Sunday, 13 April 2008

RAISON D ' ETRE interview

RAISON D' ETRE Interview
By KERVAL
HERE IS A DEEP VOYAGE THROUGH PETER ANDERSON'S EXISTENCE WHICH IS WELLKNOWN IN DARK AMBIENT MOVEMENT DUE HIS ARTISTIC SKILLS TO INCORPORATE ELEMENTS ACCORDING HIS MUSICAL NECESSITIES AND PERSPECTIVES IN THE SPECTRUM OF ALL HIS DIFFERENT PROJECT AND IDEAS. RAISON D´ETRE BEING HIS MOST RELEVANT ACT THROUGH YEARS OF SHADOWY EXISTENCE AND BURNING VEILS, CREATING A CLIMAX IN EACH ONE OF HIS ALBUMS...
HI Mr. Andersson! by the fact recently you came back after some live performances...how was such performances according your last shows and what is so attractive for you to develop your music at live?
Well, yes I have recently been doing some live performances. It’s been very appreciated to perform, audiences seem to be overwhelmed and that’s great. I think the only thing I gain on live performances is the meeting with the audience; musically it doesn’t develop my music at all, as most of the sounds in a performance are pre-recorded anyway. Also the music can be played louder really loud with rumbling low frequencies that makes everything chatter, so this mean there is an additional dimension of the music that cannot really be enjoyed when listening at home only.

Perhaps with your live appearances did you gives birth to an organic spectrum in consciousness audience? And what kinds of visual/ audial elements are used in order to reach the proper atmosphere you pretends in each show?
I use video backdrops with moving images from Brazil and Argentina, an abandoned harbour and a Christian graveyard, pretty nice stuff filmed by Martin Pels who has done the photos on many CMI sleeves. For live sounds I use metal plates or any other metal object that can have a contact microphone attached. The live action is in producing the sounds from the metal objects and to tweak some buttons on a mixer and an effect unit, and to control I hard disc recorder. How the audience experiences this and if the gained something, reached organic consciousness, whatever that is, I don’t know.


Which parameters and perspectives were reached after the last album "requiem for abandoned souls”. I mean, about the evolutive sound coz I found this album more complex and dynamic in the whole structure?
I think one of the reasons has to do with the possibility to tweak the sounds to microscopic level, thanks to the computerized studio environment. I am able to fine adjust things that was not really possible a few years ago. And I also believe the I mature as a human being for every new album, it’s almost 3 years between the albums so something is always changed when comparing a new album to previous ones. I won’t call it an evolution or progress, that’s too much biological or technical; I would just say that the albums are just different to each other.

Due to the title album "requiem fo

r..."is abandonment an ulterior mental spiritual spectrum necessary to be explored individually to go deeply in these regions of consciousness which people cannot surpass when trapped in an external world, a world of falseness, fear, enslavement, and moralism?
Self-distance and reflections of your own being and the world are a keyword here, and maybe temporarily desertion but not abandonment alone.

Is your intention to build a new creative vortex in each RAISON D ETRE album, or it comes as a natural process due to your artistic skills? or we are talking about a necessary source of inspiration be it a mental state, Mood or spiritual device for the creation of a determinate album?
Each and every new album is base around a their own unique concepts, so every albums is like a small now world with some connections to earlier and future work, it’s kind of natural as it’s about maturation. Life itself in its widest meaning is the source of inspiration and that makes me come into a certain mood that is escalating during the creative process of an album, I am put into a trance state when composing.
Do you consider yourself an artist from your own dimension exploring the creative limits of your consciousness and crystallizing it in a sensitive and deep emotional platform?
Yes, but I don’t believe in limits of the creative.

Sailing in the golden seas of creativity we have the shape of Mr. Andersson and all his projects....is the act of each one of your creations namely different projects with its respective albums concrete expansions of your mind & will, ending in a solid structure representing in all cases forms of your inner emotions and experiences in this existence? and which offers each one of the musical projects to your daily life that have you learned from each one of them ideologically talking?
I believe everything I do come from my inner emotions else I wouldn’t do it, and all my music projects are forms reflected from my inner self. With all these different projects and for every new album I manage to explore new universes, perspectives and nuances of my mind. Above, all this has functions of therapy and individuation in the search for my inner true being with the goal to reach harmony and a feeling of entirety within my self and in the world. I learn about my self and about the world when creating music and that is really beautiful, I love to explore and discover things.

Let's talk about your projects:
STRATUM TERROR
Due to its industrial noise atmosphere we could talk about a harsh, devourer of souls and terrorizing fragmentation of your personality?
Some part of me wants to kill. It’s not a pathological thing, it’s more about give vent to all the anger within me. I am not an angry man, that’s not what I mean. Actually I am very calm in most situations, and maybe I get rid of all my anger when creating music, through the ventilating process of creating harsh music. I am not sure if it is the reason why I am calm. I seldom get angry, only when people physically or mentally hurt other people or animals.

NECROPHORUS
Being at moments similar to Raison d´ Etre what was the major point for such creation? Perhaps is the magickal child of Raison d´ Etre?
I don’t think it sound the same, I think they are quite different even if there are some similarities sometimes. All my projects are evolving in their own directions and occasionally the may cross each others paths and perspectives. I am not going to argue for the raison d’être of all my different projects, it’s like having a baby and then tell her: why do you exists? You are similar to your sister so what’s the major point of your life?

SVASTY AYANAM
I think, this is more a mystical side of your nature surrounding the ethnic ritualization for oriental lands but having the specific character of your visions and thoughts from a modern way?
Everything experienced is filtered through the senses and mind of the beholder and then reflected during an optional creative output of that beholder. As I live in Sweden I will have a sort of Swedish point of view when for instance looking at oriental matters. As long as one is aware of that and now what it means and can reflect upon that, than it is fine, else people living in the "modernized world" tend to think in a very egocentric/ethnocentric way. Svasti-ayanam is simply a modern westernized ethnical-ritual creative output, actually it has not much to do with Oriental lands at all as I never been there, experienced it and I am not from there.

Well, by the fact I haven’t heard CATACLYST, GRISMANNEN, BOCKSHOLM, PANZAR and ATOMINE ELEKTRINE, there is a must for all spectrums here in south America to know more about such acts and the ideological basis behind each one of them?
I think ideological is a too strong word here, my projects are all the same in the sense of how they work as therapy for me, and they only differ in what part of me they explore. The projects have different concepts and of course they sounds different. Panzar is some sort of homage to panzer armoured vehicles. The concept of Atomine Elektrine is based around space and technology. Grismannen is about the perverted side of me. Cataclyst doesn’t exist, it was just a temporarily project in 1992. Bocksholm is collaboration with Deutsch Nepal, another Cold Meat band. Boxholm is a town and the project is about our life in this town. The project exists because both me and Deutsch Nepal are grown up in this town, and we both have the same name (Peter Andersson) and we are both doing industrial music on CMI.


"There is no god above man", from your perspective in this world the men is the only who creates and devour its own world. Its own nature and path to self realization is its own inner god and principal objective of man know thyself?
Yes.

From your opinion is life a perfect method to learn to use mind and not just a system of knowledge based in experiences? or when we learn to understand each one of its manifestations from our inner eye, we understand that life is a pure mental atribute?
I don’t think we can learn anything without our senses, our perception capabilities. The communication from/to mind and external world to goes via the senses. From earlier experiences and own exploration: from there we can learn more about the mind. We can not learn from the mind from a tabula rasa state of mind, if there is such state (I don’t think so), without any connetion to the external world. It’s a system because it’s about communication and semiotics (symbols and signs); it has too be else we can’t really communicate or understand anything. The mental manifestations in our minds are based on more or less (consciously or subconsciously) systemized semiotics. Archetypes are the most basic manifestations of the mind, subconsciously imprinted in our minds long time ago via the connection to the external world.

Coming back to artistic expressions, do you think aren't the samplers, effect prossessors etc, which creates the music but the creative influx of the artist in accordance to technology? so, is technology a religion, a religion of the new world?
I don’t think religion can be about material things. Religion is in a way about immaterial and transcendent/ spiritual matters and technology is neither immaterial nor transcendent or spiritual. When coming to digital technology and binaries it may be immaterial in one perspective but it relies upon material instruments (computers) to be experienced and such things are not transcendent or spiritual. I can’t say I understand this question, I am not sure what you pointing at, but instruments should be used as a universal tool, not be a slave under technology but use it in a way that makes you wishes come true, whatever they are. But you have to know the limits and the possibilities of the instrument/technology in order to use it in a good way that suits you, that resonance in a way that makes you feel harmony within yourself. Technology makes us like children, we want to play with it, and it is creative as long as we aren’t slaves under the technology. Technology might work as a substitute for religion because it got some similarities with some religious content and temporarily satisfies our needs, but that is only a false substitution for any spirituality. I think the same applies to music if one compare it with religious spiritual matters, even if some people think music can be transcendent and posses some spirituality but it’s just an instrument to help you learn about such matters, it’s not spiritual by itself. Music, opium and technology can be transcendent in certain ways, but not the same way as a God, an angel or other spiritual manifestations. Actually I would like to use a word like faith to disconnect a belief from the mass religious elements as God, Christ, Bible and all the dogmatic systems and ethic content, I simply do not believe in it. For me ones faith should be more on a personal spiritual emotional level with an outer ecosophical (we are one with nature) perspective, without Gods, dogmatic systems and certain ethic/moral rules. Instead: to find your true nature and your relation to the entirety (Universe), to take care of your inner self, to bring the most out of your self as an individual human being and to feel harmony within your self, with nature and in the world (Universe).

Thanx a lot Andersson, your answers are appreciated here. Before the end reveal us more about your activities with YANTRA ATMOSPHERES and COLD MEAT INDUSTRIES?
I have some interesting upcoming releases this autumn: A DVD with a number of short films I have been making the last 6 months; A CD with soundtracks and music for exhibitions I have been involved in; re-mastered re-releases of Stratvm Terror ‘Pariah Demise’ with extra material and raison d’être ‘In Sadness, Silence and Solitude’ with extra material. My next live performance will be in Melbourne in Australia, February 2006. Hopefully I will perform with new material from raison d’être and Atomine Elektrine. I will work on material for new albums of these projects the second half of this year.

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