Interview with Steve Wilson

Steve Wilson’s own brand of psychedelic rock and industrial noise (of Procupine Tree fame) has never been music for the faint at heart. In fact, it questions the very boundaries of what music really is. Steve caught up with FasterLouder for a chat about his latest solo album Insurgentes the most ambitious and challenging work in his critically acclaimed career. Whether it be from practice or a calculated conviction his arguments are verbose and amazingly convincing. Insugentes is in full release and a recommended listen to those sonically open minded.


So tell me, what was it like working with Yoko Ono?
I was given a track she produced in the seventies. I was a great admirer of Yoko and I thought she was underrated. She was a very innovative artist. She was lovely. It was a great honour to work with, arguably, one of the most famous women of the twentieth century. I get Christmas cards from her every year now, it’s great.

It’s interesting that you started Porcupine Tree by dubbing all tracks yourself. How have you drawn the line between early Porcupine Tree and this solo album?
Early Porcupine Tree was focusing on my love of psychedelic music. This is an album that encapsulated all of the aspects of my musical character. We have everything from piano ballads to industrial noise. That is why I thought I could use my own name rather than an alias.

How do you justify producing industrial noise as a musician?
For me I never think of music. People often say “how can you think of noise or ambience as music?” For me it is very simple. When you go to the cinema and you are watching a film. Say a horror film. Your sense of dread is being enhanced by a certain sound or texture a drone or a noise. That for me tells me that anyone can respond to pure texture or noise as an emotional trigger. So I see no problem using noise as a musical devise. Pure texture and pure sound can be very emotional. I think of music in terms of certain sounds triggering emotion. At the end of the day that is what music is, it's not just pretty melodies.

Why does the music you write diverge over so many different genres?
It has come from my love and passion for different kinds of music. My taste in music is more diverse and eclectic than most peoples. For me the gift of making this music is a real honour. I think it is a gift that I can do this for a living. For me it's just an extension of the passion and enjoyment of listening to music. I have never just wanted to stick to a certain style.

What has motivated you to pursue solo work after such success with Porcupine Tree?
The sense that there was still something that was not being expressed within that context. Porcupine Tree is a collaboration and there are certain things that I would never ask the band to play. Noise music for example. I wanted to make a record less about musicianship and more about atmosphere. In a collaboration you tend to find a common ground. Making a solo record liberates you from those considerations. I made Insurgentes in a very selfish way. Making a solo record is a purist expression of that. That was quite liberating.

Insurgentes has been recorded in a variety of locations around the world. Do you think influences from those location crept into the tracks?
I think they did but I couldn't tell you how. When your a musician or a creative person of any kind anything that happens to you always influences what you create. You should always be absorbing your experience and it should be influencing what you create. But they are more intangible. There is a more obvious influence from Mexico in the name. It is not a world music thing. That is a kitschy thing. It was a way to get fresh environments and fresh experience.

The Album was written over two years. Was that because you require such a high standard of work from yourself. Or is solo work a side project?
Neither really. Everything I do I aspire to make it as good as it can be. The origins of the music came from a pool of songs that I had written for other projects but were never used. Not for lack of quality but they did not fit into a context. I wanted to finish them off and give them a life. Most songs were written in about three months in a fairly concentrated period of creativity and writing.

Why do you think rock and electronic music fuse so well to create a very atmospheric tone?
Rock music has always thrived in the studio when it has been more aware of the pure quality of sound. I'm not a great fan of musicianship. I don’t like music where the musicians are showing off. I like music that has an intellectual core about it. Creating sonic worlds. Electronic music is really the great innovation of modern music. If you want anything to do with something fresh you have to embrace electronic music.

How do you write a track?
It's almost impossible to answer. If I knew the answer to that question I would never have periods of writers block. And I have those periods. And then sometimes I have great bursts of inspiration. It can come from a title, a fragment of a melody, a movie I've just seen. If anyone could answer that question we would bottle it and sell it. Every time I write an album I think its the last i will ever write. Every time I prove myself wrong. Experience is my secret.

Published @ http://www.fasterlouder.com.au/
Link: http://www.fasterlouder.com.au/features/17885/Steve-Wilson.htm

The Duke Spirit @ The Oxford Art Factory

The Duke Spirit Australian tour promoting their sophomore album Neptune has been surrounded by an excitable hype prompting each venue and ticketing agency to reveal their own personal anticipation. On their event page Mostix announced “Wow! We cant believe its actually happening - the mighty Duke Spirit are finally breaking from their relentless UK and US touring to visit their avid fan base down-under!” At the same time it was FasterLouder’s gig of the week.

So it’s no surprise that such candid eagerness evolved into an intoxicating buzz as word of the night jumped from blog to blog and at last it arrived. Before The Oxford Art Factory got an opportunity to open its doors a small bunch of animated fans began to collect on the foot path. As the bouncers pulled back the rope barrier in front of the entrance punters came streaming out of all of the adjacent pubs bringing a lively vibe to to the venue that hadn’t even had a chance to start playing some background music.

It’s always hard to ignore the manufactured cool of The Oxford Art Factory. Brick walls perfectly manicured to look warn and industrial are met with clean sheets of glass and edgy black bench tops. But it all feels so in place when the DJs fire up a few tracks as your crammed between hordes trying to get a few drinks.

Just as I was checking the set times black curtains parted to reveal a stage billowing with smoke and as it began to clear Jack Ladder stepped forward clutching the mic, black guitar hung around his neck. His opening grabbed the attention of a splintered crowd grouped for conversation and his velvety voice turned everyone’s heads in his direction. The recent winner of the Red Bull Award In Recognition Of Outstanding Potential began to really prove his worth. There were tones of blues, soul and rock backed by his pulsating and anguished voice as his awkwardly tall frame writhed knock kneed on stage. It was all going so well until his second song was delayed by a lengthy re-tuning session that led some ungrateful audience members to yell “your first gig mate?” Jack responded politely without making much fuss but the incident seemed to effect his nerves drawing the punchy rock sound away from his unquestionable talent. Instead the rest of his performance was cautiously timid.

Jack Ladder finished his set while the crowd looked upon him with a sense of impatience. Bodies started to pack into the centre of the club quietly searching for the best view. As the striking blond hair of Leila Moss appeared from behind purple smoke and drawn curtains the crowd quivered but never broke out into dance. Amidst fans standing still I watched as Moss’s figured jumped around on stage like the perfect front woman. Throwing about her mic stand in-between innumerable changes of percussion instruments. Her voice filled the room as The Step And The Walk was performed with such character and precision it blew the recorded version of the water. But my personal favourite was a grungey and hard hitting rendition of This Ship Was Built To Last.

The hype was justified. Flawless vocals were backed by a practiced and clinical band standing like thin black pillars around Moss. Luke Ford and Toby Butler kept to their own corners as if they were afraid of being seen. Carefully strumming out each note without a hitch. At first I thought this was simply there ‘look’ but when they both let rip during the encore I couldn’t help but think what could have been had they both been as animated during the whole performance.

I stood, like everyone, in awe and just plain happy to watch some solid rock ‘n’ roll again. The Dukes Spirit are true masters of building up and breaking down rhythm. Each slow ballad seemed like it was perfectly in place. Once all was said and done the band quickly left the stage without to much to say. But looking around me I could tell everyone had just seen a truly great gig.

Published @ www.fasterlouder.com.au
Link: http://www.fasterlouder.com.au/reviews/events/17752/The-Duke-Spirit--The-Oxford-Art-Factory-Sydney-260309.htm

Interview with Chimaira

To promote their latest album, The Infection, Chimaira launched www.spread-the-infection.com a site where fans can download flyers and stencils they must use to in their local area to spread awareness of the release. As a reward for their efforts fans who submit photos of their exploits receive song samples from the album and other prizes. When onthebarrier spoke to guitarist Matt DeVries one of the first questions that came to mind was “what were some of the most creative or ‘out there’ submissions?” Without much hesitation Matt DeVries replied “the tattoos.” Two dedicated fans had decided to up the ante by tattooing the symbol from The Infection album cover onto their arms. An act that may be very hard to beat.

Chimaira can thank this new found fanaticism to a renewed and revived dedication between the band’s members. In 2000 the E.P. This Present Darkness, showcased Chimaira’s unquestionable talent and exciting sound, which saw them quickly signed to Roadrunner Records with whom they released their first full length album Pass out of Existence. After their debut Chimaira’s work in the studio began to deteriorate as band members became disillusioned and rarely participated in recordings. Since signing with indie metal label, Nuclear Blast, much of band’s mentality has changed.The Infection will be Chimaira’s second album with their new label and Matt admits the band is finally producing albums where every track feels like a completed and polished piece.



It may be this turbulent history that prompts Matt to doggedly dismiss any probing questions about the band’s past. It was made very clear that Chimaira try to keep a positive frame of mind. “I’m not regretting anything we have done perviously. I like the way we have evolved as musicians and a band. You really can’t complain about everything. In the last record we started to be happy with everything in general.” This strong stance made it clear that this latest album was written looking forwards rather than dwelling on past issues. Matt claims that Chimaira are truly attached to The Infection. “ We were trying to put out something we love. I think this is our best record yet. I guess every band says that with every record. But for the first time I can say any song could be my favourite.”

The Infection can be best described in Matt’s own words “brutally honestly Chimaira.” It contains all of the thrashing guitar riffs and pounding drums that any metal fan can instantly enjoy. Chimaira sound as though they have returned to their roots while broadening their musical scope as the album spans every metal genre from classic to progressive. This genre ‘hopping’ was a result of the improvised nature in which the album was written. “The lyrics were impromptu,” Matt explains. “The music was subconscious. It just came out like that. We have six members that all have very strong voices with what they want to explore.” One stand-out track on The Infection is the epic instrumental The Heart Of It All. All fifteen minutes are an amazing show case of the bands musical proficiency and range of understanding in the metal genre.

In the mean time Chimaira’s ‘spread-the-infection’ website continues to gain momentum. The idea was originally brought to life by vocalist Mark Hunter and the incredibly crafted web design was developed by keyboardist Chris Spicuzza. Since it’s creation the project has been a surprise success and now a standing testament to the dedication of Chimaira’s fans. “We thought it was a cool way to reach out to the fans. It’s doing a lot more for us than we imagined. One hundred percent I think our fans are some of the best fans out there. They just keep coming back. I think it’s the nature of metal that breeds such dedicated fans. They are the coolest, most open minded people.”

Chimaira are currently touring America but Matt did reveal that at least two tours of Australia were planned in 2009. All tour dates and venues are yet to be announced. The Infection is due for release on the 21st of April ’09.

Yeah Yeah Yeahs, It's Blitz

Much of the hype surrounding It’s Blitz focused on Yeah Yeah Yeahs triumphantly announcing that it wont be like anything they have ever done before. To add to the speculation in an e-newsletter Modular proclaimed “It’s Blitz! was inspired by the ’70s disco collaborations between Italian producer Giorgio Moroder and R&B songstress Donna Summer, Joy Division, and, well, Karen O’s love of dancing.” As the first single from the album, Zero, hit the airwaves all was confirmed. The track set a precedent for a highly produced album edging from grungey - indie over intro something more electronic.

Zero is perfectly placed as the opening track of It’s Blitz, it’s flickering guitar riff stirring every ounce of excitement you might have had for this release right up as you follow it to the ecstatic crescendo at the end of the song. And then, before you know it, Yeah Yeah Yeahs lead us into self proclaimed unchartered territory. To confirm that Zero wasn’t just a dabble in a new sound Heads Will Roll hammers the genre home, synthesizers and samplers hard at work.

Karen O’s spunky, chanting vocals still grace the album (just in case you were worried everything had changed) but they are accompanied by far more polished tracks, at the expense of that raw sound many fans know and love. But there is no need to mourn the passing of Yeah Yeah Yeahs their sound of old still very much remains in this new form, only their guitar and drums have been passed through the filter of electro and some experience.

For most fans It’s Blitz will feel like having your cake and eating it to. The band has taken a new and exciting direction without forgetting where they came from. This is very much confirmed by Dull Life and Shame and Fortune, two tracks capturing the fast and heavy sound that had you bouncing off your bedroom walls when listening to Show Your Bones. The only time I stopped smiling while listening to It’s Blitz for the first time was when Dragon Queen jumped out of left field. Its The Ting Tings - like dancey, playfulness is a real surprise.

It’s Blitz really proves Yeah Yeah Yeahs’ desire to evolve and grow as musicians. They have really nailed the genre shift, however small it may be, demonstrating a maturity and skill that should allow them to be one of Indie’s all time greats.

4/5

Interview with Satyricon

When reading Satyricon’s bio one can’t help notice the inherent lack of biographical detail. What remains instead is a dedicated and convincing argument defending the band’s choice to remain unique and challenging within the metal genre. So often this musical purist line forces the reader to judge a band as a one with tortured genius syndrome defending their very lack of success by criticising the taste of others. In Satyricon’s case this judgment could not be farther from the truth. Instead those that listen and appreciate the unforgiving riffs and brutal drumming are celebrated in their achievement.

You may, if you like, compare listening to Satyricon’s latest album, The Age of Nero, to reading a classic novel. It is densely layered but ultimately rewarding. So it is no surprise drummer, Frost, has no objections to his music being labeled ‘thinking man’s metal’. “I can see the point in calling it that, there is a certain depth to our music. It is much more about an artful approach to an extreme kind of music. We make music we want to hear, music with substance. It takes the mind and heart of the listener to understand. We feel too many metal bands are sticking to a simple formula. We don’t want to do that.”

There is no weakness in their resolve for individual and artful metal. Frost answers each question with a practiced grace that is nothing short of infallible. Satyricon’s very purpose is to make music one has to listen to many times before they truly appreciate its carefully constructed layers. Considering singer and lead guitarist, Satyr, wrote the album isolated in an forrest cabin in Norway, Frost’s drums are worked in seamlessly. More proof of the bands painstaking and timely pursuit of their musical beliefs. “We spent quite a lot of time just playing around and rehearsing. You have to work very closely with a composer to complete his visions. He will always have a better idea of the complete vision while I can only see one small part. In the end it has to be functional. I have to bring the track up and take it down where the composer wants.”



The Age of Nero is Satyricon’s seventh album and after working together for some 17 years, Satyr and Frost have continued to redefine their form to satisfy their ideals. “It is progressive no doubt about it, we are progressive and unpredictable. You always have to try and focus on what makes the music as good as possible. There is a wildness and rawness there that we didn’t have on previous albums. Along with grand and epic elements. This combination is unique to this album.”

The Age of Nero is musically stripped down to metal’s most simple but calculated form. This minimal and brooding mood influenced, in Satyr’s view, entirely by the deteriorating state of the planet and human culture. “The album is a reflection of an entire mind. Obviously Satyr as been very influenced by experiences that have had a strong impact on him. At the moment we can see the end of an empire, things happening around us. Take global warming, a very new issue a very destructive phenomenon. There is nothing we can do about it except the best we can. We are doomed in a sense. That whole feeling is reflected in the apocalyptic title that sums up the essence of the album.”

Satyricon have currently been promoting The Age of Nero by touring the Americas and come late March they will begin a tour of Australia. One that Frost predicts may be Satyrcon’s best to date. “First of all they [Australian fans] will see Satyricon touring their the best album ever. If I may say so. That’s how we feel about it. It brings an enthusiasm and energy that will take us to the next level. Plus the songs from the album work really well live.”

To match their well honed philosophies fans are bound to see a band completely and utterly devoted to their performance and their crowd. Frost describes his favourite performances with a pseudo-religious fervor seeking an energy and ‘fire inside’ that help to make a gig great. “It has a lot to do with energy. Before each gig I bring up a lot of raw energy. Energy that drives you almost to the brink of madness. When I feel this it creates a connection with the audience. We get a strong feeling that we are sharing something.”

In a perfect world we would see many more musicians like Satyr and Frost. But until that time, even if extreme metal isn’t your thing, one can’t help but respect Satyricon’s views and conviction.

Published @ www.fasterlouder.com.au
Link: http://www.fasterlouder.com.au/features/17579/Satyricon.htm

Interview with Stuck Mojo

When Stuck Mojo started to lay down demos for their next album, lead vocalist Rich Ward had one goal in mind ‘keep it different’. A prerogative that may seem a bit difficult as Rich confidently announces “I think we are one of the most unique bands in the world.” Whether you’ve heard it all before or not, in Stuck Mojo’s case it’s a very accurate statement. Their brand of Rap Rock fusion is a path few have ventured down. Despite their niche genre holding them back from excessive fame and fortune Stuck Mojo are having a Renaissance both in inspiration and band cohesion. So it’s no surprise Rich decided to call their latest release The Great Revival.

For a band with such a turbulent history the production of The Great Revival was a true breath of fresh air. “The album was really different. Everyone in the band was really excited as an organism. It was a revival of the spirit of when we first formed when it was just young musicians enjoying playing with each other.” One has to admire this dynamic in the band considering the conflict of interest experienced when heavy metal and rap are combined. As Rich gets on a roll his bursts of inspiration have to be curtailed to fit in the desires of other members.


The ‘keep it different’ mantra also influenced the content of The Great Revival’s lyrics. Stuck Mojo have left behind their political activism and explored more personal themes. “We were a band who loved to write about politics. We are passionate about it. I’m a news junkie so I love to do songs about it. But we live in a day in age when people are so sensitive you can’t talk about those issues anymore. I’ve had death threats. Its a freakin’ song! If you disagree is it worth killing me? I don’t want confrontation. This new record gave we an opportunity to talk about things that people can connect to. Things we all experience.”

Unfortunately the recording was not entirely positive. Rich had some seventy five minutes of music he wished to record for a double album but record company Napalm imposed a strict time limit for The Great Revival so that Stuck Mojo could meet newly establish tour dates. As a result Rich has his reservations about the album and the music industry. “I really like the songs on The Great Revival but it’s not a complete album. I will never let anyone force me to finish an album early again.”

Published @ www.onthebarrier.com
Link: http://www.onthebarrier.com/feature-interviews/stuck-mojo-release-the-great-revival.html