Sunday, 13 April 2008


NECROPHOROUS has a long organic life 1991 so, which were the impulses generated for such creation? And your relationship with the whole activities with NECROPHOROUS until now?
The same impulses as for any other of my projects: a need for expression. The activity of Necrophorus has been on and off. I started this project in 1991 and ended it in 1992. But in 1995 it was re-invented with a different uniform, direction and the first album release. The orchestral elements were gone in favor for slow synthetic sculptured landscapes, and it has been changing a couple of times since then. The latest effort, the “Elinros” album is more magic and ritualistic than the previous albums, and I have some just borned ideas for the next album, it will probably be more minimalistic, investigating the small in the big / the tiny sounds of an universe and vice verca.

In relationship to the name of the project, NECROPHOROUS, state your definition of NECROPHOROUS and how it fits in your life?
Necrophorus is not defined, it just a being as is, without any declaration, it´s more a like a dynamic mass that that takes shapes of it´s creations. Maybe it´s part of the flexible side of my life.

Due the music is softer and relaxed could we say it´s has connections with a more tranquil & meditative facet of your personality?
Probably true, but things can change in the dynamic nature of Necrophorus.

“Elinros” is an album concept. So how was the inspirational, influential process for such great album?
In fact it is inspired of the nature and the meeting with a wonderful and warm friend, a very spontaneous girl with splendid imaginary world and healthy view to the real world. I just met this girl and after a few meeting I felt I had to do this album, she had opened like a new world to me, a world that I almost had forgotten.

Do you will continue experiments of nature as a concrete concept on next release or will focus into a different expression level?
I don’t know really, probably both at the same time, but in a very minimalistic way. I can’t really tell you much more about the next work as I haven’t even thought about it in a major scale, I mean that I have not developed any kind of concept for it yet except for that mentioning above.

Was your intention with “Elinros” to learn more about hidden forces of nature to create personal link between yourself and Mother Nature?
In one sense yes, about the magic and relation of the world, nature and spirit.

Talking about your personal life what comes to your mind as the worst and best moments in your life? And how it had helped you to develop your artistic skills?
I try not to see things like the worst or the best moments, they are just moments and nothing more. Something considered bad moment can change and turn into something good at a later point and vice verca. I thinks it´s more than moments that helped me develop my artistic skills, it’s a gift.

What will come with NECROPHOROUS relating new compositions & visual art expressed in live performances?

I have never performed live with Necrophorus and I have no intention doing so in future, but one can never be sure. So, as long as it’s not going to happen there is no relation to live performances.

Your point of view about conformity, ignorance & passivity of actual society according what you can observe, feel?
Not much for that. To enjoy life you have to explore, to allow changes, be spontaneous, be active, loveful and helpful.

Let´s talk about the short film NATURA FLUXUS, where from comes the idea to experiment with visual desolated environments and soundscapes?
Guess it comes with the music, I have been dreaming of doing such a movie for several years. And the interests for movies have always been there.

Visual is a new facet to experiment in a creative expression for you’re as artist?
It´s kind of new, even if I have done some stuff since the mid 80´s, and it’s funny to mix visuals and sounds. I will do more of this in the future, just in order to present a whole world: the world of raison d´etre according to raison d´etre. I want to experiment with sounds and visuals in interaction.

Tell us more about where, how was filmed this short movie? Any special events happened during the recording worth to share?
Most of the footage is filmed in Poland at various places; some shots are taken in Czeck Republic and one in former East Germany. We used a small DV-camcorder with wideangle lenses and went to some abandoned places we had decided before the travel, that’s about all. A lot of things happened, like we were almost killed a few times ( so bloody close to traffic accident) and the Polish police almost arrested us.

Do you think with this film you have crossed a new frontier in which desolation, and emptiness takes important relation between you and your suggestive artistic expression?
Doing this film was a great experience. Now I have a more personally relation to desolation and emptiness. In Sweden there are almost no abandoned places, at least not in the way like in Eastern Europé and many other places. Sweden is kind of clean. Seeing those abandoned buildings was a like a life elixir.

We are expectation about new material coming from YANTRA ATMOSPHERES. So, what's coming up to feed us?
Next release will be a soundtrack double album titled 'Music for Film & Exhibition'. This album will contain all music I have composed for various films and exhibition since 1999. Should be out this summer if all works as it should, all is finished, music and artwork, it’s just a question about money. It will contain the music from the “Natura Fluxus” DVD and the soundtrack for the never finalized Swedish movie “Tulpa”.

Thanx again. And keep on your creative spirit peter!!
Thanks, I will.

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