Wednesday, 28 October 2015

Cafe OTO 26-10-15. Demian Castellanos and Tomaga.

Poster by Tim Drage.

                                                                    
Café OTO is a smallish venue tucked away just off Kingsland High Street in Dalston, and the night I went it had a friendly, busy vibe- with sofas and no stage it feels a bit like going to your hip neighbours for a gig in their living room! Unfortunately for me tonight it's a 149 to Liverpool Street and then a long train journey home so I had to leave early and missed last band up of three, Bitchin' Bajas, but caught Demian Castellanos and Tomaga.   
 
A man, a chair, a guitar, a pair of pointy boots and lots of pedals. Demian Castellanos is better known as The Oscillation's songwriter, singer and guitarist but earlier this year released a solo album 'The Kyvu Tapes' which is a collection of solo material from the 90s. I had only heard one track 'The Lizard Raga' which is quite chilled so didn't really know what to expect from a live show 17 years after the last track on the album was recorded but hoped it would be interesting. It was much more than that, it was exciting, atmospheric, visceral and far rockier than I had expected. At times it reminded me of the best bits of Rubycon by Tangerine Dream which is some achievement for one person irrespective of how many pedals you've got! When I wasn't staring at Demian's guitar playing the visuals by Antonio Curcetti (and others) of desolate landscapes in indeterminate places complimented the set adding to the experience.

Like radio messages from a distant constellation alerting us to the existence of artforms we had barely imagined Tomaga are a thing of wonder! Ignoring anything as mundane as genre or pauses between sections multi instrumentalists Valentina Magaletti and Tom Relleen create sets that perfectly balance structure and improvisation, a mesmerising collection of sound sculptures-cum-music, fluid, rhythmic, organic. Seeming to ignore any genre delineation whenever I see them they have metamorphosised again, a recognisable sound but with the components being constantly reconfigured and added to, this evening at Café OTO continued the exploration. It was at this point in the evening, after Tomaga had been on about 5 minutes, that no stage stopped being quirky and became a definite disadvantage as the guy at the front was sizeable and blocked my view of the band-although one positive consequence was that I did more fully appreciate Tomaga collaborator Ross Adams' visuals which as ever were spot on. Whenever I see this band live I'm convinced they might be the most innovative band around. In the mid 70s Bruce Springsteen was labelled the future of rock and roll by an excited journalist, fortunately he was wrong, the future is far more intriguing.



Bibliography.
http://julietippex.com/roster/tomaga/   

Friday, 16 October 2015

Disappears: No Fat, No Filler.

Photo by Zoran Orlic.
Chicago based band Disappears formed in 2008 and have already produced five albums and an EP (1), they've been described as Krautrock but their albums have such a sense of moving on, seem so distinct and subtly varied that any one label isn't going to come anywhere close to describing them. Their last album 'Irreal' saw them stripping everything back, quite different from the post punk sound on their third album 'Pre Language'. At The Lexington in February their set was built around 'Irreal' and was close to terrifying; sparse and foreboding (2).
Intrigued by a band who seem to produce such honed, complete albums and then shift again I contacted founder member and singer Brian Case who kindly agreed to answer a few questions.      

Q: I was trying to describe your music to a friend ahead of your gig at The Lexington earlier this year and ended up (lamely) with something like 'They're amazing- post modern rock with echoes of Magazine and early Psychedelic Furs!' Would you be OK with that? How would you describe your music? 

I'm definitely OK with that, great bands! I usually say we play minimal rock music, or post punk? I don't know it's hard - it works so differently when you're on the inside.
 
Q: When I was a kid I saw a film called 'The Man with the X-Ray Eyes', as far as I remember near the end of it all he can see is light, everything else has been stripped away. Is that what you were aiming for with 'Irreal', the removing of all extraneous content, music stripped back to its barest component parts?


Yeah, that's something we really focus on - stripping away as much fat as we can and having this direct hit. In my mind it usually falls into a black hole but I'm glad someone is seeing some light in there.
 
Q: Disappears have had a few personal changes, have those changes affected the creative process within the band. Do changing collaborations bring out different facets of the musicians, cause you to explore different aspects of the music? Do those different dynamics help keep things fresh?


Yeah, they all effected the band in different ways, but always positively. They've all pushed us to adapt which is really useful when you release records at the rate that we do. I'd say it's been pretty essential to pushing us into the sound we've arrived at.
 
Q: This November you are performing the album 'Low' at the 100 Club in London, about a year since you first performed it at The Museum of Contemporary Art in Chicago (3).  How did that original idea and performance come about? Were you asked to play that album or was it your choice?


We chose the album, the MCA was hosting the US premiere of the 'David Bowie Is...' exhibit and wanted some bands to interpret his catalog. We had just finshed (or were finishing) recording 'Irreal' and were just about finished touring 'Era' so we had the time to really focus on it.
 
Q: That original evening is being released on vinyl and tape-was it difficult making the music 'yours' or did you try to stay as close to the original as possible?


It kind of just became ours based on the decisions we made about how to handle the material. The A side has some really nice moments, it is straight forward but there's still a lot to interpret. Once we figured out the B side and decided to do it without keys it was a lot easier to get our head around it. you just find the important parts and build around them. I'd say some of the songs feel like original music, that was a great feeling.
 
Q: The vocals are an important part of the Disappears sound- what kind of subject matter do you enjoy exploring lyrically?


Mmmmm...they're fairly existential I suppose, really I'm just asking a lot of questions or commenting on something I can't fully understand. They become how I deal with things or sus out what's in my head.
 
Q: When you play a gig do you aim to replicate the studio recordings or use them as a 'launch pad' to work out from? Does the immediate environment-the audience/ building-affect what you play or are you fairly self-contained?


We're self contained in the respect that we know how to push though the set and songs no matter what the situation is, but we all try and absorb the atmosphere and let the environment take over. If you're playing live I think it's really important to be effected by those things, make it about that moment and space.
 
Q: On her Twitter page Nic Endo comments that 'There is purity in noise (that) can serve as a very direct way of communicating emotion...'(4). Is Disappears music a transposing of emotion into sound or more conceptual?


I think it's both - we're definitely approaching things with certain concepts and ideas but the songs start organically and really only take shape when we have an emotional response from each other. I think it's pretty moody music so yeah, emotion is a big part of it - despite it's starkness.
 
Q: What cultural resources (writers/thinkers/musicians/etc) have you been influenced by, as people and musicians?


So many - but right now I'm reading the Philip Glass book and he's a really inspiring guy. Even the things he did to continue making music and surviving until he got recognition, he deals with them with such grace and unique perspective that it's hard not be completely charmed by everything he's saying.
 
Q: Do you have any plans for the coming year-a new album?


Yeah, we're writing it now, we have about half of it written? I don't know - it's hard to know where we're at or what it's sounding like at this stage. I never know until we're done mixing what we've got - I think I thought 'Irreal' was pretty light hearted when we were writing it and then after mixing I was surprised it was such a black hole. we're not recording until later in the year so I think we'll have a lot of material to work with which is not the usual scenario.


Bibliography.
(1) https://en.wikipedia.org/wiki/Disappears
(2) http://www.the-monitors.com/2015/02/12/disappears-lexington/
(3) http://www.timeout.com/chicago/music/bowie-changes-disappears-plays-low
(4) https://twitter.com/nic_endo 

Tuesday, 29 September 2015

The Presolar Sands-Evolving Stardust.


Photo by Victor Mengarelli.

In September I was lucky enough to spend a weekend in Oslo which included catching 'White Hills' in a (literally) underground venue-Revolver- near the city centre. First up that night were the very impressive Swedish psych rock band 'The Presolar Sands' consisting of  Jessica Mengarelli (Vocals, Guitar), Charlotta Paulin (Bass, Vocals), Wilhelm Tengdahl (Drums) and Micke Pettersson (Guitar) who have recently released a couple of tracks on Lazy Octopus (1). After the gig they agreed to an interview.
 
Your first release was in May 2015- how long had you been together beforehand? Had any of you collaborated previously in other bands?
J: We had been playing together for about a year, although me and Wille were playing together in another constellation before that, Wille on drums and me on tambourine, and that´s actually how we met Charlotta as she was on the front row at one of our gigs, being the most radiant person at the party.
C: At that time I was playing in Serious Mysterious and Body.
M: I came around in August 2014. My other band is called Jeremy Irons & the Ratgang Malibus.

What sort of response have you had to the 2 tracks you've released and your live shows?
M: ”Wow it sounds nothing like the 7inch when you play live, in a good way” must be the most common response.
J: I think people have been surprised to see that we are so straight on. We were rehearsing for 8 months before we had our first show, although we talked a lot about our band. I think they probably expected us to be softer.
W: People were very curious about what we had been doing and it felt very exciting to finally show them what we´d been working on. Especially, we notice it when we play live. ”The hype was real, it was worth waiting for” is probably the best compliment I´ve been told.
J: Someone actually thought we were just pretending to be a band.

'The Mad Mackerel' detected echoes of The Stooges, Spacemen 3 and Asteroid #4 in your sound (2)- but how would you describe your music? Did the ideas for The Presolar Sands' sound gradually emerge or did you have a clear idea of what you wanted to create from the start?
J: Those are bands I really love and feel connected to. But we were very clear from the beginning to try not to be defined by a genre. It doesn´t excite me to recreate other peoples music. Of course nothing can be created that hasn´t been done before but I´d rather not go into something new planning exactly how it should be and feel and what it should generate.
M: I just need to ”destroy” the sound so it won´t get into radio charts. You don´t want to be there.. so I just try to make the highest and weirdest noises there is to (not) get there.
W: We sound a bit harder and more noisy now than when we started. This is evident in the new recordings compared to our premiere release. We are a constellation from different backgrounds and our music is very reflected of it. The Presolar Sands sound has evolved into what you hear today, and will probably evolve even more in the future.
 
Photo by The Presolar Sands.
What is the grassroots rock scene like in Sweden-are there plenty of rock venues and opportunities to play? I saw you in Oslo-do you play a lot outside of Sweden?
M: It sucks. It´s reduced to just have venues in the three biggest cities in Sweden.
J: There are loads of bands and people interested in different kinds of music, but unfortunately I feel that there is not a lot of creativity in getting new exciting venues going. At least Stockholm is playing it a bit safe, following the trends of bigger international movements. I wish there was more of a daring transboundary cultural scene. I guess that´s why we are looking forward to play a lot outside of Sweden, to get in contact with other ways and ideas.
C: Well I think there are quite a few places to play in Stockholm on a grassroot level, I can think of 20 something places. Rest of Sweden I don't know really, but there is at least one place in every city I think. But there should and could really be more! I guess it´s not profitable enough.
W: The scene in Stockholm is really not that limited, however it feels limited, given the crowd that goes to our gigs. It feels like we know all the musicians and music fans within our crowd, so it´ll be the same people who go to the same gigs, which means that you have to watch out a bit to not play too often. You don´t wanna become one of those bands that never leaves Stockholm, who just gets stuck and plays on small venues. That´s why we want to come out and play. To come to Norway feels great, and to get to play in Denmark in a couple of weeks also feels absolutely amazing. And that is exactly what we want. We don´t want to get caught up in Stockholm. Actually, we want to get away from there.

Do you prefer the studio or playing live-which context suits your music best or do the different situations emphasise different aspects?
M: I´m more of a live guy. It´s too much pressure in the studio, it feels like my freedom of playing however I want is taken away from me and the only thing you´ve got left is the technique and the abillity to be on time.
W: The most fun is definitely playing live, but also, while it´s great and all, you can always have those days when you are standing there, backstage, swine nervous and wondering why the hell you have chosen this. But after the gig you always know why.
C: I´d go for live also – any day of the week! It brings another dimension that you can´t get from playing one at a time. (I never recorded live yet though but I´d really love to!)
J: Not to forget is the lonely aspect of pre production that I really enjoy and need. But live is something else. Writing, and building songs up together is like dreaming, while playing a show is like living.

The vocals are an important part of the sound-what sort of subject matter are you engaging with lyrically?
J: I tend to write a lot about everything's finiteness. And usually that comes with the vision of an infinite state on a bigger scale, though not in a religious way but rather in a scientific sense, the fact that we are stardust and that nothing in the world can ever be created or destroyed fascinates me a lot. I also write about corruption. Corruption of the mind caused by desire or destructive patterns.

What are your plans for the next year? An album on the horizon at all?  
 
W: We have a new EP which we will release within a close future, that we recorded this summer. Next year we have plans for an album and to go on a larger tour.

 Who would you cite as influences both as people and musicians?
C: Nina Simone, she had to fight unbelievably hard to do what she wanted musically and in her personal life. She didn´t care if she went against the grain, she was a radical, (she was even pro violence when it came to stop the racism and attacks against black people). She was also a fucking brilliant pianist and singer (obviously). Her playing was hard and wild and dead confident. And most important, she seemed completely free on stage.
J: Well the music of the 60s and 70s has become such a big part of my identity that it must effect everything I do musically. I admire bands who try to stay out of a genre, that pushes boundaries and take influences from different contexts. I find that in people like Syd Barrett and in the music of Sonic Youth and  Soundtrack of our Lives. I look up to musicians that seem sympathetic and honest, like Ty Segall, Iggy Pop, Graham Coxon...
M: Fred Sonic Smith, Slash and people who plays really loud guitars.
W: I grew up with the lovely mix of indie pop / rock and garage. Radiohead, The Strokes, Nirvana and the Swedish band Broder Daniel were present throughout my youth. I am inspired by artists who don´t care what others think and just go their own way.

and what current bands are you excited by?
J: Black Market Karma, Quilt, The Wands, Dead Skeletons, Ty Segall and Dungen.
C: Hanged man. I love everything about that band; its kind of eerie childish weirdness, its vocals, the lyrics, the darkness, I could go on and on..
W: The best new band right now is Moon City Boys. Otherwise, Arctic Monkeys, The Strokes, Black Rebel Motorcycle Club and the Swedish band Solen are always exiting! And I´m stoked to hear the new Dungen and Libertines record!
M: Sleep, always Sleep.


Big thanks to The Presolar Sands for their time and answers.
 

Tuesday, 1 September 2015

Anarcho-Catholics?!

 
As we head into autumn the thoughts of many anarchists in the south of England turn to the Anarchist Bookfair, being held this year at Central St Martin's near Kings Cross Station, a highlight in the anarchist calendar for many. One of the regular stalls at the Bookfair intrigues some, confuses others and annoys a few so it seemed a good idea to find out a little bit more about the Catholic Worker Movement and why they align themselves with anarchism. I contacted Scott Albrecht for an interview and he kindly agreed.
 
Q: Scott, most anarchists haven't heard of The Catholic Worker Movement, and the word 'Catholic' isn't great PR at the moment. Can you tell us a bit about it. How did it start, what are its values, what does it do?

The Catholic Worker was started on May Day 1933 by Dorothy Day, a former communist, and Peter Maurin, a learned man of the road. They decided they wanted to explode 'the dynamite of Catholic social teaching', ideas such as Distributism, Subsidiarity, Unions, Voluntary Poverty, Non-violence (although the catholic church as you rightly suggest has been violent, in the last century violence has had its primary roots within the nation state). Dorothy Day promoted pacifism, in fact immediately after the bombing of Pearl Harbour the headline of The Catholic Worker Newspaper claimed “We are still Pacifists” The Catholic Worker lost 70,000 readers.  

Within the Catholic Worker Movement are Houses of Hospitality for those who have been made destitute by government policy.  I live at The Catholic Worker Farm where we empower women and children who have fled internal and external conflicts, human trafficking, bonded servitude, FGM and domestic violence. We offer 23 of them food, shelter and clothing to start.  Then we offer therapies, Psycho, Group and Dance. We help them get solicitors, GP’s and dental work, put their children into school and generally support them as we share the same dignity.

But it doesn't stop there.  We engage with the State, non-violently. Many of us have criminal records, I have four! I've been in jail over a dozen times. We’ve poured litres and litres of red paint on Government property, dug graves, blockaded and marched against Climate Change, Nuclear Weapons and all of the invasions. We have engaged with the DSEi Arms Fair, the MoD, Northwood Military Headquarters, The Home and Foreign Offices, MI5, and still keep on 'ploughing'.

Oh yeah,we also Dumpster Dive and grow organic vegetables!  

Q: I first came across you at the Anarchist Bookfair in London, maybe about 10 years ago, where you had a stall. I remember you saying that you had a crucifix on it to express the idea that you don't follow a god who wants to dominate. Are the Catholic Workers inherently anarchist-or is that your take on it? Can Christianity be anarchist? Do you really see a similarity between the teachings of Jesus and anarchism?

Dorothy Day taught that we believe in “the Anarchism of Kropotkin”  It is at the heart of all we do.  We are not a Registered Charities, and take no government funding.  We are trying to build something 'new in the shell of the old'.  Something with human proportion, with human need at the centre. Zones of liberation.

Many christians are unaware that the earliest christians were pacifists and had a anarchist orientation towards the state.  It wasn't until the Edict of Toleration in 324CE that Christianity was made legal.  Prior to that, the state kicked the shit out of christians for not worshipping Caesar, the State and not joining the military.  To be radical can mean to go back to one's roots.  Christians need to go back and read early christian history.

Jesus taught that the “Archons” (rulers) lord their authority over others and make their presence felt.  He taught that If one wants to lead. one should become a slave of all.  He gets on his knees before the crucifixion and washes his friend's feet, a role typically reserved in that culture for women or slaves.  There are many passages in the Old Testament that forbid the establishment of a kingship; whilst all the other nations worshipped them.  In the earliest passages, from Genesis, the Rabbi’s are claiming that all humans are created in the “Image of God”. Quite a radical perspective since all of the other surrounding religions taught that the King alone is the Image of God.     

Q: The dominant expression of the Catholic Church has historically been reactionary, patriarchal and often on the side of the oppressor, the antithesis of anarchism-how do you see yourself in relation to that Church?

I see myself as a challenge to that church. While I may believe in its Dogmas, I believe we must challenge injustice in the church as well. The church is always the last to change. It’s moves to pay a just wage, to stop pedophile priests are reactionary. Like any institution, it reacts slowly and largely under pressure. The truth is though that we expect more from those who talk the talk but don't walk the walk.  

However the church is a voluntary association, unlike the State. It gives honour to the role of conscience. The state couldn't care less. It needs us to remain sedated, support violence or live in fear.

Q: You have been arrested a few times for anti-state/anti-militarist activity- can you tell us more about that? Does christian anarchism emphasise anti-militarism? 

I was conned into the military at an early age.  The recruitment officers were wining and dining me.  Prositituting themselves in order to score me.  I was young and believed in the doctrine of Mutually Assured Destruction (MAD).  We had the fear of a Russian nuclear attack hanging over our heads as children.  Having become a christian while in the military, I was then confronted with a new doctrine, “Love your Enemies”!  This hit me hard and I went to my commanding officer and said that I would refuse to take direct orders, work on F111 Fighter planes, load Nukes, the lot. 

I now understand that the discipline, sense of community, orientation towards a higher goal has been the catalyst for my activism now.  Those values (experienced in the armed forces) are still there, just redirected to enrich human life, not to destroy it.   
Every Christian Anarchist I know is a Pacifist.    

Q: You have spent a lot of years in activism and engaged with social issues-how have you managed to avoid burn out and becoming jaded?

Im not so sure that I've avoided burn out completely. I have been tired and the responsibilities of the farm are immense.  Prayer and trying to allow a revolution of the heart are equally important to me.  What's it all about if we create utopia and yet know that we are feeling like crap inside?  I have an old black punk shirt that says, “ all anarchists are pretty” Id like to think so. 

One of the issues I have though hard on in terms of Direct Action is this. When we close down the gates at Northwood Military Headquarters, do the military not use that as an opportunity to increase their mobility and focus?  If we could stop one bomb from dropping on Iraq, a friend said, it’ll have been worth it.  The problem is, as I see it, If we could stop them from dropping one bomb, the military would still be largely effective.  They either thrive on adversity or ignore it.  

So where does that leave us?  Symbolic actions have the power inherent in them to move consciousness. Think of the hammering of the Berlin Wall.  The Prophet Isaiah said, “They shall beat their swords into ploughshares and spears into pruning hooks and study war no more.” I like that, weapons into agricultural implements so that we can feed people.       

Q: What thinkers, writers etc do you find interesting and inspiring? 

I enjoy reading Chris Hedges, Jacque Ellul, Tolstoy, Ched Myers, Naomi Klein and Noam Chomsky, who was willing to Skype us during our Christian Anarchist Conference last year, but he couldn't get into his office!

Q: What do you think is the most important lesson christianity can learn from anarchism, and vice versa?

That together we’re stronger.  Anarchist can teach christians from their own texts, cause we are largely illiterate!  While christians don't have a monopoly on it, christians can share their thoughts on the primacy of Love and its power to move immovable objects. I believe in Ghandi’s Truth Force and Jesus’ 'The truth will set us free', but we need to understand reality first, on its own terms.  Then we need to embrace and bare the burden of it.  Only then can we change the course of it. 

Tuesday, 18 August 2015

Visionaries, Translators, Interpreters.


Top. Image by Julian Hand. Below. Tomaga in concert. Image by Ross Adams.





 

On a recent visit to the Tate Modern in London I came across a small painting by Wassily Kadinsky, an artist from the early 1900s, I was interested to read that there had been a period when he had wanted his art to be a visual representation of the non-material, his paintings to be of the spiritual (1)-and also of music. Further on there was a room of paintings produced by artist Gerhard Richter while he listened to the music of John Cage, whose ideas on creating music had appealed to Richter (2). In Richter's case there was an interaction between music(ian) and visual art(ist) while Kadinsky went one step further wanting, at times, his art to be the transposing of music into another medium. Visual artists Julian Hand and Ross Adams' work sits between Richter and Kadinsky, albeit in a very different context. Julian's work includes running workshops, live visuals and videos for amongst others The Oscillation, Desert Ships and the recent School of Hypnosis performance at The Barbican as part of 'Station to Station'. Ross is a visual artist who has worked closely with Tomaga, producing their album artwork, live projections and a video for 'Futura Grotesk'. He has also provided live visuals for Orlando. Mesmerised by their work at gigs and intrigued by the creative process I asked Julian and Ross if they would answer a few questions on their amazing work of mediation.

 Q: How did you get involved in the visuals of music? Was it something you were 'always' interested in?

Julian: During my years as an art student I started to take an interest in Super 8mm film. I started to develop an intense passion for the medium whilst at Camberwell Collage of Arts studying Graphic Design. I loved the idea of being able to project the moving image I'd filmed and in turn this opened my eyes to the concept of light projection in its broadest sense. In those days I would try to bend each brief to incorporate using film or slide projections in some form one way or another. I ended the course specialising in moving image and focused my passion for experimental film in my final year. Around the same time I began experimenting with 35mm slide projectors, paints, glues and all sorts of house hold chemicals in an attempt to recreate light show techniques I'd read about and seen created by a friend. I was totally obsessed with these tools and methods of exhibiting or displaying imagery.  https://www.youtube.com/watch?v=Ggx_ZdCcq2A – Love Is…

Super 8 film is silent a Super 8 film camera only records the visual. As my projects and ideas developed I found it necessary to start to incorporate sound ideas alongside my moving images. I began to befriend and collaborate with friends at art school who also played instruments or experimented with sound, some even opted for the label of band. During those years I spent a great deal of time experimenting with sound and image with those friends, sometimes for collage projects but mostly for fun.

One project I remember was titled V.L.E.S (Visual Light Experimental Sound). The make up consisted of a friend with a shed load of synthesisers and effect machines spilling out white noise and drones and myself with as many film and slide projectors as I could operate, covering every available wall space with liquid light, melting slides and burning film loops of 1960's Go Go glam girls and pin up stars in a tiny room at the back of the collage to an audience of nobody. We put up posters round the collage advertising the 'event'. Still, no one showed up and we came out of that room feeling pretty psychotic after an hour or so of mind shredding noise and whirling light and the whiff of Amyl Nitrate faintly trailing behind us. It was definitely a one off experience.

Whilst at collage I also worked providing visuals for local bars and pubs in and around Camberwell and Brixton in South London. I'd turn up to a bar with a suitcase full of projectors and set them up on a balcony or high space and sit up there in the rafters projecting films and painting on glass slides all evening. Usually I'd get a little money and some free drinks. It was a great way to hone my skills and figure out what worked in a live environment. After sometime this became a little boring though. There's only so much bar funk you can listen to before going crazy and after a while the projections started to feel more like a kind of moving wall paper with no personality so I decided to stop for a while and figure out the next move. I like mood lighting in venues and in a sense this is what I was doing in the bars. I was providing a pleasant back drop for night club goers to occasionally look up at over the course of the evening, a momentary distraction from the disco floor. I got very bored of this after a while and realised there was no life in this form of light experience for me. I interact with the projectors and create new slide paintings constantly refreshing the liquid light experience. This important aspect of the process was being missed in this setting. I felt I need to take these techniques to a different audience and put them back in to a performance context and leave the decorative or mood lighting to the Optikinetics projectors rigged in up in the ceiling. I wanted to create something the audience would feel they've experienced rather than just walking into a room with pretty lights. I wanted them to wonder what the hell was happening. After all, this was where the origins of the light show began right? It was a kind of alchemy or magic happening? Or so I thought. I started to think about getting in contact with bands and tailor a light show that complimented the sound and brought/elevated the experience of listening to the music to another level, essentially take the audience on both a sonic and sight journey. I wanted that symbiosis of sound and image to be seamless, I want the audience to walk away and feel the whole performance both audio and visual as one entity.

And so off I went looking for the right sound to connect the lights with. It was hit and miss with the bands I started collaborating with in the beginning. I never seemed to gel completely with the sound or the artists. Again it was good practise but hard going in the beginning because around that time I'd also realised that I didn't want to get bracketed in the 1960's psych or punk garage revival scene. As cool as I thought it was I still figured it was all just treading the same old groovy ground. I felt I was doing something more with the visual techniques by incorporating my own personal film works into the light display and this stuff just didn't fit with the bands I'd been listening to. Around that time I did have the honour of performing with Sky Saxon of the Seeds and his new band Lighter for two North London shows back in 2004. He introduced me to the audience as the forth member of Soft Machine which I was pretty made up with at the time.

After a bought of meaningless or uninspired gigs I decided to give the light shows a break for a while and concentrate my creative energies on my experimental film ideas concerning celluloid film and neon sign video poetry.
Then in late 2005 I had the fortune of meeting and befriending Demian Castellanos. We both connected with our similar taste in music and it sounded like he was working on some pretty interesting ideas for his new music project going under the working title of The Orichalc Phase. One night after a gig we were talking and I explained that I was looking for some strange soundscapes to accompany my film poetry project. Dem showed interest and invited me around to his studio to check out some sonic ideas and his new music project.
https://vimeo.com/16852703 - Neon Rendezvous London

We finally arranged an evening to hook up. After a few beers and a few hours of listening intently to a plethora of material ranging from complete works, works in progress and sonic sketches I went home that night with a selection of tracks and sound ideas to work on. One of the tracks was titled 'Respond in Silence' it was an early mix but Dem was sure it was a strong candidate for his first Orichalc Phase EP release on DC Recordings. A few weeks later he gave me a call and told me to put my best efforts into the visuals for the video as it was definitely going to be the first EP release in the campaign to promote his first album 'Out of Phase'.
https://vimeo.com/83716683 - Respond In Silence
https://vimeo.com/83721116 - Violations

Ross: As an 8 year old in 1986 I got stuck in the cassette inlay of Iron Maiden's 'Somewhere In Time' album that a mate lent me. I was fixated by all of the tiny details in the artwork - like references to the lyrics, their gigs and their other albums. It was so different to the other music I had, and it made me realise there was another depth beyond just hearing an album, however basic. It drew me in with rich otherworldly imagery as start points, and encouraged the internal visual experience I have when listening to music. I loved it and started drawing my own tape covers the next day.

I got involved in music visuals in the early 2000’s by putting up live triggered 35mm slideshows for mate’s club nights in east London - a lot of sweaty breaks and drum n bass, but they branched out and started doing some much more left field nights that felt more visually interesting, so my projections got more varied and more prominent. Most of it was based on abstract or surreal analogue photography I had been making quietly by myself for years, but I also handmade slides. Stuff that seemed to fit the attitude of the music got the best response: surreal, colourful, sinister…. in a dark noisy room a bright light is a powerful thing - so don’t shine it in people's eyes, it’s just annoying. 

Q: How much collaboration is there between the musicians and yourself over style and content?

Julian: We started to think about what kind of imagery we'd use and types of special effects to employ for the video. I'd previously performed a light show where I'd asked audience members to supply a passport photo of themselves of which I'd paint on and then melt in the projector live. It was an evening of face annihilation set to experimental electronic music. I was keen to take this live idea and transfer it to video. Demian was reading a book on sacred geometry and wanted to incorporate some of these designs in to the video. So I made up a set of slides with these ancient designs on and some with Dem's face. I then spent an evening projecting and disintegrating these images and recording the results. The recorded material was then spliced together with a mixture of my archive Super 8 film experiments and raw footage. After a few weeks of editing 'Respond in Silence' we finally had our first music video collaboration complete. It was a real mish mash of ideas but in the end it kind of came together. This was our first collaboration, the first of many to come.

This is how the process of collaboration began between Demian and myself. I would come up with some new or revived projection techniques we could use for SFX sequences or suggest different cameras or weird types of film stock we could experiment on. Then we'd sit down and together and discuss the image content or if applicable a narrative sequence. Our ideas would usually entail a journey to a forgotten or lesser explored area of the city, places of abandon and desolation.
 
And so this is how we progressed as collaborators. Dem writes a track and sends it over. Usually in rough form. I listen and advise sometimes. Then over time one track might stick out and I will start to develop images or film ideas. We will discuss these early thoughts and generally digest them for some time. If the idea sticks and begins to grow then that's usually the cue to put the idea into production. Each video has demanded some form of experimental projection technique. So once a video is finished we are always left with some new SFX material we can work into the live show with The Oscillation. And whilst constructing the video from concept through to realisation we bounce ideas and early edits back and forth. Or in the final stages of post production Dem will come over to my studio and we would go over the near final edit. This is always a good move because I tend to get carried away with things sometimes. For instance during the edit stage of the 'From Tomorrow' video I ended putting our green holographic character in many more of the scenes than was necessary. I did this simply because I liked the process of dropping the green screened character into the lush Super 8mm background footage. Demian came over to check out the edit and was amazed just how carried away I'd got. He suggested we drop some of the scenes in order to let the narrative breath. I was initially against the suggestion. Purely because I was counting up the editing time I had put in over the weeks. After making the adjustments I could see he was totally right. I can go blind in the editing vortex from time to time. It's always good to have that second eye scrutinising the work as it progresses. In the end it betters the final outcome.  https://vimeo.com/83525286 - From Tomorrow
 
I believe it is highly important to get to know the musician/artist you find yourself collaborating with. I'm always interested in their background their influences and where they want to go with their projects. I think you really need to get to know these aspects in order to generate the right ideas for the project. The better I know someone then the better and more honest the ideas can be. Break down the barriers and the visions become deeper.
 
I feel I have my own defined style, visual tastes and aesthetic and a lot of ideas but, it is so important to get to know where the musician is coming from regarding the songs content direction and energies. The musician or band may also have reference material be it literature, photography or art or other video/film influences they'd like to draw inspiration from. All of this is so important in the mix of ideas when collaborating on a project and I am always open to these influences because ultimately I feel they enhance or enrich the project.

Ross: When TOMAGA originally approached me to work with them on the artwork for their first releases, we talked about what we thought fitted their work best and then threw pictures and references at each other until we felt a few elements click. I made something based on those, and we threw it backwards and forwards until we were all happy. 
 
There's always a deeper interaction around the releases and the printed work, cos it's much more of a concrete statement, as opposed to the live show which is a loose ritual that evolves each time you do it. The live visual content stemmed mostly from the ideas in the original conversations we had, as well as Tom (Relleen) using the phrase "psychic conveyor belt" which really stuck in my head. 
In a live setting I'm there to add another dimension to TOMAGA's work - they're a great live act by themselves and without my visuals, and when we play together I follow their lead as they aren't there to soundtrack my visuals. It would be good to swap roles at some point and for me to make a short film for TOMAGA to soundtrack. Maybe next year! 

Q: In a live setting how much of what you do is an improvised response to the music and how much is pre determined? Or does that balance shift and change according to the gig?

Julian: During a live show the balance between the pre determined and the improvised with regard to the imagery and visual response varies with accordance to who (which band) I'm working with at the time.

For instance my shows with The Oscillation in a sense are a lot more pre determined than one might think. I have worked with the band live now for many years and know the songs and set by heart. I know the pace and structure of each track and am therefore prepared for what's coming up in the set. I have certain techniques with the slide painting prepared for either an aggressive fast moment or a slow spaced out sequence and as I know what to expect from the band I can have these elements ready for the changes before the changes are made by the band. So this gives the live show a tighter feeling overall. Someone once described what I do as a kind of dance behind the projectors because I am constantly moving around either preparing a selection of slides or leaping about the projectors changing images, pulling focus or strobing the light mixing the various projections in time (or seemingly in time) to the band on stage. This level of togetherness I have with The Oscillation's live set has grown tighter over the years.

In turn, if I'm working with a band I've had less experience with live then my work with them is usually a lot more improvised. I have certain techniques that I know work and look good. These will usually emulate the classic light show. If a band hasn't requested any specific imagery then I will usually perform a standard liquid light show. These can be open and a lot more experimental. I feel there's a bit more freedom in the improvised approach and it makes for a good change from time to time. If something works well that I haven't tried before then it will usually end up being incorporated into an Oscillation show.

Sometimes bands will ask for certain imagery to appear within the light shows. For instance I have currently started collaborating with Jim Jones and his new band The Righteous Mind. Jim asked me if I could incorporate imagery referencing Occult, Masonic and Illuminati symbols and other weird magic iconography. I put some short animations of eyes and strange magic signs together and edited them into the pre recorded video aspect of my show. I also made up a load of slides using magic symbols of which to paint on and burn in the projector during the show. So in a sense a show can also be tailored to the band in a bespoke fashion.

Ross: I usually make themed groups of still images or short videos with the music in mind, and use these to make batches of video loops that relate to parts of their set. I play and mess with these to fit what they play, so really I'm VJing using all my own footage. Random stuff and accidents happen in a live setting and that is fun too. 

Q: Ego Sensation of White Hills commented that 'There’s also something powerful about the artist actually showing the audience the music' (3). She was talking about the musician playing live but is that what you doing, 'showing the audience the music'. 

Julian: I'm not sure that I would say that I'm 'showing the audience the music' via my visual work on stage. I think everyone, if they were to 'show the music' would show something completely different and entirely unique.

Certainly the visuals I conjure are styled to the band and for the band or style of music. In the case of The Oscillation there has been a strong collaborative venture in the production of the music videos and art work styled around the band. Therefore the imagery we use in the live shows directly stem from these visual ideas generated by Demain and myself. We've always tried to keep the light show as abstract as we can in order to enable the audience to make their own connection with what's going on visually in relation to the sound.

The nature of my projection work is fluidity (liquid). Therefore there is a sense that that the projections move or flow with the sound, especially when it's all going to plan. I try to project many levels or layers of movement to reflect a songs structure. I use various household chemicals and products to achieve different speeds or pace. Each has is own character of effect or movement. A certain type of glue when mixed with watercolour ink and boiled moves in a particularly fast and vicious way. I will employ this concoction during an energetic moment in the set. A fast track and a retina ripping slide to suit. The audience will observe and experience an intense moment both sonically and visually. They will see the two elements moving in unison as one. This is the intension and when I achieve this I feel the show has been a success. People will ask me if I have the projectors rigged up to the speakers in someway as they feel the two elements are completely interconnected and moving in time as one. I always enjoy telling them 'no' and informing them that it's their brain marrying the two together. There are so many levels of movement in both the sound and what you are seeing moving around in the light show. Your brain pairs it all up and renders it a whole. The experience is in your head!

Ross: I hope so. It's projecting my version, an interpretation, or hopefully an enhancement to what TOMAGA are playing. I hope it feels interesting, draws people in, and that they connect with another angle in the music. Ideally it would go beyond the performance, get a bit subconscious and they’d have some heavy dreams that night too. ha ha.

Q: Would you see your visuals as interpretation/representation or the transposing of music into another medium?

Julian: The visual techniques I use have a long history with the world of music and have always been seen to be part of the music or its interpretation. The liquid light experiments date back as far as the Jazz scene in the 50's and were seen even then as representing the sound via a projected visual style. I consider my efforts to master these techniques and bring something of my own imagination in style to the history of the light show a continuation of this art form and its will to co exist with music/sound. It's symbiosis with sound expounded the art form to a much wider audience. The two are now intrinsically connected.

Ross: I think my visuals will always be my interpretation, but if people experienced it as a transposition of TOMAGA's music then I would be very happy. Ultimately that's what I'm aiming for - for people to experience the band and the visuals as a synergy, which in turn is greater than the sum of its parts. 

Q: When making a music video how do you decide what style of art and what structure is appropriate to a particular piece of music?

Julian: The style of art or design for each video I embark on is usually always discussed in the early stages of the videos concept either with the artist, band or record label.
Each video project will be different in approach, no video is the same and I try to experiment with different ideas or combinations of ideas for each piece.
Sometimes I'm given a list of references to check out and am asked to, in some way, emulate in my own way the special effect or film trick. I will discuss the track with the musicians and get them to describe its essence in greater detail. Usually I have some visual trick I'd like to explore and try to weave it into the structure of the video somehow.
In a perfect world each project will involve Super 8mm or celluloid in some way or form as this is my preferred medium. I get the most kicks out of using film. There's a greater sense of reward when an idea works out well. I love the aesthetic and always will. So when I'm asked to make a video then this (film aesthetic) is usually kept in mind. I have a reputation for this kind of aesthetic or style and am usually asked to produce something using these methods. So in a sense the style/look is already decided.
When making 'From Tomorrow' both Demian and myself where reading a lot of J G Ballard and we wanted to bring in aspects of his writing from a visually descriptive point of view. We wanted to build visually upon his dystopian vistas, our journeying with the camera took us to derelict factory districts and brutalist inner city caves which seemed to reflect the imagery he’d installed in our mindscape. The idea was to set a strange backdrop in which we let loose our holographic future female transmission. I read a lot and this informs or influences my work in a big way. I’ve just read ‘The Rings of Saturn’ by W.G. Sebald and am deeply inspire by his writing. One landscape in particular is now on my list for exploration through the S8mm lens. I now plan to visit Orford Ness and the abandoned weapons testing facility area which is now part of a nature reserve.

Ross: To be honest I really just try to visualise what I am hearing. I go into lots of detail and listen to it repeatedly to really know it, but also to hear it when I'm in lots of different places and moods. That's a good way of checking the inner vision you are growing will stick and is worth pursuing in the physical world. The hardest bit is making it real. https://vimeo.com/108414897 TOMAGA Futura Grotesk.

 Q: Do you have a 'weapon of choice'?! A style or technique of art that you really enjoy employing?

Julian: As I mentioned above, I am deeply into celluloid (S8MM) as a medium for generating moving or still images. I love the medium for many reasons. The varying grades, colours and grains of film, the amazing array of different cameras and strange lenses that you can explore, it's home made D.I.Y aesthetic, the use of light to create and view an image, it's ability to paint like the memories eye, it's versatility and tangible aspects, film painting and out of camera effects. My list goes on and on! And that's why film is my 'weapon of choice'.

Ross: Dark. A blank screen. It's like knowing when to shut up. Sight is our dominant perception so it's important to know how to be quiet with it - especially in a dark room. 

Q: What artists involved in music visuals have you been inspired by?

Julian: My early influences I guess would go back to my MTV2 days and watching all kinds of weird videos in the dead of night. For instance the video 'Fish Heads' by Barnes and Barnes springs to mind. All that odd low-fi, low budget stuff made by independent bands and labels was always really encouraging. It gave you the feeling that you could go out there and do something yourself. Then I guess at art collage and there after I've been heavily into underground film or experimental cinema, and also instillation art and light show environments have been a big influence.

Ross: I saw Sculpture a few months ago in a studio space and it was the most exciting thing I'd seen for ages - wobbly, swirling madness. I've seen a lot of music visuals that just look like screen savers and that doesn't interest me much, same goes for sampling from 'Holy Mountain' and other films - I mean, why not make something of your own to show? 


    
Bibliography.
(1) http://www.tate.org.uk/art/artworks/kandinsky-swinging-t02344
(2)  http://www.tate.org.uk/whats-on/tate-modern/display/gerhard-richter
(3) http://freedomnews.org.uk/walk-for-motorists-an-interview-with-white-hills/


Julian's List of influential videos.
https://www.youtube.com/watch?v=cTpUVAcvWfU - 'Fish Heads' by Barnes and Barnes - Can you believe that that was directed by Bill Paxton? 
https://www.youtube.com/watch?v=8fyr0zbaFyE - The Cramps - Bikini Girls With Machine Guns 
https://www.youtube.com/watch?v=eFxpL5TpZH0&index=1&list=PLMf-9Y0QKhmnnkfgdUuziL-ZcJuov7kV4 - Public Image Limited - Death Disco
Don Letts - Punk Rock Movie - For his hand held on the ground in the trenches attitude to film making

Then I guess at art collage and there after I've been heavily into underground film or experimental cinema. Here are some of my favourites from that ever expansive universe.
https://www.youtube.com/watch?v=Stmu01fIkII Kennith Anger - Puce Moment - One of my all time favourite films!
https://www.youtube.com/watch?v=XbudgzMaQvI&index=16&list=PLMf-9Y0QKhmkGIWCRNM1HQmtpCH4FSmGr - Derek Jarman -  TG Psychic Rally in Heaven 81  
https://www.youtube.com/watch?v=0AB1qfx5c8Y&index=11&list=PLMf-9Y0QKhmkGIWCRNM1HQmtpCH4FSmGr - Derek Jarman - Art of Mirrors
https://www.youtube.com/watch?v=JaKKcyoEmr8&index=24&list=PLMf-9Y0QKhmkGIWCRNM1HQmtpCH4FSmGr - Stan Brakhage - Dog Star Man: Part III [1964]
https://www.youtube.com/watch?v=GeyrKu34vIQ&index=38&list=PLMf-9Y0QKhmkGIWCRNM1HQmtpCH4FSmGr - Aldo Tambellini's BLACKOUT (1965)
https://www.youtube.com/watch?v=rH-JxCXM-Ls&index=12&list=PLMf-9Y0QKhmnnkfgdUuziL-ZcJuov7kV4 - Roger Beebe's - Strip Mall Trilogy
https://www.youtube.com/watch?v=dXINTf8kXCc&index=5&list=PLMf-9Y0QKhmnnkfgdUuziL-ZcJuov7kV4 - Marcel Duchamp - Anemic Cinema
https://www.youtube.com/watch?v=YSY0TA-ttMA - Maya Deren - Meshes of the Afternoon

Also instillation art and light show environments have been a big influence
http://www.tate.org.uk/art/artworks/metzger-liquid-crystal-environment-t12160 - Gustav Metzger - liquid crystal environment
http://www.boylefamily.co.uk/boyle/texts/journey2.html - Mark Boyle - Son et Lumiere for Earth, Air, Fire, and Water ​
https://vimeo.com/29428835 - Anthony McCall - Line Describing a Cone

Friday, 24 July 2015

White Hills; An 'act of resistance'.

Photo by Chris Carlone.

I'm sure you have noticed that in late capitalism much of mainstream culture, including music, is the tarted up results of market forces and the commodification of all things, it cannot help but be bereft of meaning and over arching purpose, it has nothing much to say and no idea where it is going; it operates as a social anaesthetic. In contrast White Hills are a band with purpose, vitality and a desire to communicate their concerns on political and social issues.

Formed in 2005 by Dave W. and Ego Sensation White Hills' music is variously described as Space Rock and /or neo-psychedelic and like Hawkwind during Bob Calvert's phase their music includes social-political comment. Their 2011 album 'H-p1' was the first part of a trilogy looking at structures of control and power with 'So You Are...So You'll Be' (2013) 
exploring the individual's agency within those structures (1). While the new album 'Walks For Motorists' (2015) does not complete the trilogy it does continue the vein of social comment so when White Hills kindly agreed to an interview rather than ask about musical styles and production it seemed like a good opportunity to explore these other facets of their music.

Q: Picasso wrote about art washing away the dust of everyday life from the soul (2). Is that something you would aim for with your music, that it would wake people up?

EGO: I think, in general, music and art allow us to transcend the drudgery of everyday existence and move towards a higher consciousness.

DW: I agree with Ego. Art has always been a way for me to dive within myself and ponder issues big and small, whether personal or societal. It has always been  a vehicle of enlightenment for me in some form or another.

That said, everyone exists within their own reality. All is internalized differently from one person to the next. How I feel is how I feel.  I don't write for others, I write for myself.  Creating is a cathartic process that does wash away the dust of everyday life from my soul.  I don't feel that my purpose on this earth is to wake other people up. I can only be responsible for myself. I think the majority of our fans are people who are looking for something more than the insipid bland music of the day. They are thinkers. A thinking mind is a questioning mind. A questioning mind is an active mind. An active mind leads to action. Action leads to change.

Q: We live in a physical and social world that is shaped by and for the elite-is your music a comment on that, an alerting of people to it or an act of resistance against it?

DW: I am merely a viewer, listener and thinker. What I internalize comes out in the form of my art. When such topics are approached within our music it tends to be very abstract. It's not pointed or dictatorial.  It is the listener whom decides what they see within it and what they take away from it.

EGO: Our existence as a band, and as the people that we are, is a peaceful yet assertive act of resistance. We write music we believe in that comes from our hearts. It's not manufactured after testing public opinion, staying up to date on the newest trend of the hour with the intention of selling as many units of it as possible. My point is that when anyone acts from their gut- according to their conscience and true desires, they immediately become revolutionary in a society that values false appearances, catch phrase headlines, insipid internet popularity contests and E! Entertainment News.

Q: Do you think making the hidden 'visible' is an important aspect of art?

DW: Yes, I do think that is an important aspect of art.  In my opinion, people who create true art are making the hidden visible. Whether the artist chooses to be direct or abstract with getting their message across that doesn't matter.  Art should make you think. The rest is just bland drivel to numb your mind.

Q: I was fascinated to read that 'H-p1' was in part ,at least, a response to the capture of the US Government by corporate power and the one dimensional top down narrative that blocks space for discussion (3). What aspects of that situation were you confronting on 'H-p1'? Is that a situation you see improving in the US or do you think the corporate state is now established? If so, how do you see the situation being rectified?

EGO: H-p1 explores the rabid consumerism that corporations have infected society with by creating cheaply-made, quickly out-dated, disposable products and the imbalance it creates within the world. To my knowledge the situation is only getting worse in the United States. Corporations seem to have free reign to violate all kinds of laws without ever suffering repercussions. They can even freely and legally hire lobbyists to persuade politicians to rewrite laws in their favour.  Money is the only thing that seems to talk in this country though we all have to listen to a load of hypocritical bullshit from the politicians.

I think the system can only be rectified by people turning to a more community based way of doing business- in smaller groups. Corporations initially sold themselves to people by offering them better deals. For instance, Walmart had a technique of opening 2 of their stores on either side of town and then after crushing their local competition, they'd close one of the stores. In New York City, a huge string of corporate pharmacies have opened over the past 10 years. They used to offer discounted prices over local competitors, though now that a lot of the competition has disappeared and people have made a habit of shopping at these stores they can raise their prices without losing the business. People believe they're getting a better deal- either because of force of habit, misleading advertising, tricky marketing techniques or just mistaken beliefs/myths about a big corporation being able to offer you a better deal. We need to stop supporting businesses we don't believe in. We need to buy less and buy right: shop somewhere local and pay a bit more for better quality. We also need to think less about buying stuff and more about connecting with our communities in a way that benefits everyone- for example creating community gardens, forming a childcare share group or a local business owner's association to help encourage everyone's success.

DW: If you take profit away from the corporate structure, it will not have the power it does now.  We as individuals have the power to choose where and how we spend our money. If each and everyone of us thought about that and what we are supporting when we purchase something I think people's buying habits would change. If we get the money out of the corporate hand(s) and support local small businesses the paradigm of power will change.

Q: Corporate capitalism’s most brazen trick is to try and pass itself off as natural, attempting to convince us that no other world is possible. The Situationists wrote about this in 1950s/60s referring to it as ‘the spectacle’ (4) — Society and culture dominated by a seamless representation of a capitalist version of the world via the media, state and corporations, the oppressed internalising those values and any dissent marginalised or co-opted. 'So You Are...So You'll Be' considered the individual's response to this situation-what conclusions did you reach?  

DW: 'So You Are…So You'll Be' is a meditation for one to think about how they personally fit into this paradigm. As I mentioned before I'm not here to tell people how to think, I merely ask questions and let all who are willing to listen make their own decisions.

There is an underlying theme to "So You Are…" and that theme is change. What is different now from years past? Have we as human kind really changed over the time we have existed? I'm not talking about technological change I'm talking about a higher consciousness. We believe ourselves to be at the top of the animal chain, but we are the only animal on the planet that does not live within harmony with it, so are we really as intelligent as we think we are?

The conclusion I came to is that things really don't change. Technology may advance, but we as the human race keep on running around the same circle. There is always an elite that manipulates the masses and keeps them down. When the masses feel empowered they simply take down the elite power structure and the process starts all over again. So You Are…So You'll Be.  I do think that humans have a greater capacity for change, however there needs to be a massive shift in the collective conscious for that change to encompass a new way of existing where we live within harmony with all and we finally see us as an integral part of the universe, not the 'end all' being stuck with in it. 

Q: You mentioned that the new album, 'Walks For Motorists', contains social comment and context, could you expand on that?

EGO: The title itself is a comment on how people come to define and pigeon hole themselves. It came from a Welsh visitor guide of the same name that was produced in the late 1950's/early 1960's when it was popular to be a "motorist". Obviously we all have a variety of roles in our lives that we can define- we're pedestrians when walk down the street, we're consumers when we go grocery shopping, we're fans when we attend a concert. No big deal- it's the tedious specificity of our language. The problem comes in when people use words with agendas to define themselves and as a matter of pride or psychological cohesion refuse to consider the complexities of issues. For example, voting for a politician simply because they belong to the party we belong to rather than really examining the person and their views. The danger in the US is there is always some politician blabbering about "family values" to push through some piece of legislation that doesn't have anything to do with so called "family values". But for a huge group of people in the country, the term "family values" is very powerful- so often they look no further than the catch phrase.

The song "£sd or USB" offers an open ended question to people. What will you choose to use to tune into the world or completely drop out? Lately when I walk around New York, especially Brooklyn, there's a lot of iPhone zombies roaming the streets. They stare at their screens while blocking sidewalks or cluelessly walking out in front of traffic. It's as if they can't be away from the screen for a moment- they might miss a text, lose their way on the map, miss out on someone liking their photo. It's worse than crystal meth! But the phone isn't the problem, just in the same way that drugs aren't the problem. People are the problem! So many of us seem to be missing out on the desire and willpower to evolve. Technology is growing so fast and creating so many amazing possibilities for improving our lives and our consciousness- but why is it that so many people use it to just check out mentally, bully others, obsess on old lovers, and consume? We all have the capacity to do much better.

Q: We live in societies that encourage us to derive our self identity from consumption, which I think you addressed on 'H-p1' (1) -how do you counter that? John Holloway argues that our sense of self should be sourced in our collective efforts to improve situations, in acts of collective creativity and community (5).

EGO: The sense of having purpose is lost on many people and contributes to a society of psychologically twisted, confused and/or medicated people that have forgotten how  to be useful members of the community. People are so concerned with making money- because it is necessary! Not once has my landlord excepted my musical ability or goodwill in exchange for rent. But from my personal point of view, the optimum goal in life is to spend your time creating something of value to yourself and others and to be able to survive (eat well, have a roof over your head) doing so. I think the problem starts when we go beyond providing for ourselves and just get greedy- valuing money over all else. That's why in the music business it's hard to find a supportive record label. The current model is to sign up a band that has some buzz and then if they don't deliver profit almost immediately to drop them. It's like day trading and it doesn't allow for an artist's growth or anything interesting that's not instantly "trending". It banks on people's lack of focus fostered by looking at too many fucking links on the internet under the guise of becoming "better informed". Many neurologists have done studies that show that focusing on too many items at once weakens the power of the frontal cortex. I think all of us that have a computer and/or smartphone know this from experience. We might turn on the computer to work on an interview, then remember we need to send an email, then while opening up the browser remember to search the internet for an answer to a technical question and suddenly hours have passed by with seemingly no real positive action.

The first real way I learned to counter lack of focus and resist the urge to over consume was through practicing Bikram yoga. It's a very disciplined practice done in a hot room 40º C (104º F) for 90 minutes and it involves focusing on your breath and learning to find comfort and stillness regardless of the heat. You learn to go from maximum effort to complete stillness from pose to pose and you learn to resist the urge to wipe away sweat, drink water or let your mind wander. The practice really helped me identify how consumption is usually a psychological pacifier: I feel sad or inadequate so I'll buy some new clothes or a second cup of coffee. I've learned to think about my purchases in a different way and better understand the difference between NEED and WANT. Ultimately all suffering comes from WANT, of which materialism encourages an endless supply: a newer this, a faster that, bigger, prettier, etc. You have to learn to find contentment now and always- on the day you lose your job, on your wedding day, in the sweltering heat, in the blistering cold and on a perfect sunny cool day. Nothing from the outside can bring you that contentment if you don't cultivate it within yourself.

I like how John Holloway refers to "cracks in the rule of money". These are the things that a thinking person sees in the world that give a burst of hope. It can be music you hear that touches you in a way you can't really explain, a group of people that gather together to protest, or walking through a forest and noticing the beauty of the trees. Sometimes we're get so stressed out about money that we forget it is truly meaningless. I seriously doubt anyone on their deathbed regrets not making more money.

Q: Nic Endo has on her Twitter page that "There is purity in noise, which can serve as a very direct way of communicating emotion..." (6). Is White Hills music sometimes a transposing of emotion into sound or more conceptual? Would you see it as the musical equivalent of abstract art, the transposing of ideas and concepts, experiences and emotions into another form?

EGO: White Hills' music is always a transposing of emotion even when we consciously decide to create something conceptual. Much of our work has started from a simple riff line that has grown organically through playing it live, allowing the separate instruments to take root or bloom as inspiration takes them. I think music and dance are the purest and most powerful languages we have on earth. They allow for a more universal expression of real truths about existence that we can all relate to. Words often confuse meaning more than clarifying it.

Q: Some artists find their work is more complete live-in the interaction of band and audience-does the live setting bring an extra dimension to your work?

EGO: Playing the music live in front of an audience creates the potential for magic and spontaneity.  Dave's guitar work on much of the material changes from show to show and I think he often feeds off the energy of the audience so that no two shows are ever the same. There's also something powerful about the artist actually showing the audience the music. It becomes a more active experience for everyone. The audience is never really passive in the way that someone listening to music at home or on headphones is. Your eyes dart around the stage checking out the drummer, the bassist, the guitarist, the singer. You notice new things: the melody that you thought was a guitar is actually played on the bass, the bass player is a chick! who knew?, the guitarist uses a combination of effects pedals to create crazy sounds you might have thought were synthesizers. There's a whole new layer of information that embellishes and enriches the experience of listening. As a player, you can watch the audience and literally see when your music is moving people.

Q: In March this year you released 'I Remain In' on a 'God Unknown' split with Mugstar, how did that come about?

DW: We've been friends with Mugstar for quite some time now. Jason and I have been speaking about doing some kind of split together since both our bands appeared on the Trensmat singles collection celebrating the music of Hawkwind.  When Jason approached me about starting up God Unknown, he asked if I would be interested in having WHITE HILLS be one of the releases with Mugstar. I didn't have to think about it at all, I agreed right away. 

Q: How about your own evolution! Over the period you have been writing lyrics and music has the subject matter changed as well as your own understandings? What cultural resources (writers/thinkers/musicians/etc) have you drawn on, and been influenced by, as people and musicians? 

EGO: Here's a small list of some of the people that have in some way inspired, influenced or moved me: Gilda Radner, Bob Fosse, Jim Henson, Nick Cave, Siouxsie Sioux, Albert Camus, John Waters, Jimmy Page, Pedro Almodovar, Amy Sedaris, Lucas Samaras, Dostoevsky, Fritz Lang, Exene Cervenka, Spaulding Gray, Peter Sellars, Wayne Coyne, Albert Einstein, Freddie Mercury, Iggy Pop, Marilyn Monroe, Robert Wilson, Salvador Dali, Werner Herzog and a million others I'll remember tomorrow and wish I listed.

DW: Buckminster Fuller has been a big influence on me. What a different world we'd live in if the powers that be of his time put into actions his ideas and inventions. Writers; Hunter S. Thompson, Aldous Huxley, Voltaire, Jospeh Campbell, Italo Calvino, Albert Camus are so many others .  Musically I've always been drawn to artists/groups that push the boundaries of what is normal at the time. People like John Cage, Ornette Coleman and Miles Davis to bands like PiL, Einstuzende Neubauten and Throbbing Gristle. To be honest there are so many bands, artists, writers and philosophers I could name here it's numbing.

As for my own art, I've always been one that explores what some might see as heavy issues. It's what draws me to create and what keeps me sane. In my early stages of writing, I was more pointed, forceful and opinionated within the subject matter. Now I find my work to be more conceptual and abstract. Why I'm not sure. It's just how I see the way my process, and it's end results, has developed.


Massive thanks to Dave and Ego for their time, insights and wisdom.



Bibliography.

(1) Terich, J. (2013) 'w: White Hills' http://www.treblezine.com/interview-white-hills/
 
 
 
(4) Debord, G. (1968) 'The Society of the Spectacle'. Black and Red, USA.
 
(5) Holloway, J. (2005) 'Change the World Without Taking Power', Pluto Press, London and New York.