- Earlier in our exchange of words, you mentioned Terrence Mckenna as an influence on your music. Looking back to the ideas and symbolism of Kinit Her, along with the symbolism you use in your own music, both visual and conceptual, I find it interesting to make connections between what I hear and see in your art, and your own grasp of reality. Could you please elaborate a little about how you see the world we live in, and how is this affecting your music?
- I tend to believe that images I see are forms of sound vibration. I like to think of the world as being held together by sound. The most powerful visual and conceptual symbols were, are and will be of an oscillating resonance, perpetually circulating in and around a collective consciousness. As a composer, performer and listener, I try to be aware of this idea as much as possible, though it is constantly changing within me. I forget it on a regular basis. Rediscovering it is always a thrill, and a prime motivator for my writing and recording. Ob: That is an interesting concept. I personally love how spiritual concepts manifest themselves inside scientific realizations, until the point you cannot point the finger where one ends and the other begins. You are talking, the way I see it, on something that stands between mantras that affect reality through sound, and string theory, which is talking about fundamental vibrations as well. Do you see your music as a product of this vibrational world, as a reflection of it, or perhaps you are attempting to change the world with what you do? Does this understanding of sound waves and the way they intertwine with the world make you understand the effect your music has on the ears of listeners, or better yet, does it make you look for a specific effect? a specific reaction? Ts: I see it as all three at once and more. The music I create is a collection of channeled sounds that existed in some form or other, long before it passed through me. I have always focused more on the origin of a sound, than I have its destination. While I am interested in getting feedback from people who listen to my music, I never tailor it to evoke a specific effect or reaction within them. I prefer that individuals/listeners take care of that on their own.
- I am reading your last message to the sounds of your album “Anubis come in”. What can you tell me about it?
- “Anubis Come In” is a short collection of recordings I started in 2004. I had just purchased my first set of used reel to reel tape recorders in addition to a hand me down Roberts 770X, which was used to record most of this tape. Over-dubbing onto the decaying tape that was already on the machine allowed me to preserve some of its original recordings, an early demo my father created in the 1970’s with his band “Liquid Love.”
- That can be very symbolic for this invocation of Anubis, to reincarnate your father’s music as your own! I have my own analysis about this album, and I wanted to know if, and that is a general question that doesn’t necessarily applies only to ‘Anubis come in’, when starting to work on an album, do you think about a concept or let the music, these sounds that we were talking about before, do their magic and create the album’s idea by themselves?
- A varying combination of both of those things. I think its important to allow room for each of my works to grow and take on new light of their own, but I like to give them a push in the right direction. In the end, it is they who direct me to new light. I am curious what you think about it.
- I see this album from two points of view. First, I imagined this double ceremony for conjuring Anubis. It’s quite a literal and simplistic view, but it works well through the two songs in this manner : the blessing song invites Anubis as a form of invocation, while on the other track – “Death spirit of the all”, this invitation – of Anubis to come in, seems more like a necessity, like in the case of vampires, who must be invited to a room before they can enter it. Then, on further examination of the album, I realized the cassette itself is another important part of this concept (I haven’t held in my hands a cassette for over ten years, so I had to think about his medium again). Unlike a CD or a list of files, the cassette goes through one side, one track, one half of your album, and when this track ends and the next one begins, the cassette actually have switched sides and the tape is not only playing the second song, but it is UNPLAYING the first. So essentially what you get is the blessing song, Anubis, if you will, rising and falling, only to be erased and reincarnated as the death spirit, which comes to an end eventually, only to rise again as the blessing Anubis Etc etc. The fact that it is the same material that is being played over and over, from two of it’s sides, makes this picture even more vivid, and the fact that this used to be a different musical material by your father gives the incarnation idea even more dimensions! It’s music that changes to a different music and it’s your father, which lives again through you. On most of your music, be it your solo project or other acts, the singing, or chanting, is not always clear. This, of course, is not uncommon in music, but it made me wonder, considering what we were discussing earlier, what is the importance of lyrics for you? is this importance, or are the subjects of this singing vary between your different projects?
- That’s an interesting perspective! I also back up my dad by playing guitar in hisElvis and Johnny Cash impersonation shows. Always effective invocation going on there too.
I agree that the cassette format really adds new dimension to this release. The majority of Earjerk’s catalog is analog and I recommend that all fans of the tape check them out at earjerk.com.
As an orchestra teacher and lifelong violinist, non-vocal and instrumental composition tends to take priority when I begin new projects. While I might have text written out before-hand, words never enter the music as melody until I feel satisfied with where the instruments are going. When it comes time to mix, I often feel that in order for the vocals to be loud enough to hear every word clearly, some subtlety of the instruments would have to be drown out. Also, when singing, I choose to enunciate words in a different manner than traditional western vocal technique would advise. The method doesn’t always lend to clarity.
Nathaniel Ritter and I have been focusing on this topic and experimenting with new ways of presenting the vocals and lyrics in our music, which can be heard in our latest collaboration as Wreathes.
Lyrics and lyricism (vocal and non-vocal) are always important to me. The subject matter always varies, not only between each project, but also within each project.
- What music are you listening to nowadays?
- Most recently, the self titled record from the incredible GA’AN of Chicago, wearing out my Sun Splitter : II tape, the new micro-tonal works of Daniel Walter Eaton, enjoying the last two releases by Burial Hex, and a daily dose of NPR, a national treasure.
- What can we expect from you in the rest of 2011 and in the next years? What are your plans, musicaly speaking?
- I am proud to announce that Dani Dahlke and I are putting the final touches on our debut recording as Devotion. The vinyl EP will be out mid-summer on Brave Mysteries. Kinit Her’s “Gratitudes” will be out very soon on Small Doses, and Wreathes is nearly ready to begin mastering its first full-length, which will be co-released by RTB records and Lichterklang. I have various solo releases and live performances scheduled as Troy Schafer, as well as two sound installation shows in progress. Recently, I have been recording and performing with Mikel Dimmik and Patrick Best of Pelt/Spiral Joy Band, adding string arrangements to new Burial Hex recordings, playing electric guitar in Wormsblood, self gratifying under numerous solo project monikers, paying irregular visits to the Second Family Band jams, writing music for a fully choreographed dance pop group, selling a few jingles to local businesses and writing for Centrifuge Reviews, a blog focusing on Midwestern music and art. I also continue to instruct private string lessons at a local music conservatory. I’m not sure what will happen next; I have many interests.
- Would you like to add anything to this interview?
- Thanks Oren, it’s been a pleasure.
Interview by OB
Photos by Dani Dahlke
