almost what they pleased. And the imagery itself, the fetishistic implications of that as well…

MM: You didn’t hesitate then, to incorporate allusions to all these things in Whitehouse?
WB: No.

MM: You weren’t worried about what kind of reaction it might provoke?
WB: At the time there were already quite a lot of things put out which were pretty risqué, controversial. So I wasn’t frightened, I had the confidence to do just about anything, and I certainly don’t regret it now. But obviously it did cause an incredible amount of controversy. I find that a record like New Britain, for example-there’s no real political content in it at all, if you look at it carefully. It’s all imagery, really. There’s no real content to the imagery. It does appear very sinister, and Whitehouse has been more controversial than a lot of other groups, for the music as much as anything-being very harsh, electronic, and difficult music to listen to. But a lot of other groups have dabbled in that kind of imagery, like TG and Joy Division…

MM: Some the latter’s stuff is incredibly blatant…
WB: Yeah, I mean the very name itself! Death in June as well, but they’re rock bands so it doesn’t really matter so much. We got hammered a lot harder for two reasons: because the music was so harsh, and people didn’t really know where we were coming from-it wasn’t rock music- and secondly, we incorporated a lot of what could be called sexist imagery.

MM: You couldn’t arrive at a more unpopular combination of imagery for the liberal humanist types!
WB: Certainly, yeah, and especially with Rough Trade, who were responsible for a lot of our distribution at the time.

MM: Your distribution problems with Rough Trade were somewhat legendary.
WB: Well, they were being totally hypocritical about it. I still don’t think there’s anything wrong with that sort of imagery at all. But they banned the first Nurse With Wound album, some Stranglers records, and I think Blondie were even banned for awhile! They were very sensitive. The worst thing was, that while they’re in their rights to stop whatever records they want, of course, people would go into their shop in London and ask for Whitehouse records and they’d get a fifteen minute monologue over why they shouldn’t be looking for Whitehouse records! And that’s beyond reason…They should politely say, “No, sorry we don’t have anything.”

MM: Where was it that they drew the line? Was it a specific album that caused it, because originally they didn’t seem to have a problem.
WB: I know they disliked the Leibstandarte SS MB albums, and I don’t they appreciated the Für Ilse Koch compilation, but where they drew the line was actually the Right to Kill album. They literally picked up the box of records and threw it at me when I went down there. The legend is that I was wearing a Nazi uniform, which was totally untrue! The other anecdote with all this is that Doug P. from Death In June was working there at the time, and I wrote a letter to Geoff Travis [who ran Rough Trade], who I’d been good friends with since Essential Logic (who were a Rough Trade band), saying I think this is a bit hypocritical since you’re still distributing all the Death In June stuff. I wasn’t getting at Death In June-I was happy that they did distribute their stuff. I was just pointing out the injustice of it. But then because of that it started a feud with Doug P., as he thought I was trying to get them into trouble.

MM: Did a record like New Britain get any sort of reaction from extreme right wing types, or was it too obscure or bizarre for them to even notice?
WB: No, nothing really at all. Politically, there’s nothing there at all. I’ve no interest really in that sort of politics. And I certainly don’t think they would have any interest in that sort of music.

MM: Were there ever problems with anyone besides Rough Trade?
WB: They were the only problem. The records continued to be distributed, the thing with Rough Trade was more that they had taken a lot of them at that time, but we found other distributors. It didn’t really affect the sales, or the mail-order. I can’t really think of any letters that would come saying “This is wrong”…

MM: Weren’t there some similar difficulties in Germany on a recent tour?
WB: The second show we did was in Nuremberg, and for some obscure reason-I think it had more to do with Pure magazine than with anything else-something went out on the radio or there were some flyers distributed which threatened to cause trouble at the original venue, so they just changed the venue that night, and there was no trouble at all. There were like 150 people there, but it probably would have been a much bigger show at the original venue, ’cause that’s where all the promotion was for.

MM: How was the last US tour, which was the first one in many years?
WB: It went really well, from our point of view. Very diverse kinds of places. We tried making the songs sound like they are on record, for a change, and that worked really well.

MM: How does that compare with what you usually do?
WB: The songs used to sound very different live, I think, than they did in the studio-mostly because of the equipment that we used.

MM: Can you describe what’s used to create the live sound of Whitehouse?
WB: Last time we were in the States, which was a long time ago, we had the two Wasps [synthesizers] and the vocals, which were treated a little bit. But this time there was no treatment at all on the vocals and we used one Wasp and one tiny little Yamaha quasi-toy keyboard. And it worked really well, the sound was excellent-I think the best ever.

MM: Is it difficult to duplicate the studio sounds live?
WB: What we do is to put the Whitehouse sounds into the toy keyboard and then the Wasp is pretty easy to program. They are three basic sounds, which are modified occasionally.

MM: What are the songs you choose for performance?
WB: It’s quite a varied sort of set, actually. A couple of songs from the first album, and a new song that hasn’t been released, bits and pieces-all the classics really, a bit of everything. We finished most of the sets with “Shitfun”, which seemed to work very well.

MM: Looking at your tour itinerary here, I can’t help but wonder who would turn out to see Whitehouse in a place like Knoxville, Tennessee…
WB: Some real weirdos! There were about 35-40 people there, in quite a small club, but every one of them, I can guarantee, was 100% eccentric! But I’ve always felt that whether the audience is one or one thousand, it’s always interesting. There’s a different dynamic every time, so I’m not all that concerned about how many people are there.

MM: Did anyone show up who’d seen you on the last tour, ten years ago?
WB: Well, we played some cities where we hadn’t played before, but in the ones we had played two or three people came up afterward and said they’d seen us way back when. But it was weird because they seemed like really young people anyway-so you know, you start calculating… were they twelve when they saw the last show?!?

MM: That’s a scary thought.
WB: Yes!

MM: Philip Best, who played in the earlier incarnation of Whitehouse back in 1984, must have only been about fourteen years old then, correct?
WB: Yes. The first Whitehouse show he ever came to, which was, I think, Live Action 3 or 4, really early on, he had to run away from home! From a city about a hundred miles away!

MM: Were the shows fairly violent this time around?
WB: Yeah they were, some of them. In Chicago, for example, we did “Birthdeath Experience” which is a silent song-it’s just silence and us wandering around on the stage, inciting the audience in various ways. I couldn’t see very far out into the audience but I know from speaking to people afterwards, that three or four fights broke out. Exactly the same thing happened in London, when we did “Birthdeath Experience” for the first time. It seems to create a lot of tension in the crowd.

MM: But no one in the audience has tried to attack you on stage?
WB: Only once. It’s surprising with this sort of music, I mean I remember seeing the Birthday Party play live once and Nick Cave just seemed to be asking for trouble and he almost always got it-somebody would start hitting him or kicking him. I don’t know why-maybe the music’s more intimidating-but there’s never actually been direct violence towards us from the crowd, other than throwing objects. Except for once in Newcastle…

MM: Where the girl went berserk?
WB: Yeah, and that was because I severely provoked her anyway!

MM: Whitehouse disappeared for a number of years in the late 80′s-can you explain what caused this?
WB: It was a number of things. Logistically Whitehouse became very difficult. We did Great White Death, which came out really well, much better than I anticipated, but at the same time as that was recorded Kevin [Tomkins], who was a very important member of Whitehouse, moved back to the area where his parents lived. We’d just done a couple of shows in Spain, and I was sick of living in England, in London, at the time. And I thought, this is the place to live, I loved it so much. So I decided, more or less on the spot, to move there. A lot of other people were moving out of London as well, like Kevin, and David Tibet, Steve Stapleton got a house in Ireland. On top of that, after Great White Death, I felt we didn’t have a lot to say anymore, because that album seemed to encompass everything musically and otherwise.

MM: What did Spain have that England was lacking?
WB: It wasn’t a small-minded country, which Britain is. The people are very tolerant, especially because they’d just ten years before then moved from a dictatorship to a democracy. So things like drugs were virtually legal, pornography of every kind was suddenly available, and this is from a country that used to censor Elvis Presley songs. There was a great feeling of libertarianism-anything could be done as long as you didn’t spoil anyone else’s enjoyment-which is not like Britain at all.

MM: And you lived in the city there?
WB: Yes, in Barcelona for about three years. I loved the people, the climate, and lots of things, like drink was very cheap!

MM: Were you doing anything with Whitehouse during this period?
WB: Well I would have, but I just didn’t have any ideas left for songs. I just seemed like Great White Death said it all, and it was pointless doing re-hashes of that record. I would go back to London every six months for a couple of weeks, and meet people, so it wouldn’t have been difficult… But after about a year in Spain I just wound the Come Organisation down completely. And I didn’t think about it at all after that.

MM: And Kevin Tomkins stopped doing anything?
WB: Yeah, he got married apparently. I didn’t even have his phone number or anything, and he just disappeared.

MM: So the entire scene around Whitehouse died at that point.
WB: There was a big scene in London up to then, you know we’d do a show and whole crowds of people would show up. Another person who was involved, John Murphy, went back to Australia around then. There were a lot of people coming around to the shows at the time, like Crystal Belle [Steven Stapleton's wife], she was called Crystal Clitoris then, and would appear everywhere with her slaves…

MM: Did people like Glen Wallis or Jordi Valls, who were involved with Whitehouse but also played or worked with TG and PTV, receive a lot of flak, since Genesis was always insulting Whitehouse publicly at the time?
WB: No, I don’t think they did personally, I mean Jordi is a very flamboyant character, so Genesis wouldn’t have had any influence on him anyway, although they always continued to be really good friends. But I think in addition to what we’ve already said, there was a lot of petty jealousy. The fact that Jordi and Glen weren’t just working with Psychic TV, I think there was a lot of that involved as well…

MM: Did you move back to England before going to Thailand?
WB: No, I stayed in Spain for about six years and then went straight to Thailand.

MM: And what drew you there?
WB: It’s a weird place, because something like Playboy magazine is banned there, and yet-

MM: -you can buy six year olds on the corner!
WB: Right, to do anything or to look at anything in real time-you know, I’m referring to live sex shows and things. So you can’t look at it on the printed page, but you can participate in it. It’s a weird sort of inversion of the West, in that respect.

MM: Was this any inspiration to start doing the Whitehouse stuff again?
WB: That had already started about 1988, when I was still in Spain. It was actually after Tibet came for two or three days to stay with me in Barcelona and we went out for paella, the traditional Spanish meal, in a restaurant, and started talking about this idea for “Thank Your Lucky Stars”. Having that song gave me a fresh new outlook on writing. And then luckily Pete [Sotos] managed to arrange a weeks’ recording with Steve Albini. Pete and me had already written a few more things together, but it took a long long time to get the single out. Bit by bit then the other stuff came out.

MM: And what was the next incarnation?
WB: I met up with Stefan [Jaworzyn] again, who’d played live with us a few times back in 1984. We’d known him since ’83 though, he was another one of these people who hung out in London and came to all the shows.

MM: Was he in Skullflower at that time?
WB: More or less around that time I think he actually stopped playing with them. So we did Twice is Not Enough. That was also with Dave Kenny and Glen Michael Wallis. Dave Kenny was the guy from IPS studio, which I mentioned before, and he did Great White Death, but this was a different studio-he works at a posher place now.

MM: What’s going on with the record label now?
WB: As far as Susan Lawly is concerned, I’m pretty much in charge of that. I hate dealing with money, and with CD manufacturers, but it’s no problem, it’s just a bit of extra work.

MM: Will the out of print stuff be re-released?
WB: I don’t like re-issuing stuff, I’ve got a sort of phobia about it. To me it gives the impression that you’re cashing in on stuff. I feel it’s better to use the resources that one has for new projects, rather than spend money on re-releasing old things.

MM: Can you explain the genesis of the name Susan Lawly?
WB: It didn’t come from anywhere, it’s just that name of the record label that I came up with. A lot of people ask if she’s a mass-murderer or something, or a sadist that people don’t know about.

MM: Was it just some perversity on your part to use such a normal name?
WB: No, there’s no perverse reason but that’s all part of the fun of having the name that people assume there is a reason for it.

MM: Some of the songs on Twice is Not Enough seemed to be based on a gambling theme. I heard there was also a particular book that inspired some of that.
WB: The Diceman-it’s like a cult classic amongst people in England, although it’s by an American named Rheinhart. It’s a classic book. The blurb on the back is quite funny because he says, “All my decision making was by the throw of the dice”, and it’s written sort of semi-biographically-you don’t know how much is true or isn’t. So he’ll say, “Am I going to stay home and watch a video or am I going to go down and rape the girl who lives downstairs? If it’s a six I’ll go down and rape but if it’s a three I’ll stay here”… and he throws a six. It’s amazing stuff!

MM: Any other current obsessions?
WB: There are bits to glean from all over the place, as I’ve said it’s nothing in particular. Apart from the three books by Brett Easton Ellis-there’s a rich train of stuff in those. And then bits from films, porno movies-I’m always on the lookout for ideas, since they don’t come up when you want them to generally.

MM: Probably the most common complaint about Whitehouse is that it’s sexist. How do you justify the constant use of sexually violent subject matter?
WB: It’s simply what I’m interested in, and what I like I reading about and watching and participating in, to some extent. I wouldn’t do things that I wasn’t interested in. It’s just personal interest, obsessions, if you like. Really nothing is sacred, as far as I’m concerned. I wouldn’t not do anything. There’s no taboo that I wouldn’t be quite happy to break if I thought it would make for some good music.

MM: And despite all the controversy and disapproval, there has always been an audience for Whitehouse?
WB: Yes, it sells consistently well.

(Article first published in EsoTerra #5, Spring/Summer 1995)

(Source: http://www.esoterra.org/whouse.htm)

MSBR is a noise project of Japan’s Koji Tano. MSBR’s crushing wall of noise, like Merzbow’s, manages to tap into a post-human territory of pure absolute volume that seems to have more in common with the unstoppable forces of nature than any form of music. Witness the MSBR “Collapseland” CD on the German Heelstone label, directly inspired by the catastrophic Kobe earthquake. It doesn’t take much of an imagination to connect Koji’s claustrophobic dense noise constructions with the obliterating movement of massive tectonic plates. You know the drill: Japanoise – blah blah blah. In addition to his noise activities, Koji’s MSBR web page is an essential nexus of information for the international noise set.

1. How old are you?
KT: 37

2. Can you describe your music in words?
KT: Grappling Electro Noise. But I’m making less electronic sounds using field recordings recently.

3. Can you tell me more about the field recordings?
KT: Yes. My recent concept is to re-make new natural/usual form by exchange of natural/usual sounds. Materials are from several things. Sounds in my room, in town, in field. I recorded those and dub/cut up and exchange by some effect.

4. Do you record everything in a home studio? Do you use computer for sounds or editing?
KT: I record some materials in a home studio and some live. I’m using DAT. My equipments are mainly a KORG guitar synthesizer and some effects. And I use feedback to be out by connect with these equipments as source material. I won’t use computer for making sounds. Because I don’t like digital sounds. I prefer analog one.

5. What is the first record you ever owned?
KT: 1st LP of KING CRIMSON

6. What is the record you listen to when you fall asleep?
KT: HAWKWIND “SPACE RITUAL”

7. What is the record you play the loudest?
KT: HAWKWIND “SPACE RITUAL”

8. What is the last book you read?
KT: “DENSHI ZATSUON” This is magazine for noise music I’m doing. 1st was issued last summer. I’m making 2nd now.

9. Can you tell me more about “DENSHI ZATSUON”?
KT: “Denshi Zatsuon” means electro noise. 1st issue out July ’97. 2nd issue out Apr. ’98. 1st was 600 copies and a few copies left. Notes are all in Japanese and total is 66 pages. 2nd issue will be more pages.
Notes are mainly about noise-interview, review, others. But artists in several are are introduced. Daniel Menche, Destroy All Monsters, Macronympha, Stabat Mors, trente oiseuax, Ash International are introduced.
There will be many interviews on 2nd issue. RLW, B. Günter, R&G, PBK, Toy Bizarre, Steve Roden, Brandon Labelle, Kiyoshi Mizutani, Paolo Bandera (Sigillum S and SRS), TAINT…..

10. You mentioned B. Gunter in your contents for DENSHI ZATSUON #2. Did you interview him? What do you think of his music?
KT: I’m not familiar with B.Günter. This interview with him is one by other members of magazine. I think his work is very interesting but it’s art. So his work is not sometimes enjoyable. Maybe this is his concept.
He said it need not violent one in art and I can understand some. But there’re much violent one in our society now. I think it’s important to tell this social factor in artistic work. I want to tell detail about this but it’s difficult for me in English.

11. Can you tell me of any new MSBR releases? Compact Discs especially?
KT: 2 CDs are released. One is collaboration with Daniel Menche, Crawl Unit, Basic Noise. Release is from Isomorphic Records in USA. Another one is collaboration & split work with Blazen Y Sharp. Release is from Gender-Less Kibbutz in Italy.
Except these, LP and CD are ready to be released from my new label – FLENIX this spring. LP is a live split with Spastic Colon. CD is collaboration with DSM and ERG. ERG is another project of MNORTHAM.

12. Your old Manga in Ongaku Otaku #2 was very good – Do you still draw Manga? Have they been published in Japan?
KT: I finished new MANGA for Ongaku Otaku #3. It’s new work of mine. My MANGA hasn’t been ever published until now. A work in Ongaku Otaku #2 was one I draw about 15 years ago. And I haven’t done MANGA by new work this time.
But I will keep doing MANGA again. So if someone who read this interview has interest to publish my MANGA, please contact to me.

13. I know you like wrestling and Japanese grappling – Do you know Mexican wrestling? Do you know El Santo?
KT: Yes, I know. But I don’t like Mexican Style. I prefer more stronger style by Suplex and Submission wrestling. Especially, Suplex is the best technique in wrestling, I think. My thought is that the best wrestler is Antonio Inoki. Except him, I like Bruzer Blody, Giant Baba, Stan Hansen, Jack Brisco…. Except wrestler, I like Masutatsu “GOD HAND” Ohyama. He’s a god of Karate.

14. What is your favorite piece of equipment for making noise?
KT: Guitar Synthesizer by KORG. I always use for recording and performing.

15. Do you have any contacts with the Japanese techno scene?
KT: I don’t have any contact to Japanese techno scene. I have interest in techno techniques for making sounds but I don’t like the music itself. Because most of those are too dance and groovy for me. I dislike dance music.

16. I’m writing an article about Richard Pinhas and Heldon – Do you know their music?
KT: Yes!! I love their sound. Especially, “Interface” is one of my favorite 70′s record. Its style – electronics sequence and drumming, I think it’s real techno music. This means mixture of human and machine. And very groovy for human in Rock generation like me. Some artists in Japan get influence from their sounds.

17. I notice you and some other Japanese noise musicians listen to a lot of seventies progressive and psychedelic music more than new noise/electronic – do you agree? Why do you think this is? Do you listen to any new noise/non-noise musicians?
KT: First of all, Noise artists I mentioned are first/second generation like Hijokaidan, Merzbow, Incapacitants, AUBE, K2, Pain Jerk, others. They are all over than 30 years old. They have kept to listening music from early 70′s when they were youths. And progressive and psychedelic are minor music from 70′s, and that spirit is the same from noise after 80′s. Especially, 70′s German Rock – CAN, NEU, AMON DUUL, CLUSTER, GURU GURU, others – had destroyed style of Rock Music by that time, and I think it has the same concept from noise. Japanese noise artists in first/second generation got a big influence in starting their music career from 70′s German Rock. I myself listen to this music and like it very much.
Next, third generation like Kazumoto Endo, Government Alpha, and others are all less than 30 years old. When they are youth, first generation of noise are already doing and “noise” had been out as musical category. Third generation got a big influence from “noise” and started doing “noise”.
I listen to new noise of course. There are some interesting artists if I tell as noise artist-MSBR. STABAT MORS, DANIEL MENCHE, SPECULUM FIGHT, TOY BIZARRE, SMALL CRUEL PARTY, others. In non-noise music, there are less interesting artists for me. Especially, alternative is the same from 80′s real alternative. It’s not new music.

18. Merzbow likes Heldon too – you said some Japanese musicians are influenced by them – can you tell me which ones?
KT: I think they are first Rock band did mixture electronic sequence and human beat. Guitar by Pinhas is not important (but I like it). But his concept in this mixture was very new at that time. In techno age now, this is still important. I can say HELDON style is next techno music to 21st century.
I think MERZBOW has the same concept in their recent noise. It’s mixture destroyed electro sequence and destroyed human beat….I myself do another unit “MAGMAX” using noise manipulation plus TB-303 sequence. That style is nearer to SUICIDE than HELDON but concept is mixture of electro sequence (TB-303) and human beat (noise).

19. Is there any MAGMAX music out on cassette? Is this a solo project or do you work with other musicians?
KT: MAGMAX has no releases now. Only live. But LP with 7″ will be released from HANDS in Germany in the near future. MAGMAX is a project by me and other 2 menbers. My part is noise & rhythm(TB-303). Other 2 menbers are vocalists – MAGMAX#1 and MAGMAX#2. When live and recording, MAGMAX#1 mainly does vocal.

20. As you said, what made Heldon special was the heavy electronics mixed with the live drumming (especially on INTERFACE and UN REVE SANS CONSEQUENCE). Do you have any interest in doing something with real drums and electro noise?
KT: Yes, I have interest to do work with drummer. It will be exciting. I also like INTERFACE and UN REVE SANS CONSEQUENCE. And I like early DAF (2nd LP!) too. They also did mixture of electronics and drumming. It’s more punk style than HELDON. If I found a good drummer, I’d do it.

21. Are you familiar with the Japanese Zero Gravity and Transonic labels? I’ve heard some of their music (Utah Kawasaki and Kazunao Nagata CDs) and they seem to be abstract non-dance electronic with some drumming – sometimes like Suicide/Heldon/DAF (early) or Cluster and Kraftwerk (early) using old synths and effects.
KT: I’m not familiar with them. I have heard some of their works. I can understand your thought but I think their music is not same as HELDON, DAF, Suicide… The reason is that spirit between both is different. I think that HELDON is more free improvisation and DAF is PUNK, like Suicide. Especially, DAF and Suicide had a vocalist. I think their music gets a big influence from Cluster, Kraftwerk and others. But I think there’s no need for doing 70′s style in the 90′s. It’s like many band people play Beatles, Rolling Stones, Led Zeppelin…. There’s no spirit to new vision.
I like HELDON and DAF but I am not going to do the same style. I must add something of new to those styles. And one of those is “Noise”.

Selected discography:

On MSBR Records, Koji’s own label. All are MSBR releases unless noted otherwise:
(MR01) “ULTIMATE AMBIENCE” LP Ltd 400 copies
(MR02) “STEROID” 7″ Ltd 30 copies
(MR03) “STRUCTURED SUICIDE” cassette
(MR04) “AMALGAM” split 7″ with TELEPHERIQUE from Germany Ltd 55 copies
(MR05) “SCOPOTOPHILIA” split 7″ with TAINT from USA Ltd 66 copies
(MR06) “YASHA” collaborative cassette with THIRDORGAN from Osaka
(MR07) “A CAT HAS NINE LIVES” split 7″ with SMELL&QUIM from England Ltd 69 copies
(MR08) “MULTI LAYERING TERMINATION” collaborative 7″ with DANIEL MENCHE from USA Ltd 100 copies
(MR09) “SONIC AGRESSION” collaborative cassette with RICHARD RAMIREZ from USA
(MR10) “INFUSED ELECTRONICS” split 7″ with SSHE RETINA STIMULANTS from Italy Ltd 100 copies
(MR11) collaboration 7″ with SALT from Germany
(MR12) “STULTIFICATION” split 7″ with SPECULUM FIGHT from USA Ltd 120 copies
(MR13) “-” DANIEL MENCHE/SMALL CRUEL PARTY split 7″ Ltd 77 copies
(MR14) “CONTACT #1″ split & collaborative LP with TELEPHERIQUE & CONTAGIOUS ORGASM Ltd 500 copies
(MR15) “SCHASCHLIK” TELEPHERIQUE/D.W.M./TESENDALO collaborative 7″ Ltd 100 copies
(MR16) “METABOLIST” TELEPHERIQUE/Cruel Science in Babylon split C-46
(MR17) “SUPPLEMENT” C-60
(MR18) “YAKUZA vs MAFIA” split 8″ with MACRONYMPHA
(MRL01) “-”SPECULUM FIGHT/MSBR/THREE split 7″ Ltd 58

Selected releases on other labels:

“SONIC DESTRUCTION” (DEADLINE RECORDS in USA) split LP with BLACK LEATHER JESUS Ltd 300 copies
“DESTRUCTIVE LOCOMOTION” (RRR/PURE in USA) CD Ltd 500 copies
“COLLAPSELAND” (HEELSTONE in GERMANY) CD Ltd 500 copies
“INTENSIFICATION” (PRAXIS DR.BEARMANN in Germany) 10″ Ltd 200 copies
“DESTRUCTIBLE FOUNDATION/DRAIN” (MSNP/SELF ABUSE in USA) split 7″ with MERZBOW Ltd 500 copies
“ELECTROVEGETARIANISM” (PINCH-A-LOAF Productions in USA) 7″
“COLLABODESTRUCTIVISTS” (ISOMORPHIC RECORDS in USA) CD 3 collaboration with Daniel Menche, Crawl Unit, Basic Noise
“MASS FOR DEAD INSECTS” (GENDER-LESS KIBITZ IN Italy) CD
“MENTAL DISSOLUTION” (BLOODLUST in USA) cassette Ltd 50 copies
“METAL STRICKEN TERROR ACTION” (BANNED PRODUCTION in USA) cassette
“-” (EF tapes in USA) split 2 cassettes with COCK E.S.P. Ltd 100 copies
“SUPPLEMENT” (APRAXIA in USA) cassette
“HOLY MOUNTAIN ELECTRONIXX” (CLING-FILM records in Belgium) cassette Ltd 100 copies

Compilation appearances (selected, of course):

“CATACLASTIC FRACTURE” (DEADLINE RECORDS in USA) CD
“EXPLORATION ” (BODY AND BLOOD in Canada) CD
“THE JAPANESE/AMERICAN NOISE TREATY” (RELAPSE RECORDS in USA) 2 CDs
“SOME WHORES AND A CAMERA ZAIBATSU” (OLD EUROPA CAFE in Italy) CD
“ADVENTURES IN MODERN ELECTRONICS” (PINCH-A-LOAF Productions in USA) CD
“PURE POWER PICNIC” (TIDAL WAVE RECYCLING in Norway) DAT
“FINISH” (DFP in Germany) double 7″s
“CHKIYUU” (Ash International) CD
“THE ARTIFICIAL NERVE” (XERXES Recordings in Japan) 5 cassette set
“DENSITY-100:” (G.R.O.S.S. in Japan) 2 cassettes
“NE SHI” (BANNED PRODUCTION in USA) 2 cassettes
“PRAYER OF MANKIND” (SSSM in Japan) 2 cassettes
“NOISE NET #3″ (NOISE in Taiwan) cassette
“EXTREME PLEASURE” (SLAUGHTER PRODUCTION in Italy) cassette

(Source: http://www.angbase.com/interviews/msbr.html)

Vomir (Frenchman Romain ‘Roro’ Perrot) is one of the most un-compromising & respected artists with in the Harsh Noise Wall scene. Since the projects started in 2006 he has released near to forty releases (with some of these being on multiple tape or CDR sets). Romain kindly agreed to give me an email interview.

m[m]: What was your first introduction to the noise scene & when/ why did you decided to form Vomir?
Romain: My first introduction to  the noise scene was Keiji Haino and Merzbow around 1994. It was a visceral shock, deeper than any Hardcore or Industrial records I’d ever listened to. I have been hooked since then to Harsh Noise. I started to play noise guitar solo and in different improv/free noise formations and then switched onto  analogue gear & electronics to produce static harsh sounds. That would have being in 2003.

m[m]: I believe your early work Vomir is less HNW based- what made you decide to start going for a more wall like sound? & can you tell what your early work was like?
Romain: My early work was guitar based free noise, solo,  and with the following: Freyja w/ Fred Nipi (a great French Harsh Noiser), in Mahayoni Mudra w/ Fred Nipi and Franq de Quengo (Bimbo Tower headmaster), in Arschgeil w/ Strom_Varx and Penthotal.

Romain: As for why I went for a more ‘Wall’  like sound basically I wanted to focus deeper & deeper in on pure harsh noise, but the results with the guitar were not totally convincing. So I got myself analogue noise generators and built my sound from that up.  The early Vomir material was outbursts of noise and distorted vocals, and then completely static noise. I got more & more white noise generators to make different layers of harsh noise to create a thick wall of sound.

m[m]: A lot of HNW artists are influenced by Giallo or horror movies, but your work seems a lot more focused in Nihilistic & a world hating feel would you agree with this & what else influences the project?
Romain: Well, I think it would be more about world ignorance than hatred – I have no hate – and more precisely about social refusal & not wanting to interact with Society as a whole. I really feel better alone or with my close family or friends. Nevertheless I try to be the most polite and gentle when I meet people.

m[m]: How do you go about creating your Wall’s of noise & what source material do you use to make them? And have you any favourites?
Romain: Ok, I answered this more or less in a previous answer, so I will detail my gear (which is basically the one that any harsh nosier use…): Sirkut WNG, SNB & Carpet Burn, Trauma Tone WNG & shaker box, Benfox WNG & modified electric tanpura, Roland Space echo, Big Muff (US & Russian), DOD meatbox, deathmetal, corrosion & thrashmaster, Audible Disease Rupture & Convulsion, Hughes & Heffner Warp disto, BOSS Harmonist & RGE-10 graphic eq, IBANEZ blacknoise, a cheap mixer, FOSTEX FR2-LE for recording.
From this gear, I set up particular ‘chains’ and mix them. Trauma Tone WNG is my preference.

m[m]: Were did the whole idea of you wearing a bag on your head & standing complete still or lying on the ground come from?
Romain: I think I was always interested in anonymity in noise, from the New Blockaders to the Haters etc… and another influence would be Franciso Lopez, giving the audience blindfolds so they can focus on the listening to his set & not what he’s doing on stage. Plastic bin bags are cheap, easy to find and fit well my ideas of sensory deprivation, loss of identity, seclusion from others, focus in on the noise, the noise which is the only important thing. If I stand still or lay on the ground is like being  totally transparent.

m[m]: A practical question how do you manage to breathe inside the bag?
Romain: Well, the bag is not closed around my neck ! So with a slow breathing, there is no problem.

m[m]: When you play live are you always doing new pieces or do you ever take elements from older material?
Romain: Yes, it’s a new piece for every set.

m[m]: You mentioned you enjoy doing the longer  & multiple  release sets- have you ever considered playing a really long noise set say several hours?
Romain: I really like to be able  to at some point to  play for several hours in one go. The LaMonte Young & Marian Zazeela’s dream house would  be the perfect live event for this.
m[m]: A lot of your tracks and work is untitled- why is this?
Romain: I don’t give much importance to  track titles, that’s all. It’s the same for the covers: I always let the label take care of it.

m[m]: One of your more intriguing titled release is Au Duc De Reschwig (Homage To the Duke De Reschwig)- who is Duke De Reschwig & why is this piece a homage to him?
Romain: I was reading a book by great French author Jean-Pierre Martinet, in which an old man is named that way.

m[m]: Can you tell us a bit more about the Jean-Pierre Martinet book that features the character Duke De Reschwig & why you decided to use the name for the piece?
Romain: Jean-Pierre Martinet was a cursed French writer, who was always treated as worthless by editors during his life. He was an alcoholic, worked at a news stand, and died in 1993. His best works are Jérôme and L’Ombre des forêts. His books have now been re-edited in France. His writings were very pessimist. The duc de Reschwig is a character from ‘l’ombre des forêts’, an enigmatic blind homeless, who wants to make an impossible length movie of 73 years (!) about the life – in real time – of Holderlin.

m[m]: Is there any concept behind your first official proper album Proanomie? And how did it come about you decided to put it out as a proper cd instead of a CDR?
Romain: Well the title comes  from Anomie which means: in common parlance it is thought to mean something like “at loose ends.” The Oxford English Dictionary lists a range of definitions, beginning with a disregard of divine law, through the 19th and 20th century sociological terms meaning an absence of accepted social standards or values. Most sociologists associate the term with Durkheim, who used the concept to speak of the ways in which an individual’s actions are matched, or integrated, with a system of social norms and practices … Durkheim also formally posited anomie as a mismatch, not simply as the absence of norms. Thus, a society with too much rigidity and little individual discretion could also produce a kind of anomie, a mismatch between individual circumstances and larger social mores. Thus, fatalistic suicide arises when a person is too rule-governed, when there is … no free horizon of expectation. so proanomie is pro-anomie, volunteer anomie… I did’nt decide  put it out as a proper CD- It  was the UK label AT WAR WITH FALSE NOISE that decided to take the risk ! Fortunately the CD had good response and reviews and it is almost sold out now. Thanks to the label, having a proper CD helped me to do some live sets.

m[m]: You say you leave much of the artwork & imagery to the labels- do you have any input on the albums look?
Romain: No. Labels send me their final design for  a final ‘ok’, and that’s it. I just change a detail or two if needed. Sometimes, like for the Indecente cdr cover, I sent a pic, but that’s all.

m[m]: Like many noise artist you seem fairly prolific- how often do you record pieces & work? And how much unreleased stuff do you have?
Romain: I listen to my own HNW work every day, even if it is for 10 minutes. If I need to record for a release, I’ll adjust more precisely the details, and of course I’ll take care of the track length needed. I have some recorded work unreleased but not much, because of the fact that I precisely record when needed. My set up is always plugged; I just have to switch on to be in my noise.

m[m]: You seem to imply you only record when asked or approached by labels to make work is this correct & how long does it usually take for you to prefect the feeling you want in a track?
Romain: Yes, that’s correct. I make HNW everyday, but I only press record when a track for a release is needed. During recording the most important thing is that there is no technical problem, good sound during each session. I adjust the parameters of the set-up (with a little indeterminacy), then settle the eq, which is a very important thing. My feeling would be to balance between deep rumble and medium crunch, and I would adjust these two parameters to fit the mood I’m in during the particular time of recording.

m[m]: Can you tell us a bit more about the concept around your longer muilt disc or tape release like Claustration, Deliverance – The Living Dead Noise Box, No Content. How these came about & have you any more planed?
Romain: I just really like multiple discs/tapes sets. In the 90′s there were lots of those sets, by American or Japanese Harsh Noise artists and it was so good to get so much  massive noise in one place. Also I think HNW fits very well for a longer length, so when a label said ok for a multiset, I always went for it! Split multiple sets are on their way, and also a Vomir multi tape, in 2010.

m[m]: Name your top ten noise records & why they are?
Romain: I am sorry, I won’t answer this question as I hate this kind of list… I will name you just one: AMM “The Crypt, the complete session” Matchless recordings.

m[m]: Do you have a piece or track you particular pleased with?
Romain: No.

m[m]: Do you listen to anything other than noise & if so do you think this has any influence on your sound? For example do like ambient, drone or American minimalistic music? Which it sometimes follows a similar unchanged sonic path as HNW.
Romain: I’m listening to a lot of music. EAI/onkyo, free noise, minimalist… Sometimes ambient/drone is too gentle, beautiful, but some works – Phil Niblocks’ for example – are mandatory. I like the sound with textures.

m[m]: What are your thoughts about the HNW genre becoming quite popular of late?
Romain: I don’t think it is becoming popular, except maybe for few topics on noise boards… But of course I’m pleased when records by HNW acts are being released, and the more good noise, the better. Actually I do think that the noise phenomenon born after Wolf Eyes fame has now gone and that a lot of people doing noise to have fun or local glory has stopped. Labels also have troubles selling their records these days , when a couple of years ago, there were LPs & CDs released every month, the production has become quite scarce except for renditions maybe… Those who do noise as a part of their life will remain, even if nobody’s releasing the sound.

m[m]: What will be the focus of new & upcoming Vomir work?
Romain: HNW HNW HNW HNW. no ideas, no change, no development, no entertainment, no remorse.

m[m]: What next in the pipeline & any more plans to tour? And any thoughts of playing stateside?
Romain: I’m Always planned stuff with DIY labels, and more official releases from At War With False Noise to be released. I try to update frequently this page: vomirhnw.blogspot.com.

Romain: As I have a family, playing is sometimes uneasy, but I always try to say Yes when someone wants to organize a set. Touring would be great, with plenty of boring time, but nothing’s planned. Once again, thank you for your support and for this interview.

Thanks to Romain for his time & efforts to find about more about the project & get up dates drop into his Blog spot here.

Interview by Roger Batty

(Source: http://www.musiquemachine.com/articles/articles_template.php?id=160)

Coil, archangels of chaos, fronted by John Balance and Peter Christopherson have been around a while now producing some of the finest and most exquisite recordings you’re ever likely to hear. From their debut album “Scatology” to the dark record that is “Horse Rotorvator” it is clear that very few bands have their aims and ideas as well thought out as Coil. Rather than hold onto the past, Coil have never remained static and in some respects “Loves Secret Domain” and the ensuing EP, “The Snow”, was the nearest to contemporary styles they got, though remaining distinctly Coil in its inherent ability to appeal to the listener on different levels. Having managed to obtain an interview with John Balance just after the release of “Stolen and Contaminated Songs”, John believed “Scatology” was `too long ago’ to be still answering questions relating to it; the majority of this interview is based around their most recent releases. Hopefully it will dispel some of the myths surrounding this enigmatic duo, in addition to providing some information on their current and future projects – which seems to be shaping up to be their most fruitful period since their formation in 1984.

Regarding Clive Barker’s Hellraiser what actually happened? Did Coil pull out or did the financial backers think the music was too weird?
Well, we pulled out about 10 minutes before they said we were going to pull out, anyway. The thing is we were in right at the very beginning of the project. Clive Barker was writing a screenplay and he came to our house and took away a load of piercing magazines and things – which is where they got all the Pinhead stuff from.

Apparently, it was quite S&M orientated . . .
Yeah, we saw some original footage which we unfortunately didn’t keep but it was really heavy and good, like a sort of twisted English horror film. And then when the Americans saw this footage they thought it was too extreme and they also gave Clive ten times the original money.

It completely changed then…
Yeah, so then Clive sort of felt, because it was his first film and with Hollywood being involved it was his gateway to the stars. So they changed the location to America, dubbed all the actors over and took out a lot of the explicit sex.

Did you feel let down about this? It could have been your gateway as well?
Yeah it would have been brilliant but we wouldn’t have carried on, because they were changing everything and they weren’t being very nice to us, the actual film people. They were keeping us in the dark a lot. We said we’d had enough just at the same time they decided they wanted to use Howard Shore. They just wanted normal film music. They didn’t want anything too scary which is sad and ridiculous for a horror film.

Are Coil still doing music for commercials?
We haven’t done any for a while.

When you did do them, were they used to finance Coil projects or were they an integral part of Coil?
Well, Peter does adverts and videos as almost his main job really and if he didn’t do those we couldn’t do Coil, but we don’t do it to finance Coil we do that anyway but it helps.

Peter does a lot of video work as well?
He’s done loads of videos.

You made a video for Windowpane. Did you enjoy that?
It was really good; best video I think we’ve done. We’ve done about six in all.

I understand you made one for Loves Secret Domain in Thailand; it’s supposed to be quite sensual…
We made Windowpane in Thailand as well. Yeah, they both are. The Windowpane one we filmed in the Golden Triangle, actually in the water of the Mecon River. It means Laos and Burma means Thailand. The original opium dealing areas. There was an area where the sun dipped down into the hill just at sunset, and we filmed it at sunset on this island.

It was on (the music TV show) Snub, the visuals were really good…
Yeah, really trippy.

What else have you made videos for?
Tainted Love (see Mick Gafney’s Coil magazine for more about this), The Wheel, and a couple of others I can’t remember which ones.

What about The Snow video?
It’s a sort of, not a collage, but a barrage of images. A couple of people threatening to dance, but it’s done sort of mandala, the images go in and out, there’s four of them basically. An image repeated that makes patterns; there’s lots of stuff in it; actual snow flurries. It all looks like it was filmed in a snow shaker.

Have you any plans to issue these commercially?
Yeah, we keep waiting. When we do the next album we’ll do a couple of videos from that album and we’ll pt them all out together.

Do you think video is a good medium to get your ideas across?
I do think so. Yeah, but they’re not useful you see. We have to spend a lot of money on them; a lot of our money and unless they can use them on commercial TV it’s almost stupid for us to make them, but we still do. In Thailand we were actually filming somebody else and because we were there with cameras and stuff we managed to get two videos out of those. For next to nothing, it’s just juggling it all.

In the MFTEQ interview you spoke of Coil making a film, is this true?
We keep talking about this project Live at Bar Maldoror.

What’s it going to be?
I don’t know. (laughs) We haven’t started it yet. We’ve got lots of other stuff. I would like to make a 45 minute film or something. It will take a year to do it. Steven Stapleton (of Nurse With Wound) is doing one as well.

What’s that?
Lumb’s Sister.

Right, some of the soundtrack’s already been released…
Yeah in little bits. The film is about two hours long.

What is it based on?
Nature and magic around his house in Ireland. The whole area is about to be made National Heritage which means fuck all. It means a lot of trouble for him; they’re widening the roads so tourists can come up it.

Moving on, Coil seem to have a low profile, little press attention, tracks on obscure compilations and the mail order releases won’t exactly gain much press attention. Do you think you should keep a higher profile?
Yeah, probably. We sort of have to but we haven’t got the set-up, really. We have a much better profile in Europe. It’s because we don’t follow album releases with a single and keep up the pressure.

You have a promotion company though…
No, not any longer.

But you had one for Loves Secret Domain…
Yeah we did, but we won’t use them again. It’s difficult because you give a lot of control over and we thought it might work and it sort of worked but it also backfired a lot.

Is this why Stolen and Contaminated songs was mail order?
Yeah, to get money. We can double the money we get which isn’t much but we need it all.

It’s coming out on album as well, isn’t it?
How do you know all of this?

It’s on the leaflet…
We’re going to do a thousand as lot of our friends don’t have CDs and have missed out.

In Tape Delay you stated “we’re making a conscious effort to be isolationists”. Do you still feel this way?
Yeah, I compromise I watch TV and stuff and it drives you mad you have to spend 90% of your time getting rid of everything.

Coil use a lot of symbolism both aurally and visually. How important to you is this?
Just the way we think. The Black Sun is a weird one, it’s what I call the “Millennial Emblem”. I’ve noticed it in a lot of other people’s stuff. All About Eve’s video ended with a black sun and the Shamen have been using it in weird ways. It’s like this strange shape is appearing and I don’t know why.

Where did you take it from?
Well, the one we used is taken from Aleister Crowley, originally. He drew it as a cipher for something. Then we used the chaos symbol which sort of dovetailed to the use of that in Chaos magic. We are going to do a book on expanding it all to see how many we can come up with. I’m going to get as many people in; just everything I can find on it. I’ve got a file on it but I know if I ask as many people as possible it could go on forever. It will be out by the autumn or something.

How To Destroy Angels was designed specifically “for the accumulation of male sexual energy”, yet so was Loves Secret Domain. In what way was this?
This is like one of those weird press releases that was going around. It was part of this misleading thing. We never said that.

How To Destroy Angels was an actual ritual piece, though…
Yeah, it was. It was designed, if you break it down there was like five gongs we used and the piece was 17 minutes which was associated with Mars. There was lots of things with that we couldn’t do, on the original one as it had to fit in. When we did the CD, the new version, we’ve expanded it out a bit.

Why did you decide to rework it?
Because I thought we could do more with it.

It’s based on magical structures and specific timing, how did you work it out?
For Mars there’s load of numbers associated with it, and the metals and the colours and we used male orientated instruments, like gongs that was the metal part of the iron, bullroarers which are used in male initiation rites, which we covered in blood and symbols and stuff and we didn’t let anybody see them. The way you’re supposed to use them.

Do you think people actually listened to it in its required context?
Well that’s beyond us. One of the best things is that people said it relaxed them in the bath. That’s fair enough you didn’t have to keep women out of the room when you are listening to it, that certainly wasn’t the intention.The idea was music with a function; once we’ve done that people can use it for anything.

Derek Jarman designed the cover for the reissue, didn’t he?
Yeah, it’s a painting of his, sort of 2 foot by 2 1/2 foot of gold on gold with smashed glass on a black background. He’s doing a lot of art now. He does his painting in Kensington, in a friend’s sort of room. He’s doing massive canvasses now.

The 12 inch was to be the first in a series…
Well, we are going to do another one, another ritual one, on Mercury, which we’ll be starting just before Christmas.

Loves Secret Domain like previous Coil releases seems fragmented and disoriented. Is this the way you like to work?
It’s the way we are. (laughs) It’s partly to do with the fact we like a two year gap between each one; as we do other things in between to pay the rent. From now on, we’ve decided to do things quicker and make each one more of a whole. Instead we’ll do different projects each one taking an idea and expanding it.

What’s the best conditions for listening to Coil?
Whatever you feel.

Drugs?
It helps perhaps. It’ll bring certain things out, though, I’m not advocating it.

With Scatology you spoke of using “alchemy in sound”. What did you mean by this?
Literally, some of the sounds – shitting and toilets – were all raw noises. We were making good things from what is perceived as being basically, bad things; dealing with subjects other people wouldn’t touch such as rotting and death. That wasn’t the total picture, we were touching on things and it seemed easy to say that to people. There was much more to it.

It wasn’t shit you were celebrating, then?
It wasn’t shit we were celebrating at all but the undergrowth, the rotting vegetation type thing.

What were you trying to convey?
Back then, too long ago. (laughs)

With Loves Secret Domain you seem to have dropped the references, leaving the music on it’s own. Any specific reason?
Deliberately, because if you look at all our album covers before they had loads of references, as you said, and I kept seeing other people’s albums doing that. So I wanted to take away every pointer or reference people could have including vocals. I took a lot of the vocals out of the mixes and just left sounds and fragments and stuff – that make sense but not on the surface. We took away the sense and just left sensation, is what we said.

What were the ideas behind Loves Secret Domain?
Electricity and drugs. It’s about sound sensations, physical sensations and frequencies.

Is that why you chose the sample from Donald Cammell’s film “Performance”?
Yeah, partly.

“Pulsating energies…”
Yeah, right, and they were on mushrooms in that part of the film.

The vocals were via Tesla’s wireless, going back so was Metal In The Head. Do you like using recurring themes?
Absolutely. Sort of the same thing. We don’t look back as much as other groups do. I’ve toyed with the idea of re-recording some of our older songs to see how it would be.

Loves Secret Domain saw a slight change in Coil. Horse Rotorvator was such a dark record, right down to the apocalypse quote, a death album maybe, while Loves Secret Domain was more up-lifting a life album, maybe. What changed you?
Well, you can’t go much lower than that. It’s like the wake after the funeral, basically. We’re seriously exploring pleasure (now).

Did people think you were getting too doomy and gloomy then?
It didn’t bother me. Lots of people criticised Loves Secret Domain for being too uppy and clubby. It isn’t really that at all.

Going back to that press release it said “deranged techno house compatriots”. Even though it’s been overstated do you feel comfortable doing dance music?
We don’t do dance music.

What about The Snow?
You can’t dance to it. It’s physical music but not dance music, I mean, we know how to do it, but we don’t want to, basically. We do dance music for the head. This is what “deep listening” is about. We used the rhythms and the sounds of dance music to some extent but it had meaning behind it, in a sense it’s like ritual music again.

What did you mean by “trance as dance”?
That was that press release again. (laughs) It’s giving me grief.

Last time we spoke you mentioned the possibility of releasing some dance records under a different name. Any more on this?
No, not yet. (laughs) Still thinking about it.

It would be Coil under a different name?
Yeah, I think so.

Considering people had said Coil had gone dancey, how did the Coil audience react?
Confused them a bit. We never get enough feedback though some did say “Why are you doing this?” or “I hated this”, specific tracks they didn’t like. This was from people in Norway and it doesn’t really mean the same to them.

The Snow contained a line of Crowley’s poetry, why?
I just liked the quote. Annie Anxiety says it at the end. You can’t really hear it.

How did the Jack Dangers (of Meat Beat Manifesto) remixes come about?
We wanted to do different mixes and we knew him vaguely so we phoned him up and he was into it. He’s a really nice guy and we wanted to work with someone we liked. We could have given it to someone else who could have come up with something we didn’t like. Something commercial, God forbid.

What did you make of them? They were quite heavy…
I liked it. I said make it as relentless as possible and he did.

Tim Simenon was to remix Windowpane…
He was I’m not sure if he’s going to anymore. We’ve done a track with him for the new album which is called “Damage From A Diamond”. In fact we worked on the track together and he’s releasing the track as Bomb The Bass and we’re releasing it as Coil, as well. We’re setting up a whole bunch of collaborations for the new album.

You’ve been remixing Nine Inch Nails. How did this come about?
He’s a Coil fan. We got in touch with him to do a video and he said of course you can and by the way “Tainted Love” by Coil is my favourite video ever. So I said do you want to work with us on some music and he said, yeah. So he said do you want to do a remix and he sent the tape and we chose one it’s “Gave Up” off the new album “Broken”. It’s to come out in a couple of months, I think. We cut all his vocals up completely, it’s really good, actually, I mean that’s commercial because the original thing is. It’s got choruses and that and we tried to take those away.

You cut-up a lot of Loves Secret Domain, didn’t you?
All over.

You didn’t mind that people thought this was an old technique?
No, we wanted people to think it was old hat. We went back to actually cutting up quarter inch tape into one inch pieces and taping it together. It took about three days to do it. We had two 40 foot loops across the room.

What were the tapes of?
A prison documentary, male rape and Chinese girls banging percussion and stuff. Almost random it wasn’t chosen for any meaning.

Do you do a lot of videos for other groups?
Recently we’ve done Ministry, two videos one with William Burroughs, Bjorn Again and Gavin Friday, which is a really good video, though I haven’t seen it on anywhere. Pete’s done his last three as well.

You seem quite inside the music industry, for Coil to be so far outside it. If you know what I mean?
Yeah absolutely. We haven’t made a conscious attempt to get inside. Even to be perceived as being inside you really have to make an effort; go to places and meet journalists and I’m just not up for that.

How do you feel about still being labelled industrial, as you were in Indiecator magazine’s industrial article?
Doesn’t bother me. It’s quite good as people who like industrial might buy it anyway. It means nothing to us. It doesn’t influence what we do in any way, whatsoever. They can call us anything.

Do you think you’ve still got a deviant viewpoint?
Yes, (laughs) always will have.

Do you enjoy collaborating with other people?
Yeah, we enjoy it more than doing it purely off our own back. It’s just another person’s energy. As we work as a threesome, including our engineer (Danny Hyde), once you’ve done that and done all your ideas, all the music and done the work on the mixing desk and then listened to it over and over, then the test pressings, you’re just sick of it from over exposure and if you’ve got someone else sitting in there making a triangle of energies, it’s really good.

How did the Annie Anxiety collaboration come about?
She’s been on the fringe of our social circle thing for ages, ever since we knew CRASS in 1978.

Marc Almond is from your Psychic TV days. Does he enjoy working with Coil?
He likes to work with us. I sort of ask him once we’ve finished a track “What did you think of it?” and he says great. That’s all you ever get from him. I think he enjoys it because it’s sort of different for him.

What about Boyd Rice, from Throbbing Gristle times, then?
Yeah, we’re going to do some more. He’s coming over at Christmas as he’s playing with Death In June live and hopefully he’ll record with us, doing something similar to what we’ve done before.

What’s new in the collaboration front then?
We’re going to work with Diamanda Galas on the next album. She’ll be doing vocals and piano and ideas. It will be an angry song. She wants to do our press release in America as well.

It sounds as if you need someone new after what you said earlier.
Yeah, right. (laughs)

What was this about a Ministry video with William Burroughs?
A track called “Just One Fix” where they had used some Burroughs’ samples and their record company made them take them off as they were scared of copyright infringement and William heard about it and he said “Oh no, put them back on”. So we went over and filmed them all, William shooting and stuff and while we were there we also did some recording with him for Coil.

What is this going to be?
Another track on the album.

Spoken vocals?
Well, I’m fed up of hearing him speak over other people’s work so we got him to say a load of words, from which we’ll do an original cut-up from.

That will be interesting as he along with Brion Gysin were the first to do cut-ups…
Yeah, that’s right. We’re going to try and recapture what they were trying to do.

You’ve met him before?
Yeah, Peter worked with him on the “Nothing Here Now But The Recordings” (Industrial Records) album and we’ve been in touch with him and his secretary and right hand man, James Grauerholtz, by post. We’ve been doing secret dealings and stuff but we’re going public with them now.

Melody Maker reported that Coil were to be involved in the soundtrack to David Cronenberg’s film version of the Naked Lunch. Was there any truth in this?
Almost. (laughs) We were sort of up for it at some point and in some way. There’s things in the pipeline which we’re far more in control with; Burroughs’ texts and books, but that’s like three years ahead, but we’re sort of developing ideas and we’ve got full permission from Grauerholtz and Burroughs.

Burroughs was working recently with the Disposable Heroes Of Hiphoprisy . . .
I don’t know how much he did.

Did he mention how he feels about working with them?
Yeah, he did. He obviously gets so many requests and James says “look, do you want to work with these people?” and they’ve got good sense. If they meet the people and like them, they’ll do it. At the moment he’s doing loads of paintings not just gunshot art but automatic drawings, some of which are brilliant. He goes for pure art and at the moment that is painting.

What did you think of the film the Naked Lunch?
I didn’t like it. I thought it was homophobic which was one of the weirdest things I thought about it. If it had been more caricature it would have been much better. I didn’t enjoy it full stop. However good it was.

Coil provided the soundtrack for “The Gay Man’s Guide To Safer Sex”, how did that come about?
The people who produced it, were friends of ours.

From the Terrence Higgins Trust? What did you do for the film?
Yeah. It’s like 45 minutes of new music. It suits the tone of it which is slightly new agey, a slightly progressive house type thing. I wouldn’t want to release it as Coil particularly.

And the other one is “Sarah Dale’s Sensuous Massage”?
Same again, same production company and that’s even more ambienty.

What’s that all about?
How to please your partner using kitchen utensils, oils and stuff. (laughs)

Do you enjoy writing music for films?
Yeah, I do. I’d like ideally to do brilliant films, a good project. These projects are interesting and we do get amusement from them.

Is it a different process to writing actual songs?
Yeah, absolutely as you have to fit it into their timing and to their briefs. You obviously can’t go mad, you have to tone it down usually.

More disciplined then. Ideas from them and you?
Well, there are no ideas. You have the pictures and there’s almost the music that is obviously for it. You can easily ruin everything by using inappropriate music.

How do you approach song writing, as unlike guitar bands, you can’t exactly jam in the studio?
No we’re not. It’s difficult we just find sounds we like I mean we do jam, we jam onto tape. If it doesn’t work you take that part away. It appears but it probably isn’t as spontaneous as a guitar based band. Ultimately it’s the same sort of thing.

What about playing live. You’ve been talking about it for years?
(laughs) Probably will talk about it for years. Not as Coil, I would imagine. If we do a different sort of thing with other members, like I’ve got this other project the Black Light District I couldn’t imagine us setting up equipment to enable us to play live as you couldn’t cart all our equipment onto a stage.

What is the Black Light District, I saw t-shirts a few years ago?
It’s sort of techno, but weirder. No releases yet but there will be through Threshold House.

If you did play live, how would you tackle it?
It wouldn’t be a normal rock club, not a church either we need technology it’s what we are about. A good high tech club or something.

You played before using smell as well . . .
Yeah, we would do that and all sorts of things. Performances going on in the audience as well.

John Mcrobbie of Mute’s Grey Area approached you to perform live with some films possibly the Derek Jarman ones, will you?
I doubt it. Depends how much they offer us. It would be at the Scala cinema so I doubt it.

You seem to be spending increasing amounts of time in Thailand. What’s the fascination with the country?
Over the last six years we’ve gone every year. It’s spiritual. It really is spiritual. England is completely fucked-up; it’s all to do with the church where everything is based on guilt here. You’re fucked unless the church or society says you’re not. In Thailand it is the opposite you’re free and if you fuck-up it’s your own fault. It’s a completely reversed system over there; the whole thing is about having enjoyment in life.

Is Bee (ex-Into A Circle) still living there?
Yeah, right, and also Bee lives there and we go and stay with him. He’s thinking of starting a studio in Bangkok. He was back over here recently.

Is Stolen and Contaminated Songs more of a stop gap release than anything else?
Yes, we said originally it was more ambient but . . . the tracks are longer.

How much of it was reworked?
There’s only a couple, there’s a different version of Loves Secret Domain; a rougher mix and much of the rest is new or unheard anyway.

The track based around the suicide, Is Suicide A Solution; was this taken from your answering machine?
Yeah.

It’s really powerful and emotive . . .
We edited a few clicks out and that. We actually had second thoughts about putting it on or not. It is good. It was a friend of ours. We came back and it was on the answering machine, devastated me a bit. I couldn’t believe it.

Devastating that’s probably the right word for it.

Do you have a lot of problems in releasing records such as The Sound Of Music?
No, it’s our own fault for putting the titles out before we’ve even got the project. The next album should be out in March.

This will be “International Dark Skies”I take it? It features those we’ve already mentioned, who else?
Trent Reznor. When he comes over we’re filming a video for him. He’ll be doing lead guitar and vocals.

Do you like Nine Inch Nails?
I like the idea of Nine Inch Nails, that’s my stock answer. I respect what he does. We listened to his backing tapes and it’s all really well done.

What about NIN namechecking Throbbing Gristle and calling themselves industrial?
Well, in a sense, Throbbing Gristle don’t own their history. I think it’s good in a sense as it can only reflect well on the original industrial groups. I mean these people are stadium bands in America and they are genuinely into these bands.

Would you not like to think you have moved on since then?
Oh yeah, we’re doing something completely different and they’re doing something different. It is college rock’n'roll that they’re doing.

What’s happened with the Coil / Nurse With Wound project?
It’s still happening. It will be an album. We tried to record some up in Yorkshire but it didn’t happen so we packed up our bags and headed back to London.

Are you writing together or covering each other’s songs?
Well, there was (supposed to be) a Clawfist single which I don’t think will happen now. I mean it might eventually come off the album.

Aren’t Coil doing music to accompany a graphic novel?
Yeah with Dark Horse Publishing. They do major league comics and we’re involved with a couple of projects. We’re helping them with a Tattoo comic and the main one which is called “Underground” which is a very adult novel; a graphic novel as they call them and we’re doing the soundtrack that you play while you’re reading.

Sounds interesting . . .
It is very violent and very good.

Have you seen the storyline yet, what is it about?
It’s about tunnels under a futurist city where people play games.

Tunnels under cities, that’s you back to sewers again . . .
Yeah, it is very much our thing. In the games they play people collect ears, they play like computer games but with people.

How did this come about?
Through our Wax Trax contacts. We’ve been corresponding with the people at Dark Horse on magic and all sorts. They’re very up on it, the writers.

Who are they?
Andrew Vachss. He’s a major comic writer.

It will reach a whole new audience as well . . .
Absolutely, and it will sell a lot, but the clever thing is we can incorporate Black Light District into the comic. So we would actually appear in the strip, not as Coil as a group, but as a theme running throughout it. I’m going to get Black Suns put in it, too.

When should we expect Underground?
It’s due out July next year.

What else project wise?
The Black Sun book which will have a single in it. That’s the main thing I want to concentrate upon. I want to get some good people to write articles and stuff.

On a lighter note, this is from Melody Maker’s True Stories column :
“…This allows us to neatly sidestep into a story concerning how Peter & John got laid up for several hours with blood poisoning after traversing through the sewers of Brighton on a gay activist tour. Seems they survived that okay, only to be laid low when they started cleaning out their goldfish pool and got severe cuts”.
What’s the story?
It’s these fucking people again. (laughs) We went down the sewers in Brighton as you can do on tours and then it’s completely something else; I cut my hand on rosebushes and then went into our pond. We’ve got a big pond round the back with frogs and stuff and I got really bad poisoning. The scars went septic, though, they’ve completely gone now.

It’s not as bad as it sounds, then?
There was no gay activism in that thing. I got arrested for gay activism with Derek Jarman on a march though. (laughs)

Did you? Was that an Act-Up thing?
Yeah, we got arrested, taken to the station and cautioned.

No further action?
I don’t think so. We’re probably on their list; I was probably on it before. (laughs)

Do you get hassle from the authorities at all?
Secretly, nothing hands on-touch wood. As far as they know, we don’t break the law.

Is there anything that’s interested you lately?
Well, Terence McKenna. I did a course with him recently in a couple of days and it was pretty inspiring. We’re going to work with him. Evolution, the label, are doing an EP with four or five tracks; each with different groups and I think we’re on that with Terence.

What are the aims of Coil now?
To do all the things we’ve said we would and keep us going. I want to do some more higher profile stuff. I would like to do a really good film soundtrack and as I said that’s three years on down the line. Then I think the Burroughs’ influenced thing will appear.

What about financial backing for the film?
There are ways. You just get professional film backers. We don’t have to put our money up for it.

You don’t want to compromise your ideas though?
That’s the trouble, finding the backers who will allow you. These French TV people, Canal +, finance pretty weird things. Maybe they will.

This would be under your own names, not Coil?
Yeah, it will be a more complex set up.

Filming, directing and writing?
No just about it, that’s the hardest bit. I want to do everything.

You’ve never helped on the Derek Jarman films?
No, I haven’t actually. We did the Angelic Conversation soundtrack. But helping out, no, I don’t know why. Haven’t even been in one; everyone else I know has. (laughs)

Did you enjoy the Angelic Conversation?
Yeah, it’s Derek’s favourite film as well. People have said why don’t you put the soundtracks out on their own, but it doesn’t work. It is more that the usual soundtrack is meant to go with the video. This is what The Sound of Music will be eventually.

Will that ever see the light of day?
Yeah, probably. It’ll be soundtrack stuff, slightly reworked to make it a bit more interesting on record.

What about the Side Effects of Life?
That became Loves Secret Domain.

And I remember another (provisional title) called Funeral Music for Princess Diana. . .
(laughs) Ever since the current scandal I thought maybe we should cash in and release that.

(Source: http://www.compulsiononline.com/interview_coil.htm)

The Grey Wolves are a British Industrial music group. They were formed in 1985 by Dave Padbury and Trevor Ward.

The band has been credited with pioneering the ‘death industrial’ subgenre in industrial music. Their work has also been described as ‘dark ambient’ and as ‘power electronics’. They have not limited themselves to simply producing music however, but engage in what they describe as “Cultural Terrorism”, issuing manifestos, pamphlets and utilizing the mail art network to get their message across, as well as being an active part of the cassette culture. The Grey Wolves have issued many tapes of their own music. They ahve also been responsible for creating Death Pact International, under whose name anyone was free to record their work, and released their own, and others, collaborations on cassette under this moniker. As well, both members have their own tape label, Open Wound and Sol Niger, both focusing on industrial music.

The Grey Wolves frequently collaborate with other groups. Some of these bands include Academy 23, Kapotte Miziek, Macronympha, Pyschic Workshop, Shock City, Streicher, Sudden Infant, Vandal X, Vidna Obmana, and most often Con-Dom, with whom they have released many split recordings as well.

The Grey Wolves are controversial because of their use of fascist imagery and have been criticized for this aspect of their presentation. However, while acknowledging the criticism, the group does not apologize for this, instead insisting it is an integral part of their critique of society.

(Source: http://www.nationmaster.com/encyclopedia/The-Grey-Wolves)

Originally intended to be published Spectrum Magazine Issue 6# which was cancelled before publication. Eventually published in Degenerate Magazine (Finland) Issue 3# 2003.

Preliminary information:
NAME(s)/ AGE(s): Kirsten Veestraete, Dirk Valkenborg, Geert Vandeweert, Frank Vanhoof, Jan Roggen, Luc Tureluren, Frank Gorissen, and sound engineer – Jan Valkenborg

LOCATION: Hoeselt – Belgium

YEAR PROJECT WAS FORMED: 1990 it became a percussion band, before that (starting from 1986) it was an electronic two members formation. 

LIST OF RELEASES:

• New European Order 3 LP set
• Kingdom of Our Lord/Maschinenzimmer mCD
• Pain/Familiedrama 7inch with Laura Maes and Mike Dando (aka Con-Dom)
• Nature Revealed 2CD in wooden box
• Black Flag Hoisted 2CD in fold out cover

Forthcoming:

• The Eco-Anarchic Manifesto   book + live CD
• Everything is One CD

Collaboration and compilation works:

• Scorched Earth Policy (originally a split tape, re-released on Old Europa Café in August, 2002 on CD format, collaboration between Militia and Con-Dom )
• One track on War Against Society, compilation 3 LP project organised by the German “Praxis Dr. Bearmann” label
• One track on Ultrason, compilation LP by the French “Une” label
• A few soundscapes for various Con-Dom works

What were the initial ideas behind the formation of Militia, and how did the members come together to establish the project?
Militia is an instrument for spreading the eco-anarchic ideology and social world view. These ideas are being spread by means of music and statements, films, literature and performances. The method Militia uses while working on their projects is based entirely upon the anarchic way of practicing things – so with constant communication and debate, suggestions and decisions being formed from the basis.

Likewise I believe that there are three main individuals as part of the Militia project, however having seen you perform live there are many more members then this.  How does the project operate from the composition and recording stages, through to live executions?
Every individual in the Militia group takes in the same position as all the others, so there are no main individuals as you put it here.  Ideas – or better, a “story board” – for a new project always comes from several people in the band.  Then I compose the basic music tracks: I write the music notes using a combination of classical music notation and my own symbols. Next step: I play and record this music on synthesizer and sequencer and record the whole on CDR format, this is the so-called basic music tape. With this CDR I go to the other band members and together we compose the additional percussion pieces, the music for the wind instruments and all other instruments involved. Then starts a long period of rehearsing and constant evaluation till the definitive music is finished. At that moment we’ve already contacted our German label Tactical Recordings and they pay and hire the studio, which is a professional music studio called AnnaBee, lead by the sound engineer Willy Pirotte. This means that we start recording the music and finish a new CD.

Given that many of your tracks are heavily percussive based, how do you approach composing a track?  Can you list the instrumentation that you use and likewise do any of the members have formal musical training?
All members are well-trained percussionists, a few also play a variety of wind instruments. As said before, I write my music in a self developed symbolic notation which all can read. Starting from my notes and the input of the other members, we always find it quite easy to try out, compose and play the additional percussion layers. But it always takes quite a number of rehearsals to get everything right and to start playing it by heart, obviously. When 6 people play different layers of percussion which all have to form one balanced whole together with the basic music tape, this certainly asks for an intensive organisation and lots of practice. Amongst our instruments we count a concrete mill, a chain saw, three empty gas tubes, several empty oil barrels, a radiator, several metal blades suspended on chains and connected on self made standards, metal tubes and plates, but also a big bass drum ( timpani ), snare drums, djembe, didgeridoo, trumpet and so on…

On a number of releases you have used the tribal instrument called the didgeridoo.  Given that this is actually an instrument primarily known to be native to Australian Aboriginals, what drew you to utilise this?
At first I used a long metal tube to generate the same sound – using the same technique – that can be made with a real didgeridoo, just because I liked the sound very much and the thing fitted perfectly into the concept.  Now Dirk also plays didgeridoo (and we had other didgeridoo players in the past as well ) and the combination of the real thing and the metal substitute works quite well. It was a main instrument for our Nature Revealed project, also because that work was about primitive human societies and the relation with their natural environment. 

With regard to the upcoming album, what details can you provide regarding its sound/ style and concepts?.  Which label will be releasing this item and will it form part of a larger concept? (such as your now completed ‘New European Order’ trilogy).
“Everything is One” will be a kind of conclusion of the pamphlet (small and handy book) I’ve written, entitled “The Eco-Anarchic Manifesto”. It is the philosophical and metaphysical survey in the form of sound of the eco-anarchic ideology as it is proposed in the Manifesto. The style differs from neo-classical music to rhythmic percussion pieces. And we also used conventional but “not-so-obvious” instruments this time, mainly played by a number of new guest musicians… but I will tell no more, we’ll keep it a surprise.

I also believe that you are currently involved in the preparation of a book to further expand on the concepts behind Militia.  Can you provide some details of this and its planned release? Will it be released under the Militia name and do you hope this book will have a wider appeal then the at best obscure musical genre that Militia inhabits?
The book will be the cover of the live CD we’ve recorded in Lille. So book + Cd will be released in a few months by Tactical Recordings – who organise the releases of all our works for that matter.  The book deals with our eco-anarchic principles, social world views, it  reveals a possible structure for an eco-anarchic society and it deals with the problems of money, possession, order and solidarity in such a society.  We hope that our website will be ready around the same time as the book + cd will be released, because we want to start a discussion forum as well.  We’re convinced that there will be a need for discussion and information as soon as people will have read this manifesto. It is a strong opposition against ultra right wing ideology, against a society ruled by any form of government, against the abuse of animals and the endangering of our planet. Instead it offers a global community that is strong in structure, based upon solidarity, equality and autonomy. 

Taking a step back and making an overview of the ‘New European Order’ trilogy, when making reference to the first triple LP set of the series (entitled ‘New European Order’), to my interpretation the underlying political stance was not clearly evident. However to qualify this perception, I am referring to the later two releases in the trilogy (‘Nature Revealed’ DCD and ‘The Black Flag Hoisted’ DCD), which clearly and concisely put forward Militia’s stance through use of lyrics, dialogue samples and text excerpts.  Accordingly at the original time of release of ‘New European Order’ triple LP set, did you receive much reaction either positive or negative regarding its potential to be perceived as being ambiguous?
The concept of “Statement Trilogy” was already planned and designed early ’90. The basic ideas for the three albums taking part were already written down. At first we wanted to show how our society became what it is now: a sick and corrupt whole of intrigues, a world based upon hatred, greed and lies, a community that masters racism, exploitation, oppression, murder. The first track of the New European Order 3LP set is called Natura Magica, and this was already a link towards the next album, Nature Revealed. N.E.O. is a documentary about our society in decay, but it included also the need for an alternative: a society that is not being ruled by corrupt and egocentric people, but based upon mutual respect and autonomy, free also from religion and possession.  If some people found it ambiguous, it may be because they didn’t see the real concept and ideas behind it, whether they didn’t take the time for it, I don’t know. Perhaps we also attracted the attention of right wing adepts, but they should have discovered definitely what the Militia ideology really stands for. I have the feeling also that a lot of people in the so-called industrial scene very much like to be ambiguous themselves, dwelling with right wing ideas, symbols and clothing and so on. I sometimes wonder if they really know what they are doing.  Nature Revealed deals with the other aspect of the eco-anarchic society, namely the environmental side of it.  In order to create a basic social structure for this new society, we studied some primitive African communities and looked back at the pre-historical societies and their specific social structures. For this, we’ve received the guidance and help of the people of the African Museum in Tervueren and the Gallo-Roman Museum in Tongres. Not only did we use their information, but they showed us how to make primitive music instruments (clay flutes, horns, drums…) and how to play them. They also assisted in creating a primitive pre-historical (not existing) language and so on, all usefull things for the Nature Revealed concept. So Nature Revealed was the second part of the statement trilogy and a very important, dealing with the environmental aspects of such a society. In fact, Nature is an equal partner in this social whole. Unfortunately we had some comments about it saying that “Nature Revealed” wasn’t “industrial” enough and not “hard” enough. I would like to suggest that those people stay with the conventional noise they like to hear and stay away from music with a deeper continence. If they believe that Militia is going to repeat itself style -wise they’re wrong.  We’ll always adapt and even alter our style of music and the instruments we chose in relation to the concept and the ideas we want to spread. The ideas are the most important aspects, the music plays a supporting role. Music is not art, it is a form of communication.  If you’re the owner of all three statements, you’ll see the whole picture.  For those who see, feel or even support our ideas now, the forthcoming book will just  be the ultimate confirmation of it all.

Who would be writers, artists, philosophers, musicians, politicians etc that have inspired or otherwise have common ideals with the concepts behind Militia?
Oh, there are lots of them, and their number is growing. Therefore I would like to suggest only a few of them, as kind of a basic start from which people who are interested automatically can discover and follow connecting and even different streams of information.  To start with, please read the books of Proudhon, Bakunin and Kropotkin, or try to find out about the lives and actions of Durutti and Malatesta or the FAI movement.  Interesting also are  the environmental action groups like GAIA from Belgium and the Animal Liberation Front or the anarchic movement in Amsterdam and Rotterdam ( Holland ).

Referencing the third installment of the trilogy, on one particular track on ‘The Black Flag Hoisted’ you give clear credence to the militant actions of the animal liberation front. Do you therefore expose a personal view in support of a vegetarian/ vegan lifestyle?
Yes, we definitely do so. Fact is that we believe that it is impossible to use such a great number of animals for food on such a huge industrial scale as it is been practised now without abusing, hurting and torturing the animals involved. Different ideas about this topic exist within the Militia group, but all are convinced that, given the current situation, all animals involved suffer. We suggest that at least the number of animals used in the food processing industry should be diminished to a basic limit so that a more gently  form of meat processing eco-industry – on a biological basis – should be installed. But we also support the intentions of so many people to stop eating meat completely and turn to a vegetarian / vegan lifestyle.  We strongly oppose against the use of animals in laboratories and vivisection, using them for fur or for the manufacturing of other luxurious goods.

Talking on the matter further, what are you opinion between farming of animal products on a mass scale, verses subsistence farming of use of animal products at a collective/ community based level?
See above.

What is your opinion of the views held by some eco environmentalist/ eco terrorist groups that fundamentally the globes human population has/ is approaching critical mass and cannot sustain continued population growth?
They’re right. Several reports from international health organisations, global economic/social institutions, Unesco and so on… also point out that the problem of the increasing human population has to be dealt with urgently. It is the basic cause of the major problems we know today: hunger, diseases, starvation, unemployment, over-exploitation of natural resources, drought, corrosion, the extinction of animal species,… and even war… It is quite unbelievable that the Catholic Church still condemns the use of condoms or even sterilisation. We must stop this enormous growth or we will deal with even greater problems in the near future.

Being a Belgium based project what is your view of your country being a member of European Union?
Well, for a start it is a purely economic union, founded just to preserve power and wealth and to increase it. Whether the common people profit from  it, I doubt it. Unemployment hasn’t been stopped, that’s for sure.  Secondly they haven’t done anything to stop the pollution of our environment, although there is a board installed to deal with these problems. I wonder what the members of the environmental board are doing there, not much, that’s for sure. And next, the people in charge’s main  objective seems to be the formation of a European Fortress, to keep political and economical fugitives from poor countries or countries at war ( or dealing with other major problems ) and all people in need out. Militia proposes an open society where everyone can just live where they want to. We stand for the abolition of geographical and institutional borders and the destruction of all forms of governments and leaderships.

Do you view the events of September 11, 2001 as being an extreme manifestation of a growing level of unrest in relation to mass western capitalism?
Religion, economic, financial and military power are the main causes of all problems. Most leaders of the Islam communities deny basic human rights, especially the rights of women and children. America believes it has to rule over the entire world and oblige to everyone their standards of living and handling. There is an ever growing gap between the West and the East, economically and otherwise. Sooner or later this had to happen, triggered as it was by the devastating situation of the Palestinian people. In their utopic world view, Militia propose an atheistic society, not ruled by any government but by the people themselves. Such a society leaves no space for greed, hate or oppression. We need a total re‑construction of the present social structures or we’ll never find a solution for all world problems. At the contrary, they will increase, they will be worse, actions will be more violent, more deeds will fall.

What is your opinion of the current anti-globalisation movement, both in what it represents and the overall actions that range from peaceful to violent? (and of the later, particularly the violence that is provoked by authoritative intervention).
We support the anti‑globalisation movement and propose an alternative solution:  the eco‑anarchic global solidarity forms a basis for mutual respect and respect for our environment. Starting from the social structure Militia are proposing, we are convinced that we can take on any major problem in the world. To our opinion, the leading governments are well aware of the potentials of  the anti‑globalisation movement and all other environmental action groups. The only thing they can do to try to stop the increasing power of these movements is to put them in bad daylight towards the public opinion. I wonder if those people who started acting violently during the peacefully organised demonstrations could have been people put deliberately in the “inside” , just to start trouble and hand out to the political leaders a reason to condemn all of these action groups.

Making reference again to your live performances, during your live show a variety of footage is projected as a backdrop, but most particularly archival war footage.  What attracts you to use this as a visual counterpart to the live rendition of tracks?
The film you refer to shows at first the battle of the communist and anarchist militia against the Russian tsar Peter the Great. Then come pictures of the pope (symbol of spiritual power, supporting the upper classes and the leading governments against the common people), then followed by pictures of the great American crisis (as a symbol for the fragile financial power, shows what can happen if an entire society is based upon wealth and property), then followed by pictures of the Animal Liberation Front in action and at the end you see the battle of the FAI (Italian anarchic movement) against the troops of the fascist leader Mussolini, mixed with images of the first active anarchic communes in Italy and Spain. So the film and the music we play  (The Black Flag Hoisted) form one whole.

In-between the release of parts 2 and 3 of the ‘N.E.O’ trilogy, a two track ep was released.  Given that the majority of your releases provide commentary on political, social and environmental issues, this ep included a track entitled ‘Kingdom of our Lord’ and appears obviously to be leveled at religion and more specifically the church.  With limited reference points within this track (text, lyrics, samples etc), what is your opinion of the church as long established religion and/ or social controlling mechanism?
The churches ( and we mean all religions here ) have lifted the power of the leading class up to a spiritual level. We see this in most early societies, where even in some cases the absolute leader claimed to be a god himself. The position of the Japanese emperor Hirohito for instance shows the same thing, a profound mixture of spiritual laws and civilian laws can be found in most Islam states.  Militia also like to point to the fact that the churches have been (and still are for that matter) the organising party of a lot of so‑called “holy” wars, starting from early in history to even now.  We see armed conflicts and (civilian) wars between Muslims and Zionists, between Protestants and Catholics, Hindus and Muslims and so on…The main role of the churches still is dividing the people and handing out more power to the leading classes. Only in a “free of gods” society men can feel free. As an alternative we propose an atheistic spirituality, in which the beauty of nature and the positive actions of men can be admired and celebrated.  The eco‑anarchist does not waste his precious time on worshipping gods and kneeling down for the so‑called supernatural beings, no, he tries to understand the world and find a scientific and logic explanation for the natural events, trusting only his own eyes and insight and discussing his opinions with others. In fact you can call us materialists, because we only believe in what we see and hear and feel and not in the invisible, in matter and not in spirits.  The churches and all inherent symbols and rituals have to be crushed under boot and replaced by a new form of education based upon autonomy and a scientific approach of things!

Moving towards concluding the interview, what are your views of the political context that many bands within the underground scene inhabit or ambiguously flirt with?
You mean the ultra right wing ideas that are being introduced in the industrial scene and the uniformed swastika brigade? Well, we don’t know whether to have a good laugh at this or worry instead, but honestly, don’t you think it’s very silly watching these people dressed up like a combination of Herr Flick from “Allo‑Allo” ( you know, the English comedy series about a small French village being occupied by the Germans ) and members of a Tiroler castrated boys choir, their hair cut like Rudolf Hess had it, with their mad looking faces like frozen meat?  Militia deeply dislike their stupid outfit and ( that’s if they’ve even got any ) the sick ideas that go along with such stupid behavior. Militia stand for the eco‑anarchic philosophy which incorporates a deep respect for all people, regardless their cultural background or the color of their skin, and for our natural environment and all the living creatures that inhabit it.  No, my dear readers, we don’t go searching  for camouflage outfit at the nearby  American Army Stock, nor do we visit the local hairdresser’s with a silly request and we use “Mein Kampf” only for toilet paper to clean our ass with.

Are there any final points you would like to add?
Yeah, hope to see all good folk on a next occasion. Please don’t hesitate to send reply to our discussion forum as soon as our website will be active.  If people still want to get our latest album ( The Black Flag Hoisted ) please contact us on our e‑mail address, which is: mekanorganic@hotmail.com

“ONLY SHEEP NEED A LEADER” – MILITIA

(Source: http://spectrummagarchive.wordpress.com/interviews/militia-interview-2002/)

ESPLENDOR GEOMETRICO JAPAN TOUR 2013

- 22 November 2013 (Friday)
Venue: U.F.O.CLUB, Higashi-koenji (Tokyo)

- 23 November 2013 (Saturday)
Venue: U.F.O.CLUB, Higashi-koenji (Tokyo)

- 24 November 2013 (Sunday)
Venue: SUPER DELUXE, Roppongi (Tokyo)

- 26 November 2013 (Tuesday)
Venue: LIVE SPACE CONPASS, Shinsaibashi (Osaka)

More Info At: http://suezan.com/eg/

TIDAL CONCERTS PROUDLY PRESENTS AN INTIMATE EVENING IN THE COMPANY OF:

- DEATH IN JUNE (Featuring Douglas P & John Murphy)
- SPIRITUAL FRONT
- EVI VINE Live in London on 9 Dec 2013

DATE: 9 December 2013 (Monday)
DOORS OPEN: 1900hrs
TICKETING: £20 (Advance) (https://www.stargreen.com/a-z/death-in-june.html)
VENUE: LONDON UNION CHAPEL, Compton Terrace, Highbury Corner, London N1 2XD, UNITED KINGDOM

More Info At: https://www.facebook.com/events/540523509346210/